Beethoven Symphony No. 9 Wish you all a #Merry_Christmas and a Happy Festive Season ahead. Let Life be full with Love, Prosperity and #Beethoven_Symphony_no_9 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.[1] Among critics, it is almost universally considered to be among Beethovens greatest works, and is considered by some 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, Beethovens autograph score of the Ninth Symphony, held by the Berlin State Library, was added to the United Nations World Heritage List,[3] becoming the first musical score to be so honoured.[4] History Composition The Philharmonic Society of London originally commissioned the symphony in 1817. The main composition work was done between autumn 1822 and the completion of the autograph in February 1824. The symphony emerged from other pieces by Beethoven that, while completed works in their own right, are also in some sense sketches for the future symphony. The Choral Fantasy Opus. 80 (1808), basically a piano concerto movement, brings in a chorus and vocal soloists near the end to form the climax. As in the Ninth Symphony, the vocal forces sing a theme first played instrumentally, and this theme is highly reminiscent of the corresponding theme in the Ninth Symphony (for a detailed comparison, see Choral Fantasy). Going further back, an earlier version of the Choral Fantasy theme is found in the song Gegenliebe (Returned Love), for piano and high voice, which dates from before 1795.[7] According to Robert W. Gutman, Mozarts K. 222 Offertory in D minor, Misericordias Domini, written in 1775, contains a melody that foreshadows Ode to Joy.[8] Premiere Although his major works had primarily been premiered in Vienna, Beethoven was eager to have his latest composition performed in Berlin as soon as possible after finishing it, since he thought that musical taste in Vienna had become dominated by Italian composers such as Rossini.[9] 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. Beethoven was flattered by the adoration of Vienna, so the Ninth Symphony was premiered on 7 May 1824 in the Theater am Kärntnertor in Vienna, along with the overture The Consecration of the House (Die Weihe des Hauses) and three parts of the Missa solemnis (the Kyrie, Credo, and the Agnus Dei). This was the composers first on-stage appearance in 12 years; the hall was packed with an eager audience and a number of musicians.[10] The premiere of Symphony No. 9 involved the largest orchestra ever assembled by Beethoven[10] and required the combined efforts of the Kärntnertor house orchestra, The Vienna Music Society (Gesellschaft der Musikfreunde), along with a select group of capable amateurs. While no complete list of premiere performers exists, many of Viennas most elite performers are known to have participated. Carolina Ungher, who sang the contralto part at the first performance and who is credited with turning Beethoven to face the applauding audience. The soprano and alto parts were interpreted by two famous young singers: Henriette Sontag and Caroline Unger. German soprano Henriette Sontag (1806–1854) was eighteen years old when Beethoven personally recruited her to perform in the premiere of the Ninth Symphony. Also personally recruited by Beethoven, 21 year old contralto Caroline Unger (1803–1877), a native of Vienna, had gained critical praise in 1821 appearing in Rossinis Tancredi. After performing in Beethovens 1824 premiere, Unger found fame in Italy and Paris. Italian composers Donizetti and Bellini were known to have written roles specifically for her voice. Although the performance was officially directed by Michael Umlauf, the theatres Kapellmeister, Beethoven shared the stage with him. However, two years earlier, Umlauf had watched as the composers attempt to conduct a dress rehearsal of his opera Fidelio ended in disaster. So this time, he instructed the singers and musicians to ignore the almost totally deaf Beethoven. At the beginning of every part, Beethoven, who sat by the stage, gave the tempos. He was turning the pages of his score and beating time for an orchestra he could not hear. There are a number of anecdotes about the premiere of the Ninth. Based on the testimony of the participants, there are suggestions that it was under-rehearsed (there were only two full rehearsals) and rather scrappy in execution. On the other hand, the premiere was a great success. In any case, Beethoven was not to blame, as violinist Joseph Böhm recalled: Beethoven directed the piece himself; that is, he stood before the lectern and gesticulated furiously. At times he rose, at other times he shrank to the ground, he moved as if he wanted to play all the instruments himself and sing for the whole chorus. All the musicians minded his rhythm alone while