Beethoven: Cantatas

 

While the German conductor had a few recordings before this one I am covering for my Beethoven work series, it was this 90s release where I first came across the name Christian Thielemann.

Thielemann has become a modern-day kapellmeister in the mold of someone akin to Wolfgang Sawallisch, where the conductor stands as warden of the central German and Austrian symphonic repertoire. Thielemann's recordings are sturdy, modern orchestra presentations of a by-gone era, treading early Beethoven, as here, as well as the Romantics Schumann, Brahms, and Bruckner, and extending out to Richard Strauss, Wagner, and even Schoenberg. Oddly, he hasn't done too much with Mozart, Mendelssohn, and Mahler, although he does lead opera productions.

Thus, Thielemann is generally in no hurry, giving the full weight of a symphony orchestra, more often providing inner tension and torque within the music rather than relying on surface speeds to generate excitement and impact. A fine example of this aspect from the conductor comes right at the beginning of Beethoven's Funeral Cantata on the Death of Emperor Joseph II. Listen to Thielemann's sheer patience, both in holding out the composer's fermatas as well as dwelling in reverent silence. Then again, when he approaches the Allegro moderato in the soprano's final solo in the same work, Thielemann really leans into the Moderato, where it would not be hard to imagine a touch more Allegro. I suppose, the funereal aspect of the work really comes out under Thielemann!

As expected, the Deutschen Oper Berlin Orchestra and Chorus are full-bodied ensembles, with a deep, rich sound palate which would make the period-instrument enthusiasts wail and gnash. I personally love this element in Beethoven, where the woodwind and brass solos rise out of the orchestral texture quite nicely. With that in mind, it really comes down to the personal tastes of the vocal soloists on hand.

The two cantatas feature a different lineup of solo singers from two performances separated a year apart from one another. The sopranos receive most of the musical work out, and I am generally pleased here. Charlotte Margiono sounds as if she has a larger voice than what she puts on here, both in deference to Beethoven and the funereal tone of WoO 87. I could imagine a smaller shimmery voice doing very good work here, but Margiono rises to the task, particularly in the central aria of the Funeral Cantata. This is a song, where, when the listener realizes the whole song is going to repeat once more, a realization comes across of musical exhaustion. But then, Beethoven adds chorus to the mix, and somehow the composer makes the aria even more glorious the second time around.

In the Cantata for the Accession of Emperor Leopold II, Christine Schäfer is the soprano of choice. Schäfer bears a more slender voice compared to Margiono, making me wish the two were switched for their respective cantatas. Schäfer is oddly measured for the hailing of the Emperor portion in the opening part of the Accession Cantata, a moment which should be trumpeting the rising of a new ruler. On the other hand, she ably handles Beethoven's highest ranges later on, nailing the later arias.

Otherwise, the tenor and bass soloists have a recitative or two, nothing to herald as a standout from Beethoven. William Shimell handles his lone aria nicely, where Clemens Bieber and Victor von Halem join Christine Schäfer in an appreciated ensemble number towards the end of WoO 88. Only The Biebs sounds particularly put out by Beethoven's high-ranged tessitura.

No, Beethoven's early cantatas are not perfect compositions; The Accession Cantata gets right to the point, whereas the Funeral Cantata languors on, fully repeating the first movement at the conclusion. There is far less choral participation than what one might expect, preferring an orchestral song setup rather than a choral Mass. However, hearing what Beethoven composes in comparison to Haydn and Mozart is most telling. While Beethoven has not reached a mature compositional phase yet, he is very much in control of his own musical voice, although the occasional orchestral operatic element enters into the vocal solo sections, ones which stand out from the rest.

What I was most excited to hear from this recording is a different approach in comparison to Hyperion's British performers from around the same 90s timeline. Indeed, Thielemann takes a slow and steady approach, although neither recording is any less dramatic than the other. I enjoy the larger Teutonic symphonic chorus on DGG opposed to Matthew Best's Corydon Singers much more. Plus, that Hyperion recording uses harpsichord throughout, whereas Thielemann only brings out that prickly keyboard instrument for two short recitatives in the Accession Cantata.

Now, I am wondering how the later recording from Segerstam on Naxos and the even earlier one from Rickenbacher on Koch stand in comparison to Best and Thielemann. That said, I am not completely entranced with these two cantatas enough to make such a listening dive at this moment. Some other time perhaps...

 

Work Series
Vol. 1 from Beethoven Large Choral Works on DGG



Works
Cantata on the Death of Emperor Joseph II (43.54)
Cantata on the Accession of Emperor Leopold II (27.42)

Soloists
Charlotte Margiono, soprano
Christine Schäfer, soprano
Veronica Verebély, soprano
Ulrike Helzel, alto
Clemens Bieber, tenor
William Shimell, baritone
Victor von Halem, bass

Performers
Gewandhaus Orchestra
Riccardo Chailly, conductor

Label: Decca
Year: 2011
Total Timing: 71.40

 

Find more Beethoven recordings HERE!