After consecutive cycles of all of Beethoven's string quartets, followed by all of his symphonies, where does one go? For me, it was back to Carnegie Hall last Thursday to hear the Orchestra of St. Luke's perform an adventurous program of Beethoven's choral and orchestral music, part of Carnegie's ongoing Beethoven 250th birthday celebration. Led by their Principal Conductor Bernard Labadie, many of these works are rarely heard in concert, for logistical and, well...other reasons. But, they are an essential part of Beethoven's orchestral output, presaging many of his better known masterpieces.
The Leonore Overture No. 2 (1805) was Beethoven's first crack at an overture for his sole opera, Fidelio. Compared to the more famous Leonore No.3 - or No.1, which the Orchestre Révolutionnaire et Romantique performed on Feb. 20 - this one felt disjointed, taking a bit long to build up to the main theme. It was more of a tone poem than a tight introduction. Still, there were some neat effects, like placing trumpeter Carl Albach in the balcony.
The chamber choir La Chapelle de Québec - also directed by Labadie - joined the OSL for Calm Sea and Prosperous Voyage (1815), a cantata that was completely unknown to me. Completed about a year after the final version of Fidelio, it colorfully sets a pair of nautical poems by Goethe. The first, "Calm Sea", is soothing, almost Brahms-like as the sailors are adrift at sea. Then, things pick up and we segue into "Prosperous Voyage": a swashbuckling shanty with a real Yo-Ho-HO! feel to it. You could almost feel the wind in your hair as Beethoven cheerfully carries us across the water, perched high up on the mast.