Der glorreiche Augenblick, commissioned by the Vienna City Administration, has an undistinguished text suited to the occasion of its first performance, a tribute to the kings and princes of Europe, words that are at least better than those that Beethoven had earlier contemplated for this occasion. Later editors and performers have proposed various verbal changes and substitutions, seeking to match the supposed views of Beethoven, as suggested elsewhere in his work, not least in his Ninth (Choral) Symphony with its setting of Schiller�s An die Freude. The work is scored for four solo voices, a children�s chorus, a mixed chorus and an orchestra with pairs of flutes and a piccolo, oboes, clarinets and bassoons, four horns, two trumpets, three trombones, timpani and strings. The soprano soloist sings the r�le of Vienna, the mezzo-soprano that of a Prophetess, the tenor the Genius and the bass the Leader of the People.

The cantata starts with a full chorus, leading to a fugal passage at the second verse, Wer mu� die Hehre sein (Who must that noble figure be). There is further fugal treatment of the third verse and dynamic contrasts before the chorus ends. The following recitative for the bass soloist, the Leader of the People, has a solo cello obbligato and leads to an arioso, Erkennst du nicht das heimische Gebild? (Do you not recognise the familiar form?), for the Genius, the tenor soloist. This is capped by an enthusiastic chorus in praise of Vienna.

The following Aria with Chorus starts with a recitative for the soprano soloist, Vienna, with praise of the victorious monarchs at the Congress and passages of arioso before a solo violin introduces an exchange between Vienna and the people and praise for the former. The following accompanied recitative has the Prophetess surveying the scene, before, in a cavatina, urging the people to give thanks where it is due. Her words are echoed by the chorus. The four soloists continue with recitative, before a quartet into which Vienna leads the way. The setting, however pedestrian the text may seem, reflects the nature of the occasion, with the necessary triumphant military nuances and music that may remind us that Beethoven at this time had been occupied in the final revision of his opera Fidelio, which had been staged towards the end of September at the Court Theatre, while dignitaries were arriving in the city. The final chorus brings forward women, children and then men in a final celebration, capped by a triumphant concluding contrapuntal chorus in which all join.

The first performance of the Choral Fantasia, Op 80, was a less happy occasion. On 22 December 1808 Beethoven gave a concert at the Theater an der Wien with a programme that included first performances of the Fifth and Sixth Symphonies, a soprano aria, a choral piece, and his Fourth Piano Concerto. The Choral Fantasia was written to provide a grand conclusion to the evening. Inevitably the programme was under-rehearsed and far too long, particularly in a theatre that lacked proper heating. Various members of the audience on the occasion left their own accounts of what happened. It seems, at least, that the Finale of the Choral Fantasia broke down in some confusion after a wrong entry, apparently because of a misunderstanding over repeats, and had to be started again, souring Beethoven�s relationship with his players still further, after earlier disagreements over his demands on the musicians.

The Choral Fantasia opens with an improvisatory Adagio for the piano, leading to an Allegro, introducing, after a call to attention from the horns and then the oboes, the theme on which the whole work is based, taken from an earlier song by Beethoven, Gegenliebe, WoO 118. The theme, with its step-wise motion, has much in common with the theme Beethoven devised in 1824 for his Choral Symphony, with its setting of Schiller�s Ode to Joy. There follows a series of variations, the theme first embroidered by a solo flute, then by pairs of oboes, by clarinets and bassoon, and by the strings. The work continues with further treatments of the theme, leading, finally, to the entry of the solo voices and then the chorus, in praise of music.

Tracklist
Der glorreiche Augenblick, Op. 136
1. Europa steht! (Chorus) 00:04:07
2. Recitative: O seht sie nah' und naher treten! (Fuhrer des Volkes, Genius, Chorus) 00:04:29
3. Aria with Chorus: O Himmel, welch' Entzucken! (Vienna, Chorus) 00:09:53
4. Recitative: Das Auge schaut (Seherin, Chorus) 00:07:00
5. Recitative and Quartet: Der den Bund im Sturme fest gehalten (Seherin, Vienna, Fuhrer des Volkes, Genius) 00:08:12
6. Es treten hervor (Chorus) 00:04:11
Fantasia in C Minor, Op. 80, "Choral Fantasy"
7. Fantasia in C Minor, Op. 80, "Choral Fantasy" 00:19:49

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