König Ludwig

Christian Ludwig Boxberg (1670-1729) belongs to the 'lost' generation of composers between Schütz and Bach. For decades, the revival of baroque music has concentrated on these two poles of German Baroque music to such an extent that everything between them can appear imperfect by comparison. Boxberg's 'Sardanapalus', however, is by no means imperfect. On the contrary, we experience here a remarkable synthesis of the various European national styles. Alongside German influences, those of both French and Italian opera are unmistakeable. The very witty libretto was written by Boxberg himself, and retells Diodorus's history of the profligate Assyrian King Sardanapalus who, far from being interested in ruling the land, liked to put on makeup, parade about in women's clothing and give in to acts of salaciousness with both women and men.

Aside from his only opera Fidelio, Beethoven’s general link with the theatre in Vienna came about largely with incidental music or songs to be inserted into the works of other composers—insertion arias. König Stephan was written to celebrate the politically significant opening of a new theatre in Pest, its triumphant mood honouring the ruling Austrian Emperor. Standard-bearer of female heroism Leonore Prohaska is commemorated with a Soldier’s Chorus and a Romance with harp accompaniment. In Friedrich von Matthisson’s poem Opferlied (‘Sacrificial Song’), a young man prays to Zeus to bestow upon him beauty and goodness in youth and old age. Two of Beethoven’s four settings are heard on this wide-ranging programme.