The Baby Einstein Music Box Orchestra Tune Up and Theme From Symphony No. 9, 2nd Movement

Symphony by Ludwig van Beethoven (1822–1824)

Symphony No. nine
Choral symphony past Ludwig van Beethoven
A folio (leaf 12 recto) from Beethoven's manuscript
Key	D minor
Opus	125
Period	Classical (transitional)
Text	Friedrich Schiller's "Ode to Joy"
Language	German language
Composed	1822–1824
Dedication	King Frederick William III of Prussia
Duration	about 70 minutes
Movements	Iv
Scoring	Orchestra with SATB chorus and soloists
Premiere
Engagement	7 May 1824 (1824-05-07)
Location	Theater am Kärntnertor, Vienna
Conductor	Michael Umlauf and Ludwig van Beethoven
Performers	Kärntnertor firm orchestra, Gesellschaft der Musikfreunde with soloists: Henriette Sontag (soprano), Caroline Unger (alto), Anton Haizinger (tenor), and Joseph Seipelt (bass)

The Symphony No. ix in D modest, Op. 125, is a choral symphony, the final complete symphony by Ludwig van Beethoven, equanimous betwixt 1822 and 1824. It was first performed in Vienna on 7 May 1824. The symphony is regarded by many critics and musicologists as Beethoven's greatest work and 1 of the supreme achievements in the history of music.^{[1] [two]} 1 of the best-known works in common do music,^[i] it stands every bit ane of the virtually frequently performed symphonies in the world.^{[3] [4]}

The symphony was the outset example of a major composer using voices in a symphony.^[5] The words are sung during the final (4th) move of the symphony by 4 vocal soloists and a chorus. They were taken from the "Ode to Joy", a poem written by Friedrich Schiller in 1785 and revised in 1803, with text additions made by Beethoven.

In 2001, Beethoven'southward original, paw-written manuscript of the score, held by the Berlin Country Library, was added to the Memory of the World Plan Heritage list established by the United Nations, becoming the commencement musical score so designated.^[6]

History [edit]

Composition [edit]

The Philharmonic Society of London originally commissioned the symphony in 1817.^[7] The principal composition piece of work was done between fall 1822 and the completion of the autograph in Feb 1824.^[viii] The symphony emerged from other pieces by Beethoven that, while completed works in their ain right, are also in some sense "sketches" (rough outlines) for the time to come symphony. The 1808 Choral Fantasy, Op. 80, basically a pianoforte concerto movement, brings in a choir and song soloists well-nigh the terminate for the climax. The vocal forces sing a theme first played instrumentally, and this theme is reminiscent of the respective theme in the 9th Symphony.

Going farther back, an earlier version of the Choral Fantasy theme is found in the song "Gegenliebe" (Returned Love) for piano and loftier vox, which dates from before 1795.^[nine] Co-ordinate to Robert W. Gutman, Mozart'south Offertory in D minor, "Misericordias Domini", K. 222, written in 1775, contains a melody that foreshadows "Ode to Joy".^[10]

Premiere [edit]

Although most of his major works had been premiered in Vienna, Beethoven was great to have his latest composition performed in Berlin equally soon as possible later finishing it, as he idea that musical sense of taste in Vienna had become dominated by Italian composers such equally Rossini.^[11] When his friends and financiers heard this, they urged him to premiere the symphony in Vienna in the form of a petition signed by a number of prominent Viennese music patrons and performers.^[11]

Beethoven was flattered by the adoration of Vienna, so the 9th Symphony was premiered on 7 May 1824 in the Theater am Kärntnertor in Vienna along with the overture The Consecration of the Business firm ( Die Weihe des Hauses ) and iii parts of the Missa solemnis (the Kyrie, Credo, and Agnus Dei). This was the composer's beginning onstage advent in 12 years; the hall was packed with an eager audience and a number of musicians.^[12]

The premiere of Symphony No. 9 involved the largest orchestra always assembled by Beethoven^[12] and required the combined efforts of the Kärntnertor house orchestra, the Vienna Music Society (Gesellschaft der Musikfreunde), and a select group of capable amateurs. While no consummate listing of premiere performers exists, many of Vienna's near elite performers are known to have participated.^[13]

The soprano and alto parts were sung by two famous young singers: Henriette Sontag and Caroline Unger. German soprano Henriette Sontag was 18 years old when Beethoven personally recruited her to perform in the premiere of the Ninth.^{[14] [15]} Likewise personally recruited by Beethoven, 20-year-sometime contralto Caroline Unger, a native of Vienna, had gained critical praise in 1821 appearing in Rossini'southward Tancredi. Later on performing in Beethoven's 1824 premiere, Unger then establish fame in Italy and Paris. Italian composers Donizetti and Bellini were known to take written roles specifically for her voice.^[16] Anton Haizinger and Joseph Seipelt sang the tenor and bass/baritone parts, respectively.

Portrait of Beethoven in 1824, the twelvemonth his Ninth Symphony was premiered. He was almost completely deaf by the time of its composition.

Caroline Unger, who sang the contralto part at the first performance and is credited with turning Beethoven to confront the applauding audience

Although the performance was officially directed by Michael Umlauf, the theatre's Kapellmeister, Beethoven shared the phase with him. However, two years earlier, Umlauf had watched every bit the composer's endeavor to conduct a dress rehearsal of his opera Fidelio ended in disaster. And so this time, he instructed the singers and musicians to ignore the nigh completely deafened Beethoven. At the beginning of every role, Beethoven, who sat past the stage, gave the tempos. He was turning the pages of his score and beating time for an orchestra he could not hear.^[17]

There are a number of anecdotes almost the premiere of the Ninth. Based on the testimony of the participants, there are suggestions that it was under-rehearsed (there were only ii total rehearsals) and rather scrappy in execution.^[18] On the other hand, the premiere was a bully success. In whatsoever case, Beethoven was non to blame, every bit violinist Joseph Böhm recalled:

Beethoven himself conducted, that is, he stood in front of a conductor's stand and threw himself back and forth like a madman. At one moment he stretched to his full height, at the adjacent he crouched down to the floor, he flailed about with his easily and feet as though he wanted to play all the instruments and sing all the chorus parts. —The actual direction was in [Louis] Duport's^{[n one]} hands; we musicians followed his baton only.^[19]

