Symphony n° 9 of Beethoven

The Symphony n° 9 in minor D , opus 125, of Ludwig van Beethoven, is a Symphonie in four movements for full orchestra and mixed chorus made up of the end of 1822 at February 1824, created with Vienna the May 7th 1824 and dedicated to the king Frederic-Guillaume III of Prussia. Its final , as length as the Eighth very whole symphony , introduced sections sung on the Ode with the joy ( Ode year die Freude ) of Friedrich von Schiller. This monumental work, in which Wagner saw “the last of the symphonies”, marked a decisive turn in this musical style and is often regarded as one of the largest masterpieces of the Western repertory .

History of work

The composition of the Ninth symphony was spread out end of 1822 at the beginning of 1824, which makes of it contemporary of the Missa Solemnis COp 123, 33 Variations on a waltz of Diabelli COp 120 and the Dedication of the house COp 124. Work of the last creative period of Beethoven, it had an extremely complex genesis, whose comprehension requires to go back to the youth of the type-setter and to distinguish the development well from the first three movements of that of the fourth and sound Hymne to the Joy , whose synthesis took place very tardily.

1792 - 1823: Genesis of the Anthem to the joy

In dedicated works with the Ninth symphony it is frequent of reading Ode to the joy for the poem of Schiller and Hymne with the joy for the music of Beethoven, but it does not seem to exist of absolute rule on this subject. However for more clearness it is this distinction of terminology which will be employed in the article.

Discovered poem of Schiller

As of the time of its youth with Bonn, Beethoven expressed a taste pronounced for the reading of Goethe and Schiller at which it drew some of the ideals which were going later to mark out its œuvre :   nature, friendship and joy. As it is not astonishing as it was filled with enthusiasm in 1792 for the ode With the joy ( An die Freude ) of Schiller, call to the Fraternité of the men in the conquest of the joy, published in 1785 in Dresden. At that time, twenty-two years old, the musician had written only minor works whose majority remain ignored today; however its style had already sufficiently continued to be noticed by the warned observers, of Waldstein to Haydn. At the end of 1792, little before its departure for Vienna, the type-setter bound friendship with a law professor of the name of Ludwig Fischenich, personal friend of the poet Friedrich von Schiller, and a poem presented to him which it had put in music (the Feuerfarbe of Sophie Mereau). Fischenich announced its admiration to the wife of Schiller in a letter where like a prophecy the future anthem with the joie  was announced;:

“I send to you a composition of the Feuerfarbe . It is of an young man from here, whose musical talents will become universally famous… He wants to also put in music the Joy of Schiller, and even all the stanzas. I expect something of perfect from it; because, in so far as I know it, it is completely carried to large and the sublime one. ”

Its departure for Vienna and its years of studies obliged the type-setter to defer his project. During all its creative life it returned periodically to this idea, each time in the form of tests, strewn in several with its works. Sometimes it put in music fragments of the poem of Schiller, sometimes it was tested with the topic of the future anthem to the joy. Of Schiller, he declared that no musician could rise above his poetry (Solomon, p. 428), he hardly put other in music but Rasch tritt der Tod according to Guillaume Tell , WoO 104.

The Ode with the joy in the work of Beethoven

Well before the finale of the Ninth symphony , Beethoven put in music bits of the poem of Schiller. In 1798 it foot-note in a book of drafts a music on the worms Muß ein lieber Vater wohnen (Solomon, p. 427). Between 1799 and 1803, according to his/her friend Ferdinand Laugh, Beethoven would have written a whole Lied on the poem of Schiller ( ibid , p. 427). Lastly, and it is certainly the example more known, it used the third towards second stanza, Wer ein holdes Weib errungen , for the epilog triumphing over Fidelio in 1805.

The Anthem with the joy in the work of Beethoven

Throughout its life, Beethoven seems to be haunted by a melody topic that Michel Lecompte finds already at Mozart (in the Offertoire Misericordias Domini K. 222). This topic is scattered in the work of Beethoven, in various forms, though it seems obvious that as of the beginning the type-setter had an precise idea of it. One initially finds it in the Lied Gegenliebe (1795), WoO 118, on the poem Seufzer eines Ungeliebten of August Bürger: the melody is almost immediately recognizable there, as well as the form (a topic has and a topic B of twice sixteen times each one, each topic being presented in the form antecedent-consequent according to the form has, A', B, B').

