Christ on the Mount of Olives (Beethoven) of the orchestra and chorus at its premiere. He panned Huber's libretto, saying, in an 1824 letter to the Gesellschaft für Musikfreunde, "Let us leave out of consideration "the value" of poems of this sort. We all know that allowances are to be made... so far as I am concerned, I would rather set Homer, Klopstock, Schiller to music. If they offer difficulties to overcome, "these immortal poets" at least are worthy of it." (Beethoven eventually did set Schiller to music in his monumental Ninth Symphony, nearly twenty years later.) The editors at Breitkopf & Härtel agreed with Beethoven's critical
Symphony No. 3 (Beethoven) ends with a coda, which takes image on all previous sections and variations of the movement. At the end of the coda, there is a surprise, which is when the dynamic changes from "pp" to "ff" all of a sudden as the tempo abruptly changes to presto. A flurry of sforzandos appear, and the finale ends with three large E-flat major chords on the tutti, marked "fff". Beethoven began composing the third symphony soon after Symphony No. 2 in D major, Opus 36 and completed the composition in early 1804. The first public performance of Symphony No. 3 was on