When the audience applauded—testimonies differ over whether at the end of the scherzo or symphony—Beethoven was several bars off and nonetheless conducting. Because of that, the contralto Caroline Unger walked over and turned Beethoven effectually to accept the audience's cheers and adulation. According to the critic for the Theater-Zeitung, "the public received the musical hero with the utmost respect and sympathy, listened to his wonderful, gigantic creations with the most absorbed attending and broke out in jubilant applause, often during sections, and repeatedly at the finish of them."^[20] The audience acclaimed him through standing ovations 5 times; there were handkerchiefs in the air, hats, and raised hands, and so that Beethoven, whom they knew could not hear the applause, could at least see the ovations.^[21]

Editions [edit]

The showtime German edition was printed by B. Schott'due south Söhne (Mainz) in 1826. The Breitkopf & Härtel edition dating from 1864 has been used widely by orchestras.^[22] In 1997, Bärenreiter published an edition past Jonathan Del Mar.^[23] According to Del Mar, this edition corrects nearly iii,000 mistakes in the Breitkopf edition, some of which were "remarkable".^[24] David Levy, all the same, criticized this edition, saying that it could create "quite possibly imitation" traditions.^[25] Breitkopf likewise published a new edition by Peter Hauschild in 2005.^[26]

Instrumentation [edit]

The symphony is scored for the following orchestra. These are by far the largest forces needed for any Beethoven symphony; at the premiere, Beethoven augmented them further by assigning ii players to each wind part.^[27]

Form [edit]

The symphony is in four movements. The structure of each movement is as follows:^[29]

Tempo marking	Meter	Central
Move I
Allegro ma non troppo, un poco maestoso = 88	ii 4	d
Movement 2
Molto vivace . = 116	iii four	d
Presto = 116	2 2	D
Molto vivace	3 four	d
Presto	2 two	D
Movement III
Adagio molto e cantabile = sixty	4 4	B ♭
Andante moderato = 63	3 four	D
Tempo I	4 iv	B ♭
Andante moderato	3 4	M
Adagio	4 4	E ♭
Lo stesso tempo	12 8	B ♭
Movement IV
Presto . = 96[30]	3 4	d
Allegro assai = 80	4 iv	D
Presto ("O Freunde")	iii 4	d
Allegro assai ("Freude, schöner Götterfunken")	4 4	D
Alla marcia; Allegro assai vivace . = 84 ("Froh, wie seine Sonnen")	6 8	B ♭
Andante maestoso = 72 ("Seid umschlungen, Millionen!")	3 2	G
Allegro energico, sempre ben marcato . = 84 ("Freude, schöner Götterfunken" – "Seid umschlungen, Millionen!")	half-dozen four	D
Allegro ma not tanto = 120 ("Freude, Tochter aus Elysium!")	2 2	D
Prestissimo = 132 ("Seid umschlungen, Millionen!")	ii 2	D

Beethoven changes the usual pattern of Classical symphonies in placing the scherzo movement before the slow movement (in symphonies, slow movements are unremarkably placed earlier scherzi).^[31] This was the first time he did this in a symphony, although he had done so in some previous works, including the Cord Quartet Op. eighteen no. 5, the "Archduke" pianoforte trio Op. 97, the Hammerklavier pianoforte sonata Op. 106. And Haydn, likewise, had used this arrangement in a number of his own works such equally the String Quartet No. thirty in East ♭ major, as did Mozart in three of the Haydn Quartets and the Chiliad minor String Quintet.

I. Allegro ma non troppo, un poco maestoso [edit]

The first movement is in sonata form without an exposition repeat. It begins with open up fifths (A and E) played pianissimo by tremolo strings, steadily edifice upwardly until the first principal theme in D minor at bar 17.^[32]

The opening, with its perfect fifth quietly emerging, resembles the sound of an orchestra tuning up.^[33]

At the outset of the recapitulation (which repeats the chief melodic themes) in bar 301, the theme returns, this time played fortissimo and in D major, rather than D minor. The motility ends with a massive coda that takes upwards nearly a quarter of the move, as in Beethoven's Third and Fifth Symphonies.^[34]

A typical performance lasts about 15 minutes.

Ii. Molto vivace [edit]

The second movement is a scherzo and trio. Like the first move, the scherzo is in D minor, with the introduction bearing a passing resemblance to the opening theme of the first move, a pattern as well establish in the Hammerklavier piano sonata, written a few years before. At times during the slice, Beethoven specifies one downbeat every 3 bars—peradventure because of the fast tempo—with the management ritmo di tre battute (rhythm of three beats) and one trounce every four confined with the management ritmo di quattro battute (rhythm of four beats). Unremarkably, a scherzo is in triple time. Beethoven wrote this piece in triple time but punctuated it in a mode that, when coupled with the tempo, makes information technology audio as if it is in quadruple time.^[35]

While adhering to the standard compound ternary design (three-part construction) of a dance movement (scherzo-trio-scherzo or minuet-trio-minuet), the scherzo section has an elaborate internal structure; information technology is a complete sonata course. Inside this sonata grade, the beginning group of the exposition (the argument of the main melodic themes) starts out with a fugue in D minor on the field of study below.^[35]

For the second subject, it modulates to the unusual key of C major. The exposition and then repeats before a short development section, where Beethoven explores other ideas. The recapitulation (repeating of the melodic themes heard in the opening of the movement) further develops the exposition's themes, too containing timpani solos. A new development section leads to the repeat of the recapitulation, and the scherzo concludes with a brief codetta.^[35]

The contrasting trio section is in D major and in duple time. The trio is the beginning fourth dimension the trombones play. Post-obit the trio, the 2d occurrence of the scherzo, unlike the beginning, plays through without whatsoever repetition, later which there is a brief reprise of the trio, and the movement ends with an abrupt coda.^[35]

The elapsing of the movement is about 12 minutes, but this may vary depending on whether two (frequently omitted) repeats are played.

