Symphony No. 9 (Beethoven)

A page from Beethovens manuscript of the 9th Symphony

Portrait of Ludwig van Beethoven in 1820. Beethoven was al-most completely deaf when he composed his ninth symphony.

The Symphony No. 9 in Dminor, Op. 125 (also knownas the Choral), is Ludwig van Beethoven's nal com-plete symphony. Completed in 1824, the symphony isone of the best-knownworks in classical music.[1] Amongcritics, it is almost universally considered Beethovensgreatest work, and many consider it one of the greatestcompositions in the western musical canon.[1]

The symphony was the rst example of a major com-

poser using voices in a symphony[2] (thus making it achoral symphony). The words are sung during the nalmovement by four vocal soloists and a chorus. They weretaken from the "Ode to Joy", a poem written by FriedrichSchiller in 1785 and revised in 1803, with additions madeby the composer. Today, it stands as one of the mostplayed symphonies in the world.In 2001, Beethovens autograph score of the Ninth Sym-phony, held by the Berlin State Library, was added to theUnited Nations Memory of the World Programme Her-itage list, becoming the rst musical score so honoured.

1 History

1.1 Composition

The Philharmonic Society of London originally commis-sioned the symphony in 1817.[3] The main compositionwork was done between autumn 1822 and the comple-tion of the autograph in February 1824.[4]

The symphony emerged from other pieces by Beethoventhat, while completed works in their own right, are alsoin some sense sketches for the future symphony. TheChoral Fantasy Opus. 80 (1808), basically a piano con-certomovement, brings in a chorus and vocal soloists nearthe 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 correspond-ing theme in the Ninth Symphony (for a detailed com-parison, see Choral Fantasy). Going further back, anearlier version of the Choral Fantasy theme is found inthe song Gegenliebe (Returned Love), for piano andhigh voice, which dates from before 1795.[5] According toRobert W. Gutman, Mozarts K. 222 Oertory in D mi-nor, Misericordias Domini, written in 1775, contains amelody that foreshadows Ode to Joy.[6]

1.2 PremiereAlthough his major works had primarily been premieredin Vienna, Beethoven was eager to have his latest com-position performed in Berlin as soon as possible afternishing it, since he thought that musical taste in Vi-enna had become dominated by Italian composers suchas Rossini.[7] When his friends and nanciers heard this,they urged him to premiere the symphony in Vienna inthe form of a petition signed by a number of prominent

1

2 2 INSTRUMENTATION

Viennese music patrons and performers.[7]

Beethoven was attered by the adoration of Vienna, sothe Ninth Symphony was premiered on 7 May 1824 inthe Theater am Krntnertor in Vienna, along with theoverture The Consecration of the House (Die Weihe desHauses) and three parts of theMissa solemnis (the Kyrie,Credo, and the Agnus Dei).This was the composers rst on-stage appearance in 12years; the hall was packed with an eager audience and anumber of musicians.[8]

The premiere of Symphony No. 9 involved the largestorchestra ever assembled by Beethoven[8] and requiredthe combined eorts of the Krntnertor house orchestra,The Vienna Music Society (Gesellschaft der Musikfre-unde), along with a select group of capable amateurs.While no complete list of premiere performers exists,many of Viennas most elite performers are known tohave participated.[9]

Carolina Unger, who sang the contralto part at the rst perfor-mance and who is credited with turning Beethoven to face theapplauding audience.

The soprano and alto parts were interpreted by twofamous young singers: Henriette Sontag and CarolineUnger. German soprano Henriette Sontag (18061854)was eighteen years old when Beethoven personally re-cruited her to perform in the premiere of the NinthSymphony.[10][11]

Also personally recruited by Beethoven, 21 year oldcontralto Caroline Unger (18031877), a native of Vi-enna, had gained critical praise in 1821 appearing inRossinis Tancredi. After performing in Beethovens1824 premiere, Unger found fame in Italy and Paris. Ital-ian composers Donizetti and Bellini were known to havewritten roles specically for her voice.[12]

