op. 76, very simple in construction,
Oriental in its character throughout, and peculiarly picturesque in
effect. After an instrumental movement behind the scenes, a triumphal
march and chorus ("Twine ye a Garland") is introduced. The seventh number
is a recitative and aria by the high priest with chorus, which lead to a
beautifully melodious chorus ("Susceptible Hearts"). An adagio aria for
bass ("Deign, great Apollo") and a vigorous chorus ("Hail, our King")
bring the work to a close. The piece was first brought out in England by
Mendelssohn in 1844 at one of the Philharmonic Society's concerts; and
ten or twelve years later an English version of it was performed at the
Prince's Theatre, when the Royal Exchange and statue of Wellington were
substituted for the Pesth Theatre, and Shakspeare took the place of the
Emperor of Austria, concerning the good taste of which Macfarren pithily
says:--

"Modifications admirably adapted to the commercial character and the
blind vainglory that so eminently mark the British nation."

[11] Born in the year 977 at Gran, and known in Austrian and Hungarian
history as Saint Stephen.

The Glorious Moment.

In September, 1814, the same year in which the Allies entered Paris, the
Vienna Congress met to adjust the relations of the various European
States. It was an occasion of great moment in the ancient city,--this
gathering of sovereigns and distinguished statesmen,--and the magistracy
prepared themselves to celebrate it with befitting pomp and ceremony.
Beethoven was requested to set a poem, written by Dr. Aloys Weissenbach,
of Salzburg, in cantata form, which was to be sung as a greeting to the
royal visitors. It was "Der glorreiche Augenblick," sometimes written
"Der heilige Augenblick" ("The Glorious Moment"). The time for its
composition was very brief, and was made still shorter by the quarrels
the composer had with the poet in trying to reduce the barbarous text to
a more inspiring and musical form. He began the composition in September,
and it was first performed on the 29th of the following November,
together with the "Battle of Vittoria," and the A major (Seventh)
symphony, written in the previous year. The concert took place in the
presence of the sovereigns and an immense audience which received his
works with every demonstration of enthusiasm, particularly "The Glorious
Moment,"--a moment which all hailed as the precursor of a happier