PPP190: Ten Things You Need to Know about Beethoven's Für Elise

27Apr 2020 by Shelly Davis

Today is April 27, 2020. Listen to this week’s episode to learn why this is the perfect date to learn ten things you should know about Beethoven’s Für Elise.

Listen to the full episode here

1. Inscribed with a specific date.

Dated April 27, 1810 – 210 years ago

2. Please wait before you try to learn to play it.

Not a first year piece – Let’s just get that out of the way. Parents recognize the first part of this piece and request that their kids learn it.

3. Who was Elise?

The mystery of Elise – friend or sweetheart or student of a sweetheart?

Elisabeth Rockel – who played Florestan in the 1806 revival of Beethoven’s opera Fidelio. She was called “Elise”by a parish priest and had been a friend of Beethoven’s since 1808.
Therese Malfatti – Some suggest that Ludwig Nohl, the man who first published Fur Elise, may have transcribed the title incorrectly and the original work may have been named “Für Therese”. Therese was a friend and student of Beethoven’s to whom he supposedly proposed in 1810, though she turned him down. She owned the manuscript when Ludwig Nohl published it.
Elise Barensfeld – Treated for a while as a child prodigy, she first traveled on concert tours with Beethoven’s friend. There is a possibility that Beethoven dedicated this work to the 13-year-old Elise Barensfeld as a favour to Therese Malfatti who might have given her piano lessons.

4. What key?

The key signature is A minor but each section moves to a different key. See number 7 below.

5. What time?

Time signature 3/8. At first glance the music looks very intimidating with all the 16th notes (The B section even has 32nd notes! THREE beams connecting notes!) but when you realize that 8th notes have the beat, it’s not so overwhelming.

6. Phrase shaping

The phrases in the opening theme create a Call and Response. Both main phrases are identical until the last four notes. The first phrase ends with an upturn or notes, like asking a question. The second phrase ends with a downturn of notes, like giving an answer.

7. What form?

Für Elise is written in rondo form. This means there is a returning theme that appears between varying themes – ABACA.

Theme A is the iconic tune that most people know and love. It is written in A minor with two main phrases that seem to be having a conversation. If we imagine Elise was Beethoven’s sweetheart, this might be the part of their relationship where they are becoming friends.

Theme B uses accidentals to transform to the key of F Major. The faster moving notes could represent the way Beethoven’s heart beats faster when he is close to his sweetheart. He might even ask for her hand in marriage.

Theme A returns. Maybe he is too afraid to ask for more and prefers to keep the relationship on a friendly basis. Maybe he asks and she doesn’t respond the way he hoped she would.

Theme C modulates to a new minor key; D minor. The repeated bass notes sound very agitated as if the two friends have some sort of disagreement. Maybe this represents Beethoven’s anger and disappointment over being rejected by his true love.

Ultimately, Theme A returns once again to close the piece. Maybe Beethoven and Elise remained friends. Maybe he just goes on with his life, alone.

I don’t know what Beethoven had in mind when he composed this piece but using a story to bring each section to life helps performers use more musical expression.

What story would you tell when you play this piece?

8. Für Elise is not the real name of this composition.

Real name is Bagatelle No. 25 in A minor WoO 59.

Bagatelle – short, instrumental piece, typically for piano, played in a light, mellow style. A light touch on the piano is actually very difficult to master. You have to work hard to make it appear you are not working hard at all.
A minor refers to the key of the piece. A minor is the relative minor to C major. At first glance, looking at the key signature, you expect to only play white piano keys – no sharps or flats. However, any minor key is going to incorporate accidentals (unexpected sharps or flats written in the score).
WoO 59 – “Works without Opus” Numbers given to pieces discovered and published after a composer’s death. Some say Beethoven intended to include this piece in a cycle of Bagatelles. It’s kind of an oxymoron: WoO NUMBER 59.

9. Will your teacher teach you to play it?

Because so many teachers have hear this piece played so poorly, they have banned it from their studio. It has become the bane of many teacher’s existence (see number 2)

10. It was published 40 years after Beethoven's death.

Für Elise wasn’t published in Beethoven’s lifetime. Beethoven died in 1827, the music wasn’t published until 1867. I wonder what he would think about the popularity of this piece.

Final thoughts

One last thing, if you do a quick search on YouTube, you will find many, many recordings of Für Elise. In my opinion, many of them are emotionless and played way, way too fast. These recordings will give you a glimpse into why so many piano teachers refuse to teach it or hear it played badly.

I did find one recording which is performed at a tempo and musical expression more to my liking and with an accompanying video that is beautiful. This video by Lang Lang shows people from all walks of life and in all stages of their lives using this piece of piano music to bring joy and relaxation to their lives.

Isn’t that what music is all about?

Thanks for listening!

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