Although the performance was ocially directed byMichael Umlauf, the theatres Kapellmeister, Beethoven

shared the stage with him. However, two years earlier,Umlauf had watched as the composers attempt to con-duct a dress rehearsal of his opera Fidelio ended in disas-ter. So this time, he instructed the singers and musiciansto ignore the almost totally deaf Beethoven. At the be-ginning of every part, Beethoven, who sat by the stage,gave the tempos. He was turning the pages of his scoreand beating time for an orchestra he could not hear.There are a number of anecdotes about the premiere ofthe Ninth. Based on the testimony of the participants,there are suggestions that it was under-rehearsed (therewere only two full rehearsals) and rather scrappy in exe-cution. On the other hand, the premiere was a great suc-cess. In any case, Beethoven was not to blame, as violin-ist Joseph Bhm recalled: Beethoven directed the piecehimself; that is, he stood before the lectern and gesticu-lated furiously. At times he rose, at other times he shrankto the ground, he moved as if he wanted to play all the in-struments himself and sing for the whole chorus. All themusicians minded his rhythm alone while playing.When the audience applaudedtestimonies dier overwhether at the end of the scherzo or the wholesymphonyBeethoven was several measures o and stillconducting. Because of that, the contralto CarolineUnger walked over and turned Beethoven around to ac-cept the audiences cheers and applause. According toone witness, the public received the musical hero withthe utmost respect and sympathy, listened to his wonder-ful, gigantic creations with the most absorbed attentionand broke out in jubilant applause, often during sections,and repeatedly at the end of them. The whole audienceacclaimed him through standing ovations ve times; therewere handkerchiefs in the air, hats, raised hands, so thatBeethoven, who could not hear the applause, could at leastsee the ovation gestures.

1.3 Editions

The rst German edition was printed by B. Schotts Shne(Mainz) in 1826. The Breitkopf & Hrtel edition datingfrom 1864 has been usedwidely by orchestras.[13] In 1997Brenreiter published an edition by Jonathan Del Mar.[14]According to Del Mar, this edition corrects nearly 3,000mistakes in the Breitkopf edition, some of which wereremarkable.[15] David Levy, however, criticized thisedition, saying that it could create quite possibly falsetraditions.[16] Breitkopf also published a new edition byPeter Hauschild in 2005.[17]

2 InstrumentationThe symphony is scored for the following orchestra.These are by far the largest forces needed for anyBeethoven symphony; at the premiere, Beethoven aug-mented them further by assigning two players to each

3.2 Second movement 3

wind part.[18]

3 FormThe 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 Lostesso tempo

4. Recitative: (Presto Allegro ma non troppo Vi-vace Adagio cantabile Allegro assai Presto:O Freunde) Allegro molto assai: Freude, schnerGtterfunken Alla marcia Allegro assai vivace:Froh, wie seine Sonnen Andante maestoso: Seidumschlungen, Millionen! Adagio ma non troppo,ma divoto: Ihr, strzt nieder Allegro energico,sempre ben marcato: (Freude, schner Gtterfun-ken Seid umschlungen, Millionen!) Allegro manon tanto: Freude, Tochter aus Elysium! Prestis-simo, Maestoso, Molto prestissimo: Seid umschlun-gen, Millionen!

Beethoven changes the usual pattern of Classical sym-phonies in placing the scherzo movement before the slowmovement (in symphonies, slow movements are usuallyplaced before scherzo[19]). This was the rst time that hedid this in a symphony, although he had done so in someprevious works (including the quartets Op. 18 no. 5, theArchduke piano trio Op. 97, the Hammerklavier pianosonata Op. 106). Haydn, too, had used this arrangementin a number of his own works such as the String QuartetNo. 30 in E-at major.

3.1 First movement

Allegro ma non troppo, un poco maestoso. Duration ap-prox. 15 mins.The rst movement is in sonata form, and the mood is of-ten stormy. The opening theme, played pianissimo overstring tremolos, so much resembles the sound of an or-chestra tuning, many commentators have suggested thatwas Beethovens inspirationbut from within that mu-sical limbo emerges a theme of power and clarity thatlater drives the entire movement. At the outset of therecapitulation section, the theme returns fortissimo in Dmajor, rather than the openings D minor. The introduc-tion also uses the mediant to tonic relationship, which fur-ther distorts the tonic key until, nally, the bassoon playsin its lowest possible register.The coda employs the chromatic fourth interval.

