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William Watts & Beethoven’s 5th

In the intricate tapestry of 19th-century London's musical scene, William Watts stands as a figure deeply intertwined with its formation, yet he is veiled in the shadows of history with little information about him having been recorded. Despite this, the preservation of his arrangements of Beethoven’s symphonies speaks volumes today, reflecting his profound understanding and appreciation of Beethoven’s compositions. Watts's adaptations are notable for their respectful treatment of the original works, faithfully preserving Beethoven’s intentions and musical essence.

The Early Years, Musical Education and the Chamber Musician

While the specifics of William Watts's upbringing and musical training remain elusive, his proficiency as a musician suggests an excellent education under the guidance of highly skilled teachers of the time. Records from the Philharmonic Society indicate his involvement in various chamber music concerts, often performing as a violinist or violist.

We know that Watts played second violin in a string quartet with the violinist Mori who also arranged Beethoven’s works. The Australian Haydn Ensemble (AHE) performed Mori’s arrangement of Beethoven’s Seventh Symphony, for the same instrumentation as Watt’s arrangements of the 4th, 5th and 6th Symphonies in 2023. Watts left the quartet 1837 when a dispute occurred over the musicians' payment. Some insight into Watt’s personality is captured in a letter preserved by the British Library (detailed below) from Watts to Mori that outlines his dissatisfaction with the amount they were to be paid:

“You must feel assured that I am always flattered and delighted to be one of your accompanists, but when it is before a public audience, it becomes a matter of extreme attention and anxiety. I am perfectly aware that all the rehearsals, and perhaps more than we have had, are quite necessary for the well-being of the music. Therefore, your offer of terms would not pay me for the trouble and time so occupied. Under five guineas a concert, at the least, 5'.”

Chamber Arrangements of Beethoven's Symphonies

Among Watts's enduring contributions are his chamber arrangements of Beethoven's Symphonies 4, 5, and 6. Crafted with meticulous attention to detail, these arrangements offer audiences a fresh perspective on Beethoven's monumental works. Designed for intimate ensembles featuring 2 violins, 2 violas, cello, double bass, and flute, Watts's adaptations breathe new life into these symphonies, captivating modern audiences and reaffirming their timeless relevance. The Australian Haydn Ensemble (AHE) has played a significant role in reintroducing Watts's arrangements to contemporary audiences through modern premieres, ensuring that his legacy endures. Many Australian audience members have commented that hearing these works, that they felt they knew inside out, was a ‘revelation’ - in that they reveal new realisations to the listener that they had not noticed before.

The Philharmonic Society and Musical Advocacy

Watts was the secretary of the Philharmonic Society from its inception in 1813 until 1847. The Philharmonic Society, later bestowed with the title 'Royal' in 1912, played a significant role in the history of classical music during the 19th century. Founded in 1813, its inception aimed to enrich London's cultural landscape by offering regular concerts featuring new musical compositions. Notably, the Society gained renown for commissioning Ludwig van Beethoven's Ninth Symphony, a milestone in its illustrious history. Its first concert in March 1813 showcased works by Haydn, Mozart, and Beethoven. Highlights of the Philharmonic Society's concerts include the UK premiere of Beethoven's Ninth Symphony in 1825, Felix Mendelssohn's Italian Symphony in 1833, and a diverse array of other premieres by composers such as Wagner, Berlioz, and Weber.