playing. When the audience applauded—testimonies differ over whether at the end of the scherzo or the whole symphony—Beethoven was several measures off and still conducting. Because of that, the contralto Caroline Unger walked over and turned Beethoven around to accept the audiences cheers and applause. According to one witness, the public received the musical hero with the utmost respect and sympathy, listened to his wonderful, gigantic creations with the most absorbed attention and broke out in jubilant applause, often during sections, and repeatedly at the end of them. The whole audience acclaimed him through standing ovations five times; there were handkerchiefs in the air, hats, raised hands, so that Beethoven, who could not hear the applause, could at least see the ovation gestures. Editions The first German edition was printed by B. Schotts Söhne (Mainz) in 1826. The Breitkopf & Härtel edition dating from 1864 has been used widely by orchestras.[15] In 1997 Bärenreiter published an edition by Jonathan Del Mar.[16] According to Del Mar, this edition corrects nearly 3000 mistakes in the Breitkopf edition, some of which were remarkable.[17] David Levy, however, criticized this edition, saying that it could create quite possibly false traditions.[18] Breitkopf also published a new edition by Peter Hauschild in 2005.[19] While many of the modifications in the newer editions make minor alterations to dynamics and articulation, both editions change the orchestral lead-in to the final statement of the choral theme in the fourth movement (IV: m525 m542). The newer versions alter the articulation of the horn calls, creating syncopation that no longer relates to the previous motive. The new Breitkopf & Härtel and Bärenreiter make this alteration differently, but the result is a reading that is different from what was commonly accepted based on the 1864 Breitkopf edition. While both Breitkopf & Härtel and Bärenreiter consider their editions the most accurate versions available—labeling them Urtext editions—their conclusions are not universally accepted. In his monograph Beethoven—the ninth symphony, David Levy describes the rationale for these changes and the danger of calling the editions Urtext. Instrumentation 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 two players to each wind part. Woodwinds Piccolo (fourth movement only) 2 Flutes 2 Oboes 2 Clarinets in A, B-flat and C 2 Bassoons Contrabassoon (fourth movement only) Brass 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) Percussion Timpani Bass drum (fourth movement only) Triangle (fourth movement only) Cymbals (fourth movement only) Voices (fourth movement only) Soprano solo Alto solo Tenor solo Baritone solo SATB Choir (Tenor briefly divides) Strings Violins I, II Violas Cellos Double basses Form This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2011) The symphony is in four movements, marked as follows: 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! Beethoven changes the usual pattern of Classical symphonies in placing the scherzo movement before the slow movement (in symphonies, slow movements are usually placed before scherzi[21]).[citation needed] This was the first time that he did this in a symphony, although he had done so in some previous works (including the quartets Op. 18 no. 5, the Archduke piano trio Op. 97, the Hammerklavier piano sonata Op. 106). Haydn, too, had used this arrangement in a number of his own works such as the String Quartet No. 30 in E-flat major. First movement First movement Problems playing this file? See media help. Allegro ma non troppo, un poco maestoso. Duration approx. 15 mins. 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 Beethovens 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 openings 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 Second movement Problems playing this file? See media help. Scherzo: Molto vivace – Presto. Duration approx. 12 mins. 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 Third movement Problems playing this file? See media help. Adagio molto e cantabile – Andante Moderato – Tempo Primo – Andante Moderato – Adagio – Lo Stesso Tempo. Duration approx. 16 mins. 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 Fourth movement Problems playing this file? See media help. Presto; Allegro molto assai (Alla marcia); Andante maestoso; Allegro energico, sempre ben marcato. Duration approx. 24 mins. The famous choral finale is Beethovens musical representation of Universal Brotherhood. American pianist and music author Charles Rosen has characterized it as a symphony within a symphony, played without interruption.[22] 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 organized 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.