3.2 Second movement

Scherzo: Molto vivace Presto. Duration approx. 12mins.The secondmovement, a scherzo and trio, is also in Dmi-nor, with the introduction bearing a passing resemblanceto the opening theme of the rst movement, a pattern alsofound in the Hammerklavier piano sonata, written a fewyears earlier. At times during the piece, Beethoven spec-ies one downbeat every three beatsperhaps becauseof the fast tempowith the direction ritmo di tre battute(rhythm of three beats), and one beat every four barswith the direction ritmo di quattro battute (rhythm of fourbeats).Beethoven had been criticised before for failing to ad-here to standard form for his compositions. He used thismovement to answer his critics. Normally, a scherzo is intriple time. Beethoven wrote this piece in triple time, butpunctuated 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 dancemovement (scherzo-trio-scherzo, or minuet-trio-minuet),the scherzo section has an elaborate internal structure; itis a complete sonata form. Within this sonata form, therst group of the exposition starts out with a fugue beforemodulating to C major for the second part. The exposi-tion then repeats before a short development section. Therecapitulation further develops the exposition, also con-taining timpani solos. A new development section leadsto the repeat of the recapitulation, and the scherzo con-cludes with a brief codetta.The contrasting trio section is in D major and in dupletime. The trio is the rst time the trombones play in themovement. Following the trio, the second occurrence ofthe scherzo, unlike the rst, plays through without anyrepetition, after which there is a brief reprise of the trio,and the movement ends with an abrupt coda.

3.3 Third movement

Adagio molto e cantabile Andante Moderato TempoPrimo AndanteModerato Adagio Lo Stesso Tempo.Duration approx. 16 mins.The lyrical slow movement, in B-at major, is in a loosevariation form, with each pair of variations progressivelyelaborating the rhythm and melody. The rst variation,like the theme, is in 4/4 time, the second in 12/8. Thevariations are separated by passages in 3/4, the rst inD major, the second in G major. The nal variation istwice interrupted by episodes in which loud fanfares forthe full orchestra are answered by octaves played by therst violins alone. A prominent horn solo is assigned tothe fourth player. Trombones are tacet for the movement.

4 5 PERFORMANCE CHALLENGES

3.4 Fourth movement

Presto; Allegro molto assai (Alla marcia); Andantemaestoso; Allegro energico, sempre ben marcato. Du-ration approx. 24 mins.The famous choral nale is Beethovens musical rep-resentation of Universal Brotherhood. American pi-anist and music scholar Charles Rosen has character-ized it as a symphony within a symphony, played withoutinterruption.[20] This inner symphony follows the sameoverall pattern as the Ninth Symphony as a whole. Thescheme is as follows:

First movement": theme and variations with slowintroduction. The main theme, which rst appearsin the cellos and basses, is later recapitulated withvoices.

Second movement": 6/8 scherzo in military style(begins at Alla marcia, words Froh, wie seineSonnen iegen), in the "Turkish style"and con-cludes with a 6/8 variation of the main theme withchorus.

Third movement": slow meditation with a newtheme on the text Seid umschlungen, Millionen!"(begins at "Andante maestoso)

Fourth movement": fugato nale on the themes ofthe rst and third movements (begins at "Allegroenergico)

Themovement has a thematic unity, in which every part isbased on either the main theme, the Seid umschlungentheme, or some combination of the two.The rst movement within a movement itself is orga-nized into sections:

An introduction, which starts with a stormy Prestopassage. It then briey quotes all three of the previ-ous movements in order, each dismissed by the cel-los and basses, which then play in an instrumentalforeshadowing of the vocal recitative. At the intro-duction of themain theme, the cellos and basses takeit up and play it through.

The main theme forms the basis of a series ofvariations for orchestra alone.

The introduction is then repeated from the Prestopassage, this time with the bass soloist singing therecitatives previously suggested by cellos and basses.

The main theme again undergoes variations, thistime for vocal soloists and chorus.[21]

3.4.1 Text of the fourth movement

The text is largely taken from Schiller's "Ode to Joy", witha few additional introductory words written specicallyby Beethoven (shown in italics).[22] The text without re-peats is shown below, with a translation into English.[23]The score includes many repeats. For the full libretto,including all repetitions, see German Wikisource.[24]

Towards the end of the movement, the choir sings thelast four lines of the main theme, concluding with "AlleMenschen", before the soloists sing for one last time thesong of joy at a slower tempo. The chorus repeats partsof "Seid umschlungen, Millionen! ...", then quietly sings,"Tochter aus Elysium". And nally, "Freude, schner Gt-terfunken, Gtterfunken!".[24]

4 ReceptionMusic critics almost universally consider the Ninth Sym-phony one of Beethovens greatest works,[25] and amongthe greatest musical works ever written. The nale, how-ever, has its detractors. Early critics rejected [the nale]as cryptic and eccentric, the product of a deaf and agingcomposer.[1] Giuseppe Verdi complained about the vo-cal writing;[1] in a letter he wrote to Clarina Maei dated20 April 1878, he said the symphony was:

...marvelous in its rst three movements,very badly set in the last. No one will ever sur-pass the sublimity of the rst movement, but itwill be an easy task to write as badly for voicesas 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!"[26]

