TRIUMPHAL MARCH FROM TARPEJA

The magnificent triumphal march which Beethoven composed as incidental music for this tragedy, and which bears the number of WoO 2a, was written for two flutes, two oboes, two clarinet, two bassoons, two horns, two trumpets, timpani and strings. Willy Hess discovered that the march was intended to be performed at the start of the eighth scene of the second act, or at the end of the tragedy. The difference between the heavy prolixity of the text of Kuffner and the magnificent eloquence of Beethoven's music is considerable: the rhythm, and the key of C major, conveys to us the excitement of a popular celebration.

This story did not fail to interest the generation of writers of the first years of the nineteenth century. And as a result, on the 26th March 1813 in Vienna, the tragedy Tarpeja, by Christoph Kuffner, was presented. A well-known and prolific poet of his time, admirer of Greek and Latin culture, the Austrian writer maintained an amicable rapport with Beethoven for many years. The soirée was to be organized at the office of Joseph Lange, Mozart's brother-in-law. However, the tragedy, in four acts, received only one performance then disappeared from the repertory.

The Rock of Tarpeja is a steep cliff of the southern summit of the Capitoline Hill. It is associated with the vestal Tarpeja, daughter of the governor of the citadel on the Capitoline Hill, Spurio Tarpeio. The legend is transmitted to us from different sources, but it is primarily Titus Livius who speaks about it explicitly in his writings.

Tarpeja, young vestal, is corrupted by Titus Tatius, King of the Sabines, who's principal aim is to lead his soldiers through a secret passage in order to attack Rome. In exchange, the girl would receive that which the soldiers carry on their left arms, their gold bracelets and rings... but, Tarpeja is crushed by the heavy shield of the Sabines, carried as well on their left arms.