Увертюра "Освящение дома" (Die Weihe des Hauses), op.124 была написана Бетховеном в сентябре 1822 года. Музыка была заказана Карлом Генслером (Carl Friedrich Hensler), директором венского театра Theater in der Josefstadt, и была впервые исполнена на открытии театра 3 октября 1822 вместе с другими музыкальными номерами. Это первое произведение Бетховена, написанное им после периода увлечения творчеством Баха и Генделя, и находится под их влиянием.
Увертюра - Бетховенский фестиваль 2007, запись Deutsche Welle
An anecdote by Anton Schindler describes Beethoven conceiving two themes for the overture while on a walk, and relates the composer's intention of treating one of these in contrapuntal fashion after Handel. Beethoven chose a monothematic structure, in which a modulation occurs, but in which the new key features the same theme. This suggests the influence of Haydn.
An anecdote by Anton Schindler describes Beethoven conceiving two themes for the overture while on a walk, and relates the composer's intention of treating one of these in a Handelian contrapuntal fashion. The overture opens with brief, isolated chords that herald the beginning of a slow introduction in the manner of Haydn. A slow march, processional in character, ensues; the brass and winds take over the theme and are presently joined by the strings for a repeat of the march. A trumpet fanfare, underscored by a rapid bassoon part, introduces a fast tutti section that at first seems to signal the main body of the overture, but which instead dissipates, giving way to the beginning of a sonata-allegro form. Beethoven chose for the overture a monothematic scheme -- that is, one in which in which a modulation occurs but the new key area features the same theme as the first key -- suggesting the further influence of Haydn. The contrapuntal section referred to by Schindler is certainly the developmental area at the work's center, where different groups of instruments at different pitch levels enter one after another, producing a fugal texture. This section is a dynamic tour de force, growing rapidly from pianissimo to fortissimo. Following the recapitulation a forceful coda brings the overture to a close.
One of the more notable performances in the work's history was at the concert of May 7, 1824, at which the Viennese were also introduced to the composer's Symphony No. 9 in D minor, Op. 125 (1822 - 24) and sections of the Missa Solemnis, Op. 123 (1819 - 23).