Three. Adagio molto e cantabile [edit]

The third movement is a lyrical, dull movement in B ♭ major—a minor sixth abroad from the symphony's primary cardinal of D minor. It is in a double variation form,^[36] with each pair of variations progressively elaborating the rhythm and melodic ideas. The first variation, like the theme, is in ⁴
₄ time, the second in ¹²
₈ . The variations are separated by passages in ³
₄ , the outset in D major, the second in Grand major, the third in East ♭ major, and the fourth in B major. The final variation is twice interrupted by episodes in which loud fanfares from the total orchestra are answered by octaves by the get-go violins. A prominent French horn solo is assigned to the fourth player.^[37]

A performance lasts about 16 minutes.

IV. Finale [edit]

The choral finale is Beethoven'due south musical representation of universal brotherhood based on the "Ode to Joy" theme and is in theme and variations grade.

The motion starts with an introduction in which musical material from each of the preceding three movements—though none are literal quotations of previous music^[38]—are successively presented and and then dismissed by instrumental recitatives played by the depression strings. Post-obit this, the "Ode to Joy" theme is finally introduced by the cellos and double basses. After three instrumental variations on this theme, the human voice is presented for the first time in the symphony by the baritone soloist, who sings words written by Beethoven himself: ''O Freunde, nicht diese Töne!' Sondern laßt uns angenehmere anstimmen, und freudenvollere.'' ("Oh friends, non these sounds! Let united states instead strike upward more pleasing and more joyful ones!").

At about 24 minutes in length, the last movement is the longest of the four movements. Indeed, information technology is longer than some entire symphonies of the Classical era. Its grade has been disputed by musicologists, as Nicholas Cook explains:

Beethoven had difficulty describing the finale himself; in letters to publishers, he said that it was like his Choral Fantasy, Op. 80, only on a much grander calibration. Nosotros might call it a cantata synthetic round a serial of variations on the "Joy" theme. But this is rather a loose formulation, at least past comparison with the fashion in which many twentieth-century critics have tried to codify the movement's form. Thus in that location have been interminable arguments as to whether it should be seen as a kind of sonata course (with the "Turkish" music of bar 331, which is in B ♭ major, operation as a kind of second grouping), or a kind of concerto course (with bars 1–207 and 208–330 together making up a double exposition), or even a conflation of four symphonic movements into 1 (with bars 331–594 representing a Scherzo, and confined 595–654 a dull movement). The reason these arguments are interminable is that each estimation contributes something to the understanding of the movement, but does non represent the whole story.^[39]

Cook gives the following table describing the grade of the movement:^[twoscore]

Bar		Key	Stanza	Clarification
ane	1[n 3]	d		Introduction with instrumental recitative and review of movements i–3
92	92	D		"Joy" theme
116	116			"Joy" variation 1
140	140			"Joy" variation 2
164	164			"Joy" variation 3, with extension
208	i	d		Introduction with song recitative
241	iv	D	Five.1	"Joy" variation 4
269	33		V.2	"Joy" variation five
297	61		5.3	"Joy" variation 6, with extension providing transition to
331	ane	B ♭		Introduction to
343	13			"Joy" variation 7 ("Turkish march")
375	45		C.4	"Joy" variation 8, with extension
431	101			Fugato episode based on "Joy" theme
543	213	D	V.1	"Joy" variation nine
595	1	Thousand	C.ane	Episode: "Seid umschlungen"
627	76	yard	C.3	Episode: "Ihr stürzt nieder"
655	1	D	V.ane, C.3	Double fugue (based on "Joy" and "Seid umschlungen" themes)
730	76		C.iii	Episode: "Ihr stürzt nieder"
745	91		C.ane
763	1	D	V.1	Coda figure 1 (based on "Joy" theme)
832	lxx			Cadenza
851	1	D	C.1	Coda effigy ii
904	54		V.ane
920	seventy			Coda figure 3 (based on "Joy" theme)

In line with Melt'south remarks, Charles Rosen characterizes the final movement equally a symphony within a symphony, played without interruption.^[41] This "inner symphony" follows the same overall pattern as the 9th Symphony as a whole, with four "movements":

1. Theme and variations with dull introduction. The main theme, get-go in the cellos and basses, is later recapitulated by voices.
2. Scherzo in a ^six
   ₈ war machine manner. It begins at Alla marcia (bar 331) and concludes with a ^six
   ₈ variation of the main theme with chorus.
3. Slow section with a new theme on the text "Seid umschlungen, Millionen!" It begins at Andante maestoso (bar 595).
4. Fugato finale on the themes of the first and tertiary "movements". It begins at Allegro energico (bar 763).

Rosen notes that the movement can besides be analysed as a set of variations and simultaneously every bit a concerto sonata class with double exposition (with the fugato acting both as a evolution section and the second tutti of the concerto).^[41]

Text of the 4th movement [edit]

The text is largely taken from Friedrich Schiller's "Ode to Joy", with a few additional introductory words written specifically by Beethoven (shown in italics).^[42] The text, without repeats, is shown below, with a translation into English.^[43] The score includes many repeats. For the full libretto, including all repetitions, meet German Wikisource.^[44]

O Freunde, nicht diese Töne! Sondern laßt uns angenehmere anstimmen, und freudenvollere.	Oh friends, not these sounds! Permit us instead strike up more pleasing and more joyful ones!
Freude! Freude!	Joy! Joy!
Freude, schöner Götterfunken Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.	Joy, cute spark of divinity, Daughter from Elysium, We enter, burning with fervour, heavenly beingness, your sanctuary! Your magic brings together what custom has sternly divided. All men shall get brothers, wherever your gentle wings hover.
Wem der große Wurf gelungen, Eines Freundes Freund zu sein; Wer ein holdes Weib errungen, Mische seinen Jubel ein! Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer'southward nie gekonnt, der stehle Weinend sich aus diesem Bund!	Whoever has been lucky enough to go a friend to a friend, Whoever has plant a beloved married woman, allow him join our songs of praise! Yes, and anyone who can telephone call 1 soul his own on this earth! Any who cannot, let them slink abroad from this gathering in tears!
Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott.	Every brute drinks in joy at nature's breast; Good and Evil alike follow her trail of roses. She gives us kisses and wine, a true friend, even in death; Even the worm was given desire, and the cherub stands before God.
Froh, wie seine Sonnen fliegen Durch des Himmels prächt'gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.	Gladly, just equally His suns hurtle through the glorious universe, So you, brothers, should run your grade, joyfully, like a conquering hero.
Seid umschlungen, Millionen! Diesen Kuß der ganzen Welt! Brüder, über'grand Sternenzelt Muß ein lieber Vater wohnen. Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such' ihn über'm Sternenzelt! Über Sternen muß er wohnen.	Be embraced, you millions! This kiss is for the whole earth! Brothers, above the canopy of stars must dwell a loving begetter. Practise you bow down earlier Him, you millions? Practise yous sense your Creator, O world? Seek Him above the canopy of stars! He must dwell beyond the stars.

