Symphony No.

9 (Beethoven)
poser using voices in a symphony[2] (thus making it a
choral symphony). The words are sung during the nal
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 Memory of the World Programme Heritage list, becoming the rst musical score so honoured.

1 History

A page from Beethovens manuscript of the 9th Symphony

1.1 Composition
The Philharmonic Society of London originally commissioned the symphony in 1817.[3] The main composition
work was done between autumn 1822 and the completion of the autograph in February 1824.[4]
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 rst 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.[5] According to
Robert W. Gutman, Mozarts K. 222 Oertory in D minor, Misericordias Domini, written in 1775, contains a
melody that foreshadows Ode to Joy.[6]
Portrait of Ludwig van Beethoven in 1820. Beethoven was almost completely deaf when he composed his ninth symphony.

1.2 Premiere

The Symphony No. 9 in D minor, Op. 125 (also known

as the Choral), is Ludwig van Beethoven's nal complete symphony. Completed in 1824, the symphony is
one of the best-known works in classical music.[1] Among
critics, it is almost universally considered Beethovens
greatest work, and many consider it one of the greatest
compositions in the western musical canon.[1]

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
nishing it, since he thought that musical taste in Vienna had become dominated by Italian composers such
as Rossini.[7] When his friends and nanciers heard this,
they urged him to premiere the symphony in Vienna in
The symphony was the rst example of a major com- the form of a petition signed by a number of prominent
1

2
Viennese music patrons and performers.[7]
Beethoven was attered by the adoration of Vienna, so
the Ninth Symphony was premiered on 7 May 1824 in
the Theater am Krntnertor 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).

INSTRUMENTATION

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.

This was the composers rst on-stage appearance in 12

years; the hall was packed with an eager audience and a There are a number of anecdotes about the premiere of
the Ninth. Based on the testimony of the participants,
number of musicians.[8]
there are suggestions that it was under-rehearsed (there
The premiere of Symphony No. 9 involved the largest were only two full rehearsals) and rather scrappy in exeorchestra ever assembled by Beethoven[8] and required cution. On the other hand, the premiere was a great sucthe combined eorts of the Krntnertor house orchestra, cess. In any case, Beethoven was not to blame, as violinThe Vienna Music Society (Gesellschaft der Musikfre- ist Joseph Bhm recalled: Beethoven directed the piece
unde), along with a select group of capable amateurs. himself; that is, he stood before the lectern and gesticuWhile no complete list of premiere performers exists, lated furiously. At times he rose, at other times he shrank
many of Viennas most elite performers are known to to the ground, he moved as if he wanted to play all the inhave participated.[9]
struments himself and sing for the whole chorus. All the
musicians minded his rhythm alone while playing.
When the audience applaudedtestimonies dier over
whether at the end of the scherzo or the whole
symphonyBeethoven was several measures o 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 ve 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.

1.3 Editions
Carolina Unger, who sang the contralto part at the rst 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 (18061854)
was eighteen years old when Beethoven personally recruited her to perform in the premiere of the Ninth
Symphony.[10][11]

The rst German edition was printed by B. Schotts Shne

(Mainz) in 1826. The Breitkopf & Hrtel edition dating
from 1864 has been used widely by orchestras.[13] In 1997
Brenreiter published an edition by Jonathan Del Mar.[14]
According to Del Mar, this edition corrects nearly 3,000
mistakes in the Breitkopf edition, some of which were
remarkable.[15] David Levy, however, criticized this
edition, saying that it could create quite possibly false
traditions.[16] Breitkopf also published a new edition by
Peter Hauschild in 2005.[17]

Also personally recruited by Beethoven, 21 year old

contralto Caroline Unger (18031877), a native of Vienna, had gained critical praise in 1821 appearing in
Rossinis Tancredi. After performing in Beethovens 2 Instrumentation
1824 premiere, Unger found fame in Italy and Paris. Italian composers Donizetti and Bellini were known to have The symphony is scored for the following orchestra.
written roles specically for her voice.[12]
These are by far the largest forces needed for any
Although the performance was ocially directed by Beethoven symphony; at the premiere, Beethoven augMichael Umlauf, the theatres Kapellmeister, Beethoven mented them further by assigning two players to each

3.2

Second movement

wind part.[18]

3.2 Second movement

Scherzo: Molto vivace Presto. Duration approx. 12

mins.

Form

The symphony is in four movements, marked as follows:

1. Allegro ma non troppo, un poco maestoso
2. Scherzo: Molto vivace Presto
3. Adagio molto e cantabile Andante moderato
Tempo primo Andante moderato Adagio Lo
stesso tempo
4. Recitative: (Presto Allegro ma non troppo Vivace Adagio cantabile Allegro assai Presto:
O Freunde) Allegro molto assai: Freude, schner
Gtterfunken Alla marcia Allegro assai vivace:
Froh, wie seine Sonnen Andante maestoso: Seid
umschlungen, Millionen! Adagio ma non troppo,
ma divoto: Ihr, strzt nieder Allegro energico,
sempre ben marcato: (Freude, schner Gtterfunken 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 scherzo[19] ). This was the rst 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-at major.

