Cantata: "Kantate auf die Erhebung Leopold II zur Kaiserwürde" (1790)

Biamonti 18, WoO 88
Six months after the death of Joseph II, Beethoven was asked to compose this work on the Accession of Leopold II. The result is a rather amazing and, it seems, important work, particularly in the context of, of all things, the great Ninth Symphony. The keen listener will note several similarities: the "Sturzt neider Millionen" of the final choral exhortation, set in unision; the long held high notes in the Soprano, some imitation, but he doesn't know fugue yet, the quick string lines, all of which speak to a particular voice that is related to the voice of the composer of the Ninth.
The opening movement, is particularly interesting with its odd tempo changes leading up to the operatic moment in which the clouds part to reveal Leopold - this is something to behold: it begins like Handel’s great Zadok the Priest and then becomes something altogether different. The crazy soprano aria that reaches an almost comical level of virtuosity and with its equally comically virtuosic flute and cello parts - perhaps in reference to the Prussian rulers Frederick the Great (who played the flute) and Frederick Wilhelm (who played the cello) - Leopold and Joseph were said to be harpsichord players. All things considered, worth a listen. But again seek out Matthew Best's recording.
Recommended.

Cantata: "Trauerkantate auf den Tod Joseph II" (on the Death of Joseph II) (1790)

Biamonti 17, WoO 87
Written on the death of King Joseph, to the words of Severn Avedonk, this is something special, a rich eloquent statement. The opening chorus, which returns to close the work, is a deep ombra with long keening choral moments interspersed with individual utterances from the soloists and bold richly ornamented string lines - immediately the work takes on a high-class sheen while remaining emotional. The baritone rage aria is shockingly powerful, crass sforzandos and sharp staccatos in a rhythmically inventive setting. I'm impressed by the way that there is a "laying it out on the line" in the beginnings of these arias, it is as if the openings take the customary I-V-V-I and switch it into the world of the baroque with a statement of the idea of the aria - Joseph is dead - the voice entry then becomes part of an introduction. The soprano aria is elegant and peaceful. Some flaws perhaps, where Beethoven isn't quite sure how to develop, see for instance the line "Joseph, der vater unsterblicher thaten" in the opening chorus, in later works he would use fugal technique to ramp up the tension. But this is nitpicking, it is a remarkably successful work that deserves to be better known. Extra kudos on the recording I heard with the Corydon Singers and Orchestra under Matthew Best, which is far better than that of the Estonian Philharmonic Chamber Choir found in the Brilliant Classics complete edition.
Recommended