In this oratorio
Jesus appears as one of the characters, for which he has been severely
criticised. His judgment was at fault in another respect also in having
the concert stage too much in mind. The composition at times is operatic
in character, while the text calls for a mode of treatment solemn and
religious, as in Passion-music. If set to some other text, this work
would be well nigh faultless; the recitatives are singularly good, and
there is a rich orchestration. It is reminiscent of Haendel and prophetic
of Wagner. The Hallelujah Chorus in particular is a magnificent piece of
work. As is the case with the Messiah, its beauties as well as its
defects are so apparent, so pronounced, that the latter serve as a foil
to bring out its good qualities in the strongest relief. It was first
performed in the spring of 1803, in Vienna, on which occasion Beethoven
played some of his other compositions. It was repeated three times
within the year.
Other contributions of 1801 are two grand sonatas, the "Pastorale" in D,
opus 28, the Andante of which is said to have been a favorite of
Beethoven's and was often played by him, and the one in A flat, opus 26,
dedicated to Prince Karl Lichnowsky and containing a grand funeral
march.
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