Comoparardefumar Beethoven Der glorreiche Augenblick/ Choral Fantasy:Comoparardefumar
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Beethoven Der glorreiche Augenblick/ Choral Fantasy:Comoparardefumar

Ludwig van Beethoven
1#
Ludwig van Beethoven Published in September 19, 2018, 3:50 am
 Beethoven Der glorreiche Augenblick/ Choral Fantasy:Comoparardefumar

Beethoven Der glorreiche Augenblick/ Choral Fantasy:Comoparardefumar

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breared
2#
breared Reply to on 8 April 2013
Purchased after hearing it played on Classic FM. It is a less heard piece of Beethoven's work but has links to his choral symphony No.9.
An excellent programme of music and a super recording that should be added to any persons collection of Beethoven recordings.
George E. Carl
3#
George E. Carl Reply to on 29 July 2014
A choral masterpiece from Beethoven, whose main contributions are often thought of as symphonic and chamber. I welcome this excursion into a country less explored by the critics, who seem to recognize only Fidelio, Missa Solemnis and the choral fantasy. I wish the compositions for choir were matched in number to Mozart and Haydn.
M. D. Frampton
4#
M. D. Frampton Reply to on 15 December 2012
A most interesting CD of a piec emost people- me included - had never hard of. Perhaps it needs repeated listening
Piere
5#
Piere Reply to on 20 February 2016
beautiful music
M. Joyce
6#
M. Joyce Reply to on 4 February 2013
I am very familiar with Beethoven's Choral Fantasia, so my reason for purchasing this disc was to discover a work new to me, the cantata "Der glorreiche Augenblick". Commissioned by the Vienna City Administration, this was first performed in 1814 in a concert attended by all the leaders of the major European states. An unashamedly patriotic piece, it is the setting of a text by a former army doctor, Aloys Weissenbach. Whilst not one of Beethoven's most inspired works, it is a fine, impressive piece nonetheless and it receives a splendid performance here, with the City of London Choir and the Royal Philharmonic Orchestra conducted by Hilary Davan Whetton. The work is scored for orchestra, mixed chorus, children's chorus and four soloists. The soprano soloist, Claire Rutter, a singer I have long admired, takes the role of Vienna, while the mezzo (Matilde Wallevik) is a prophetess. The tenor (Peter Hoare) sings the role of the Genius while the bass (Stephen Gadd) embodies the Leader of the People. All four soloists seize their chances gratefully, with the husband and wife pairing of Gadd and Rutter doing particularly well.

The "Choral Fantasia", with its finale reminiscent of that of the Choral Symphony, receives a dutiful performance here, no more; I have heard better recordings of the work. This is to take nothing away from the fine work by the pianist Leon McCawley and it is unusual for the brief solo interjections to be allocated to such distinguished singers (the soloists from the cantata).

Not vintage Beethoven, perhaps, but certainly well worth exploring.
Mrs Audrey Bulcock
7#
Mrs Audrey Bulcock Reply to on 7 January 2015
Achieved expectations
Larry VanDeSande
8#
Larry VanDeSande Reply to on 3 July 2012
Ludwig van Beethoven's (1770-1827) early canata Der Glorrieche Augenblick, or the Glorious Moment, celebrates Vienna and victory over Napoleon in a choral-orchestral setting only the giant Beethoven could have created. While not among his greater compositions, it is clear from the third movement, a soprano solo with choral accompaniment and a violin obbligato, that this was the composer that would later write the titanic Missa Solemnis, one of the most towering choral works extant and the most inspiring mass in the classical literature.

Even though this carries a late opus number, 136, this is the middle period Beethoven stretching his wings. This composition was premiered in Vienna 1813 but wasn't published until 1837, allegedly due to Beethoven's question over its artistic value. It was accompanied at the premiere by another Beethoven piece given bad press all its life, Wellington's Victory, which celebrates the same military victory.

In six movements for solo quartet, chorus, children's choir and orchestra, The Glorious Moment tells the story of victory in battle and Vienna's glory. The solo soprano sings the role of Vienna in the piece. The current recording was organized during the 2008 season of the Guildford Choral Society under the choir's musical director, Hilary Davan Wetton. It was recorded in two concerts during 2009. They have chosen Beethoven's Choral Fantasy to accompany the work on CD, which I believe a mistake. A youthful piece from 1808, the piano-choral concoction is sometimes considered a predecessor to the finale of the "Choral" Ninth Symphony.

There are four sometimes avialable recordings of this work. While some of the others can be had as downloads or as part of much larger boxes of Beethoven's work, this becomes the only regularly available single disk version. Recorded in recent years, it has wonderful digital sound, fine packaging, full notes, documentation and vocal scores in English and, of course, arrives at Naxos's discount price. This makes it the best buy for anyone coming new to the music.