3.1

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 rst movement, a pattern also
found in the Hammerklavier piano sonata, written a few
years earlier. At times during the piece, Beethoven species one downbeat every three beatsperhaps because
of the fast tempowith 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, a scherzo is in
triple time. Beethoven wrote this piece in triple time, but
punctuated it in a way that, when coupled with the tempo,
makes it sound as if it were 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
rst group of the exposition starts out with a fugue before
modulating to C major for the second part. The exposition then repeats before a short development section. The
recapitulation further develops the exposition, also containing timpani solos. A new development section leads
to the repeat of the recapitulation, and the scherzo concludes with a brief codetta.
The contrasting trio section is in D major and in duple
time. The trio is the rst time the trombones play in the
movement. Following the trio, the second occurrence of
the scherzo, unlike the rst, plays through without any
repetition, after which there is a brief reprise of the trio,
and the movement ends with an abrupt coda.

First movement

Allegro ma non troppo, un poco maestoso. Duration ap- 3.3

prox. 15 mins.
The rst 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 inspirationbut from within that musical limbo emerges a theme of power and clarity that
later drives the entire movement. At the outset of the
recapitulation section, the theme returns fortissimo in D
major, rather than the openings D minor. The introduction also uses the mediant to tonic relationship, which further distorts the tonic key until, nally, the bassoon plays
in its lowest possible register.
The coda employs the chromatic fourth interval.

Third movement

Adagio molto e cantabile Andante Moderato Tempo

Primo Andante Moderato Adagio Lo Stesso Tempo.
Duration approx. 16 mins.
The lyrical slow movement, in B-at major, is in a loose
variation form, with each pair of variations progressively
elaborating the rhythm and melody. The rst variation,
like the theme, is in 4/4 time, the second in 12/8. The
variations are separated by passages in 3/4, the rst in
D major, the second in G major. The nal variation is
twice interrupted by episodes in which loud fanfares for
the full orchestra are answered by octaves played by the
rst violins alone. A prominent horn solo is assigned to
the fourth player. Trombones are tacet for the movement.

3.4

Fourth movement

PERFORMANCE CHALLENGES

3.4.1 Text of the fourth movement

Presto; Allegro molto assai (Alla marcia); Andante The text is largely taken from Schiller's "Ode to Joy", with
maestoso; Allegro energico, sempre ben marcato. Du- a few additional introductory words written specically
by Beethoven (shown in italics).[22] The text without reration approx. 24 mins.
peats is shown below, with a translation into English.[23]
The famous choral nale is Beethovens musical repThe score includes many repeats. For the full libretto,
resentation of Universal Brotherhood. American piincluding all repetitions, see German Wikisource.[24]
anist and music scholar Charles Rosen has characterized it as a symphony within a symphony, played without Towards the end of the movement, the choir sings the
interruption.[20] This inner symphony follows the same last four lines of the main theme, concluding with "Alle
overall pattern as the Ninth Symphony as a whole. The Menschen", before the soloists sing for one last time the
song of joy at a slower tempo. The chorus repeats parts
scheme is as follows:
of "Seid umschlungen, Millionen! ...", then quietly sings,
"Tochter aus Elysium". And nally, "Freude, schner Gt First movement": theme and variations with slow terfunken, Gtterfunken!".[24]
introduction. The main theme, which rst appears
in the cellos and basses, is later recapitulated with
voices.

4 Reception

Second movement": 6/8 scherzo in military style

(begins at Alla marcia, words Froh, wie seine
Sonnen iegen), in the "Turkish style"and concludes with a 6/8 variation of the main theme with
chorus.

Music critics almost universally consider the Ninth Symphony one of Beethovens greatest works,[25] and among
the greatest musical works ever written. The nale, however, has its detractors. Early critics rejected [the nale]
as cryptic and eccentric, the product of a deaf and aging
Third movement": slow meditation with a new composer.[1] Giuseppe Verdi complained about the votheme on the text Seid umschlungen, Millionen!" cal writing;[1] in a letter he wrote to Clarina Maei dated
(begins at "Andante maestoso)
20 April 1878, he said the symphony was:
Fourth movement": fugato nale on the themes of
the rst and third movements (begins at "Allegro
energico)
The movement has a thematic unity, in which every part is
based on either the main theme, the Seid umschlungen
theme, or some combination of the two.

...marvelous in its rst three movements,

very badly set in the last. No one will ever surpass the sublimity of the rst 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:

The rst movement within a movement itself is orga- That 'Ode to Joy', talk about vulgarity! And the text!
nized into sections:
Completely puerile!"[26]
An introduction, which starts with a stormy Presto
passage. It then briey quotes all three of the previ- 5 Performance challenges
ous movements in order, each dismissed by the cellos and basses, which then play in an instrumental
foreshadowing of the vocal recitative. At the intro- 5.1 Metronome markings
duction of the main theme, the cellos and basses take
Conductors in the historically informed performance
it up and play it through.
movement, notably Roger Norrington,[27][28] have
The main theme forms the basis of a series of used Beethovens suggested tempos, to mixed reviews. Benjamin Zander has made a case for following
variations for orchestra alone.
Beethovens metronome markings, both in writing[15]
The introduction is then repeated from the Presto and in performances with the Boston Philharmonic
[29][30]
passage, this time with the bass soloist singing the Orchestra and Philharmonia Orchestra of London.
recitatives previously suggested by cellos and basses. While one account holds that Beethovens metronome
still exists and was tested and found accurate,[31] a recent
The main theme again undergoes variations, this study nds that his metronome was likely damaged and
time for vocal soloists and chorus.[21]
out of calibration.[32]