5 Performance challenges

5.1 Metronome markings

Conductors in the historically informed performancemovement, notably Roger Norrington,[27][28] haveused Beethovens suggested tempos, to mixed re-views. Benjamin Zander has made a case for followingBeethovens metronome markings, both in writing[15]and in performances with the Boston PhilharmonicOrchestra and Philharmonia Orchestra of London.[29][30]

While one account holds that Beethovens metronomestill exists and was tested and found accurate,[31] a recentstudy nds that his metronome was likely damaged andout of calibration.[32]

55.2 Re-orchestrations and alterationsA number of conductors have made alterations in the in-strumentation of the symphony, notably RichardWagner,who doubled many woodwind passages, a modicationgreatly extended by Gustav Mahler,[33] who revised theorchestration of the Ninth to make it sound like what hebelieved Beethoven would have wanted if given a modernorchestra.[34]

Wagners Dresden performance of 1864 was the rst toplace the chorus and the solo singers behind the orchestraas has since become standard; previous conductors placedthem between the orchestra and the audience.[33]

5.2.1 Horn and trumpet alterations

Beethovens writing for horns and trumpets throughoutthe 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 verydicult to perform on brass instruments and may be con-sistently and awlessly executed only by highly procientmusicians.[35]

5.2.2 2nd bassoon doubling basses in the nale

Beethovens indication that the 2nd bassoon should dou-ble the basses in measures 115164 of the nale was notincluded in the Breitkopf parts, though it was included inthe full score.[36]

6 Notable performances andrecordings

The London Philharmonic Choir debuted on 15 May1947 performing the Ninth Symphony with the LondonPhilharmonic Orchestra under the baton of Victor deSabata at the Royal Albert Hall.[37]

In 1951 Wilhelm Furtwngler and the Bayreuth Festi-val Orchestra reopened the Bayreuth Festival with a per-formance of the symphony, after the Allies temporar-ily suspended the Festival following the Second WorldWar.[38][39]

Political signicance has attached to Beethovens Ninth:Leonard Bernstein conducted a version of the 9th atthe Brandenburg Gate, with "Freiheit" (Freedom) re-placing "Freude" (Joy), to celebrate the fall of theBerlin Wall during Christmas 1989.[40] This concertwas performed by an orchestra and chorus made up ofmany nationalities: from Germany, the Bavarian Ra-dio Symphony Orchestra and Chorus, the Chorus of theBerlin Radio Symphony Orchestra, and members of theSchsische Staatskapelle Dresden, the PhilharmonischerKinderchor Dresden; members of the orchestra of the

Kirov Theatre; from the United Kingdom, members ofthe London Symphony Orchestra; from the USA, mem-bers of the New York Philharmonic; and from France,members of the Orchestre de Paris. Soloists were JuneAnderson, soprano, SarahWalker, mezzo-soprano, KlausKnig, tenor, and Jan-Hendrik Rootering, bass.[41] It wasthe last time that Bernstein conducted the symphony; hedied ten months later.Bernstein made his rst recording of the Beethoven Ninthin 1964 with the New York Philharmonic, for ColumbiaMasterworks, with soloists Martina Arroyo (soprano),Regina Safarty (mezzo), Nicholas di Virgilio (tenor),Norman Scott (bass), and the Juilliard Chorus. It waslater reissued on CD. It was the rst of three completerecordings of the Ninth that Bernsteinmade. Hemade hissecond recording of the piece with the Vienna Philhar-monic for Deutsche Grammophon, in 1979. This secondone featured Gwyneth Jones (soprano), Hanna Schwarz(mezzo), Ren Kollo, and Kurt Moll (bass), with the cho-rus of the Vienna State Opera.[42]

Sir Georg Solti recorded the symphony with the ChicagoSymphony Orchestra and Chicago Symphony Chorus ontwo occasions: rst in 1972 with soloists Pilar Loren-gar, Yvonne Minton, Stuart Burrows, and Martti Talvela;and again in 1986 with soloists Jessye Norman, ReinhildRunkel, Robert Schunk, and Hans Sotin. On both occa-sions, the chorus was prepared by Margaret Hillis. Thesecond recording won the 1987 Grammy Award for BestOrchestral Performance.[43]

