Beethoven: Symphony No.

Ten years elapsed after Beethoven had written his Seventh and Eighth Symphonies, before he
again turned to this highest type of musical conception, and created his last, the Ninth,
Symphony. During these ten years he was by no means idle, but composed a number of his
finest works. Still, it was a comparatively less fruitful period than any other in his life. It was
a period of relaxation and recreation, in which his great spirit was more active than his pen; as
if he were collecting and strengthening his forces for the four supreme efforts of his final
years: the last piano Sonatas, all of the last five String-quartets, the Missa Solemnis, and the
Choral (Ninth) Symphony.

This, in D minor, Op. 125, was conceived as early as 1817, but not finished until 1824. Its
first three Movements are of the conventional symphonic type, though they transcend in
scope, breadth and design, proportions, and depth of spiritual significance---to say nothing of
their surpassing technical richness and perfection---anything ever brought into being in the
sphere of symphonic creation. But for the Finale Beethoven conceived the idea of adding the
ultimate "instrument"---the human voice---to the score, and thus magnifying the Movement
into a comprehensive Hymn of Joy, for which he selected the Ode to Joy of Schiller. It was
the final realization of a plan that had been slumbering in his mind for many years; away back
in his youthful days---in 1793---the project of setting music to this wonderful poem
challenged his creative spirit, and in 1811 fragments begin to appear in his sketchbooks
bearing on the subject.

The first Movement opens with an introductory passage of sixteen measures (not an
independent Introduction) on the dominant, leading thence naturally into the imposing
principal Theme. Following a transition the subordinate Theme (in B-flat) is in two Parts. To
this, two brief Codettas are added. The whole Movement is a very regular, though extremely
broad, sonata-allegro form. The Development is a marvel of consistent and logical thematic
manipulation, unusually elaborate, and at first hearing apparently abstruse. Uncommon
prominence is given to the third measure (often joined by the fourth) of the principal Theme.
The Recapitulation is nearly exact, with the expected transpositions. The Coda is also
uncommonly long, and exhibits a notable feature in its eighth Section (about thirty-five
measures from the end): the basses carry a ground-motive (basso continuo) of two measures,
with descending chromatics and an ascending scale, gradually reinforced by the whole body
of strings, and repeated seven times.

In this Symphony Beethoven locates the Scherzo as the second Movement, contrary to his
custom. It is likewise of extraordinary length; so much so that the principal Division is
amplified to a full sonata-allegro design. The principal theme is preceded by eight
introductory measures, all derived from the first measure. Here again Beethoven assigns a
striking function to the kettledrums---tuned exactly as in the Finale of the Eighth Symphony,
in the octave f: the fifth measure of the introductory passage is taken by the drums, solo; and
in the fourth Section of the Development he gives to the drums alone the first measure of the
three-measure thematic phrase, four times in succession.

The Trio manifests Beethoven's faith in Repetition: nearly the whole of it is built upon a four
measure Phrase, always placed in the same key ( with one exception)---similar in general
effect to the basso ostinato. The design of the Trio is also expanded, into a Five-Part form.
The third Movement, a very broad Adagio, is probably the most impressive slow Movement
that Beethoven ever created, and he was particularly noted for the great beauty and
appropriate expression that he always imparted to this important division of the symphonic
form. The structure is fundamentally a First-Rondo, since it presents two alternating Themes;
but it diverges somewhat from the orthodox arrangement: the subordinate Theme is stated
twice, in different keys (in D, later in G), and consequently the principal Theme (in B-flat)
appears three times---at each recurrence so elaborately embellished that it gives to the
Movement the general character of a Variation-form. In reality it is analogous to the design
adopted by Beethoven in the Finale of his Third, and in the slow Movements of his Fifth and
Seventh Symphonies. Another noteworthy feature is the formation of the Retransition
(returning passage) to the last presentation of the principal Theme (three-flat signature); it is
in effect a brief "Development."

The principal Theme is preceded by two introductory measures. As to the Finale: it was
Beethoven's original intention to make the Ninth Symphony a purely instrumental work,
[have we been here before?] and it was not until he had sketched an instrumental fourth
Movement that he decided to gratify his lifelong desire to set Schiller's Ode to Joy (written in
1785) to music, as a Finale to the three preceding Movements. The original fourth Movement,
already sketched, was therefore set aside for the time, but was utilized later as the Finale to his
String-quartet in A minor, Op. 132.

Thus the present Finale became a sort of Cantata, consisting in a series of successive related,
though clearly individualized Episodes---thirteen in number, including a distinctive
Introduction, a principal Theme, a kind of Attendant Theme (in the ninth Episodes), and a
Coda.

Beethoven selected only certain verses from Schiller's Ode, and even altered the order of
these, thus affirming his right to exercise his own judgment and single out only that which
suited his artistic purpose.

