Ludwig van BEETHOVEN (1770-1827)
Music to Goethe’s Tragedy Egmont, Op. 84 (1810) [52:26]
Elisabeth Breuer (soprano); Robert Hunger-Bühler (recitation)
Helsinki Baroque Orchestra/Aapo Häkkinen
rec. live, 31 December 2018-2 January 2019, Musiikkitalo, Helsinki
Sung and spoken texts included with English translations
ONDINE ODE 1331-2 [52:26]
There has rarely been a play so suited to music as Egmont. The political ideals in Goethe’s tragedy are not only perfect for Beethoven’s particular brand of dramatic music, but the writer genuinely sought music that would play a central role in the expression of them. He even provided musical directions in the text. Living as they were in the Napoleonic era, both the poet and composer were preoccupied with the concept of freedom.
Given this context, and the general shortage of complete recordings of Egmont, this period-instrument performance is a welcome addition to an all-too slim catalogue. Hearing any music on period instruments is a unique pleasure. It’s slightly out of our comfort zone, but boasts an authenticity that is not uncomfortable. After a hair-raising overture, Aapo Häkkinen and the Helsinki Baroque Orchestra introduce the crisp soprano of Elisabeth Breuer. The force of the ensemble does well to maintain its distance, though, supporting without suffocating her. Readers (and reviewers) who don’t happen to be Goethe scholars will be glad to know that the booklet contains a translation of the narrative, characterfully spoken by Robert Hunger-Bühler, along with the parts sung by Breuer.
Having given a clear account of the first lied, Die Trommel gerühret (‘beat the drum’), Breuer really begins to gauge the feeling of the drama in the second. She tenderly renders Goethe’s words in their alternating extremes of emotion, raising and lowering her voice at suitable junctures. Häkkinen’s orchestra has a pleasing relationship with their soloist, carefully controlling the dynamic interplay between one another. In Entr’acte III, the soloist is the oboist, who very much impresses. Beethoven built this orchestral piece around the oboe part, which demands a virtuoso. The Helsinki Baroque duly provide, understanding their repertoire.
The ‘Music describing Clärchen’s death’ is expectedly gloomy, with Häkkinen keeping the dynamics soft. Beethoven’s expression of death is sparse, with instruments representing specifics, such as the horns that possibly indicate heartbeats. The oboe, again, carries its melodies well. In the Melodrama, the attention wanders slightly, although it is difficult to tell whether this is because of the score or the interpretation of it. The Victory Symphony, however, seizes the attention again with an arresting F major, bringing the drama to a crashing finale.
With this recording, the Helsinki Baroque Orchestra have added a refreshing take on Beethoven’s Egmont. As a piece full of revolutionary fervour, it will always be relevant, and ought to be recorded more often.
Edward Christian-Hare
Previous review: Robert Cummings
