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| Ludwig van Beethoven |
Title: Symphony No. 9 in D minor, Op. 125
Composer: Ludwig van Beethoven
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| Theather am Kärntnertor in Vienna |
Composed in 1824
First Premiered premiered on 7 May 1824 in the Theater am Kärntnertor in Vienna
The Symphony No. 9 in D minor, Op. 125 (sometimes known simply as "the Choral"), is the final complete symphony of Ludwig van Beethoven (1770–1827). Completed in 1824, the symphony is one of the best-known works of the repertoire of classical music. Among critics, it is almost universally considered to be Beethoven's greatest work, and is considered by many to be the greatest piece of music ever written.
The symphony was the first example of a major composer using voices in a symphony (thus making it a choral symphony). The words are sung during the final movement by four 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 additions made by the composer. Today, it stands as one of the most played symphonies in the world.
In 2001, Beethoven's autograph score of the Ninth Symphony, held by the Berlin State Library, was added to the United Nations World Heritage List, becoming the first musical score to be so honoured.
Music
Instrumental
- Piccolo (fourth movement only)
- 2 Flutes
- 2 Oboes
- 2 Clarinets in A, B-flat and C
- 2 Bassoons
- Contrabassoon (fourth movement only)
- 2 Horns (1 and 2) in D and B-flat
- 2 Horns (3 and 4) in B-flat (bass), B-flat and E-flat
- 2 Trumpets in D and B-flat
- 3 Trombones (alto, tenor, and bass; second and fourth movements only)
- Timpani
- Bass drum (fourth movement only)
- Triangle (fourth movement only)
- Cymbals (fourth movement only)
- Violins I, II
- Violas
- Cellos
- Double basses
Voices (fourth movement only)
- Soprano solo
- Alto solo
- Tenor solo
- Baritone solo
- SATB Choir (Tenor briefly divides)
Form
The symphony is in 4 movements:
- Allegro ma non troppo, un poco maestoso
- Scherzo: Molto vivace – Presto
- Adagio molto e cantabile – Andante moderato – Tempo primo – Andante moderato – Adagio – Lo stesso tempo
- Recitative: (Presto – Allegro ma non troppo – Vivace – Adagio cantabile – Allegro assai – Presto: O Freunde) – Allegro molto assai: Freude, schöner Götterfunken – Alla marcia – Allegro assai vivace: Froh, wie seine Sonnen – Andante maestoso: Seid umschlungen, Millionen! – Adagio ma non troppo, ma divoto: Ihr, stürzt nieder – Allegro energico, sempre ben marcato: (Freude, schöner Götterfunken – Seid umschlungen, Millionen!) – Allegro ma non tanto: Freude, Tochter aus Elysium! – Prestissimo, Maestoso, Molto prestissimo: Seid umschlungen, Millionen!
First movement (Allegro ma non troppo, un poco maestoso)
The first movement is in sonata form, and the mood is often stormy. The opening theme, played pianissimo over string tremolos, so much resembles the sound of an orchestra tuning, many commentators have suggested that was Beethoven's inspiration. But from within that musical limbo emerges a theme of power and clarity which will drive the entire movement. Later, at the outset of the recapitulation section, it returns fortissimo in D major, rather than the opening's D minor. The introduction also employs the use of the mediant to tonic relationship which further distorts the tonic key until it is finally played by the bassoon in the lowest possible register.
The coda employs the chromatic fourth interval.
Second movement (Scherzo: Molto vivace – Presto)
The second movement, a scherzo and trio, is also in D minor, with the introduction bearing a passing resemblance to the opening theme of the first movement, a pattern also found in the Hammerklavier piano sonata, written a few years earlier. At times during the piece, Beethoven directs that the beat should be one downbeat every three beats, perhaps because of the very fast pace of the movement, with the direction ritmo di tre battute ("rhythm of three beats"), and one beat every four bars with the direction ritmo di quattro battute ("rhythm of four beats”).
Beethoven had been criticised before for failing to adhere to standard form for his compositions. He used this movement to answer his critics. Normally, scherzi are written in triple time. Beethoven wrote this piece in triple time, but it is punctuated in a way that, when coupled with the speed of the metre, makes it sound as though it is in quadruple time.
