Franz LISZT
Cantata for the Inauguration of the Beethoven Statue,
1845
Ludwig van BEETHOVEN
Choral Fantasia
Paul Komen - fortepiano, Diana
Damrau - soprano, Jörg Dürmuller - tenor, Georg Zeppenfeld - bass
Kölner Kantorei, Capella Coloniensis Des WDR/Bruno Weil
Recorded live 4/10/2000 at the International Beethoven Festival, Bonn
DEUTSCHE HARMONIA MUNDI
05472 77535 2
[45:59]
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Well, here's something new! Liszt was commissioned to compose a cantata for
the inauguration of Beethoven's statue in Bonn whilst still in his early
30s and this CD offers the world premiere of the outcome, a work which was
to be his first for large-scale vocal and instrumental forces. The lack of
a previous recording is explained by Günther Massenkeil in his informative
booklet notes. As can often occur with music composed for specific occasions,
the cantata was completely forgotten after its first and only performances
(it had to be repeated that day due to the late arrival of royal guests)
and no performing material survived. An early autograph score, without most
of the words for the singers and chorus, still existed and only in the 1980s
was the task of reconstruction undertaken by Massenkeil. Fortunately the
text for the cantata had been printed in the original inauguration programme,
so a true and accurate edition was possible.
Nevertheless it has taken a further twelve years from the first modern
performance for the cantata to reach compact disc. Liszt had the good fortune
to have met Beethoven when only twelve years old, on tour as the latest pre-teen
piano sensation. His adoration of the master was life-long as his piano
transcriptions of Beethoven's songs and symphonies testify. Doubtless he
grabbed this opportunity to express his feelings with great alacrity. Or
so one might think.
But from the evidence of the cantata itself one has to accept that Liszt
at this time was both an ambitious realist as well as a creature of the age.
Rather than compose a work of depth and significance he chose the safer route
of providing a crowd-pleaser. The somewhat swooning mid-century text by Oskar
Ludwig Bernhard Wolff is hardly a masterpiece, so perhaps Liszt had little
choice in this matter, although music history is littered with examples of
composers rising above their librettists.
Already by this date, the late Ludwig van Beethoven's reputation had moved
from respected near-contemporary composer, via high priest of his art to
an almost saintly, god like status, well beyond the realms of criticism.
The final words of the cantata 'Hail! Hail! Beethoven, hail!' give as good
an impression of the general mood as any. Over half an hour long, the Beethoven
Cantata falls into four sections with solo soprano, bass and, in particular,
tenor declaiming their praise with heated comments from the chorus. The
rabble-rousing opening sets the general tone and one notices straight away
that Bruno Weil enjoys the services of a first-class chorus who create much
pleasure with their dynamic, accurate and spirited singing. Sections of note
spinning are interspersed with glimpses of the great Liszt of later days;
the instrumental interludes are particularly gratifying.
The short second section describes Beethoven as a god-like figure 'destined
to perish, only in death is there permanence'. Yet, even here, Liszt cannot
resist the temptation to indulge in some early tone-poem devices; the musical
description of the waves ('If like the waves of the sea, all nations rush
past on the river of time') is both arresting and extremely effective, almost
up to the standards of Debussy, yet all of sixty years earlier.
The third section, like much of what has gone before, is exciting and uplifting.
A strong melody for the 'cellos begins an eight minute 'movement' in which
Liszt is clearly enjoying himself enormously. Consistently one is reminded
of music yet to be composed, which says a great deal for the sheer insouciance
as well as natural talent of the young composer. The 'cello opening is in
the vein of the start of Part Two of the Verdi Requiem; later a kind of 'public
school' jollity invades a passage which could come straight out of the Sullivan
of the Savoy operas, and if that is not too far-fetched, the major melody
here is distinctly like the Beatles' Yellow Submarine. Not a serious point,
of course, but an indication of the sheer breadth of Liszt's imagination.
Only his extraordinarily trivial music for 'The genius - in his actions eternally
true and great' casts a real shadow of doubt.
The finale at last deigns to quote the music of Beethoven. At this point
the accusation of Liszt being the creator of a mere pragmatic 'pot-boiler'
has to be partially withdrawn. He chooses the Andante Cantabile from the
'Archduke Trio' as the major theme, which the chorus sing to great
effect. The belief in religion and politics as the two swords necessary to
make a mighty swathe towards freedom - so typical of the period - brings
out the best in Liszt. In his music for the words 'Holy is the genius's sway
on earth. He lent us a foretaste of heaven, immortality's surest pledge'
and 'This celebration has united us!' the composer appears to be on his surest
ground. An uplifting coda, performed here with stunning accuracy by both
orchestra and chorus, leaves one almost convinced.
Beethoven's Choral Fantasia is, of course, much better known. It is doubtful
whether this CD will be bought primarily for the Beethoven and this is by
no means the first version using period instruments. Here the fact that this
is a 'live' CD obtrudes for the first time. Just before the entry of the
main theme where horn and wind chords provide the link, a member of the audience
chooses (one trusts) to take out a handkerchief and blow his/her nose, twice,
very loudly indeed. This really should have been retaken in the usual
post-concert patch session. The pianist Paul Comen plays with real brio,
although the limitations of the 1815 Viennese instrument seem to be a restricting
factor for him. Melvyn Tan's studio recording for EMI has to remain a better
choice; Tan and Norrington create a superior sense of period scale which,
in particular, allows the fortepiano to create a real sense of fantasy.
At a programme length of only 45.59 this is hardly a bargain, particularly
at DHM's full price. But for Liszt completists this is a must. It must also
be strongly recommended for amateur choirs looking for something new. Both
they and their audience will have a ball!
Reviewer
Simon Foster