There have been various attempts to record the Ninth tocome closer to what Beethovens contemporaries wouldhave heard, i.e., with period instruments. Roger Norring-ton conducting the London Classical Players recordedit with period instruments for a 1987 release by EMIRecords (rereleased in 1997 under the Virgin Classicslabel). Benjamin Zander made a 1992 recording ofthe Ninth with the Boston Philharmonic Orchestra andnoted soprano Dominique Labelle (who rst performedthe work with Robert Shaw), following Beethovens ownmetronome markings. Twelve years later after Nor-rington, Philippe Herreweghe recorded the Ninth withhis period-instrument Orchestre des Champs-lyses andhis Collegium Vocale chorus for Harmonia Mundi in1999. Sir John Eliot Gardiner recorded his period-instrument version of the Ninth Symphony,[44] conduct-ing his Monteverdi Choir and Orchestre Rvolution-naire et Romantique in 1992. It was rst released byDeutsche Grammophon in 1994 on their early musicArchiv Produktion label as part of his complete cycleof the Beethoven symphonies. His soloists includeduba Orgonov, Anne Soe von Otter, Anthony RolfeJohnson and Gilles Cachemaille. An additional period-instrument recording by Christopher Hogwood and theAcademy of Ancient Music was released in 1997 underthe label ditions de l'Oiseau-Lyre.At 79 minutes, one of the longest Ninths recorded is Karl

6 11 REFERENCES

Bhm's, conducting the Vienna Philharmonic in 1981with Jessye Norman and Plcido Domingo among thesoloists.[45]

7 InuenceMany later composers of the Romantic period and be-yond were inuenced specically by Beethovens NinthSymphony.An important theme in the nale of Johannes BrahmsSymphony No. 1 in Cminor is related to the Ode to Joytheme from the last movement of Beethovens Ninth sym-phony. When this was pointed out to Brahms, he is re-puted to have retorted Any fool can see that!" Brahmssrst symphony was, at times, both praised and derided asBeethovens Tenth.[46]

The Ninth Symphony inuenced the forms that Brucknerused for the movements of his symphonies. Bruck-ners Symphony No. 3 is in the same D minor key asBeethovens 9th and makes substantial use of thematicideas from it. The colossal slow movement of BrucknersSymphony No. 7, as usual, takes the same ABABA 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 hisSymphony No. 9 (The New World), Antonn Dvokpays homage to the scherzo of this symphony with hisfalling fourths and timpani strokes.[48]

Likewise, Bla Bartk borrows the opening motif of theScherzo from Beethovens Ninth symphony to introducethe second movement Scherzo in his own, Four Orches-tral Pieces, op. 12.[49][50]

One legend is that the compact disc was deliberately de-signed to have a 74-minute playing so that it could accom-modate Beethovens Ninth Symphony. Kees Immink,Philips chief engineer, who developed the CD, recallsthat a commercial tug-of-war between the developmentpartners, Sony and Philips, led to a settlement in a neu-tral 12-cm diameter format. The 1951 performance ofthe Ninth Symphony by Furtwngler was brought for-ward as the perfect excuse for the change.[51][52] APhilipsnews release on 16 August 2007, celebrating the 25th an-niversary of the Compact Disc, mentioned the partiesPhilips and Sonyextended the Compact Disc capacityto 74 minutes to accommodate a complete performanceof Beethovens 9th Symphony.[53]

8 Use as anthemDuring the division of Germany in the Cold War, theOde to Joy segment of the symphony was also played inlieu of an anthem at the Olympic Games for the UniedTeam of Germany between 1956 and 1968. In 1972,

the musical backing (without the words) was adopted asthe Anthem of Europe by the Council of Europe andsubsequently by the European Communities (now theEuropean Union) in 1985.[54][55] The Ode to Joy wasused as the national anthem of Rhodesia between 1974and 1979, as "Rise, O Voices of Rhodesia".[56]

9 Use as a hymn melodyIn 1907, the Presbyterian pastor Henry van Dyke wrotethe hymn "Joyful, Joyful, we adore thee" while stayingat Williams College.[57] The hymn is commonly sung inEnglish-language churches to the Ode to Joy melodyfrom this symphony.

10 Year-ends tradition in JapanThe Ninth symphony is traditionally performed through-out Japan at the end of year. In December 2009, for ex-ample, there were 55 performances of the symphony byvarious major orchestras and choirs in Japan.[58]

It was introduced to Japan during World War I by Ger-man prisoners held at the Band prisoner-of-war camp.Japanese orchestras, notably the NHK Symphony Or-chestra, began performing the symphony in 1925 andduring World War II, the Imperial government promotedperformances of the symphony, including on New YearsEve. In an eort to capitalize on its popularity, orches-tras and choruses undergoing economic hard times duringJapans reconstruction, performed the piece at years-end.In the 1960s, these year-end performances of the sym-phony became more widespread, and included the partic-ipation of local choirs and orchestras, rmly establishinga tradition that continues today.

