Empress of Russia, the kings of Prussia, Bavaria, Denmark
and Wuertemburg were present in person. England and France were
represented by their highest nobles. Spain, Sweden and Portugal sent
representatives. The advent of a hundred great personages in Vienna
naturally brought other distinguished visitors there and the gayeties
that supervened, now that the wars were a thing of the past, occupied
the time and attention of the visitors to such an extent that for three
months nothing of a business nature was attempted by the Congress. These
were halcyon days for Vienna. Peace was restored after twenty years of
such warfare as only a Napoleon could inflict, the nervous tension
became a thing of the past, and sovereign and noble could again take up
the chief occupation of life, enjoyment.

The city fathers, on learning that the Congress was to be convened in
Vienna, commissioned Beethoven to write a cantata of welcome to honor
the visitors. The poem "Der glorreiche Augenblick" (The Glorious
Moment), was chosen, which Beethoven set to music. As may be supposed
the new cantata served to increase his fame, although as a work of art
it is about on a par with the Battle Symphony.

Beethoven occupied a prominent part in the many notable gatherings which
were a feature of this winter. Associated in people's minds as a
harbinger of the new era, his popularity increased in line with the ever
brightening political horizon. The Archduke enjoyed having him at his
receptions, introducing him to the sovereigns, and made much of him
generally. It was at the Archduke's apartments that Beethoven was
introduced to the Empress of Russia, who showed him much attention, both
here and when meeting him elsewhere. He met her frequently at Count
Rasoumowsky's, who as Russian Ambassador entertained lavishly in honor
of his distinguished guests. He afterward related humorously how the
crowned heads paid court to him, referring to the urbanity and courtesy
which the Empress in particular, used toward him. Beethoven is on record
as saying that he liked being with the aristocracy. He seems to have had
no difficulty in impressing on the Empress the right concept of his
importance as man and artist. In acknowledgment of the courtesies which
he received from her, the master composed for her a Grand Polonaise (in
C, opus 89) which, in company with the pianoforte arrangement of the
Seventh Symphony he dedicated to her.

Shortly after the assembling of the