The first and second Episodes are introductory: after a tumultuous passage in the orchestra, a
Leader seems to appear (represented by the string-basses, declamato) and invite suggestions
for a final Subject; the Themes of the first, second, and third Movements pass successively in
review; whereupon a new motive is intimated, found acceptable, and developed into the
principal Theme of the whole Cantata. The third Episode is an Exposition of this Theme, in
the orchestra; the fourth Episode is a recurrence of the turbulent first Episode, which, as
before, is checked by the Leader---now a vocal baritone; in the fifth Episode, the Theme is
given out in its full scope by the chorus and orchestra; the sixth Episode is another
presentation of the entire principal Theme, transformed in rhythm, meter and character into a
stirring martial scene (in keeping with another verse of the Ode), in which the chorus later
joins; Episode seven is an orchestral fugato with two Themes, that of Episode six combined
with a new contrapuntal phrase; in Episode eight this same idea is carried out with orchestra
and chorus; the ninth Episode presents the "Attendant" Theme (on the text "Seid
umschlungen, Millionen!" [O ye millions, I embrace you!], "Diesen Kussder granzen
Welt!"[Here's a joyful kiss for all!] extended by material of an austere dramatic character; in
Episode ten the principal and Attendant Themes are combined, with some necessary
modification, for chorus and orchestra; Episode eleven reverts to one of the dramatic
sentences of Episode nine; the twelfth episode is a new setting of the first lines of the Ode,
with stronger emphasis on the attribute of Joy, and here a Solo-quartet is added to the tonal
mass.
What follows, from this to the end, is a mighty Coda---three Sections---in which the central
emotional idea, Joy, reaches its fullest consummation, and most jubilant and spirited
expression.

The fourth part – Ode to joy

The earliest conceived idea of Symphony 9 was the idea to set Schiller's Ode to Joy to music.
This idea emerged as early as 1793. He had always admired Schiller, and some of his piano
sonatas of the first period were possibly based on some of Schiller's essays (e.g. the
Pathètique Sonata in C Minor, Opus 13, 1799). One of his sketchbooks from 1811 shows that
Ode to Joy would become a cantata, rather than become integrated within an orchestral work.
On the other hand, Beethoven had plans to write a ninth and a tenth symphony. The ninth
symphony would be completely instrumental, while the tenth would introduce the voice into
the symphony. In 1822, he visited a prominent Leipzig music critic, whom he told that in the
tenth symphony: "vocal parts would enter gradually – in the text of the Adagio Greek Myth,
Cantique Ecclesiastique – in Allegro, feast of Bachus." (from Thayer's Life of Beethoven by
Alexander Thayer, Plantiga). Yet another idea Beethoven had was to introduce the voice into
the symphony – his plans for the tenth symphony – since he had exhausted the expressive
resources of instrumentation, and introducing the voice seemed to be the only way to
transcend the restrictive forces of instrumentation.
Between the years of 1818-1819, and 1822-23, Beethoven worked on the first three
movements of Opus 125, making use of the material from his sketchbooks. At this point,
Symphony 9 did not include plans to include Schiller's Ode to Joy, let alone voices.
In 1822, he actually sold the rights of the symphony to the London Philharmonic Society; but
he never completed the promised completely instrumental symphony. It was not until the
middle of 1823 when the idea of incorporating these three ideas: setting Ode to Joy to music,
incorporating voice into the symphony, and writing an instrumental ninth symphony, finally
coalesced into one work. But even at this point, the composer was "still sorely troubled"
(Plantiga, 64) on how to introduce the voice into the finale convincingly when the singers had
sat quiet upon stage during the first three movements:
The working out of the fourth movement, however, began as a struggle seldom encountered
before. The problem was to find a suitable introduction to Schiller's Ode.
One day he burst into the room and shouted at me: 'I got it! I have it!' He held his sketchbook
out to me so that I could read: "Let us sing the song of the immortal Schiller"; then a solo
voice began the hymn of joy.

Schindler in October 1823 (Plantiga, 64)

Even with this new found idea (although it obviously changed a bit), it still was another year
until the transition of instruments to voice finalized. He found it difficult to suddenly
introduce a chorus of voices after a long instrumental symphony; it was simply incongruous.
His final conclusion on this difficulty reflects on the aesthetic struggle he encountered while
writing the fourth movement; this movement is quite unusual in its structure. In brief, the
movement begins with an outraged, tumultuous, flurry of sound; then a restatement of the
prior three movements, each interrupted and rejected by instrumental recitative. Finally, a new
theme, initially hesitantly advanced by the orchestra, is slowly accepted, ending in a
triumphant statement of the new theme in D Major. Then the previous instrumental recitative
transforms into real recitative, with a solo baritone singing: O friends, not these tones; instead
let us sing more pleasing and joyful ones. Berlioz calls this the "treaty of alliance between
chorus and orchestra." (Plantiga, 65) Then the more joyful tones are the first lines of the
poem. Beethoven chose to emphasize two ideals: the universal brotherhood of man through
joy, and the love of the heavenly father. Throughout the fourth movement, there is a general
trend from the terrestrial to the divine.
Beethoven's move to utilize the human voice elicited numerous comments and thoughts from
other musicians:
Berlioz: Beethoven had already written eight symphonies before this. What means were open
to him, in the event of his proposing to go beyond the point at which he had already arrived,
by the unaided resources of instrumentation? The junction of vocal with instrumental forces.

