5 “Others’ Words” essay), but Beethoven himself encouraged this practice more directly and immediately in the Ninth by clear and recognizable recall of earlier movements at the beginning of the finale (see below Finale Part I: The “Sinfonia” and “Prologue”). Hoffmann’s 1810 description of Symphony No. Critics had engaged in this practice for some of Beethoven’s earlier symphonies, most notably E. While Schiller’s descriptive poetry appears only in the finale, it generated an urge for additional programmatic story lines for the first three movements. He found a kindred spirit in Schiller, and considered setting the Ode as early as 1793. The profound ideals present in Schiller’s “Ode to Joy,” written in 1785 at the height of the Enlightenment, struck Beethoven deeply. 3-8, as well as most of his concert overtures, the incidental music to Goethe’s Egmont, and his opera Fidelio, and the quest during this time and through these works to generate a fuller, more compelling dramatic impact using the musical language he inherited from symphony predecessors such as Haydn and Mozart.
However, an interesting and informative introduction to this masterpiece might be best served by exploring the symphony’s hermeneutic, aesthetic, and musical characteristics in light of two perspectives: 1) its status as the only symphony from Beethoven’s so-called “Late” style period, spanning roughly the last decade of his life, including the specific Late-period characteristics, innovations, and influences on the next generations of Romantic composers, and 2) its role as the culmination of Beethoven’s symphonic development pressing the heroic outlook during his “Middle” style period, encompassing Symphonies Nos. (See “Others’ Words” essay below.) It would be impossible to address every important issue related to Symphony No. The Ninth Symphony would be a catalyst for so many composers of orchestral works in the next century, and even be credited by Richard Wagner as a crucial stone in the foundation on which he built his music dramas.
It has appealed to the widest variety of individuals because of the clear message of Friedrich Schiller’s “Ode to Joy” text (note: link includes entire Schiller text and English translation) which Beethoven used for the last movement, and because of the skill with which the great symphonic composer of the early nineteenth century-the “giant” as Johannes Brahms famously dubbed him, whose symphonic footsteps were always present-manipulated, formed, reformed, and gave dramatic life to, the materials of the art of music. Since its first performance in May 1824, its political, religious, cultural, and artistic traits and ramifications have resonated through the entire world like no other single musical work, and it continues to be called upon to symbolize human experiences and lofty ideas to this day. 125 “Choral” is among the most commented upon pieces of music in history. Sonata-allegro/Rondo/Theme & Variation/(Sonata cycle).īeethoven’s Symphony No. Allegro assai vivace (mm=84)-Andante maestoso (mm=72)-Allegro energico, sempre ben marcato (mm=84)-Allegro ma non tanto (mm=120)-Poco Allegro, stringendo il tempo, sempre più Allegro-Prestissimo (mm=132). Scherzo/Trio (ternary), with the scherzo section a Sonata-Allegro form. Allegro ma non troppo, un poco maestoso (MM=88). Orchestra size for first or early performance: 12+12.10.12.12/double winds/80-100 in chorus.Īutograph Score: Staatsbibliothek, Berlin (incomplete).įirst published parts: 1826, Schott, Mainz.įirst published score: 1826, Schott, Mainz.
2 Fl, 2 Ob, 2 Cl, 2 Bsn, CBsn IV, 4 Hn, 2 Tr, ATBTbn II, IV, Timp, Tri IV/Cym IV/BD IV, SATB Solo IV, SATB Chorus IV.įirst performance:, Kärtnerthor Theater, Vienna. Instrumentation ( II, IV=mvts in which they play): Strings, Pic IV. 1814-15, or 1819.ĭedication: King Friedrich Wilhelm III of Prussia.