Ludwig van BEETHOVEN (1770-1827)
Der glorreiche Augenblick, Op. 136 (1824) [37:52]
Choral Fantasia in C minor for piano, chorus and orchestra, Op. 80 [19:49]
Claire Rutter (soprano); Matilde Wallevik (mezzo); Peter Hoare (tenor); Stephen
Gadd (baritone); Additional soloists in Choral Fantasia: Marta Fontanals-Simmons
(mezzo); Julian Davies (tenor); City of London Choir; Westminster Boy’s
Choir
Royal Philharmonic Orchestra/Hilary Davan Wetton
rec. Cadogan Hall, London, England, 5-6 February 2011
NAXOS 8.572783 [57:41]
This new recording offers up a genuine Beethoven rarity, his Der glorreiche
Augenblick (The Glorious Moment), coupled with the Choral Fantasia.
Currently, the only other readily available recording of this cantata is part
of Brilliant Classics’ boxed set of Beethoven’s Complete Works
(85 CDs).
Composed in 1814, it was commissioned by the Vienna City Administration to
celebrate the opening of the Congress of Vienna. The group was meeting to
redraw the map of Europe after the defeat of Napoleon. Beethoven began work
in October, completing it quickly, in time for its first performance - after
three postponements, in part because the copyists were struggling to decipher
Beethoven’s writing - on 29 November 1814. While the music was well
received, the text, assembled and written by Alois Weissenbach, was almost
unanimously disparaged. The score was only published after Beethoven’s
death, and many editors replaced Weissenbach’s text with text they deemed
more equal to the music. In fact, the score I consulted for this review has
a text best translated as “Serenade to Music”.
Each soloist plays an allegorical character: the soprano is the city of Vienna,
the mezzo-soprano is a Prophetess, the tenor is Genius and the bass is Leader
of the People. Yet despite this uninspiring libretto, Beethoven created a
work with finely wrought, interesting music that deserves to be better known.
It begins with a great choral outburst, the choir proclaiming “Europe
stands!” The homophonic texture soon gives way to a fugue that, in turn,
leads into another fugue - an interesting precursor of the final section of
the “Gloria” in the Missa Solemnis) A recitative follows
with the joyful mood of the chorus instantly softened to tranquility by the
cello soloist’s lovely arch of melody; beautifully played here by Ben
Highes. The bass calls the people together to witness the “imperial
mantle” returning. A tenor arioso follows, surely one of Beethoven’s
most gorgeous melodies, swiftly moving into a chorus extolling the glories
of Vienna. This builds to a powerful climax, the different sections of the
choir wildly proclaiming “Vienna! Vienna!” accompanied by whooping
horns. The following recitative and aria sound positively Mozartian as the
soprano praises the Sovereigns gathering together, encouraging them to unify
and rebuild Europe. The aria then develops into a constantly shifting dialogue
between the soprano, chorus and violin solo, moving from moments of peaceful
beauty to vigorous - read contrapuntal - celebration. The mezzo-soprano enters,
exhorting the peoples of Europe to “kneel down, people, and pray first
to Him who has delivered you.” Beethoven responds with achingly beautiful
music that evokes a prayerful atmosphere. Finally, the soloists join in thanking
God for their recent victory. Beethoven then has the different sections of
the choir gradually enter: first the women, then the children’s choir,
and finally the men, everyone finally together. They are accompanied by a
full orchestra that includes the Turkish instrumentation of the Ninth Symphony.
An overwhelming fugal climax arrives as all sing “Vienna, hail and good
fortune! World, your great moment!”
This is a richly scored, powerfully affecting score. I can imagine certain
passages faster, sung with greater fervor. I wish the excellent horn players
had been encouraged to play with more abandon. However these are minor quibbles
against an excellent performance of music that should be better known.
The Choral Fantasia suffers from no such neglect, though it too, has
its unique hybrid form which has certainly been the subject of criticism.
Its many sections and transitions can all too easily be allowed to sound like
disjointed patchwork. Wetton and his forces have created an organic whole,
one passage flowing into another with absolute naturalness, in a masterly
performance. Leon McCawley’s opening piano solo conveys a wonderful
sense of improvisatory freedom. Beethoven did not have the piano part written
out in time for the premiere, so he simply improvised the beginning section
on the spot. The variations for the piano and orchestra are played with drive
and elegance in turn, featuring consistently lovely solo work from the orchestra.
McCawley dispatches Beethoven’s difficult piano writing with aplomb
and with the entrance of the voices the energy begins a build-up that leads
to an overwhelming climax for the final bars.
The soloists are generally impressive, though both the soprano and baritone
have a pronounced vibrato that could prove tiresome with repeated listening.
The choirs are consistently excellent and they make light of Beethoven’s
demanding vocal writing. The playing of the Royal Philharmonic is first-rate
in every way, revealing an adoption of historically informed performance practice.
Hilary Davan Wetton’s enthusiasm and love for both works is obvious,
and, along with Naxos, he deserves special kudos for recording this Beethoven
rarity.
David A. McConnell
see also review by Paul
Godfrey
Hilary Davan Wetton’s enthusiasm and love for both works is obvious.