Wagner: It is wonderful how the master makes the arrival of Man's voice and tongue a
positive necessity, by this awe-inspiring recitative in the bass-strings. (Plantiga, 68)

In order to fully appreciate the all encompassing nature of this piece, we must look into the
three periods of Beethoven's compositional career; since the work is a collaboration between
these styles. His idea to use Ode to Joy came from his desire to set it to music, which
developed during his first period, when he was very interested in the writings of various
philosophers. The first and second movements, and even parts of the fourth movement have
echoes of his second period, his "heroic" era. The third, fifth, and seventh symphonies were
composed during this period. The third symphony, Eroica, embraced the heroic ideals of the
French Revolution. The great difference between this powerful era and his third period was
quite dramatic. The sudden change in style was mainly due to his deteriorating hearing loss,
which directly caused his compositions to lose the power of his second period. All these
factors contributed to the new Beethoven: a more quite, abstract, and introspective Beethoven.
Joseph Kerman describes music of this period as "miraculous, encompassing all the strength
of his earlier music together with a new gentleness and spirituality." (Kerman, 215)
Essentially, only the third movement truly encompasses the stylistic nuances of Beethoven's
third period. This third movement, an adagio, "soars effortlessly, constantly renewed by the
veiled cadences and an overlapping of instrumentation; .. a supreme example of the
composer's late contemplative style, and one of the finest melodies he ever wrote." (Plantiga,
68)
The musical achievements of this piece are also quite outstanding. The symphony begins
aborigine, beginning as if it had always existed from birth (Pestelli, 250). The rustling
pianissimo on A and E rapidly crescendo to a powerful theme, with a falling arpeggio in D
Minor. The opening of the movement was written in 1816. David Wright, who wrote the
program notes to the 23 November 1996 performance of the symphony at Carnegie Hall, says
that "you feel something stirring up in the pianissimo, but the enigmatic sound of open fifths,
neither major, nor minor, cannot tell us whether to welcome it or fear it." (Stagebill, 20) These
falling fifths eventually swell into a "menacing" fortissimo theme in D Minor. This movement
is far off from classical sonata form, and is important because it shows the transition between
the Classic and Romantic periods of music. Towards the end, a haunting theme played by the
bass emerges, a "kind of funeral march built over a grinding, chromatic ostinato." (Cooke, 30)
This ostinato (a term usually used to describe baroque music), is at first played by just the
bass, then spreads upwards, eventually taking over the orchestra.
A parody of the first movement, the second movement, an engaging scherzo does not take its
time to emerge. It communicates its energy through the use of staggered rhythm, staccato, and
timpani accompaniment. On a technical note, the scherzo opens with a falling fifth (just like
the first movement), then transforms into a legato, then plunges a full octave. The scherzo
runs along interrupted until it is interrupted by brief slow interludes by the strings; the scherzo
manages to overpower them initially, but then a trio takes over. The trio offers a relief, with a
change in timbre. It consists of variations on a folk-like tune. Then the scherzo enters with a
grand re-entrance. What sounds like a repetition of the trio is quickly stampeded by the
scherzo and timpani, ending the movement quite abruptly.
The adagio movement is a striking contrast to the energetic scherzo and trio. Kanne said that
the third movement was "a most profound song, full of warmth, and flowing in heavenly
melancholy." (Cooke, 32). Dominated by the winds, the melody of the third movement in B
Flat Major is truly the product of Beethoven's third period. Echoes of the first movement can
be heard here. As the melody becomes freer, the strings softly accompany using pizzicato,
setting up an almost ethereal aura. The melody progresses even more, increasing in volume,
and when it seems that it is coming to a close, a loud fanfare intrudes in E Flat Major, the key
of Eroica.
And another dramatic transition happens between the third and final movement. Beginning
with a outraged flurry of instruments (dissonant too). Immediately, the cellos and basses play
dramatic recitative, hinting at some sort of "rapprochement between the instrumental and
vocal music." (Plantiga, 65) Then, in succession, themes from the three prior movements are
played, but are quickly interrupted and rejected by the recitatives of the basses and cellos.
Finally, a new theme emerges from the orchestra, now hesitant because of what happened
previously. It is accepted, however, but not without a minor protest from the basses and
cellos. Eventually other instruments join in, which lead to a triumphant statement of the theme
in D Major. When all seems dandy, however, Beethoven replays the original confrontation
from the opening of the finale. This time, though, the dramatic recitative of the cello and
basses is replaced with real recitative – the human voice; in this case, a solo baritone voice.
Then the exquisite choral-orchestral exposition on Schiller's Ode to Joy engages in four
stanzas. A variation, also known as the Turkish March variation, is indeed a Turkish March,
taking its lead from the words Lauftet, Bruder, eure Bahn, Freudig wie ein Held zum
Siegman, translating to Hasten, Brothers, like a hero marching to victory (there are several
different, but similar translations). This march then leads to a long orchestral interlude, then to
a fugue on two themes. This leads to a an overpowering full orchestral-choral development. A
display of the male and female choruses is sung in an almost meditative, prayer-like way,
starting from Seid umschlungen Millionen!, or Be embraced, all ye Millions! As for the
ending, I think David Wright puts it the right way: "… [it] ponders the mystery and beauty of
divine grace. Then everybody goes all-out to the joyous and thrilling close." (Stagebill, 20A).
We've examined, so far, the history and musical features of the symphony. The premiere of
Symphony No. 9 was performed in Vienna, 7 May 1824. Perhaps this excerpt best describes
how the audience received the piece:
His turning around, and the sudden conviction thereby forced on everybody that he had not so
before because he could not hear what was going on, acted like an electric shock on all
present, and a volcanic explosion of sympathy and admiration.
English writer George Grove
after meeting with Karoline Ungher,
one of the soloists at the premiere

