It wasn’t quite Der glorreiche Augenblick. The Congress of Vienna in September 1814 was dampened by Napoleon (who had also wrecked the city in 1809) breaking exile. But Beethoven experienced a Glorious Moment for his setting of a text portraying the relief and expectations of the time. ‘All strove to do him homage,’ said Schindler. All strive in this performance too, impelled by the conducting of Hilary Davan Wetton, who has a comprehensive grasp of the score. From grandeur to contemplation, the mix of many elements is persuasively interpreted but compromised by recorded balance. Choral attack is stirring but is given precedence over the orchestra, its string section sounding understaffed, woodwind, brass and timpani lacking substance, sometimes more so than others. And soloists are often too forwardly placed. Not Beethoven’s most arresting work but well worth experiencing. A ragbag of ideas it may appear to be, but the Choral Fantasia is striking Beethoven. Leon McCawley plays the 26-bar solo introduction with a sense of ad-lib abandon, coruscating in the hailstorm of notes at its fortissimo climax. And he maintains throughout a feel for the improvisatory quality of the part. Wetton isn’t quite as spontaneous in some answering passages but stays close to McCawley at all times, resulting in a performance that has a cohesive hold on many a quirky element. Instrumental perspectives are good but their relationship to voices is subject to changes. Nevertheless, a very good performance and far more than a mere attachment to the bigger piece.