Thirteen years later, Beethoven re-uses this topic in the Fantaisie choral society opus 80 for piano, chorus and orchestra on a poem of Christophe Kuffner (1808), who announces the fourth movement of the Ninth symphony in at least three connections: for the first time, Beethoven introduces choruses into a nonreligious orchestral work; the melody of the main theme of the sung section drift directly of that of 1795, but this time the provision set of themes is very exactly that which the anthem with the joy will have (has, A', B, A'); finally, the very clear apology that made joy the poem of Kuffner still widens the comparison. Somewhat forgotten nowadays, the Fantaisie choral society thus does not miss historical interest so much it seems obvious that Beethoven made use about it of experiment for the Ninth symphony .

In 1810, in the Lied MIT einem gemalten Band opus 83 n° 3d' after Goethe, the topic, though quoted in a very transitory way, mélodiquement makes an appearance in a form nearer to the anthem to the joy (Solomon, p. 428). The final anthem with the joy is made up only during the year 1823 to integrate the fourth movement of the Ninth symphony where Beethoven uses it with several Variation S.

1812 - 1823: Genesis of the Ninth symphony

Symphony in minor D, symphony with choruses

The idea of a symphony in minor D germinated in the spirit of Beethoven to the beginning of the year 1812, whereas it had just completed the composition of the Septième and worked with the Huitième . In May 1812, it wrote thus with its editor Breitkopf & Härtel: “I write three new symphonies, of which one is already finished” (Lecompte, p. 165). But the third of these symphonies, hypothetical Ninth , was not put in building site immediately, perhaps because of the obscure events which enamelled second half of the year 1812 in the life of the type-setter. They are only ten years later, after the completion of the Missa Solemnis , which it returned to this project.

Composition of the first three movements

1823: Synthesis

1824: Preparations and creation of work

Music

General structure

As many years separates the composition from the First Symphony (1800) from that from the Huitième (1812), that those of the Huitième and the Neuvième (1824), and if the general structure of the latter can appear traditional with its four Mouvement S, each one of them innovates, spreads and takes proportions exceptionnelles : 547 measurements for the first movement, 1414 for the second (with its taken again, its da capo and its coded ), 157 for the third and 940 for the finale. The first movement keeps the Sonata form with its two topics, its development and its D-exposure; the Scherzo is placed in second position - for the first time in a symphony of Beethoven - as in the '' String quartets COp 18 n° 4 '' and '' n° 5 '', the '' Trio with the Archduke '' COp 97 or the '' Sonate Hammerklavier '' COp 106; the slow movement, in third position, is a adagio in form of topic and variations; the final particularly complex is divided into four sections and takes dimensions of a Oratorio with soloists and chorus.

In addition to the impressive developments sets of themes, the exploitation meticulous person of each reason, their overlap rigorous and homogeneous, work is characterized by changes of tempos, characters, the measurements, armours and modes ever hitherto seen in a symphony, which made write with Berlioz: “At all events, when Beethoven, by finishing its work, considered majestic dimensions of the monument which it had just raised, it had to be said: “Vienna death now, my task is accomplished.” ”

By observing the beginning of each movement, the notes of the arpeggio going down on two octaves from minor D (D F D) arise like a musical incipit giving its unit to the elements sets of themes of the whole of work. Descents rythmées and stressed in the first movement, intersected with silence in the second, in brass band of doubled eighth notes and arpeggios broken in the old story of the fourth, Beethoven makes the feat of ingenuity, in the third, on only one octave, to highlight the four notes in the tonality however quite marked of si♭ major keeping this tonic in central note.

Orchestration

Written for Symphony orchestra, this work is the first of the kind to see itself associating in the finale of the soloists singers (Soprano, viola, Ténor, Baryton) and a chorus (sopranos, violas, tenors, low). Following the example last movement of the fifth symphony, a piccolo for the acute one, a double bassoon for the low register and three votes of trombone (low viola, tenor and) for coppers are also added to the finale as well as a triangle, a Grosse case and Cymbale S for the percussion. Sight the exceptional Orchestration of the finale and the maximum exploitation of tessitures and vocal techniques, the meeting of several Chorale S of quality is necessary for good a Audition of work. The three trombones also intervene for some measures to the Scherzo .

