Soon after Beethoven emerged from his long dark night of the soul in 1802, he wrote his one and only oratorio about a man suffering agony, terror, anguish and doubt, but who defiantly conquers adversity to arise as a triumphant hero. It was titled “Christ on the Mount of Olives.”
Beethoven’s “Christ on the Mount of Olives” first premiered on 5 April 1803, but Beethoven expanded and revised it for a performance on 27 March 1804. The work seems to have undergone additional (although minor) revisions before being published in 1811 as Opus 85.
The German text of “Christ on the Mount of Olives” was written by Austrian journalist and satirist Franz Xaver Huber with much input from Beethoven. It takes place in the Garden of Gethsemane during the evening before Christ’s crucifixion. No Bible passages are used.
In the fascinating article “Beethoven’s Oratorio and the Heiligenstadt Testament” (Beethoven Journal, Spring 1995), Barry Cooper draws explicit parallels between “Christ on the Mount of Olives” and Beethoven’s famous unsent letter from the summer of 1802 (Day 159):
Both texts contain ideas of extreme and undeserved suffering, expressions of terror, fear of imminent death, and a sense of isolation and loneliness… It appears that, having reflected on his misfortune … he immediately cast around for ways of expressing it in his music.
Despite the oratorio framework and German text, Beethoven’s “Christ on the Mount of Olives” more closely resembles Italian opera than anything by Handel or Haydn, clearly showing the influence of Beethoven’s operatic studies with Antonio Salieri.
Beethoven’s “Christ on the Mount of Olives” employs three soloists: Christ (heroic tenor), Seraph (coloratura soprano) and Peter (bass). A Chorus of Soldiers consists of tenors and basses; a Chorus of Disciples is tenors only, and the Chorus of Angels is SATB.
One of the curiosities of “Christ on the Mount of Olives” is that Christ is sung by a tenor. At the time (and throughout the 18 & 19th centuries), a bass was thought to be more appropriate for Christ. (In a modern composition, Christ would be sung by a countertenor or contralto.)
Another curiosity of “Christ on the Mount of Olives” is the duet between Christ and the Seraph. If the words are disregarded, it sounds for all the world like an operatic love duet. The incongruity (and even impropriety) has baffled and disturbed listeners ever since.
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Christ on the Mount of Olives (Opus 85), 1803–04
A great performance by French conductor Jérémie Rhorer leading his period-instrument ensemble Cercle de l'Harmonie.
Part 1. Following a somber and moody orchestral introduction that includes mournful trombones and ominous taps on the timpani, Jesus’s first recitative and aria (at 5:17 in this performance) pleads for comfort and strength, and he prays to “take this cup of sorrow from me.”
Part 2. At 12:52 the Seraph’s recitation begins followed by a two-part aria in praise of Jesus with queen-of-the-nightish embellishments. The Seraph is joined by the Chorus of Angels. “To man He brings salvation, through faith, with hope of life.”
Part 3. At 21:21 occur short recitatives by Jesus and the Seraph followed by a duet. “Great are the torments, the anxiety, the fears, which God’s hand pours upon Him, but greater, greater yet, is His love, with which His heart encloses the world.”
Part 4. Following a brief recitative by Jesus at 26:24 in which he accepts his fate, the Chorus of Soldiers sing almost secretively but to a march rhythm, “We shall surely find him here… Tomorrow he shall die!”
Part 5. At 26:15, another recitative by Jesus. The Chorus of Soldiers taunt more aggressively “Thou self-styled King of the Jews, we’ll seize and bind you fast!” The Chorus of Disciples blame themselves for the presence of the soldiers.
Part 6. At 32:50, Peter prepares to resist the soldiers, but Jesus rebukes him. This is followed by a Trio with Peter, Jesus, and the Seraph. At 38:36, the Chorus of Soldiers and the Chorus of Disciples vocally battle. At 41:16 The Chorus of Angels conclude the work, singing “Sing, worlds — thanks and honor to the exalted Son of God. Praise him loudly, you angel choruses, in holy tones of joy.”
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Christ on the Mount of Olives (Opus 85, aria), 1803–04
In isolation, the first recitative and aria of the Seraph (“Praise the Redeemer’s goodness”) take on a joyful operatic tone.
By the time of the publication of “Christ on the Mount of Olives” in 1811, Beethoven was making excuses for it:
The only point to consider in connexion with my oratorio is that it was my first work in that style and, moreover, an early work, and that it was written in a fortnight and during all kinds of disturbances and other unpleasant and distressing events in my life (my brother happened to be suffering from a mortal disease). (Emily Anderson, Letters of Beethoven, No. 325)
The “fortnight” claim is not taken seriously by scholars, and Beethoven did have the opportunity to revise the score later. His brother Caspar Carl, although sick, did not die from consumption until 1815.
The final chorus of “Christ on the Mount of Olives” is often performed to an altered text, where the words “Welten singen” are replaced by “Hallelujah,” and other German lyrics by English ones. The result has become known as “Beethoven’s Hallelujah Chorus.”
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Christ on the Mount of Olives (Opus 85, final chorus), 1803–04
A church choir in Seattle sings “Beethoven’s Hallelujah Chorus” to piano accompaniment.
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Christ on the Mount of Olives (Opus 85, final chorus), 1803–04
“Beethoven’s Hallelujah Chorus” performed by the Dar Choral Society with full orchestra in Tanzania.