5.2

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 modication
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.[34]

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
Knig, 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 rst 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 rst of three complete
recordings of the Ninth that Bernstein made. He made his
5.2.1 Horn and trumpet alterations
second recording of the piece with the Vienna Philharmonic for Deutsche Grammophon, in 1979. This second
Beethovens writing for horns and trumpets throughout one featured Gwyneth Jones (soprano), Hanna Schwarz
the symphony (mostly the 2nd horn and 2nd trumpet) (mezzo), Ren Kollo, and Kurt Moll (bass), with the chois sometimes altered by performers to avoid large leaps rus of the Vienna State Opera.[42]
(those of a 12th or more), as leaps of this sort are very
dicult to perform on brass instruments and may be con- Sir Georg Solti recorded the symphony with the Chicago
sistently and awlessly executed only by highly procient Symphony Orchestra and Chicago Symphony Chorus on
two occasions: rst in 1972 with soloists Pilar Lorenmusicians.[35]
gar, Yvonne Minton, Stuart Burrows, and Martti Talvela;
and again in 1986 with soloists Jessye Norman, Reinhild
5.2.2 2nd bassoon doubling basses in the nale
Runkel, Robert Schunk, and Hans Sotin. On both occasions, the chorus was prepared by Margaret Hillis. The
Beethovens indication that the 2nd bassoon should dou- second recording won the 1987 Grammy Award for Best
ble the basses in measures 115164 of the nale was not Orchestral Performance.[43]
included in the Breitkopf parts, though it was included in
There have been various attempts to record the Ninth to
the full score.[36]
come closer to what Beethovens contemporaries would
have heard, i.e., with period instruments. Roger Norrington conducting the London Classical Players recorded
6 Notable
performances
and it with period instruments for a 1987 release by EMI
Records (rereleased in 1997 under the Virgin Classics
recordings
label). Benjamin Zander made a 1992 recording of
the Ninth with the Boston Philharmonic Orchestra and
The London Philharmonic Choir debuted on 15 May
noted soprano Dominique Labelle (who rst performed
1947 performing the Ninth Symphony with the London
the work with Robert Shaw), following Beethovens own
Philharmonic Orchestra under the baton of Victor de
metronome markings. Twelve years later after NorSabata at the Royal Albert Hall.[37]
rington, Philippe Herreweghe recorded the Ninth with
In 1951 Wilhelm Furtwngler and the Bayreuth Festi- his period-instrument Orchestre des Champs-lyses and
val Orchestra reopened the Bayreuth Festival with a per- his Collegium Vocale chorus for Harmonia Mundi in
formance of the symphony, after the Allies temporar- 1999. Sir John Eliot Gardiner recorded his periodily suspended the Festival following the Second World instrument version of the Ninth Symphony,[44] conductWar.[38][39]
ing his Monteverdi Choir and Orchestre RvolutionPolitical signicance has attached to Beethovens Ninth: naire et Romantique in 1992. It was rst released by
Leonard Bernstein conducted a version of the 9th at Deutsche Grammophon in 1994 on their early music
the Brandenburg Gate, with "Freiheit" (Freedom) re- Archiv Produktion label as part of his complete cycle
placing "Freude" (Joy), to celebrate the fall of the of the Beethoven symphonies. His soloists included
Berlin Wall during Christmas 1989.[40] This concert uba Orgonov, Anne Soe von Otter, Anthony Rolfe
was performed by an orchestra and chorus made up of Johnson and Gilles Cachemaille. An additional periodmany nationalities: from Germany, the Bavarian Ra- instrument recording by Christopher Hogwood and the
dio Symphony Orchestra and Chorus, the Chorus of the Academy of Ancient Music was released in 1997 under
Berlin Radio Symphony Orchestra, and members of the the label ditions de l'Oiseau-Lyre.
Wagners Dresden performance of 1864 was the rst 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.[33]

Schsische Staatskapelle Dresden, the Philharmonischer At 79 minutes, one of the longest Ninths recorded is Karl
Kinderchor Dresden; members of the orchestra of the

11

REFERENCES

Bhm's, conducting the Vienna Philharmonic in 1981 the musical backing (without the words) was adopted as
with Jessye Norman and Plcido Domingo among the the Anthem of Europe by the Council of Europe and
soloists.[45]
subsequently by the European Communities (now the
European Union) in 1985.[54][55] The Ode to Joy was
used as the national anthem of Rhodesia between 1974
and 1979, as "Rise, O Voices of Rhodesia".[56]
7 Inuence
Many later composers of the Romantic period and beyond were inuenced specically by Beethovens Ninth
Symphony.
An important theme in the nale of Johannes Brahms
Symphony No. 1 in C minor is related to the Ode to Joy
theme from the last movement of Beethovens Ninth symphony. When this was pointed out to Brahms, he is reputed to have retorted Any fool can see that!" Brahmss
rst symphony was, at times, both praised and derided as
Beethovens Tenth.[46]
The Ninth Symphony inuenced the forms that Bruckner
used for the movements of his symphonies. Bruckners Symphony No. 3 is in the same D minor key as
Beethovens 9th and makes substantial use of thematic
ideas from it. The colossal slow movement of Bruckners
Symphony No. 7, as usual, takes the same ABAB
A form as the 3rd movement of Beethovens symphony,
and also uses some guration from it.[47]
In the opening notes of the third movement of his
Symphony No. 9 (The New World), Antonn Dvok
pays homage to the scherzo of this symphony with his
falling fourths and timpani strokes.[48]
Likewise, Bla Bartk borrows the opening motif of the
Scherzo from Beethovens Ninth symphony to introduce
the second movement Scherzo in his own, Four Orchestral Pieces, op. 12.[49][50]
One legend is that the compact disc was deliberately designed to have a 74-minute playing so that it could accommodate Beethovens Ninth Symphony. 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 diameter format. The 1951 performance of
the Ninth Symphony by Furtwngler was brought forward as the perfect excuse for the change.[51][52] A Philips
news release on 16 August 2007, celebrating the 25th anniversary of the Compact Disc, mentioned the parties
Philips and Sonyextended the Compact Disc capacity
to 74 minutes to accommodate a complete performance
of Beethovens 9th Symphony.[53]

