"The Glorious Moment", cantata for 4 solo voices, chorus and orchestra op. 136
Listening samples
Text poets
Composition
Ca. late September to November 1814
The Glorious Moment is one of the compositions that Beethoven wrote during the Congress of Vienna. Like all the pieces dating back to that momentous event, it has been underrated due to its obvious weaknesses (particularly its lack of inspiration) and is considered one of his lesser creations. However, this biased view ignores the historical context. Beethoven wrote all his Congress pieces for a particular occasion and purpose which they eminently satisfied.
The cantata was premièred on 29 November 1814 together with Wellingtons Victory and the Seventh Symphony (the concert was repeated on 2 and 25 December). All the monarchs attending the Congress were present, along with their courtiers and consorts, princes and princesses, thereby lending an official character to the occasion. The homage poem 'The Glorious Moment' (by Aloys Weissenbach) and Beethovens musical setting must be viewed in this context. Beethoven knew exactly who would be attending the concert, otherwise both the music and the poem would have been inappropriate. Granted, the cantata is stagy and histrionic, simplistic and populist, but that is precisely what Beethoven had in mind as the point of the event was to pay tribute to the audience during an unofficial act of state. The intended effect was achieved, and the audience was ecstatic. According to the Wiener Zeitung, 'the applause was unanimous; but as Vienna sang 'All that is lofty and sublime on Earth / Is gathered together within my walls' […], and as The Prophetess […] and The Genius sang 'No eye is there / That does not meet its prince', and the other two voices entered with 'No heart is near / That its sovereign lord does not bless', the delight of all present burst forth in uproarious applause that far eclipsed the boisterous accompaniment'.
Despite its topicality, Beethoven did not regard the cantata as ephemeral. In 1815 he sold it together with other works to the Vienna publisher S. A. Steiner. One year later he tried to find a publisher for it in England. In later years he repeatedly thought of placing it on his concert programmes, and in 1825 he even considered writing an overture for it. Neither plan was carried out. (J.R.)
The cantata was premièred on 29 November 1814 together with Wellingtons Victory and the Seventh Symphony (the concert was repeated on 2 and 25 December). All the monarchs attending the Congress were present, along with their courtiers and consorts, princes and princesses, thereby lending an official character to the occasion. The homage poem 'The Glorious Moment' (by Aloys Weissenbach) and Beethovens musical setting must be viewed in this context. Beethoven knew exactly who would be attending the concert, otherwise both the music and the poem would have been inappropriate. Granted, the cantata is stagy and histrionic, simplistic and populist, but that is precisely what Beethoven had in mind as the point of the event was to pay tribute to the audience during an unofficial act of state. The intended effect was achieved, and the audience was ecstatic. According to the Wiener Zeitung, 'the applause was unanimous; but as Vienna sang 'All that is lofty and sublime on Earth / Is gathered together within my walls' […], and as The Prophetess […] and The Genius sang 'No eye is there / That does not meet its prince', and the other two voices entered with 'No heart is near / That its sovereign lord does not bless', the delight of all present burst forth in uproarious applause that far eclipsed the boisterous accompaniment'.
Despite its topicality, Beethoven did not regard the cantata as ephemeral. In 1815 he sold it together with other works to the Vienna publisher S. A. Steiner. One year later he tried to find a publisher for it in England. In later years he repeatedly thought of placing it on his concert programmes, and in 1825 he even considered writing an overture for it. Neither plan was carried out. (J.R.)