However, for the listener wanting more, the other recordings have assets that transcend this one. The version conducted by Myung-Whun Chung in vol. 19 of DG's Complete Beethoven Edition has more heroic singing, a far more Germanic approach, and is equally well recorded. The version from Brilliant's Beethoven box, conducted by Diego Fasolis, is better recorded than the others, almost in your face, has more heroic singing than this one, and has more driven orchestral playing. The cutout version from the Orchestra of St. Luke's (New York) was recorded in Carnegie Hall in concert and has the excitement of a live event. While somewhat muddy sounding, it features the outstanding bel canto soprano of Deborah Voight, a better singer than anyone in this version and is far more exciting than this one.

Compared to the others, the Naxos is lightweight compared to the heroic approach of the American forces under Bass and Beethoven lite compared to the German forces under Chung. Intrepid Internet searchers can find a way to hear the Bass-Voight version free via Instant Encore. What I like most about that one, aside from Voight's gloriously heroic heroine, is the sidekick -- Beethoven's youthful Cantata on the Accession of Emperor Leopold II, WoO 88, written when he was 18. I think this makes a much better accompaniment to The Glorious Moment than the episodic Choral Fantasy which, to me, is to Beethoven choral music what his Triple Concerto is to the piano and violin concertos.

Having stated all my preferences, I will restate that this new recording, which is being hailed in the United Kingdom as the first recording by an English(wo)man, gives you everything you need to know about this music in modern sound, using a world class orchestra with fine professional soloists, and is the only single disk version generally available. I find Beethoven's heroism largely vacant from the sound stage but you may feel differently. I also don't care much for the Choral Fantasy and would never have bought that on its own. Had this recording been linked to any other orchestral-choral piece of Beethoven's, or even Wellington's Victory, I may have scored it higher.

As it is, of the choices available in the marketplace, I'd first recommend the Fasolis recording if it were avialable individually. The DG version under Chung can be downloaded but his direction is occasionally intemperate and impatient. The Bass-led version is even harder to find but has the best conception and pairing on CD although the sound isn't ideal. Until the Fasolis is available on its own or a better performance arrives, I'll be happy to stick with Bass. This one is OK and a good introduction to the music but it is far from what it can be under better direction.
J. Holden
9#
J. Holden Reply to on 17 September 2012
Op. 136: an early composition celebrating the fall of Napoleon, and the survival of Vienna. "Europa steht!" This is a glorious composition, characteristic Beethoven. Sometimes it's described as a precursor to the Choral Symphony, but there's a big difference because the choir has plenty to sing throughout the piece, rather than just a few minutes towards the end. Thoroughly enjoyed this recording.
Stuart Sillitoe
10#
Stuart Sillitoe Reply to on 26 February 2013
The big thing that this recording has going for it is that if you search Amazon for a recording of Der Glorreiche Augenblick, you will find that this is the only available recording! It is therefore an attractive recording in more than one respect, not just rare repertoire, but a fairly impressive group of musicians too, so what could be the problem. Well, the difficulty I have with this recording is not with the performers, Claire Rutter is wonderful as always, as are all the solo singers and choirs, also the Royal Philharmonic Orchestra are on fine form under the baton of Hilary Davan Wetton, no for me the problem is the work itself! Der Glorreiche Augenblick was commissioned by Vienna City Administration and first performed in the city on the 29th November 1814 as a tribute to the rulers of Europe, some of whom were in the audience. The trouble is that the text, originally by Aloys Weissenbach although revised by Joseph Karl Bernard, is on the dull side, while it suited the purpose of the original concert, it didn't leave much scope for musical brilliance. Yes, there are fleeting hints of Beethoven at his mercurial best, especially in the final chorus, where the singers are wonderful, but these are few and far between, rather this is Beethoven at his mediocre, still it is an interesting addition to the catalogue!
The Choral Fantasy on the other hand is an all together proposition. I remember it being a staple of concerts in the late 1970's and 80's, and was always included on recordings of the complete piano concertos, I must have seen it three or four times in the space of a few years, although it seems to have fallen out of fashion as I have not seen it programmed for a while now. The performance is first rate, Leon McCawley, who I feel is an under-rated pianist, is on excellent form, as are the rest of the performers.
So, an odd disc then, the wonderful Choral Fantasy recommends itself, while the performance of the Der Glorreiche Augenblick is enough to recommend this disc, even if the work itself is a bit uninspiring, this is no lost Beethoven masterpiece!
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