11 References[1] Beethoven: Symphony No. 9 (Cambridge Music Hand-

books), Nicholas Cook, Cambridge University Press(24 June 1993), product description (blurb). ISBN9780521399241. Beethovens Ninth Symphony is ac-knowledged as one of the supreme masterpieces of theWestern tradition. More than any other musical work ithas become an international symbol of unity and arma-tion.

[2] Bonds, Mark Evan, Symphony: II. The 19th century,The New Grove Dictionary of Music and Musicians, Sec-ond Edition (London: Macmillan, 2001), 29 vols. ISBN0-333-60800-3, 24:837.

[3] Solomon, Maynard. Beethoven. New York: SchirmerBooks, 1997, p. 251.

[4] Breitkopf Urtext, Beethoven: Symphonie Nr. 9 d-moll,op. 125, pbl.: Hauschild, Peter, p. VIII

7[5] Hopkins (1981, 249)

[6] Robert W. Gutman,Mozart: A Cultural Biography, 1999,pg. 344

[7] Sachs, Harvey (2010), The Ninth: Beethoven and theWorld in 1824, Faber

[8] Levy, David Benjamin. Beethoven: The Ninth Symphony.Yale University Press 2003.

[9] Kelly, Thomas Forrest (2000). First Nights: Five MusicalPremiers (Chapter 3). Yale University Press, 2001.

[10] Elson, Louis, Chief Editor. University Musical Encyclope-dia of Vocal Music. University Society, New York, 1912

[11] Life of Henriette Sontag, Countess de Rossi. (VariousAuthors) Stringer & Townsend, publishers. New York,1852.

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

[13] DelMar, Jonathan (JulyDecember 1999). Jonathan DelMar, New Urtext Edition: Beethoven Symphonies 19.British Academy Review. Retrieved 13 November 2007.

[14] Ludwig van Beethoven The Nine Symphonies The NewBrenreiter Urtext Edition. Retrieved 13 November2007.

[15] Zander, Benjamin. Beethoven 9 The fundamental reap-praisal of a classic. Retrieved 13 November 2007.

[16] Concerning the Review of the Urtext Edition ofBeethovens Ninth Symphony. Retrieved 13 November2007.

[17] Beethoven The Nine Symphonies (PDF).

[18] Thayer, AlexanderWheelock. 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 move-ment in dierent terms, including Heinrich Schenker andDonald Tovey.

[22] Beethoven Foundation Schillers An die Freude andAuthoritative Translation.

[23] The translation is taken from the BBC Proms 2013programme, for a concert held at the Royal AlbertHall (Prom 38, 11 August 2013, http://www.bbc.co.uk/proms/whats-on/2013/august-11/14710). This concertwas broadcast live on BBC Radio 3 and later on BBC4television on 6 September 2013, where the same transla-tion was used as subtitles.

[24] An die Freude (Beethoven), German Wikisource

[25] . Dissenters, however, include Brahms, who wrote ofMozarts opera The Marriage of Figaro, Every numberin Mozarts Figaro is a miracle; I nd it absolutely incom-prehensible how anyone can create something so abso-lutely perfect; nothing like it has ever been done again,not even by Beethoven. Peter Gay, Mozart: a Life, NewYork, Penguin, 1999, p. 131. The same statement in a dif-ferent translation from German is in Robert Harris,Whatto 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 thetime. The Guardian.

[28] Norrington, Roger (14 March 2009). In tune with thetime. The Guardian (London: Guardian News and Me-dia Limited). Retrieved 15 May 2013.

[29] Concert: Beethoven 9th, Benjamin Zander and theBoston Philharmonic at Carnegie Hall by Bernhard Hol-land, The New York Times, 11 October 1983

[30] Recording of the Beethoven 9th with Benjamin Zander,Dominique Labelle, D'Anna Fortunato, Brad Cresswell,David Arnold, the Boston Philharmonic Orchestra, andChorus Pro Musica

[31] Gunther Schuller, The Compleat Conductor

[32] Sture Forsn, Harry B. Gray, L. K. Olof Lindgren,and Shirley B. Gray. 2013. Was Something Wrongwith Beethovens Metronome?" Notices of the AMS60(9):1146-1153.