First movement: Allegro my nontroppo, a poco maestoso

Tonality

The first movement starts with an uncertainty, a doubt: on a Fifth (it - semi) held pianissimo played with the two first horn S and in Tremor S with the second Violin S and Violoncello S, the first violins then the viola S and Contrebasse S repeats these two note S, the first in short appoggiatura of the second, moving downward, in an interrogative, enigmatic way. The wood support the behaviors then gradually, reinforcing the Crescendo pedals, the two notes becoming more melody are tightened dant time. It is necessary to wait, just after the D of low of the Basson S and of the third and fourth horns, the seventeenth measures to finally intend magistralement to continue the Tonalité of minor D . The first topic takes all sound space, of the most serious instruments to acutest; it begins Fortissimo with the Unisson with the Tutti from orchestra by the arpeggio descending on two octave S from the minor triad (D, the , F, D , F , F, D ) , the Timbale S, the third and fourth horns and the Trompette S hammering the tonic (D) and the Dominante (it) .

Indication of movement

The same hesitation, the same undulation are found for measurement and the tempo: the behaviors and the tremors of the introduction form a misty tablecloth from where the descents from quads and fifths of the cords escape, only the great orchestral unison with the first topic will affirm the ''''' Allegro my nontroppo, a poco maestoso ''''' titrating this first part. The indication of movement Allegro , normally rapid and merry, is attenuated by the but not too ; it is supplemented by the indication of expression a little majestueusement , with a certain solemnity. Beethoven, benefitting from the Métronome patented by his/her friend Maelzel, specifies even the pulsation with 88 black per minute, which usually corresponds of advantage to a Moderato . In spite of this relative slowness, by keeping the term Allegro , it imposes its will to preserve the dynamic and energetic character with the pace and the rates/rhythms of this first movement. Comprising 547 duple times, the tempo being of 88 with black, the theoretical duration, with the four ritenuto S very short, is approximately 12 minutes and half (X 2 X 60: 88 = 746 seconds).

Structure

(outline) Sonata form:
  • exposure: two topics, one in minor D, the other in si♭ major, without recovery;
  • development: very modulating, on parts of the two topics, oversize,
  • réexposition: the two very varied topics, but mainly in minor/major D
  • coded: in two parts.

Second movement: long-lived Molto

Tonality

No hesitation as for the tonality of the second movement: as of the introduction, on a rate/rhythm of Sicilian, the cords hammer a descent of tonic, dominant D, the (to remember the beginning of the initial Allegro ), and in fact the drinking cups, surprising after a silence fix the minor mode with the Médiante F in octave, then all the orchestra stresses to it tonic D , the minor D is essential again. In the classical music in its broadest direction, it is one of the rare examples where the drinking cups leave their usual use of harmonic support playing only of the first and fifth degrees (tonic and dominant) ; here, it is they which determine the mode, playing in solo the third degree of the range (natural F, mediant of minor D) .

The central part, first steps with the Ode with the Final joy of the , module in the first direction of the term: keeping it tonic, the mode changes into major D . Beethoven re-using part of this reason in thirteen ultimate measurements of the Coded, the movement is completed in this major tonality.

Indication of movement

This second part of the symphony is a long-lived Molto with 3/4, the white one pointed being of 116 pulsations per minute. In its preceding works, Beethoven accustomed us to these tempos very sharp taken with measurement, making the rate/rhythm ternary the pulsation with white being pointed. As of the first symphony, although the third movement is entitled Menuetto , the indication is Allegro molto E long-lived , white pointed equalizes 108, the following scherzos obeying the same principle of tempo to measurement. Well-sure, in this ninth, Beethoven goes a little further, specifying for certain passages Ritmo di tre battute and Ritmo di quatro battute ( to beat at three times like one 9/4 and to beat at four times like one 12/4), specifying exceptionally the breadth of its musical sentences.

