Ludwig van Beethoven, Skizzenblatt zum Gloria der Messe op. 123, Autograph

Fugue in the Gloria

When Archduke Rudolph, Beethoven's friend, pupil and patron, was appointed Cardinal Archbishop of Olmütz in March 1819, the composer promised him a new ceremonial mass for his enthronment. Beethoven worked on it following the order in which the movements occur, beginning with the Kyrie. As early as June 1819 he had begun to write down first ideas for the second movement, the Gloria. The Latin text of the Gloria ends with the words "in gloria Dei Patris. Amen" (to the glory of God the Father. Amen). According to tradition Beethoven set this in a long fugue. Even the earliest sketches for the Gloria begin with the fugue, probably due to the complicated structure of the movement and its construction. Beethoven worked on the Missa solemnis in large format sketchbooks and at the same time also in pocket sketchbooks. This single leaf was removed from a pocket sketchbook and exclusively contains notes for the Gloria fugue. It probably dates from summer 1819. (J.R.)