[33] Raymond Holden, The iconic symphony: performingBeethovens Ninth Wagners Way The Musical TimesWinter 2011

[34] Bauer-Lechner, Natalie: Erinnerungen an Gustav Mahler,page 131. E.P. Tal & Co. Verlag, 1923

[35] Rimsky-Korsakov Principles of Orchestrationhttp://216.129.110.22/files/imglnks/usimg/4/41/IMSLP21030-PMLP48692-Rimsky_Osnovy_Ch1.PDFThough far less exible than the wood-wind, brassinstruments 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: Confu-sion and Error in the Orchestral Repertoire London: Eu-lenburg Books, p. 43

[37] Anon. (April 1947). London Concerts. The MusicalTimes (Musical Times Publications Ltd.) 88 (1250): 139.doi:10.2307/933316. JSTOR 933316.

[38] Philips. Beethovens Ninth Symphony of greater impor-tance than technology. Retrieved 9 February 2007.

[39] AES. AES Oral History Project: Kees A.SchouhamerImmink. Retrieved 29 July 2008.

[40] Morin (2002), p. 98

8 13 EXTERNAL LINKS

[41] Naxos (2006). Ode To Freedom Beethoven: Sym-phony No. 9. Naxos.com Classical Music Catalogue. Re-trieved 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 April2011.

[44] Talli Makell, Ludwig van Beethoven in Classical Music:The Listeners Companion ed. Alexander J. Morin (SanFrancisco: Backbeat Books, 2002), p. 99

[45] Ludwig van Beethoven (Composer), Karl Bhm (Conduc-tor), Vienna Philharmonic Orchestra (Orchestra), JessyeNorman (Performer), Plcido Domingo (Performer),Brigitte Fassbaender (Performer), Walter Berry (Per-former). Beethoven: Symphony No. 9.

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

[47] Taruskin, Richard (2010). Music in the Nineteenth Cen-tury. The Oxford History ofWesternMusic 3. NewYork:Oxford University Press. pp. 747751. ISBN 978-0-19-538483-3.

[48] Steinberg, Michael. The Symphony: a listeners guide. page153. Oxford University Press, 1995.

[49] Howard, Orrin. About the Piece | Four OrchestralPieces, op. 12. Los Angeles Philharmonic. Retrieved27 December 2012.

[50] Bartk, Bla (1912). 4 Pieces, Op. 12 Violin I (MusicalScore) (PDF). Universal Edition. p. 3.

[51] Cassidy, Fergus (23 October 2005). Great Lengths(REPRINT). Sunday Tribune. Retrieved 21 December2007.

[52] Immink, Kees A. Schouhamer (2007). Shannon,Beethoven, and the Compact Disc. IEEE InformationTheory Newsletter: 4246. Retrieved 21 December 2014.

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

[54] The European Anthem. Europa.

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

[56] Rhodesia picks Ode to Joy, The Vancouver Sun, 30 Au-gust 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. 1for the holidays", The Japan Times, 24 December 2010,p. 20, retrieved on 24 December 2010;Uranaka, Taiga, "Beethoven concert to fete studentswartime sendo", The Japan Times, 1 December 1999,retrieved on 24 December 2010.

12 BibliographySelected books and scholarly articles:

Buch, Esteban, Beethovens Ninth: A Political His-tory, translated by Richard Miller, ISBN 0-226-07824-8 (University Of Chicago Press)

Hopkins, Antony (1981) The Nine Symphonies ofBeethoven. London: Heinemann.

Levy, David Benjamin, Beethoven: the NinthSymphony, revised edition (Yale University Press,2003).

Parsons, James, "Deine Zauber binden wieder:Beethoven, Schiller, and the Joyous Reconcilia-tion of Opposites (Your magic binds again),Beethoven Forum (2002) 9/1, 153.

Sachs, Harvey (2010), The Ninth: Beethoven and theWorld in 1824, Faber.

'Treads warily, accurately and responsiblyround the great unsleeping beast', The DailyTelegraph, 3 July 2010.

Taruskin, Richard, Resisting the Ninth, in his Textand Act: Essays on Music and Performance (OxfordUniversity Press, 1995).

13 External linksScores, manuscripts and text

Schott Musik International 31st and last publisherof Beethoven & copyright holder OperaResource RealHomann, A Brief History of Schott

Symphony No. 9: Scores at the International MusicScore Library Project

Free sheet music of Symphony No. 9 from Canto-rion.org

Original manuscript (site in German) The William and Gayle Cook Music Library at theIndiana University School of Musics has posted ascore for the symphony.

Text/libretto, with translation, in English and Ger-man

Symphony No. 9 is available in PDF format createdfrom MuseData.