Towards the end of the move, the choir sings the last iv lines of the main theme, concluding with "Alle Menschen" before the soloists sing for one terminal time the song of joy at a slower tempo. The chorus repeats parts of "Seid umschlungen, Millionen!", and so quietly sings, "Tochter aus Elysium", and finally, "Freude, schöner Götterfunken, Götterfunken!".^[44]

Reception [edit]

The symphony was defended to the Male monarch of Prussia, Frederick William III.^[45]

Music critics almost universally consider the Ninth Symphony one of Beethoven'due south greatest works, and among the greatest musical works ever written.^{[one] [ii]} The finale, however, has had its detractors: "[due east]arly critics rejected [the finale] as cryptic and eccentric, the production of a deafened and ageing composer."^[1] Verdi admired the first three movements just lamented the dislocated construction and the bad writing for the voices in the final move:

The blastoff and omega is Beethoven's 9th Symphony, marvellous in the commencement three movements, very badly prepare in the final. No i volition e'er approach the sublimity of the start movement, but it will exist an piece of cake task to write as badly for voices as in the last move. And supported by the authority of Beethoven, they will all shout: "That's the way to do it..."^[46]

—Giuseppe Verdi, 1878

Performance challenges [edit]

Handwritten folio of the fourth move

Metronome markings [edit]

Conductors in the historically informed performance movement, notably Roger Norrington,^[47] have used Beethoven's suggested tempos, to mixed reviews. Benjamin Zander has fabricated a example for following Beethoven'southward metronome markings, both in writing^[24] and in performances with the Boston Philharmonic Orchestra and Philharmonia Orchestra of London.^{[48] [49]} Beethoven's metronome still exists and was tested and found authentic,^[fifty] but the original heavy weight (whose position is vital to its accuracy) is missing and many musicians have considered his metronome marks to be unacceptably high.^[51]

Re-orchestrations and alterations [edit]

A number of conductors have fabricated alterations in the instrumentation of the symphony. Notably, Richard Wagner doubled many woodwind passages, a modification profoundly extended by Gustav Mahler,^[52] who revised the orchestration of the Ninth to make it sound like what he believed Beethoven would accept wanted if given a modern orchestra.^[53] Wagner's Dresden functioning of 1864 was the first to place the chorus and the solo singers backside the orchestra every bit has since go standard; previous conductors placed them between the orchestra and the audience.^[52]

2d bassoon doubling basses in the finale [edit]

Beethoven's indication that the 2d bassoon should double the basses in bars 115–164 of the finale was non included in the Breitkopf & Härtel parts, though information technology was included in the full score.^[54]

Notable performances and recordings [edit]

The British premiere of the symphony was presented on 21 March 1825 by its commissioners, the Philharmonic Guild of London, at its Argyll Rooms conducted by Sir George Smart and with the choral part sung in Italian. The American premiere was presented on 20 May 1846 past the newly formed New York Combo at Castle Garden (in an attempt to raise funds for a new concert hall), conducted by the English language-born George Loder, with the choral function translated into English for the beginning time.^[55] Leopold Stokowski'southward 1934 Philadelphia Orchestra^[56] and 1941 NBC Symphony Orchestra recordings also used English language lyrics in the quaternary movement.^[57]

Richard Wagner inaugurated his Bayreuth Festspielhaus by conducting the Ninth; since and then it is traditional to open up each Bayreuth Festival with a performance of the Ninth. Following the festival's temporary suspension after Earth War II, Wilhelm Furtwängler and the Bayreuth Festival Orchestra reinaugurated it with a performance of the Ninth.^{[58] [59]}

Leonard Bernstein conducted a version of the Ninth at the Schauspielhaus in East Berlin, with Freiheit (Liberty) replacing Freude (Joy), to celebrate the fall of the Berlin Wall during Christmas 1989.^[threescore] This concert was performed past an orchestra and chorus fabricated upward of many nationalities: from East and West Federal republic of germany, the Bavarian Radio Symphony Orchestra and Chorus, the Chorus of the Berlin Radio Symphony Orchestra, and members of the Sächsische Staatskapelle Dresden, the Philharmonischer Kinderchor Dresden (Philharmonic Children's Choir Dresden); from the Soviet Matrimony, members of the orchestra of the Kirov Theatre; from the United Kingdom, members of the London Symphony Orchestra; from the US, members of the New York Philharmonic; and from France, members of the Orchestre de Paris. Soloists were June Anderson, soprano, Sarah Walker, mezzo-soprano, Klaus König, tenor, and January-Hendrik Rootering, bass.^[61] It was the last time that Bernstein conducted the symphony; he died 10 months later.

In 1998, Japanese usher Seiji Ozawa conducted the fourth movement for the 1998 Winter Olympics opening ceremony, with vi unlike choirs simultaneously singing from Japan, Federal republic of germany, South Africa, China, the U.s.a., and Australia.^[62]

Since the late 20th century, the 9th has been recorded regularly past period performers, including Roger Norrington, Christopher Hogwood, and Sir John Eliot Gardiner.

The BBC Proms Youth Choir performed the piece alongside Georg Solti's UNESCO Globe Orchestra for Peace at the Royal Albert Hall during the 2018 Proms at Prom 9, titled "War & Peace" as a commemoration to the centenary of the end of World State of war One. ^[63]

At 79 minutes, ane of the longest Ninths recorded is Karl Böhm's, conducting the Vienna Philharmonic in 1981 with Jessye Norman and Plácido Domingo among the soloists.^[64]

Influence [edit]

Plaque at edifice Ungargasse No. 5, Vienna. "Ludwig van Beethoven completed in this house during the winter of 1823/24 his Ninth Symphony. In retentivity of the centenary of its first performance on vii May 1824 the Wiener Schubertbund defended this memorial plaque to the principal and his work on 7 May 1924."