[23] Text of the fourth movement The text is largely taken from Schillers Ode to Joy, with a few additional introductory words written specifically by Beethoven (shown in italics).[24] The text without repeats is shown below, with a translation into English. The score includes many repeats. For the full libretto including all repetitions see German Wikisource. 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 the 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 wers 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 natures 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 prächtgen 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, überm Sternenzelt Muss ein lieber Vater wohnen. Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such ihn überm 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. Towards the end of the movement, the choir sings the last four lines of the main theme, concluding with Alle Menschen, before the soloists sing for one last time the song of joy at a slower tempo. The chorus repeats parts of Seid umschlungen, Millionen! ..., then quietly sings, Tochter aus Elysium. And finally, Freude, schöner Götterfunken, Götterfunken!.[26] with the orchestra playing prestissimo. Reception Among music critics, the Ninth Symphony is almost universally considered to be among Beethovens greatest works, and is considered by some to be the greatest piece of music ever written.[1] Yet early critics rejected it as cryptic and eccentric, the product of a deaf and aging composer.[1] The finale of the Ninth has had detractors. Giuseppe Verdi complained about the vocal writing; in a letter he wrote to Clarina Maffei dated 20 April 1878, he stated that the symphony was: ...marvelous in its first three movements, very badly set in the last. No one will ever surpass the sublimity of the first movement, but it will be an easy task to write as badly for voices as is done in the last movement. Gustav Leonhardt objected to the text itself, saying: That Ode to Joy, talk about vulgarity! And the text! Completely puerile! Performance challenges Metronome markings Conductors in the historically informed performance movement, notably Roger Norrington,[28][29] have used Beethovens suggested tempos, to mixed reviews. Benjamin Zander has made a case for following Beethovens metronome markings, both in writing[17] and in performances with the Boston Philharmonic Orchestra and Philharmonia Orchestra of London. Beethovens metronome still exists, and it has been tested and found to be accurate. Re-orchestrations and alterations A number of conductors have made alterations in the instrumentation of the symphony, notably Richard Wagner, who doubled many woodwind passages, a modification greatly extended by Gustav Mahler,[33] who revised the orchestration of the Ninth to make it sound like what he believed Beethoven would have wanted if given a modern orchestra. Wagners Dresden performance of 1864 was the first to place the chorus and the solo singers behind the orchestra as has since become standard; previous conductors placed them between the orchestra and the audience. Horn and trumpet alterations Beethovens writing for horns and trumpets throughout the symphony (mostly the 2nd horn and 2nd trumpet) is sometimes altered by performers to avoid large leaps (those of a 12th or more), as leaps of this sort are very difficult to perform on brass instruments and may be consistently and flawlessly executed only by highly proficient musicians. 2nd bassoon doubling basses in the finale Beethovens indication that the 2nd bassoon should double the basses in measures 115–164 of the finale was not included in the Breitkopf parts, though it was included in the full score. Notable performances and recordings The London Philharmonic Choir debuted on 15 May 1947 performing the Ninth Symphony with the London Philharmonic Orchestra under the baton of Victor de Sabata at the Royal Albert Hall. In 1951 Wilhelm Furtwängler and the Bayreuth Festival Orchestra reopened the Bayreuth Festival with a performance of the symphony, after the Allies temporarily suspended the Festival following the Second World War. Political significance has attached to Beethovens Ninth: Leonard Bernstein conducted a version of the 9th at the Brandenburg Gate, with Freiheit (Freedom) replacing Freude (Joy), to celebrate the fall of the Berlin Wall during Christmas 1989.[40] This concert was performed by an orchestra and chorus made up of many nationalities: from 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; members of the orchestra of the Kirov Theatre; from the United Kingdom, members of the London Symphony Orchestra; from the USA, 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 Jan-Hendrik Rootering, bass.