Thayer-Forbes believes that the Twelve Contradances for Orchestra (WoO 14) were prepared for the balls of the winter of 1801–1802, (p. 297) but they seem to have been individually composed at various times between 1791 (when Beethoven was still in Bonn) and 1801.
These Contradances are historically significant for one simple reason: Two of the dances (Nos. 7 and 11) are derived from finale of “The Creatures of Prometheus” (Day 136). A couple years from now, No. 7 will also morph into the final movement of the Symphony No. 3.
Some scholars believed that the Contradances Nos. 7 and 11 preceded the composition of “Prometheus” and hence they were they original source of the “Prometheus” theme. But Barry Cooper says “No” (Beethoven, pp. 119–120) and I believe him.
#Beethoven250 Day 145
12 Contradances for Orchestra (WoO 14), c. 1791–1801
The Kiev Symphony Orchestra is perhaps overqualified to play this music, but the performance is committed and vibrant.
#Beethoven250 Day 145
12 Contradances for Orchestra (WoO 14), c. 1791–1801
The FuturOrchestra consists of musicians aged 13 to 20. I suspect the videographer is a proud parent.