Many later composers of the Romantic flow and beyond were influenced by the Ninth Symphony.

An important theme in the finale of Johannes Brahms' Symphony No. 1 in C minor is related to the "Ode to Joy" theme from the last movement of Beethoven's 9th Symphony. When this was pointed out to Brahms, he is reputed to have retorted "Whatever fool tin can run across that!" Brahms'south first symphony was, at times, both praised and derided as "Beethoven's Tenth".

The Ninth Symphony influenced the forms that Anton Bruckner used for the movements of his symphonies. His Symphony No. 3 is in the aforementioned key (D small) as Beethoven'south ninth and makes substantial use of thematic ideas from it. The irksome movement of Bruckner'southward Symphony No. vii uses the A–B–A–B–A form institute in the 3rd movement of Beethoven'south slice and takes diverse figurations from it.^[65]

In the opening notes of the third movement of his Symphony No. ix (From the New Globe), Antonín Dvořák pays homage to the scherzo of this symphony with his falling fourths and timpani strokes.^[66]

Béla Bartók borrowed the opening motif of the scherzo from Beethoven's Ninth Symphony to introduce the 2d movement (scherzo) in his own Four Orchestral Pieces, Op. 12 (Sz 51).^{[67] [68]}

Michael Tippett in his Third Symphony (1972) quotes the opening of the finale of Beethoven's Ninth and then criticises the utopian understanding of the brotherhood of homo as expressed in the Ode to Joy and instead stresses homo's capacity for both expert and evil.^[69]

In the film The Pervert'southward Guide to Ideology, the philosopher Slavoj Žižek comments on the use of the Ode by Nazism, Bolshevism, the Chinese Cultural Revolution, the E-Due west German Olympic team, Southern Rhodesia, Abimael Guzmán (leader of the Shining Path), and the Council of Europe and the European Spousal relationship.^[lxx]

Compact disc format [edit]

1 legend is that the compact disc was deliberately designed to accept a 74-minute playing time so that it could adapt Beethoven's Ninth Symphony.^[71] Kees Immink, Philips' chief engineer, who developed the CD, recalls that a commercial tug-of-war between the development partners, Sony and Philips, led to a settlement in a neutral 12-cm bore format. The 1951 performance of the Ninth Symphony conducted by Furtwängler was brought forrad every bit the perfect excuse for the modify,^{[72] [73]} and was put forth in a Philips news release jubilant the 25th anniversary of the Compact Disc as the reason for the 74-minute length.^[74]

TV theme music [edit]

The Huntley–Brinkley Report used the 2nd movement every bit its endmost theme music during the evidence's run on NBC from 1956 until 1970.^[75] A remixed version of the opening bars of the movement were used equally the theme for Inaugural with Keith Olbermann.^[76]

Use as (national) anthem [edit]

During the partition of Frg in the Cold War, the "Ode to Joy" segment of the symphony was played in lieu of a national canticle at the Olympic Games for the United Team of Frg between 1956 and 1968. In 1972, the musical bankroll (without the words) was adopted every bit the Anthem of Europe by the Council of Europe and after past the European Communities (now the European Union) in 1985.^{[77] [78]} Also, the "Ode to Joy" was used as the national anthem of Rhodesia betwixt 1974 and 1979, equally "Rise, O Voices of Rhodesia".^[79] During the early 1990s, South Africa used an instrumental version of "Ode to Joy" in lieu of its national anthem at the fourth dimension "Dice Stalk van Suid-Afrika" at sporting events, though it was never actually adopted equally an official national anthem.^[80]

Use as a hymn melody [edit]

In 1907, the Presbyterian pastor Henry van Dyke Jr. wrote the hymn "Blithesome, Joyful, we admire thee" while staying at Williams College.^[81] The hymn is normally sung in English-linguistic communication churches to the "Ode to Joy" melody from this symphony.^[82]

Yr-end tradition [edit]

The German workers' movement began the tradition of performing the 9th Symphony on New year's Eve in 1918. Performances started at xi p.chiliad. and so that the symphony's finale would be played at the beginning of the new year. This tradition continued during the Nazi period and was also observed by East Deutschland subsequently the state of war.^[83]

The Ninth Symphony is traditionally performed throughout Japan at the end of the year. In December 2009, for example, there were 55 performances of the symphony by diverse major orchestras and choirs in Japan.^[84] Information technology was introduced to Japan during World War I by High german prisoners held at the Bandō prisoner-of-state of war camp.^[85] Japanese orchestras, notably the NHK Symphony Orchestra, began performing the symphony in 1925 and during World War 2; the Regal government promoted performances of the symphony, including on New Yr'southward Eve. In an effort to capitalize on its popularity, orchestras and choruses undergoing economical hard times during Japan's reconstruction performed the slice at twelvemonth'due south stop. In the 1960s, these year-cease performances of the symphony became more than widespread, and included the participation of local choirs and orchestras, firmly establishing a tradition that continues today. Some of these performances feature massed choirs of upwardly to 10,000 singers.^{[86] [85]}

WQXR-FM, a classical radio station serving the New York metropolitan area, ends every year with a inaugural of the pieces of classical music about requested in a survey held every Dec; though any piece could win the place of honor and thus welcome the New year's day, i.due east. play through midnight on January 1, Beethoven's Choral has won in every year on tape.^[87]

Other choral symphonies [edit]

Prior to Beethoven's ninth, symphonies had not used choral forces and the piece thus established the genre of choral symphony. Numbered choral symphonies as role of a bicycle of otherwise instrumental works have later been written by numerous composers, including Gustav Mahler, Ralph Vaughan Williams and Charles Ives among many others.