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 Unied
Team of Germany between 1956 and 1968. In 1972,

9 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.[57] The hymn is commonly sung in
English-language churches to the Ode to Joy melody
from this symphony.

10 Year-ends tradition in Japan

The Ninth symphony is traditionally performed throughout Japan at the end of year. In December 2009, for example, there were 55 performances of the symphony by
various major orchestras and choirs in Japan.[58]
It was introduced to Japan during World War I by German prisoners held at the Band prisoner-of-war camp.
Japanese orchestras, notably the NHK Symphony Orchestra, began performing the symphony in 1925 and
during World War II, the Imperial government promoted
performances of the symphony, including on New Years
Eve. In an eort to capitalize on its popularity, orchestras and choruses undergoing economic hard times during
Japans reconstruction, performed the piece at years-end.
In the 1960s, these year-end performances of the symphony became more widespread, and included the participation of local choirs and orchestras, rmly establishing
a tradition that continues today.

11 References
[1] Beethoven: Symphony No. 9 (Cambridge Music Handbooks), Nicholas Cook, Cambridge University Press
(24 June 1993), product description (blurb). ISBN
9780521399241. Beethovens Ninth Symphony is acknowledged as one of the supreme masterpieces of the
Western tradition. More than any other musical work it
has become an international symbol of unity and armation.
[2] 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.
[3] Solomon, Maynard. Beethoven. New York: Schirmer
Books, 1997, p. 251.
[4] Breitkopf Urtext, Beethoven: Symphonie Nr. 9 d-moll,
op. 125, pbl.: Hauschild, Peter, p. VIII

[5] Hopkins (1981, 249)

[6] Robert W. Gutman, Mozart: A Cultural Biography, 1999,
pg. 344
[7] Sachs, Harvey (2010), The Ninth: Beethoven and the
World in 1824, Faber
[8] Levy, David Benjamin. Beethoven: The Ninth Symphony.
Yale University Press 2003.
[9] Kelly, Thomas Forrest (2000). First Nights: Five Musical
Premiers (Chapter 3). Yale University Press, 2001.
[10] Elson, Louis, Chief Editor. University Musical Encyclopedia of Vocal Music. University Society, New York, 1912
[11] Life of Henriette Sontag, Countess de Rossi. (Various
Authors) Stringer & Townsend, publishers. New York,
1852.

[25] . Dissenters, however, include Brahms, who wrote of

Mozarts opera The Marriage of Figaro, Every number
in Mozarts Figaro is a miracle; I nd it absolutely incomprehensible how anyone can create something so absolutely perfect; nothing like it has ever been done again,
not even by Beethoven. Peter Gay, Mozart: a Life, New
York, Penguin, 1999, p. 131. The same statement in a different translation from German is in Robert Harris, What
to Listen For in Mozart, 2002, ISBN 0743244044, p. 141.
[26] Gustav Leonhardt. The Economist. 31 January 2012.
Retrieved 31 January 2012.
[27] Norrington, Roger (14 March 2009). In tune with the
time. The Guardian.
[28] Norrington, Roger (14 March 2009). In tune with the
time. The Guardian (London: Guardian News and Media Limited). Retrieved 15 May 2013.

[12] Kennedy, Michael & Bourne, Joyce (1996). The Concise Oxford Dictionary of Music. Oxford University Press,
2007.

[29] Concert: Beethoven 9th, Benjamin Zander and the

Boston Philharmonic at Carnegie Hall by Bernhard Holland, The New York Times, 11 October 1983

[13] Del Mar, Jonathan (JulyDecember 1999). Jonathan Del

Mar, New Urtext Edition: Beethoven Symphonies 19.
British Academy Review. Retrieved 13 November 2007.

[30] 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

[14] Ludwig van Beethoven The Nine Symphonies The New

Brenreiter Urtext Edition. Retrieved 13 November
2007.