While adhering to the standard ternary design of a dance movement (scherzo-trio-scherzo, or minuet-trio-minuet), the scherzo section has an elaborate internal structure; it is a complete sonata form. Within this sonata form, the first group of the exposition starts out with a fugue before modulating to C major for the second part of the exposition. The exposition is then repeated before a short development section. The recapitulation further develops the exposition, also containing timpani solos. A new development section is played before the recapitulation is repeated, and the scherzo concludes with a brief codetta.
The contrasting trio section is in D major and in duple time. The trio is the first time the trombones play in the movement. Following the trio, the second occurrence of the scherzo, unlike the first, plays through without any repetition, after which there is a brief reprise of the trio, and the movement ends with an abrupt coda.
Third movement (Adagio molto e cantabile – Andante Moderato – Tempo Primo – Andante Moderato – Adagio – Lo Stesso Tempo)
The lyrical slow movement, in B-flat major, is in a loose variation form, with each pair of variations progressively elaborating the rhythm and melody. 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 first in D major, the second in G major. The final variation is twice interrupted by episodes in which loud fanfares for the full orchestra are answered by octaves played by the first violins alone. A prominent horn solo is assigned to the fourth player. Trombones are tacet for the movement.
Fourth movement (Presto; Allegro molto assai (Alla marcia); Andante maestoso; Allegro energico, sempre ben marcato)
The famous choral finale is Beethoven's musical representation of Universal Brotherhood. American pianist and music author Charles Rosen has characterised it as a symphony within a symphony, played without interruption. This "inner symphony" follows the same overall pattern as the Ninth Symphony as a whole. The scheme is as follows:
- First "movement": theme and variations with slow introduction. Main theme which first appears in the cellos and basses is later "recapitulated" with voices.
- Second "movement": 6/8 scherzo in military style (begins at "Alla marcia", words "Froh, wie seine Sonnen fliegen"), in the "Turkish style". Concludes with 6/8 variation of the main theme with chorus.
- Third "movement": slow meditation with a new theme on the text "Seid umschlungen, Millionen!" (begins at "Andante maestoso")
- Fourth "movement": fugato finale on the themes of the first and third "movements" (begins at "Allegro energico”)
The movement has a thematic unity, in which every part may be shown to be based on either the main theme, the "Seid umschlungen" theme, or some combination of the two.
The first "movement within a movement" itself is organised into sections:
- An introduction, which starts with a stormy Presto passage. It then briefly quotes all three of the previous movements in order, each dismissed by the cellos and basses which then play in an instrumental foreshadowing of the vocal recitative. At the introduction of the main theme, the cellos and basses take it up and play it through.
- The main theme forms the basis of a series of variations for orchestra alone.
- The introduction is then repeated from the Presto passage, this time with the bass soloist singing the recitatives previously suggested by cellos and basses.
- The main theme again undergoes variations, this time for vocal soloists and chorus.
Text (Lyrics) of Fourth Movement:
German: Black
English : Red
O Freunde, nicht diese Töne!
Sondern lasst uns angenehmere anstimmen,
und freudenvollere.
Freude!
Oh friends, not these sounds!
Let us instead strike up more pleasing
and more joyful ones!
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, beautiful spark of divinity,
Daughter from Elysium,
We enter, burning with fervour,
heavenly being, your sanctuary!
Your magic brings together
what custom has sternly divided.
All men shall become 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's nie gekonnt, der stehle
Weinend sich aus diesem Bund!
Whoever has been lucky enough
to become a friend to a friend,
Whoever has found a beloved wife,
let him join our songs of praise!
Yes, and anyone who can call one soul
his own on this earth!
Any who cannot, let them slink away
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 creature drinks in joy
at nature's breast;
Good and Bad 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 as His suns hurtle
through the glorious universe,
So you, brothers, should run your course,
joyfully, like a conquering hero.
Seid umschlungen, Millionen!
Diesen Kuss der ganzen Welt!
Brüder, über'm 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 world!
Brothers, above the canopy of stars
must dwell a loving father.
Do you bow down before Him, you millions?
Do you sense your Creator, o world?
Seek Him above the canopy of stars!
He must dwell beyond the stars.
Beethoven’s Symphony No.9 (Full Movement) video:
Beethoven’s Symphony No.9 (Full Score) pdf file:
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