Other ninth symphonies [edit]

The scale and influence of Beethoven's ninth led after composers to ascribe a special significance to their own ninth symphonies, which may take contributed to the cultural miracle known as the expletive of the ninth. A number of other composers' ninth symphonies also utilize a chorus, such as those by Kurt Atterberg, Mieczysław Weinberg, Edmund Rubbra, Hans Werner Henze, and Robert Kyr. Anton Bruckner had not originally intended his unfinished ninth symphony to feature choral forces, however the use of his choral Te Deum in lieu of the uncompleted Finale was supposedly sanctioned by the composer.^[88] Dmitri Shostakovich had originally intended his Ninth Symphony to be a big work with chorus and soloists, although the symphony as it eventually appeared was a relatively short work without song forces.^[89]

Of his ain Ninth Symphony, George Lloyd wrote: "When a composer has written viii symphonies he may notice that the horizon has been blacked out by the overwhelming image of Beethoven and his one and only Ninth. There are other very skillful No. 5s and No. 3s, for example, merely how can one possibly have the temerity of trying to write another Ninth Symphony?"^[xc] Niels Gade composed merely eight symphonies, despite living for another twenty years later completing the eighth. He is believed to have replied, when asked why he did not compose another symphony, "In that location is only 1 9th", in reference to Beethoven.^[91]

References [edit]

Notes

1. ^ Presumably, Böhm meant the conductor Michael Umlauf
2. ^ The score specifies baritone,^[28] performance practice ofttimes uses a bass.
3. ^ The 2nd column of bar numbers refers to the editions in which the finale is subdivided. Verses and choruses are numbered in accord with the complete text of Schiller's "An die Freude"