[31] Gunther Schuller, The Compleat Conductor

[15] Zander, Benjamin. Beethoven 9 The fundamental reappraisal of a classic. Retrieved 13 November 2007.
[16] Concerning the Review of the Urtext Edition of
Beethovens Ninth Symphony. Retrieved 13 November
2007.
[17] Beethoven The Nine Symphonies (PDF).
[18] Thayer, Alexander Wheelock. Thayers Life of Beethoven.
Revised and edited by Elliott Forbes. (Princeton, NJ:
Princeton University Press, 1973), p. 905.
[19] Jackson 1999, 26; Stein 1979, 106
[20] Rosen, Charles. The Classical Style: Haydn, Mozart,
Beethoven. page 440. New York: Norton, 1997.
[21] Other writers have interpreted the form of the last movement in dierent terms, including Heinrich Schenker and
Donald Tovey.
[22] Beethoven Foundation Schillers An die Freude and
Authoritative Translation.
[23] The translation is taken from the BBC Proms 2013
programme, for a concert held at the Royal Albert
Hall (Prom 38, 11 August 2013, http://www.bbc.co.uk/
proms/whats-on/2013/august-11/14710). This concert
was broadcast live on BBC Radio 3 and later on BBC4
television on 6 September 2013, where the same translation was used as subtitles.
[24] An die Freude (Beethoven), German Wikisource

[32] Sture Forsn, Harry B. Gray, L. K. Olof Lindgren,

and Shirley B. Gray. 2013. Was Something Wrong
with Beethovens Metronome?" Notices of the AMS
60(9):1146-1153.
[33] Raymond Holden, The iconic symphony: performing
Beethovens Ninth Wagners Way The Musical Times
Winter 2011
[34] Bauer-Lechner, Natalie: Erinnerungen an Gustav Mahler,
page 131. E.P. Tal & Co. Verlag, 1923
[35] Rimsky-Korsakov Principles of Orchestration
http://216.129.110.22/files/imglnks/usimg/4/41/
IMSLP21030-PMLP48692-Rimsky_Osnovy_Ch1.PDF
Though far less exible than the wood-wind, brass
instruments heighten the eect of other orchestral groups
... In spite of valves, the horn has little mobility. (pp.
2324)
[36] Del Mar, Jonathan (1981) Orchestral Variations: Confusion and Error in the Orchestral Repertoire London: Eulenburg Books, p. 43
[37] Anon. (April 1947). London Concerts. The Musical
Times (Musical Times Publications Ltd.) 88 (1250): 139.
doi:10.2307/933316. JSTOR 933316.
[38] Philips. Beethovens Ninth Symphony of greater importance than technology. Retrieved 9 February 2007.
[39] AES. AES Oral History Project: Kees A.Schouhamer
Immink. Retrieved 29 July 2008.
[40] Morin (2002), p. 98

[41] Naxos (2006). Ode To Freedom Beethoven: Symphony No. 9. Naxos.com Classical Music Catalogue. Retrieved 26 November 2006.
[42] http://www.leonardbernstein.com/disc_other.php?disc_
other_php=&disc_other.php=&page=8
[43] Grammy.com. Past Winners Search. Retrieved 5 April
2011.
[44] Talli Makell, Ludwig van Beethoven in Classical Music:
The Listeners Companion ed. Alexander J. Morin (San
Francisco: Backbeat Books, 2002), p. 99
[45] Ludwig van Beethoven (Composer), Karl Bhm (Conductor), Vienna Philharmonic Orchestra (Orchestra), Jessye
Norman (Performer), Plcido Domingo (Performer),
Brigitte Fassbaender (Performer), Walter Berry (Performer). Beethoven: Symphony No. 9.

13

EXTERNAL LINKS

12 Bibliography
Selected books and scholarly articles:
Buch, Esteban, Beethovens Ninth: A Political History, translated by Richard Miller, ISBN 0-22607824-8 (University Of Chicago Press)
Hopkins, Antony (1981) The Nine Symphonies of
Beethoven. London: Heinemann.
Levy, David Benjamin, Beethoven: the Ninth
Symphony, revised edition (Yale University Press,
2003).
Parsons, James, "Deine Zauber binden wieder:
Beethoven, Schiller, and the Joyous Reconciliation of Opposites (Your magic binds again),
Beethoven Forum (2002) 9/1, 153.

[46] Symphony No. 1 in C minor, Op. 68. The Kennedy Center, 2006

Sachs, Harvey (2010), The Ninth: Beethoven and the

World in 1824, Faber.

[47] Taruskin, Richard (2010). Music in the Nineteenth Century. The Oxford History of Western Music 3. New York:
Oxford University Press. pp. 747751. ISBN 978-0-19538483-3.

'Treads warily, accurately and responsibly

round the great unsleeping beast', The Daily
Telegraph, 3 July 2010.

[48] Steinberg, Michael. The Symphony: a listeners guide. page

153. Oxford University Press, 1995.

Taruskin, Richard, Resisting the Ninth, in his Text

and Act: Essays on Music and Performance (Oxford
University Press, 1995).

[49] Howard, Orrin. About the Piece | Four Orchestral

Pieces, op. 12. Los Angeles Philharmonic. Retrieved
27 December 2012.

13 External links

[50] Bartk, Bla (1912). 4 Pieces, Op. 12 Violin I (Musical

Score) (PDF). Universal Edition. p. 3.

Scores, manuscripts and text

[51] Cassidy, Fergus (23 October 2005). Great Lengths

(REPRINT). Sunday Tribune. Retrieved 21 December
2007.

Schott Musik International 31st and last publisher

of Beethoven & copyright holder OperaResource
RealHomann, A Brief History of Schott

[52] Immink, Kees A. Schouhamer (2007).