And over 200 years later, similar reviews can be had from concert goers, including myself.
Honestly, I have been waiting months for any orchestra to perform Symphony No. 9, and then
I discovered that it was going to be performed at Carnegie Hall on November 23. The
excitement of the audience about the piece filled the air as I entered the hall. It was much
easier to hear the opening of the symphony, the rustling pianissimo that I mentioned earlier. I
could hear every minor detail of Beethoven's orchestration, which is something that is lost in
recordings, in my opinion. It was strange how the chorus and soloists sat in the back, quiet,
the entire first three movements. When they all stood up right before singing in the fourth
movement, there was a definite energy in the air – the anticipation of the audience to hear the
sacred half of the fourth movement. There really is no word to describe how the chorus and
soloists performed. Perhaps magical? The experience of hearing it live as opposed to a CD
was overwhelmingly superior. As the final bars of the symphony were being played, I wished
I could have relived that spent hour again.
Anyone can appreciate Beethoven's Ninth Symphony for its simple, yet complex aesthetic
beauty. Upon understanding what went on behind the writing of the piece and by investigating
its history does one gain a much greater and deeper understanding of the music.

Schiller's liberationist Ode to Joy

At Christmas time, 1989, Leonard Bernstein conducted a version of Beethoven's 9th
symphony in Berlin in which he changed one word in the well-known Ode to Joy in the fourth
movement. "Freiheit" ("Freedom") replaced "Freude" ("Joy"), to celebrate the fall of the
Berlin Wall that had occurred weeks previously

It was not the first time the lyrics had been changed; Beethoven himself had been free with
the original poem by Friedrich von Schiller, the 250th anniversary of whose birth occurred on
November 10.

Schiller was a philosopher, dramatist and poet who influenced progressive German thought in
the period up to and after the French Revolution of 1789. His thinking centred on beauty, not
merely as an abstract aesthetic concept, but a morally forceful one: the good is the beautiful.
He linked this to human freedom.

Schiller's voluptuous thinking and idealism was expressed in the 126-line Ode to Joy, written
in 1785, which can be read as praising drunken revelry. Beethoven chose verses that
communicate that.

But the poem has another message, perfectly expressing Schiller's political radicalism, which
was entirely missing from the celebration of the collapse of Stalinist East Germany.
The most stirring performance of this section of the poem is by Black American singer and
socialist, Paul Robeson, on the Freedom Train and the Welsh Transatlantic Concert album
(Folk Era Records). Robeson was subjected to illegal harassment, including a travel ban by
US authorities in the 1950s due to his radical politics.

In 1953, 1956 and 1957, miners in south Wales invited Robeson to their annual Eisteddfod.
He was not able to circumvent the government travel ban until the laying of a transatlantic
telephone cable.

In 1957, Robeson sang to them from a New York studio and the Welsh sang back to him from
the other side of the ocean. Robson performed the Ode to Joy, climaxing with Schiller's
revolutionary words intact:

Build the road of peace before us

Build it wide and deep and long;
Speed the slow and check the eager
Help the weak and curb the strong.
None shall push aside another
None shall let another fall.
March beside me, Oh my Brother
All for one and one for all.