Citations

1. ^ ^{a b c d} Cook 1993, Production description (blurb). "Beethoven'southward Ninth Symphony is acknowledged as one of the supreme masterpieces of the Western tradition. More than whatsoever other musical work it has get an international symbol of unity and affirmation."
2. ^ ^{a b} Service, Tom (9 September 2014). "Symphony guide: Beethoven'south Ninth ('Choral')". The Guardian. the key artwork of Western music, the symphony to end all symphonies
3. ^ "Lansing Symphony Orchestra to perform blithesome Beethoven'south 9th" by Ken Glickman, Lansing Land Periodical, two November 2016
4. ^ "Beethoven's Ninth: 'Ode to Joy'" Archived 1 December 2017 at the Wayback Machine, Peachy Falls Symphony, 2017/18 proclamation
5. ^ Bonds, Mark Evan, "Symphony: II. The 19th century", The New Grove Dictionary of Music and Musicians, Second Edition (London: Macmillan, 2001), 29 vols. ISBN 0-333-60800-3, 24:837.
6. ^ "Retention of the World (2001) – Ludwig van Beethoven: Symphony No ix, D minor, Op. 125".
7. ^ Solomon, Maynard. Beethoven. New York: Schirmer Books, 1997, p. 251.
8. ^ Breitkopf Urtext, Beethoven: Symphonie Nr. nine d-moll Archived 1 April 2012 at the Wayback Machine, op. 125, pbl.: Hauschild, Peter, p. VIII
9. ^ Hopkins 1981, p. 249.
10. ^ Robert Westward. Gutman, Mozart: A Cultural Biography, 1999, p. 344
11. ^ ^{a b} Sachs 2010, p.^{[ page needed ]}
12. ^ ^{a b} Levy 2003, p.^{[ page needed ]}
13. ^ Kelly, Thomas Forrest (2000). Commencement Nights: Five Musical Premiers (Affiliate iii). Yale University Press, 2001.
14. ^ Elson, Louis, Principal Editor. University Musical Encyclopedia of Vocal Music. Academy Society, New York, 1912
15. ^ Life of Henriette Sontag, Countess de Rossi. New York: Stringer & Townsend. 1852.
16. ^ Kennedy, Michael and Bourne, Joyce (1996). The Concise Oxford Dictionary of Music. Oxford University Press, 2007.^{[ page needed ]}
17. ^ Cook 1993b, p.^{[ page needed ]}.
18. ^ Sachs 2010, p. 22
19. ^ Melt 1993, p. 22
20. ^ Cook 1993, p. 23
21. ^ Sachs 2010, pp. 23–24
22. ^ Del Mar, Jonathan (July–December 1999). "Jonathan Del Mar, New Urtext Edition: Beethoven Symphonies one–9". British Academy Review. Archived from the original on 23 October 2007. Retrieved 13 November 2007.
23. ^ "Ludwig van Beethoven The Nine Symphonies The New Bärenreiter Urtext Edition". Archived from the original on 17 October 2007. Retrieved xiii November 2007.
24. ^ ^{a b} Zander, Benjamin. "Beethoven 9 The fundamental reappraisal of a classic". Archived from the original on 19 Apr 2012. Retrieved 13 November 2007.
25. ^ "Concerning the Review of the Urtext Edition of Beethoven's Ninth Symphony". Archived from the original on 28 June 2007. Retrieved 13 November 2007.
26. ^ "Beethoven The Nine Symphonies" (PDF). Archived from the original (PDF) on 27 June 2008.
27. ^ Thayer, Alexander Wheelock. Thayer's Life of Beethoven. Revised and edited by Elliott Forbes. (Princeton, New Bailiwick of jersey: Princeton University Printing, 1973), p. 905.
28. ^ Score, Dover Publications 1997, p. 113
29. ^ IMSLP score.
30. ^ Noorduin 2021.
31. ^ Jackson 1999, 26;^{[ incomplete short commendation ]} Stein 1979, 106^{[ incomplete curt commendation ]}
32. ^ Cook 1993b, p. 28
33. ^ Young, John Bell (2008). Beethoven'due south Symphonies: A Guided Tour . New York: Amadeus Press. ISBN978-1574671698. OCLC 180757068.
34. ^ Cook 1993b, p. 30
35. ^ ^{a b c d} Cohn, Richard Fifty. (1992). "The Dramatization of Hypermetric Conflicts in the Scherzo of Beethoven's 9th Symphony". 19th-Century Music. fifteen (iii): 188–206. doi:10.2307/746424. ISSN 0148-2076. JSTOR 746424. Retrieved 6 October 2021.
36. ^ Beethoven Forum. Academy of Nebraska Press. 1994. p. 69. ISBN978-0-8032-4246-three . Retrieved 6 October 2021.
37. ^ Ericson, John (10 April 2010). "The Natural Horn and the Beethoven 9 "Controversy"". Horn Matters | A French Horn and Contumely Site and Resources | John Ericson and Bruce Hembd . Retrieved 6 October 2021.
38. ^ Cook 1993b, p. 36
39. ^ Cook 1993b, p. 34
40. ^ Cook 1993b, p. 35
41. ^ ^{a b} Rosen, Charles. The Classical Way: Haydn, Mozart, Beethoven. p. 440. New York: Norton, 1997.
42. ^ "Beethoven Foundation – Schiller'due south "An die Freude" and Authoritative Translation". Archived from the original on 23 September 2008. Retrieved 5 Oct 2008.
43. ^ The translation is taken from the BBC Proms 2013 program, for a concert held at the Royal Albert Hall (Prom 38, 11 August 2013). This concert was broadcast alive on BBC Radio iii and after on BBC4 television on vi September 2013, where the same translation was used equally subtitles.
44. ^ ^{a b} "An dice Freude" (Beethoven), German Wikisource
45. ^ Solomon, Maynard (April 1975). "Beethoven: The Dignity Pretense". The Musical Quarterly. 61 (two): 272–294. doi:10.1093/mq/LXI.2.272. JSTOR 741620.
46. ^ Letter of April 1878 in Giuseppe Verdi: Autobiografia delle Lettere, Aldo Oberdorfer ed., Milano, 1941, p. 325.
47. ^ Norrington, Roger (14 March 2009). "In tune with the time". The Guardian. London. Retrieved fifteen May 2013.
48. ^ "Concert: Beethoven 9th, Benjamin Zander and the Boston Combo at Carnegie Hall" by Bernhard Kingdom of the netherlands, The New York Times, 11 Oct 1983
49. ^ Recording of the Beethoven 9th with Benjamin Zander, Dominique Labelle, D'Anna Fortunato, Brad Cresswell, David Arnold, the Boston Philharmonic Orchestra, and Chorus Pro Musica.
50. ^ Schuller, Gunther (10 Dec 1998). Gunther Schuller, The Compleat Conductor . ISBN978-0-19-984058-8.
51. ^ Sture Forsén, Harry B. Gray, L. K. Olof Lindgren, and Shirley B. Grey. October 2013. "Was Something Incorrect with Beethoven's Metronome?", Notices of the American Mathematical Society 60(9):1146–53.
52. ^ ^{a b} Raymond Holden, "The iconic symphony: performing Beethoven's Ninth Wagner'southward Way" The Musical Times, Winter 2011
53. ^ Bauer-Lechner, Natalie: Erinnerungen an Gustav Mahler, p. 131. E.P. Tal & Co. Verlag, 1923
54. ^ Del Mar, Jonathan (1981) Orchestral Variations: Confusion and Error in the Orchestral Repertoire London: Eulenburg Books, p. 43
55. ^ Keller, James M. "Notes on the Program" (PDF). New York Philharmonic. {{cite news}}: CS1 maint: url-condition (link)
56. ^ "Stokowski conducts Beethoven : Symphony no. ix ('Choral')", recorded April thirty, 1934. OCLC 32939031
57. ^ "NBC Symphony Orchestra. 1941-11-xi: Symphony no. nine, in D minor, op. 125 (Choral)", NBC broadcast from Cosmopolitan Opera House (City Centre). OCLC 53462096
58. ^ Philips. "Beethoven's 9th Symphony of greater importance than technology". Archived from the original on 2 Feb 2009. Retrieved 9 Feb 2007.
59. ^ AES. "AES Oral History Projection: Kees A.Schouhamer Immink". Retrieved 29 July 2008.
60. ^ Makell 2002, p. 98.
61. ^ Naxos (2006). "Ode To Freedom – Beethoven: Symphony No. 9". Naxos.com Classical Music Catalogue . Retrieved 26 November 2006.
62. ^ "The 18 Winter Games: Opening Ceremonies; The Latest Sport? After a Worldwide Effort, Synchronized Singing Gets In" past Stephanie Strom, The New York Times, 7 February 1998
63. ^ "Prom nine: War & Peace". BBC Music Events . Retrieved 19 Feb 2022.
64. ^ Gronow, Pekka; Saunio, Ilpo (26 July 1999). International History of the Recording Industry. London: A&C Black. p. 195. ISBN978-0-3047-0590-0.
65. ^ Taruskin, Richard (2010). Music in the Nineteenth Century. The Oxford History of Western Music. Vol. 3. New York: Oxford University Press. pp. 747–751. ISBN978-0-19-538483-3.
66. ^ Steinberg, Michael. The Symphony: A Listeners Guide. p. 153. Oxford University Press, 1995.
67. ^ Howard, Orrin. "About the Piece | 4 Orchestral Pieces, Op. 12". Los Angeles Philharmonic. Archived from the original on viii June 2015. Retrieved 27 December 2012.
68. ^ Bartók, Béla (1912). 4 Pieces, Op. 12 – Violin I – (Musical Score) (PDF). Universal Edition. p. three. Archived from the original (PDF) on 25 Dec 2017. Retrieved 25 December 2017.
69. ^ Matthews 1980, p. 93.
70. ^ Slavoj Žižek (7 September 2012). The Pervert's Guide to Ideology (Motion movie). Zeitgeist Films. Lay summary – openculture.com (26 November 2013).
71. ^ Victoria Longdon (iii May 2019). "Why is a CD 74 minutes long? It'south considering of Beethoven". Classic FM . Retrieved 27 March 2021.
72. ^ K. A. Schouhamer Immink (2007). "Shannon, Beethoven, and the Compact Disc". IEEE Information Theory Society Newsletter. 57: 42–46. Retrieved vi February 2018.
73. ^ K.A. Schouhamer Immink (2018). "How we made the compact disc". Nature Electronics. ane . Retrieved 16 Apr 2018. An international collaboration between Philips and the Sony Corporation lead to the cosmos of the compact disc. The author explains how it came well-nigh
74. ^ ""Philips celebrates 25th anniversary of the Compact Disc"".
75. ^ "Huntley–Brinkley Report Theme". networknewsmusic.com. 20 September 1959. Retrieved 1 July 2020.
76. ^ ""Countdown with Keith Olbermann" (MSNBC) 2003 – 2011 Theme". Network News Music. 31 March 2003. Retrieved 12 Feb 2021.
77. ^ "The European Anthem". europa.eu. sixteen June 2016.
78. ^ "Europa – The EU at a glance – The European Anthem".
79. ^ "Rhodesia picks Ode to Joy", Vancouver Sunday, 30 Baronial 1974
80. ^ "Stance | South Africa Poaches on Europe's Canticle". The New York Times. 24 November 1991.
81. ^ van Dyke, Henry (2004). The Poems of Henry van Dyke. Netherlands: Fredonia Books. ISBN1410105741.
82. ^ Rev. Corey F. O'Brien, "Nov nine, 2008 sermon" at N Prospect Union United Church of Christ in Medford.
83. ^ "Beethovens 9. Sinfonie – Musik für alle Zwecke – Die Neunte und Europa: "Die Marseillaise der Menschheit" Archived 8 January 2018 at the Wayback Automobile, past Niels Kaiser, hr2, 26 January 2011 (in German language)
84. ^ Brasor, Philip, "Japan makes Beethoven's 9th No. 1 for the holidays", The Japan Times, 24 December 2010, p. 20, retrieved on 24 Dec 2010; Archived 9 June 2011 at the Wayback Machine
    Uranaka, Taiga, "Beethoven concert to fete students' wartime sendoff", The Nihon Times, 1 December 1999, retrieved on 24 December 2010. Archived 9 June 2011 at the Wayback Machine
85. ^ ^{a b} "How Globe War I made Beethoven'southward Ninth a Japanese New Yr's tradition". The Seattle Times. thirty Dec 2015. Retrieved 21 July 2020.
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Sources