Shannon,
Beethoven, and the Compact Disc. IEEE Information
Theory Newsletter: 4246. Retrieved 21 December 2014.

Symphony No. 9: Scores at the International Music

Score Library Project

[53] Philips celebrates 25th anniversary of the Compact Disc

Free sheet music of Symphony No. 9 from Cantorion.org

[54] The European Anthem. Europa.

Original manuscript (site in German)

[55] Europa The EU at a glance The European Anthem

[56] Rhodesia picks Ode to Joy, The Vancouver Sun, 30 August 1974
[57] van Dyke, Henry (2004). The poems of Henry van Dyke.
Netherlands: Fredonia Books. ISBN 1410105741.
[58] Brasor, Philip, "Japan makes Beethovens Ninth No. 1
for the holidays", The Japan Times, 24 December 2010,
p. 20, retrieved on 24 December 2010;
Uranaka, Taiga, "Beethoven concert to fete students
wartime sendo", The Japan Times, 1 December 1999,
retrieved on 24 December 2010.

The William and Gayle Cook Music Library at the

Indiana University School of Musics has posted a
score for the symphony.
Text/libretto, with translation, in English and German
Symphony No. 9 is available in PDF format created
from MuseData.
Analysis
Beethoven Symphony No. 9, an analysis from allabout-beethoven.com

9
Analysis for students (with timings) of the nal
movement, at Washington State University

Program note from the Kennedy Center with information about the nale as it is and might have been

Hinton, Stephen (Summer 1998).

Not
Which Tones?
The Crux of Beethovens
Ninth.
19th-Century Music 22 (1): 6177.
doi:10.1525/ncm.1998.22.1.02a00040.
JSTOR
746792.

Following the Ninth: In the Footsteps of Beethovens

Final Symphony, Kerry Candaeles 2013 documentary lm about the Ninth Symphony

Signell, Karl, The Riddle of Beethovens Alla Marcia in his Ninth Symphony (self-published)
Beethoven 9, Benjamin Zander advocating a stricter
adherence to Beethovens metronome indications,
with reference to Jonathan del Mars research (before the Brenreiter edition was published) and to
Stravinskys intuition about the correct 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
Archive
Otto Klemperer conducting the Concertbegouw Orchestra (1956 Live Recording) from the Internet
Archive
Video
Furtwngler on 19 March 1942 on YouTube,
Wilhelm Furtwngler conducting the Berlin Philharmonic on the eve of Hitlers 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 9th on YouTube, Leonard Bernstein
conducting at The Freedom Concert in Berlin,
Christmas 1989
Beethoven 9th - fourth movement on YouTube,
Leonard Slatkin conducting the Fourth Movement
at The Last Night of the Proms in Royal Albert Hall,
a couple of days after 9/11 2001
Beethoven 9th - fourth movement, pt. 1 on
YouTube, Beethoven 9th - fourth movement, pt. 2
on YouTube,Daniel Barenboim conducting, Sumi
Jo performing
Other material
Ocial EU page about the anthem

10

14

14
14.1

TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

Text

Symphony No. 9 (Beethoven) Source: http://en.wikipedia.org/wiki/Symphony_No._9_(Beethoven)?oldid=664232075 Contributors:

Derek Ross, Zundark, RobLa, SimonP, Camembert, Nevilley, Jdlh, Bdesham, Michael Hardy, Gabbe, Yann, Flamurai, Georey~enwiki,
Arpingstone, Ahoerstemeier, Gyan, DropDeadGorgias, Feedmecereal, RodC, Johnwhite79, Dysprosia, Tarosan~enwiki, Hyacinth,
Jjshapiro, Ed g2s, Ann O'nyme, Bevo, Opus33, Raul654, Dpbsmith, AnonMoos, Skrim, EldKatt, Robbot, Pigsonthewing, Romanm,
Ashdurbat, Henrygb, Litefantastic, JackofOz, Mandel, Cyrius, Rsduhamel, DocWatson42, Ferkelparade, Dissident, Anton Mravcek,
TomViza, Varlaam, Cantus, BigHaz, Solipsist, Gugganij, Comatose51, JeyJeyMan2004, Nova77, R. end, SarekOfVulcan, SURIV,
Quadell, Antandrus, PFHLai, Clarknova, Grossdomestic, Marcus2, Ukexpat, Vsb, Robin klein, Trilobite, Phi1ip, Pyrop, Discospinster,
Rich Farmbrough, Guanabot, Francis Schonken, Samboy, Ibagli, Bumhoolery, Goochelaar, Sfahey, Dannow, Hayabusa future, Shanes,
RoyBoy, Goblim, Shenme, Viriditas, Cmdrjameson, Axe-Lander, Runnerupnj, Nk, CoolGuy, Physicistjedi, PWilkinson, Larry V, Nsaa,
Schissel, Zachlipton, Gary, JYolkowski, Ocean57, Richard Harvey, Arthena, Monk127, Ashley Pomeroy, Sade, Uucp, Amnesiac, T1980,
Pauli133, Netkinetic, Kitch, Mjpotter, FeanorStar7, Morning star, StradivariusTV, Uncle G, Davidkazuhiro, Pol098, Dbolton, Grika,
TreveX, Zzyzx11, Alan Canon, Pfalstad, A3r0, Graham87, Deltabeignet, Magister Mathematicae, Kbdank71, Canderson7, Sjakkalle,
Rjwilmsi, Eoghanacht, Missmarple, BlueMoonlet, Wahkeenah, Crazynas, Karmish, M A Mason, MarnetteD, AlisonW, Nguyen Thanh
Quang, Sango123, Robert Fraser, X1987x, SNIyer12, Matharvest, RobertG, Gurch, Scottrainey, Scroteau96, Chobot, Cjmarsicano, Jake
Schwartz, CuteLittleDoggie, Melodia, YurikBot, Hairy Dude, Hillman, Robert A West, Dimblethum, Gaius Cornelius, Schlockading, BigCow, Welsh, Howcheng, Andland, Thiseye, Irishguy, Marvin01, Cholmes75, CecilWard, Bzehr, Engineer Bob, WAS 4.250, Sandstein,
Reyk, Vogelfrei, Chrishmt0423, Easter Monkey, Curpsbot-unicodify, Kingboyk, Scolaire, SmackBot, David Kernow, Py, FlashSheridan,
Pgk, C.Fred, Cla68, PJM, Scott Paeth, Timotheus Canens, Jwaycuilis, Mauls, Ema Zee, Andy M. Wang, Kurykh, Jibbajabba, Skookum1,
Jjmontalbo, ArtSmoot, MalafayaBot, Funper, Viva-Verdi, DHN-bot~enwiki, Colonies Chris, Eusebeus, Springeragh, Yid613, Squilibob,
Lapisphil, Akrubin, Pax85, Cribananda, Grover cleveland, Cybercobra, Digresser, Flyingspuds, Xyzzy n, 19dan46, ILike2BeAnonymous,
SaintedLegion, DDima, Alcuin, Ohconfucius, Will Beback, JLogan, SashatoBot, Lambiam, Esrever, MusicMaker5376, Quendus, Axem Titanium, EpicFantasyStory, JMax555, JanderVK, Marco polo, Iglew, Michael Bednarek, Llosoc, IronGargoyle, Zarafa, Special-T, Jan@de,
Kyoko, Yip1982, Violncello, Dl2000, Hu12, Feldmahler, Jetman, Cryo75, Vahekatros, Kmbush40, Crocodilicus, Adam sk, Tawkerbot2,
SeanMD80, Thomas81, TNeloms, Dancheng, Ale jrb, AlbertSM, Argon233, Outriggr, Neelix, Bobnorwal, Mariox19, Justin Tokke,
Jordan Brown, AndrewHowse, Jac16888, Stottpie, Lapinerzlouzyk, Innovationeer, Reywas92, Fl, Jlking3, Tentu, DavidRF, Bsdaemon,
Tuvwxyz, TheJC, Omicronpersei8, Thijs!bot, Epbr123, MarkBuckles, Wikid77, Ultimus, Daniel, TK421, Nonagonal Spider, Marek69,
John254, Peter gk, Dr. Friendly, Darev, Maestro.gandhi, WillyWonka, PaulVIF, Palomorado, AntiVandalBot, A.G. Pinkwater, Seaphoto,
Atavi, Matariel, Darklilac, Corella, Asmeurer, Ekabhishek, Gcm, MER-C, Cchamp27, MegX, Ludwigdude, Cdg1072, Akuyume, Bongwarrior, VoABot II, Sf67, Avicennasis, Nyclouise, Cgingold, Aldenrw, DerHexer, Neyzenhasan, MartinBot, New Order, Stusutclie,
Anaxial, CommonsDelinker, Thejackal2048, Lichengyuan, Ssolbergj, J.delanoy, Numbo3, Athaenara, Kurkikohtaus, Ingdale, Dacrone,
Bouchet, McSly, Uranium grenade, AntiSpamBot, Dl.goe, M-le-mot-dit, Zhouf12, Themathkid, MetsFan76, Cometstyles, Burzmali,
DorganBot, Jaimeastorga2000, Verdeelena, Alchemynut2, Kansuke, Xetrov, Boombaard, Brozhnik, Bnynms, BastianOfArt, VolkovBot,
Willow1729, Epimetheus Rex, Chienlit, WarddrBOT, Philip Trueman, TXiKiBoT, Ljpmn79, A4bot, Jonyungk, Nrswanson, Mowsbury,
MUSIKVEREIN, Piperh, Andykimber, Aaron Rotenberg, Jackfork, ^demonBot2, Bwv1004, Psyche825, Noformation, Paradocks, Philipson55, Lecorbeau5, Alexpelan, Classickol, Rhopkins8, Falcon8765, Tea and crumpets, Sautiller, Magiclite, CenturionZ 1, Nymaestro, The
Realms of Gold, Uncle Scrooge, Canavalia, Rontrigger, Keithuk, Andersneld, Coolkid70, SieBot, Ddunkman, ToePeu.bot, Zephyrus67,
Leejasonc, Caltas, Ode2joy, Keilana, Eggness, MinorContributor, Mad Bunny, Djdumadag, RoIn2, Fidelio72, Miguel.mateo, Fratrep,
KritonK, Comradesandalio, Addaick, Carolinejaneward, Stfg, Armstrg47, Stevew2022, Edwin Hazell, StaticGull, Vivat vivat, Wikirwd,
Dunkelweizen, Budhen, WickerGuy, Martarius, ClueBot, UrsusArctosL71, Avenged Eightfold, Petersebastian89~enwiki, Lonegroover,
Arakunem, Bfeylia, Der Golem, Mild Bill Hiccup, Bill edmond, RafaAzevedo, Jacob1216486, Eosmann, Beethoven12, Alexbot, Jusdafax,
Pashton2002, Sun Creator, Jtle515, Queen75, Twodi, December1227, Belasd, DumZiBoT, Sebh007, XLinkBot, Hotcrocodile, BodhisattvaBot, Little Mountain 5, Frank Villella, SilvonenBot, NellieBly, Alexius08, MystBot, Ng paul25, Good Olfactory, Kingfaicl, DOI bot, Jojhutton, Smetanahue, Opus88888, Fyrndeheimen, Gcdea, SpellingBot, Ronhjones, Fieldday-sunday, Batmouz12, Favonian, Mmurn, Doniago, Ks 7508, Russpitt, Spike.robinson, Squandermania, Tassedethe, SigKauman, MarioLOA, Jan eissfeldt, Tesseraktierer, Legobot,
Luckas-bot, Yobot, Themfromspace, Ptbotgourou, TaBOT-zerem, Fajubi, Knownot, Eric-Wester, ZapThunderstrike, AnomieBOT, Rubinbot, Piano non troppo, Rhiann7, Jrobinjapan, Nachy, GB fan, ArthurBot, Clark89, Cliftonian, LilHelpa, MauritsBot, Xqbot, Venice85,
BotPuppet, Willi Gers07, Karljoos, RaHorakhty78, Petropoxy (Lithoderm Proxy), J04n, GrouchoBot, Omnipaedista, Anandawardhana,
TeresaC7, Jedi.Geek.Goddess, Pent112, Shadowjams, FrescoBot, Ling.Nut.Public, Mr. Comodor, Katalogo Kochela, Rigaudon, Citation
bot 1, Billbloom, Singingdaisies, Poliocretes, Jonesey95, Kuniko342, RedBot, MondalorBot, Labrynthia9856, Cello100, FoxBot, Double
sharp, Ale And Quail, Jiskran, Nasrmisr, Whitey4, Figaroink, Walnutcrescent, Diannaa, Minimac, Onel5969, Backspacejuice, RjwilmsiBot, Gangelo, Solti, Icare4cats, EmausBot, GeneralCheese, , Noelypole, GoingBatty, RA0808, Bt8257, Slightsmile, Udvarias,
Dolovis, KeithTalent1, Michaeljg107, Eniagrom, Bxj, AndrewOne, Crochet, Ocean Shores, Jay-Sebastos, SebastianRC, Danmuz, Orange
Suede Sofa, Chocolate on Vanilla, 28bot, Helpsome, ClueBot NG, TheOrangePeril, Bedworthian, Kennyneal, Maculosae tegmine lyncis,
BG19bot, Leonxlin, Toccata quarta, Qahar5315, Craeburn, Merlaysamuel, Lieutenant of Melkor, Yankeecook, ChrisGualtieri, Charlottestamp, HoodedPianist, Said, Max Buskirk, Simarut Lapisatepun, Veedubber86, MadenssContinued, Margaret Ferguson Burns, Classicseo,
DGG (NYPL), TheCrow&TheCross, Allegro ma non troppo, Ashbeckjonathan, Joeygkedd, DavidLeighEllis, The Hawk Spy, Maesena,
Isabelle.Kocher, Abitslow, Shortbread516, Ocrim96, Monkbot, Marlindale, BethNaught, Musicmaster7, Syek88, Wwyw, Newport8865,
TheHighestEditor, Joeliscolor, TheVestedAgent, Emmanabel and Anonymous: 715

