Fabian Enders, Filharmonie Brno, Sächsischer Kammerchor, Vocalconsort Berlin - Beethoven: Vollständige Schauspielmusik (Live) (2022) [Hi-Res]

Tracklist

01. Die Weihe des Hauses, Op. 124: Overture in C Major (Live)
02. Die Ruinen von Athen, Op. 113 (Excerpts): No. 1, Folge dem mächtigen Ruf der Ehre [Live]
03. Die Ruinen von Athen, Op. 113 (Excerpts): No. 2, Ohne Verschulden Knechtschaft dulden [Live]
04. Die Ruinen von Athen, Op. 113 (Excerpts): No. 4, Marcia alla turca [Live]
05. Wo sich die Pulse jugendlich jagen, WoO 98 (Live)
06. Die Ruinen von Athen, Op. 113 (Excerpts): No. 5, Musick hinter der Scene [Live]
07. Die Ruinen von Athen, Op. 114: No. 6, Marsch und Chor - Schmückt die Altäre (Live)
08. Die Ruinen von Athen, Op. 113 (Excerpts): No. 6a, Mit reger Freude, die nie erkaltet [Live]
09. Die Ruinen von Athen, Op. 113 (Excerpts): No. 7a, Wir tragen empfängliche Herzen im Busen [Live]
10. Die Ruinen von Athen, Op. 113 (Excerpts): No. 7b, Will unser Genius noch einen Wunsch gewähren [Live]
11. Die Ruinen von Athen, Op. 113 (Excerpts): No. 8, Heil unserm Kaiser [Live]
12. Applause (Live)

Carl Meisl's play The Consecration of the House, to the music of Ludwig van Beethoven, was performed in Vienna on October 3, 1822 on the occasion of the reopening of the Theater in der Josefstadt. Its theme is the reawakening of art after times of crisis.

Beethoven's music to August von Kotzebue's text The Ruins of Athens (1812) served as the basis for the work, and was adapted to Meisl's text as well as expanded to include new music by the composer. Beethoven seems to have started composing for the upcoming performance only in September 1822, writing new music for those of Meisl's texts for which nothing suitable could be found in The Ruins of Athens. The dance with chorus "Wo sich die Pulse jugendlich jagen" is listed separately as WoO (work without opus number) 98, as is the March, Op. 114, which was reworked for the play. The overture achieved a high degree of popularity. Its prominent position as a separate opus (124) between the Missa solemnis and the Ninth Symphony reveals that Beethoven likely approved its use as a concert overture.

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