• Cook, Nicholas (1993). Beethoven: Symphony No. 9. Cambridge Music Handbooks. Cambridge: Cambridge University Press. ISBN0-521-39039-seven.
  • Cook, Nicholas (1993b). "2. Early impressions". Beethoven: Symphony No. 9. Cambridge Music Handbooks. Cambridge: Cambridge Academy Press. pp. 26–47. doi:x.1017/cbo9780511611612.003. ISBN978-0-521-39924-1.
• Hopkins, Antony (1981). The Nine Symphonies of Beethoven. London: Heinemann.
• Levy, David Benjamin (2003). Beethoven: the 9th Symphony (revised ed.). Yale University Printing.
• Makell, Talli (2002). "Ludwig van Beethoven". In Alexander J. Morin (ed.). Classical Music: The Listener'south Companion. San Francisco: Backbeat Books.
• Matthews, David (1980). Michael Tippett: An Introductory Study . London: Faber.
• Noorduin, Marten (17 May 2021). "The metronome marks for Beethoven'southward Ninth Symphony in context". Early Music. 49: 129–145. doi:10.1093/em/caab005. ISSN 0306-1078.
• Sachs, Harvey (2010). The 9th: Beethoven and the World in 1824. Faber and Faber (Review by Philip Hensher, The Daily Telegraph (London), 5 July 2010).

Farther reading [edit]

• Buch, Esteban, Beethoven's Ninth: A Political History, translated by Richard Miller, ISBN 0-226-07824-viii (University of Chicago Press)
• Parsons, James, "Deine Zauber binden wieder: Beethoven, Schiller, and the Joyous Reconciliation of Opposites" ("Your magic binds over again"), Beethoven Forum (2002) ix/1, 1–53.
• Rasmussen, Michelle, "All Men Become Brothers: The Decades-Long Struggle for Beethoven'due south 9th Symphony", Schiller Institute, June, 2015.
• Taruskin, Richard, "Resisting the Ninth", in his Text and Human action: Essays on Music and Performance (Oxford University Press, 1995).
• Wegner, Sascha (2018). Symphonien aus dem Geiste der Vokalmusik : Zur Finalgestaltung in der Symphonik im 18. und frühen 19. Jahrhundert. Stuttgart: J. B. Metzler.

External links [edit]

Scores, manuscripts and text

• Symphony No. ix, Op. 125: Scores at the International Music Score Library Projection
• Gratuitous sheet music of Symphony No. ix from Cantorion.org
• Original manuscript (site in German language)
• Score, William and Gayle Melt Music Library, Indiana Academy School of Music
• Text/libretto, with translation, in English and German
• Sources for the metronome marks.

Assay

• Beethoven Symphony No. 9, an analysis from all-nearly-beethoven.com
• Analysis for students (with timings) of the final move, at Washington State University
• Hinton, Stephen (Summertime 1998). "Not Which Tones? The Crux of Beethoven's Ninth". 19th-Century Music. 22 (one): 61–77. doi:10.1525/ncm.1998.22.one.02a00040. JSTOR 746792.
• Signell, Karl, "The Riddle of Beethoven'south Alla Marcia in his Ninth Symphony" (cocky-published)
• Beethoven 9, Benjamin Zander advocating a stricter adherence to Beethoven'due south metronome indications, with reference to Jonathan del Mar's research (earlier the Bärenreiter edition was published) and to Stravinsky's intuition about the right tempo for the Scherzo Trio

Audio

• Christoph Eschenbach conducting the Philadelphia Orchestra from National Public Radio
• Felix Weingartner conducting the Vienna Philharmonic Orchestra (1935 recording) from the Internet Annal
• Otto Klemperer conducting the Concertgebouw Orchestra (1956 live recording) from the Internet Archive

Video

• Furtwängler on 19 Apr 1942 on YouTube, Wilhelm Furtwängler conducting the Berlin Philharmonic on the eve of Hitler's 53rd birthday
• 1st mvt. on YouTube, 2nd mvt. on YouTube, 3rd mvt. on YouTube, 4th mvt. on YouTube, Nicholas McGegan conducting the Philharmonia Baroque Orchestra, graphical score
• Beethoven ninth on YouTube, Chicago Symphony Orchestra, Riccardo Muti conductor, Camilla Nylund soprano, Ekaterina Gubanova [Wikidata] mezzo-soprano, Matthew Polenzani tenor, Eric Owens bass-baritone, anniversary May 2015

Other textile

• Official Eu page about the anthem
• Program note past Richard Freed, Kennedy Centre, February 2004
• Following the Ninth: In the Footsteps of Beethoven's Final Symphony, Kerry Candaele'southward 2013 documentary film near the Ninth Symphony

barreradirly1980.blogspot.com

Source: https://en.wikipedia.org/wiki/Symphony_No._9_(Beethoven)

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