Ludwig van BEETHOVEN (1770-1827)
Beethoven für Chor
Neue Liebe, neues Leben arr. Gottwald based on op.75 no.2 [3:58]
Sehnsucht, based on WoO 134.3, arr. Müller [1:27]
Wonne der Wehmut, based on op.83.1, arr.Gottwald [2:10]
Ich liebe dich, based on WoO 123, arr. Hoybye [1:46]
Hymne an die Nacht, based on theme from ‘Appassionata’ Sonata, op.57, arr. Heim [3:05]
Erlkönig, based on WoO 131, arr. Mäntyjärvi [3:36]
Kyrie based on the Adagio of the so-called "Moonlight Sonata", arr. Bierey [5:06]
Bußlied, based on op.48.6, arr. Göttsche [4:40]
Die Ehre Gottes aus der Natur, based on op.48.4, arr. Göttsche [1:57]
Das Göttliche, WoO 185, [1:34]
Wo die Unschuld Blumen streute, from ‘King Stephen’, op.117 [2:23]
Marmotte, based on op.52.7, arr., Schindler [3:21]
O care selve, based on WoO 119, arr. Mezzalira [3:28]
Auld Lang Syne, WoO 156.11 [2:21
Persischer Nachtgesang, based on Symphony no.7, 2nd mvt., arr. Silcher [3:43]
Elegischer Gesang, op.118 [5:24]
Tränentrost, based on Violin Sonata op.30 no.2, 2nd mvt., arr. Nägeli [2:48]
Opferlied, based on WoO 126, arr. Merusch [2:50]
Nicolai Krügel (piano)
German Youth Chamber Choir/Florian Benfer
rec. Hanover, Germany, 2019
CARUS 83.502 [57:55]
I think it is fair to say that we think of the great Ludwig van as principally an instrumental composer. Choral works are a relatively minor part of his output, despite the existence of the two masses and such masterpieces as the Choral Fantasia and the 9th Symphony. On the other hand, as Jan Schumacher argues in the booklet notes, it is ridiculous to go to the extreme of claiming Beethoven ‘could not write for the voice’. Certainly the choral writing in the Missa Solemnis and the Choral Symphony is immensely taxing in places; but good choirs will happily rise to the challenge in the service of the great music contained within them.
This fascinating and enjoyable disc is published as a companion to the new ‘Beethoven Choral Collection’, created by Carus, the music publishers, to celebrate the 250th anniversary in 2020 of the composer’s birth.
It is an interesting programme; most of the numbers are arrangements, skilfully made (on the whole) by a wide range of musicians. Some are of famous originals – the ‘Moonlight’ Sonata or the 7th Symphony’s Andante – some of less well-known. Most are very short, and there are some truly beautiful pieces here, such as the moving ‘Elegischer Gesang’ (‘Elegiac Song’), written as a tribute to a friend’s wife, who had died at the age of 24.
There are also some pleasant oddities, such as an arrangement of ‘Auld Lang Syne’ for choir and piano, or a six-part canon for women’s voices, whose German words mean ‘Man should be noble, helpful and good’. Quite so.
I suggest as a ‘taster’ track 14, ‘O care selve’, a setting of a Metastasio poem in praise of the forests. It is a meltingly expressive song, with harmonic sequences that are surprisingly romantic. (In fact I am wondering if some of those harmonies owe more to the Italian arranger Giacomo Mezzalira than to Beethoven himself! Watch this space.)
The German Youth Chamber Choir, a really fine ensemble, produce a beautifully full and well blended sound. Their singing is disciplined and highly musical, yet full of character and energy – a tribute to the work of their director Florian Benfer – and they are sensitively accompanied in some of the songs by pianist Nicolai Krügel. They also provide a number of excellent solos throughout the recital.
This is not, on the whole, Beethoven at his greatest or most earth-shaking, but it is an important and timely addition to the discography.
Gwyn Parry-Jones