14.2

Images

File:'A'_(PSF).png Source: http://upload.wikimedia.org/wikipedia/commons/6/68/%27A%27_%28PSF%29.png License: Public domain Contributors: Archives of Pearson Scott Foresman, donated to the Wikimedia Foundation Original artist: Pearson Scott Foresman
File:Beethoven.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/6f/Beethoven.jpg License: Public domain Contributors: http://www.fraunhofer.de/archiv/presseinfos/pflege.zv.fhg.de/german/press/pi/pi2002/08/md_fo6a.html Original artist: Joseph Karl
Stieler
File:CarolineUngher.jpg Source: http://upload.wikimedia.org/wikipedia/commons/e/e7/CarolineUngher.jpg License: Public domain

14.3

Content license

11

Contributors: Booklet Parisina, Opera rara, ORC 40 Original artist: Unknown

File:Commons-logo.svg Source: http://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original
artist: ?
File:Ninth_Symphony_original.png Source: http://upload.wikimedia.org/wikipedia/commons/3/3f/Ninth_Symphony_original.png License: Public domain Contributors: The website of the Staatsbibliothek zu Berlin
http://beethoven.staatsbibliothek-berlin.de/de/sinfonien/9/1/27.html Original artist: Ludwig van Beethoven
File:Question_book-new.svg Source: http://upload.wikimedia.org/wikipedia/en/9/99/Question_book-new.svg License: Cc-by-sa-3.0
Contributors:
Created from scratch in Adobe Illustrator. Based on Image:Question book.png created by User:Equazcion Original artist:
Tkgd2007

14.3

Content license

Creative Commons Attribution-Share Alike 3.0