As it had already done in the third and the sixth symphonies, the trio of this scherzo returns to a binary measure, a Presto to 2/2, but still taken there with measurement by keeping the preceding pulsation, that is to say the equal round 116. This trio with its equivalence of pulsation (white pointed preceding = round) poses, with the long-lived Allegro assai - Alla Marcia of the finale, one of the main issues of the metronomic indications of work. If the latter appears too much slow, this one seems hustled, precipitated. Some chiefs prefer for example " black = noire" that is to say do the round around 88 (recall of the tempo of the first movement), others make an intermediate choice (+ 100), rare which is those very impose this equivalence of tempo on 116 (too much?) rapid.

Extracted MIDDAY the three tempos cités :
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With its recoveries, its da capo (without recoveries), its coded, two strigendo S very short, this movement makes a total of 1414 measurements with 116 bpm with measurement (3/4 or 2/2), that is to say a theoretical timing X 60): 116 = 731 seconds, with accelerated, of a little more than 12 minutes.

Structure

This long-lived Molto is a Scherzo of two recoveries with Trio , also of two recoveries, da Capo without the recoveries and Coda .

After the agreement of minor D going down on a rate/rhythm from Sicilian intersected with silence considering above, the first recovery starts with a Fugato with five votes of the cords, a nature very sharp and light, played pianissimo and staccato passage , each voice being gradually punctuated by wood and the horns. The topic is then exposed fortissimo by the orchestra, the serious drinking cups, trumpets and cords hammering the black first of each measurement; it modulates minor D with major C. On a rhythmic ostinato of the cords on five octaves, a new element with two votes in major C played wood appears. It follows from there a play of alternation between wood and the cords on the preceding reasons concluding itself by a range by contrary movements, then the initial rate/rhythm of Sicilian is repeated four times pianissimo by modulating major C, it minor, major F, minor D and… three measurements of silence! Recovery with the fugato.

Before the second recovery, Beethoven takes again the section " initial rate/rhythm of Sicilian modulant" on minor D, sib major, minor ground, major MIB . Again, three measurements of silence, and seeming to have fun of these modulations, it connects on this same rate/rhythm, a string of downward tonalities in third and alternating major/minor, to carry out us, after a small chromatism, with dominant of semi minor (MIB M, C m, lab M, F m, réb M, sib m, solb M, MIB m, dob M, lab m, semi M, do# m, the M + " , la#, si" on five octaves) . On a breadth of three measurements (Ritmo di tre battute) begins a fugato initial topic played by wood, the drinking cup breaking rate in all the directions of the term, imposing major F, the horns/trumpets bringing back minor D. The breadth becomes again at four times (Ritmo di quatro battute) on the entry in Strette of the cords; the horns and drinking cups then all the orchestra hammer the rate/rhythm of Sicilian, the main theme reconsiders fortissimo, the agreement of minor D stressed by coppers and the low ones. A more harmonic, but always rythmée part of Sicilians follows, again bringing the second topic to wood initially into major, then minor; coppers and cords give rhythm it tonic. After a development of the elements of this topic, return to the " initial rate/rhythm of Sicilian modulant" and taken again this second section.

After a point of organ on the agreement of dominant of D ' (the semi do#) , to bring the trio and its new measurement, Beethoven uses a strigendo it tempo (to accelerate the tempo) to arrive at the Presto at 2/2 on a descent in octaves of the fifth and first degrees. The oboes, doubled clarinets on low a staccato passage of the two bassoons in unison expose a new topic to the melody lines more and more near to the final song. Re-exposed with the horns then with the bassoons, it is the part staccato passage which is developed by the oboe solo, return of this topic to the flute and violins I & II on the sempre staccato passage in thirds of the bassoons, violas, violoncellos and double basses. After the recovery, the development of these two led elements to the Scherzo da capo Al coded senza retorted poi Coded it .

The Coda takes again the strigendo it tempo to make hear again the topic of the Presto stopping brutally on a silence, follow-up, as precipitated, of the descent in octaves of the fifth and first degrees (, D) .