[41] It was the last time that Bernstein conducted the symphony; he died ten months later. Bernstein made his first recording of the Beethoven Ninth in 1964 with the New York Philharmonic, for Columbia Masterworks, with soloists Martina Arroyo (soprano), Regina Safarty (mezzo), Nicholas di Virgilio (tenor), Norman Scott (bass), and the Juilliard Chorus. It was later reissued on CD. It was the first of three complete recordings of the Ninth that Bernstein made. He made his second recording of the piece with the Vienna Philharmonic for Deutsche Grammophon, in 1979. This second one featured Gwyneth Jones (soprano), Hanna Schwarz (mezzo), René Kollo, and Kurt Moll (bass), with the chorus of the Vienna State Opera. Sir Georg Solti recorded the symphony with the Chicago Symphony Orchestra several times. Their last recording of this symphony in 1986 won the Grammy for Best Orchestral Recording. There have been various attempts to record the Ninth to come closer to what Beethovens contemporaries would have heard, i.e., with period instruments. Roger Norrington conducting the London Classical Players recorded it with period instruments for a 1987 release by EMI Records (rereleased in 1997 under the Virgin Classics label). Benjamin Zander made a 1992 recording of the Ninth with the Boston Philharmonic Orchestra and noted soprano Dominique Labelle (who first performed the work with Robert Shaw), following Beethovens own metronome markings. 12 years later after Norrington, Philippe Herreweghe recorded the Ninth with his period-instrument Orchestre des Champs-Élysées and his Collegium Vocale chorus for Harmonia Mundi in 1999. Sir John Eliot Gardiner recorded his period-instrument version of the Ninth Symphony,[44] conducting his Monteverdi Choir and Orchestre Révolutionnaire et Romantique in 1992. It was first released by Deutsche Grammophon in 1994 on their early music Archiv Produktion label as part of his complete cycle of the Beethoven symphonies. His soloists included Ľuba Orgonášová, Anne Sofie von Otter, Anthony Rolfe Johnson and Gilles Cachemaille. An additional period-instrument recording by Christopher Hogwood and the Academy of Ancient Music was released in 1997 under the label Éditions de lOiseau-Lyre. At 79 minutes, one of the longest Ninths recorded is Karl Böhms, conducting the Vienna Philharmonic in 1981 with Jessye Norman and Plácido Domingo among the soloists. Osmo Vänskä, conducting the Minnesota Orchestra, recorded the symphony as part of a cycle of all the Beethoven symphonies. Released on the BIS label, it included soloists Helena Juntunen, Katarina Karnéus, Daniel Norman and Neal Davies, as well as the Minnesota Chorale. It received a positive critical reception, including a Grammy Award nomination in the Best Orchestral Performance category. Influence Use as anthem During the division of Germany in the Cold War, the Ode to Joy segment of the symphony was also played in lieu of an anthem at the Olympic Games for the Unified Team of Germany between 1956 and 1968. In 1972, the musical backing (without the words) was adopted as the Anthem of Europe by the Council of Europe and subsequently by the European Communities (now the European Union) in 1985.[55][56] The Ode to Joy was used as the national anthem of Rhodesia between 1974 and 1979, as Rise, O Voices of Rhodesia. Use as a hymn melody In 1907, the Presbyterian pastor Henry van Dyke wrote the hymn Joyful, Joyful, we adore thee while staying at Williams College. The hymn is commonly sung in English-language churches to the Hymn to Joy melody from Beethovens 9th symphony. New Years tradition in Japan The Symphony No. 9, with accompanying chorus, is traditionally performed throughout Japan during its New Years celebrations. In December 2009, for example, there were 55 performances of the symphony by various major orchestras and choirs in Japan. The Ninth was introduced to Japan by German soldiers held at the Bandō prisoner-of-war camp during World War I. Japanese orchestras, notably the NHK Symphony Orchestra, began performing the symphony in 1925. During World War II, the Imperial government promoted performances of the symphony, including on New Years Eve, to encourage allegiance to Japanese nationalism. The symphony was considered appropriate in this regard because Germany was an ally of Japan. After the war, orchestras and choruses, undergoing economic hard times during the reconstruction of Japan, promoted performances of the piece around New Year because of the popularity of the music with the public. In the 1960s, performances of the symphony for the New Year became more widespread and included participation by local choirs and orchestras, establishing the tradition which continues to this day – and which includes, since 2003, a concert of all nine symphonies.
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