Ninth symphony second movement beethoven biography

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Other than the attacca continuity, internal musical evidence also supports this dramatic concept. Until Beethoven, symphonies were purely instrumental. The tenors soon echo this theme, joined by soloists and full choir, embodying a universal call for brotherhood and unity that resonates beyond the symphony’s confines. 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.

(Anderson, Letters of Beethoven, no. As it unfolds, the music alternates between urgency and reflection, characterized by stark contrasts in dynamics and texture.

A notable feature of this section is the use of fugue, where the main theme is introduced in one instrumental voice and then imitated by others, creating a layered tapestry of sound.

Mark Evan Bonds recognized the change in the reception of orchestral music that occurred during Beethoven’s lifetime. Its length is generated by multiple text repetitions, musical painting of individual words and phrases (rather than just one idea as in the earlier sections), and especially its weighty double fugue. Cambridge University Press link.

Select Online Resources

Early Editions of Score and Parts
Schott Score first edition.

Modern Edition of the ScoreDover Edition.

Recordings available online
Period/HIP Performances—
Orchestre Révolutionnaire et Romantique, Gardiner.
1st movement, 2nd movement, 3rd movement, 4th movement
Video of 4^th Movement

Chamber Orchestra of Europe, Harnoncourt.
1st movement, 2nd movement, 3rd movement, 4th movement
Complete set of Beethoven Symphonies

Academy of Ancient Music, Hogwood.
1st movement, 2nd movement, 3rd movement, 4th movement

Orchestra of the 18th Century, Brüggen
1st movement, 2nd movement, 3rd movement, 4th movement
Complete Set of Beethoven Symphonies by Orchestra of the 18th Century and Brüggen

Hanover Band, Goodman.

Modern Orchestra Performances—
Berlin Celebration Concert, Christmas 1989.

Chapter 2 gives an informative and interesting assessment of historical political perspectives related to the piece, including changes to Schiller’s ode text. However, the introduction of and elaboration on the lovely main “Joy” tune (2:39-5:54) that followed certainly brought back some familiarity.

It includes the addition of text and voices, and other instruments not in the first three movements—the “first act.”  And similar to the Symphony No. 5 finale’s return of the scherzo passage, there are substantial reminiscences of the three movements that comprise the scenes of “first act.” The “act one” materials are rejected in order to move forward in the “new, more joyful tones” of “act two.”  And as with the Fifth and Sixth Symphonies, this two-act structure follows the completion of the subdued slow movement, made possible because of Beethoven’s reversal of the internal movements’ expected order.

Its slow movement is based on two themes alternating in varied forms—one in A-flat major and one in C major. This one kiss to all the world! And this Word will be the language of the Art-work of the Future.’ . New York: Oxford University Press, 1970.

Maynard Solomon. To be sure, Beethoven’s music had always shown a fascination with motivic connections and aspects of melodic variation.

Yes, I must include among them even the much-admired Ninth Symphony, the fourth movement of which seems to me so ugly, in such bad taste, and in the conception of Schiller’s Ode so cheap that I cannot even now understand how such a genius as Beethoven could pen it. Other than the use of voices and text in the last movement, perhaps there is no better indication of Beethoven’s wish to cross the boundaries of symphony and stage music than in this structural twist.

Development section new “theme”: Traditionally, developments were designed to experiment with exposition thematic-motivic material for heightening dramatic tension.

(See Symphony No. 8 “Significance and Structure” essayfor more details.)

Formal manipulations—“crossing the boundaries”. Unlike many symphonic openings imbued with a sense of immediate purpose, Beethoven opts for mystery and suspense. The singular brilliance of this movement lies in its ability to evoke a sense of unveiling and revelation.