Third movement: Adagio molto E cantabile

(4/4, black = 60, if ♭major) - Andante moderato (3/4, black = 63, major D) - (measurement, tempo and your firstly) - (measurement and tempo secondo, G major) - (measurement and major tempo firstly, mi♭) - Lo stesso tempo (12/8, black pointed = 60, if ♭major)

Tonality

Indication of movement

Two sentences are alternated at the beginning of this third movement: a Adagio molto E cantabile to 4/4, black = 60 and a Andante moderato to 3/4, black = 63.

Today, a Adagio is too often synonymous with slowness or indolence, whereas the origin of the word " AD agio" mean " with the aise" and here adagio molto must be included/understood like " very with the aise". This idea is reinforced by the cantabile , " well chanté" , attenuated on the part of first violin by a mezzo voce , with semi-voice . Very at ease and sung well, but with semi-voice , after the feverish effervescence of the Scherzo , Beethoven carries out us in a serene quietude, a mélodieux appeasing.

The Andante moderato , (while going rather quietly) , with the indication espressivo with the first and second violins, implies a re-starting, a resumption of the advance. If the metronomic indications can appear rather close, (60 and 63), they are especially the rates/rhythms used which contrasts the two sentences: long and dependant values for the first, syncopes and semiquavers for the second.

When appear the 12/8 with the indication Lo stesso tempo , (the same speed of pulsation, therefore the black one pointed with 60 bpm) , there still the topics and the variations like impromptu of the first violins, are specified dolce (with softness) in the rocking of the ternary accompaniment, contrasting with the two short surprising and sound brass bands, calls of “restarting” and announcing the last movement.

Taking into account the tempos indicated and of a point of organ, the theoretical duration is (roughly) 9 minutes 50 seconds.

Structure

The third movement combines several forms and can be presented in several ways.

Elements:

  • a topic has in si♭ major of sixteen measurements to 4/4, with a intro of 2 and one coded of 6 taking again the last part of the topic,
  • a topic B of 16 measurements in major D with 3/4, dissolve-connected on coded preceding and coded of two measurements with a rate broken and a point of organ arpeggio to the first violins on the agreement of seventh of dominant of the following tonality,
  • a first variation of has with 4/4, very decorated topic with the first violins, coded identical, major return in si♭
  • a return of the topic B in ground major to 3/4, not varied but réorchestré (conversely: topic with wood, accompaniment with the cords), coded with a broken rate, finishing on the agreement of seventh of dominant of the following tonality,
  • a second variation in the form of development of has to 4/4 starting in mi♭ major, making in mi♭ minor, beginning again in do♭ major, being completed on the agreement of seventh of dominant of this tonality. To note the vertiginous partition of the fourth horn in this section: on a ambitus of more than three octaves, he plays initially the low one of the quartet with the bassoon and the two clarinets, a false entry in fugato of the topic has which is completed on sounds pedals of double bass, then doubling with the lower octave (all the same) the song of flute/clarinet, he finishes in solo, without any accompaniment, by a rate of the rising and downward scale of do♭ major.

  • a third variation of has 12/8, if ♭major, coded, brass band of two measurements
  • a fourth variation of has 12/8, if ♭major, coded, brass band of two measurements
  • one coded general (exit of has , ultimate variation?)

Fourth movement: Final

Division in four parts of the " monument" that is the Finale , imposes itself by the play of the tonalities, of the changes of measurements and indications of movement:
  • the first section takes again the alternation of modes of the second movement (minor/major D), it alternates also the 3/4 and 4/4;
  • the second, entirely to 6/8, recalls the tonalities of the topics of the third movement (si♭ and major D),
  • the third, to 3/2, D-alternates the modes this time on ground,
  • the last, into 6/4 and in 2/2, imposes definitively major D.

Posterity

Editions

The Ninth symphony was published for the first time at Schott, in October 1826 with Mainz. It carried a dedication to the king Frederic-Guillaume III of Prussia.

Handwritten partition

The handwritten partition of the Ninth symphony was acquired by UNESCO in 2003 and was classified with the register Mémoire of the world.

The Ninth symphony in the popular culture

Cinema

Famous recordings

Media

Quotations

"O extase! Divine Extase. It was made splendor and splendosity of flesh. It was like a bird woven in wire of Paradise, like a silver plated nectar running in a space cabin, and gravity become simple a plaisanterie."

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