Analysis

Beethoven Symphony No. 9, an analysis from all-about-beethoven.com

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

Hinton, Stephen (Summer 1998). NotWhich Tones? The Crux of BeethovensNinth. 19th-Century Music 22 (1): 6177.doi:10.1525/ncm.1998.22.1.02a00040. JSTOR746792.

Signell, Karl, The Riddle of Beethovens Alla Mar-cia in his Ninth Symphony (self-published)

Beethoven 9, Benjamin Zander advocating a stricteradherence to Beethovens metronome indications,with reference to Jonathan del Mars research (be-fore the Brenreiter edition was published) and toStravinskys intuition about the correct tempo for theScherzo Trio

Audio

Christoph Eschenbach conducting the PhiladelphiaOrchestra from National Public Radio

Felix Weingartner conducting the Vienna Philhar-monic Orchestra (1935 recording) from the InternetArchive

Otto Klemperer conducting the Concertbegouw Or-chestra (1956 Live Recording) from the InternetArchive

Video

Furtwngler on 19 March 1942 on YouTube,Wilhelm Furtwngler conducting the Berlin Phil-harmonic 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 PhilharmoniaBaroque Orchestra, graphical score

Beethoven 9th on YouTube, Leonard Bernsteinconducting at The Freedom Concert in Berlin,Christmas 1989

Beethoven 9th - fourth movement on YouTube,Leonard Slatkin conducting the Fourth Movementat The Last Night of the Proms in Royal Albert Hall,a couple of days after 9/11 2001

Beethoven 9th - fourth movement, pt. 1 onYouTube, Beethoven 9th - fourth movement, pt. 2on YouTube,Daniel Barenboim conducting, SumiJo performing

Other material

Ocial EU page about the anthem

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

Following the Ninth: In the Footsteps of BeethovensFinal Symphony, Kerry Candaeles 2013 documen-tary lm about the Ninth Symphony

10 14 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

14 Text and image sources, contributors, and licenses14.1 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 ThanhQuang, Sango123, Robert Fraser, X1987x, SNIyer12, Matharvest, RobertG, Gurch, Scottrainey, Scroteau96, Chobot, Cjmarsicano, JakeSchwartz, CuteLittleDoggie, Melodia, YurikBot, Hairy Dude, Hillman, Robert A West, Dimblethum, Gaius Cornelius, Schlockading, Big-Cow, 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, AxemTi-tanium, 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, Bong-warrior, 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, Philip-son55, Lecorbeau5, Alexpelan, Classickol, Rhopkins8, Falcon8765, Tea and crumpets, Sautiller, Magiclite, CenturionZ 1, Nymaestro, TheRealms 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, Bodhisattv-aBot, Little Mountain 5, Frank Villella, SilvonenBot, NellieBly, Alexius08, MystBot, Ng paul25, Good Olfactory, Kingfaicl, DOI bot, Jo-jhutton, Smetanahue, Opus88888, Fyrndeheimen, Gcdea, SpellingBot, Ronhjones, Fieldday-sunday, Batmouz12, Favonian, Mmurn, Do-niago, 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, Ru-binbot, 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, Citationbot 1, Billbloom, Singingdaisies, Poliocretes, Jonesey95, Kuniko342, RedBot, MondalorBot, Labrynthia9856, Cello100, FoxBot, Doublesharp, Ale And Quail, Jiskran, Nasrmisr, Whitey4, Figaroink, Walnutcrescent, Diannaa, Minimac, Onel5969, Backspacejuice, Rjwilmsi-Bot, Gangelo, Solti, Icare4cats, EmausBot, GeneralCheese, , Noelypole, GoingBatty, RA0808, Bt8257, Slightsmile, Udvarias,Dolovis, KeithTalent1, Michaeljg107, Eniagrom, Bxj, AndrewOne, Crochet, Ocean Shores, Jay-Sebastos, SebastianRC, Danmuz, OrangeSuede 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, Charlottes-tamp, 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

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tors: http://www.fraunhofer.de/archiv/presseinfos/pflege.zv.fhg.de/german/press/pi/pi2002/08/md_fo6a.html Original artist: Joseph KarlStieler

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HistoryCompositionPremiereEditions

InstrumentationFormFirst movementSecond movementThird movementFourth movementText of the fourth movement

ReceptionPerformance challengesMetronome markingsRe-orchestrations and alterationsHorn and trumpet alterations2nd bassoon doubling basses in the finale

Notable performances and recordingsInfluenceUse as anthemUse as a hymn melodyYear-ends tradition in JapanReferencesBibliographyExternal linksText and image sources, contributors, and licensesTextImagesContent license