Beethoven: The Creatures of Prometheus

 

Beethoven's only ballet score exists in the form of The Creatures of Prometheus. For most listeners, the only recognizable parts are the Overture, the Finale, and maybe the cello solo with harp in the fifth part of the ballet. Yet, the complete score is totally listenable, even if some small portions would work much better with the visualizations of dancers in front of me, so slight are some of the musical numbers. Thus, Creatures doesn't completely work as absolute music, even if the music provides enjoyable listening from beginning to end.

There are musical jewels to be had, however. While the Overture may be popular, here with enough spirit and energy, the linked storm scene immediately following is not, and a shame, for a Classical-Era musical storm is always something to celebrate. The Finale uses the tune from the last movement of Beethoven's Symphony no. 3 in E-flat Major, as well as in his Eroica Variations, so the well-trod tune was obviously one the composer much admired. Who am I to argue?

It is cue No. 5 which captures my heart, written for cello soloist and harp with orchestra. On this Naxos recording, the unnamed cellist is thoroughly Romantic, with long bowing and ample vibrato, full of emotion and depth of sound. This will not please all, however I love it! Best of all, the harp is well heard throughout the recording, an element which greatly pleases.

But let us get to the issue of recorded comparisons. I searched out Finnish conductor Leif Segerstam's recording as a reaction to Sir Charles Mackerras' complete ballet performance on Hyperion. On that recording, Mackerras uses a modern orchestra, albeit it chamber sized, with many historically-informed performance practices, coming in at a 63 minute runtime. I was not thoroughly convinced.

Here on Naxos, the Turku Philharmonic Orchestra is a gorgeous sounding ensemble, one I don't think Segerstam pares back in terms of number of players. Listen to the full, deep bass in the most pastoral moments of the work, and you will hear the modern-orchestral perspective of this recording. The balances of winds and strings are ideal, with lovely sounds coming from all corners of the orchestra. Only do I wish the timpanist to have been a little more aggressive, for the few militant sections alongside brass could have used a more commanding kettledrum sound.

The contention will most likely come in the form of Leif Segerstam, who leads a 77-minute performance of the complete ballet. That is nearly a 15-minute difference from Mackerras on Hyperion, yet Segerstam makes a really strong case for the large gulf existing between the two performance lengths.

First of all, Segerstam takes Beethoven's tempos at their word, especially reveling in slow tempo markings. The many Adagio, Grave, Maestoso, and even Andante instructions are given their full measure, with cues No. 5 and No. 7 timing three minutes longer each compared to Mackerras. Such tempo choices might make one think this would make the music require patience, or worse yet, sound boring. Far from it! Segerstam makes his tempos sound completely natural, often creating breathtaking musical moments from the orchestra. Furthermore, Segerstam does not view fermatas in a flippant manner, taking his time holding, pausing, and moving on, using silence and sustained tones to his distinct advantage.

And so, here we have a really superb recording of the complete ballet to The Creatures of Prometheus. No, I don't think the ballet musical score works 100% without the aid of visuals, in either of the recordings I mentioned above, but there are enough gems here and there to make the experience enjoyable nonetheless.

 

 

Works
The Creatures of Prometheus, op. 43

Performers
Turku Philharmonic Orchestra
Leif Segerstam, conductor

Label: Naxos
Year: 2019
Total Timing: 76.37

 

Is The Creatures of Prometheus worth listening to beyond its Overture and Finale? Absolutely!

Leif Segerstam with Turku make a successful case for Beethoven's music to sound full and lush, while not speeding through the many dances and pastoral musical cues unnecessarily.

Still, I think the score would hold up even better with dancers at the fore.

 

Find more Beethoven recordings HERE!