The Coronation of Leopold II at Bratislava (1790) Austrian School, 18th century, Mestske Galerie, Bratislava

Cantata on the Accession of Emperor Leopold II WoO88 for soloists, choir and orchestra (1790, Beethoven aged 19)

Dedication Emperor Leopold II
Text Severin Anton Averdonk
Duration 23’30”

Watch

Chen Reiss sings the flagship aria Fliese, Wonnezahren, fliese (Flow, tears of joy, flow), the second number in the score:

Background and Critical Reception

When Beethoven received his commission for the Cantata on the Death of Emperor Joseph II, he was also enlisted to help celebrate the accession of his successor, Leopold II, again with text from Severin Anton Averdonk.. In the event neither piece fulfilled their function, due mainly to time constraints but also – possibly – due to the difficulty of learning and rehearsing new and challenging music for the time.

Thus the cantata was not heard in Beethoven’s lifetime, not emerging until the 1880s. Lewis Lockwood argues for its acceptance as a positive, optimistic counterpart to the tragedy of the Joseph cantata, anticipating in this early period Beethoven’s later way of contrasting two opposed expressive domains in consecutive works in the same genre.

He also notes that ‘though less majestic, it possesses the expressive chorus Stürzet nieder, Millionen (Prostrate yourselves, O millions) which textually associates with Schiller’s Ode to Joy and the Ninth Symphony by means of its passage asking the question ‘Stürzet nieder, Millionen?’ (‘O ye millions, do you fall prostrate?’)

One aria in particular stands out – the substantial Fliese, Wonnezahren, fliese (Flow, tears of joy, flow), written for soprano soloist with key parts for flute and cello, drawn from the orchestra. In his notes for the Hyperion recording of the piece, Nicholas Marston suggests Beethoven’s operatic experience led him to include this ensemble number.

Thoughts

The Cantata on the Accession of Emperor II is a much slighter work than its predecessor mourning the death of Emperor Joseph II, being half the length of that piece. Nor does it quite sustain the high level of feeling Beethoven poured into that work. Having said that it comfortably fulfils its function as a celebratory piece, and demonstrates once again how the composer is fully at home working with larger forces.

There is a strong sense of occasion from the start, through the hushed delivery from both soprano and chorus. The music then swells into more obvious pomp and celebration, now in a ‘pure’ C major as opposed to the fraught C minor of the Joseph cantata. This is surely not a coincidence, and as Marston also notes, it anticipates a similar tactic used in the movement from darkness to light in the Fifth Symphony. Fliese, Wonnezahren, fliese, the big aria, pushes forward with an optimistic look to the future rather than the caught under the heavy tread of the past. It includes some sparkling writing for the soprano soloist that culminates with a high E flat towards the end.

Later the choral writing is more red-blooded, setting the translated text ‘Look up to the lord of thrones who brought you this salvation’. All soloists and high choir are united in their praise of the new leader.

It is a shame for Beethoven that this music was not heard at the time of Leopold’s accession, for while this work does not quite reach the levels of the Joseph cantata it is still a fine and perfectly functioning celebration for the new emperor.

Performances

Charlotte Margiono (soprano), Veronica Verebely (soprano), William Shimell (bass), Ulrike Helzel (contralto), Clemens Bieber (tenor), Chorus and Orchester der Deutschen Oper Berlin / Christian Thielemann (DG)

Janice Watson (soprano), Jean Rigby (contralto), John Mark Ainsley (tenor), José Van Dam (bass), Corydon Singers and Orchestra / Matthew Best (Hyperion)

Juha Kotilainen (bass), Reetta Haavisto (soprano), Chorus Cathedralis Aboensis, Turku Philharmonic Orchestra / Leif Segerstam (Naxos)

As with the Joseph Cantata, recordings of Beethoven’s ceremonial music for Leopold II were thin on the ground until the release of Matthew Best‘s account with the Corydon Singers and Orchestra by Hyperion in 1996. It is an excellent performance, capped by exceptional female soloists in Janice Watson and Jean Rigby.

Again the performance from Christian Thielemann for DG is a glossier affair, but it is very fine indeed, and Charlotte Margiono is a very fine soprano soloist.

The recent version from Leif Segerstram for Naxos delivers a strong impact too, with full bodied choral singing.

Spotify links

The Hyperion version conducted by Matthew Best is not available on Spotify but clips can be heard on the Hyperion website here

Christian Thielemann (tracks 8-13)

Leif Segerstam (tracks 8-13)

You can chart the Arcana Beethoven playlist as it grows, with one recommended version of each piece we listen to. Catch up here!

Also written in 1790 Mozart Così fan tutte

Next up Klage