Roll over, Beethoven -- The 9th Symphony

Ah, yes, the perennial performance of another instantly recognizable work -- Ludwig van Beethoven's Symphony No. 9 in D minor (opus 125). If you've gone to the movies more than two or three times in your life, watch any television or listen to the radio, chances are you've heard a bit of the fourth movement at some point, because, like the opening "O, Fortuna" theme of Carmina Burana or the "Hallelujah" Chorus of Handel's "Messiah," the triumphal "Ode to Joy" from Beethoven's 9th Symphony is used for any number of occasions and purposes. It has been declared as the official anthem of the European Union, though the German lyrics have no official status. The music has been used for official state occasions, coronations, and celebrations around the world, as well as frequently during the Olympic Games, and yearly performances for New Years in many countries.

Not everyone has sat through the whole thing, however, so a few brief words should be said about it, should you decide to do so one day. The Ninth Symphony is rather unusual in a number of ways, and there is some debate even today what Beethoven really meant by it. Since he solidly straddled the dividing line between the Baroque and Romantic periods of music, much of what he composed was considered quite avant-garde for his time, with a lot of sweeping themes, dissonnance, and the use of unusual orchestration. His Ninth Symphony is a perfect example of how he broke the mold -- at over an hour in length, it was much longer than most symphonies of his time (and only in the late 19th and 20th Centuries would it really be surpassed timewise by the likes of Mahler... some of whose first movements are that long). There are dissonnant sounds throughout, which aren't nearly so radical to modern ears but which drew a great deal of criticism around the time of its premiere. His choice of darker sounds moving into lighter ones in subsequent movements differed from the style of the time, and brought a bit of confusion to those who heard it for the first time -- even though symphonies were not typically accompanied by any sort of ballet or acting, they often told a sort of story, but exactly what story was being told with the Ninth was always a bit of a mystery to the audience.

Then there's the small matter of the chorus. It was unheard of to include a choral section of any sort in a formal symphony, and here Beethoven wrote an entire movement dominated by a powerful vocal ensemble. As is often the case with groundbreaking ideas, the choral movement has a story of its own.

As early as 1793, Beethoven had conceived of setting Friedrich Schiller's Ode An Die Freude ("Ode to Joy") to music, and realized that his ninth (and ultimately last) symphony might be a perfect place to do so. He had written it as a separate piece, but it was never heard as a distinct work, incorporated instead into this symphony. Later, he is said to have stated a desire to write an alternate, purely instrumental version of the fourth movement, in order to separate the choral arrangement into a stand-alone work all its own.

Because it was originally a separate work, the fourth movement is often characterized by the likes of Charles Rosen as a "symphony within a symphony," with four distinct sections that are much like miniature movements without a break between. Much of the text of Schiller's poem is preserved, though for thematic and rhythmic reasons, Beethoven altered a few lines and added a few more.

Performing Beethoven's Ninth Symphony is a challenge for instrumentalists and the chorus alike. Some believe that this is due in no small part to the fact that Beethoven was completely deaf by the time he finished composing the symphony in 1824, and so he never heard it performed other than in his own head -- although he made a point of conducting the symphony at its premiere, he had to be made aware of the audience's applause by one of the soloists, because he was still trying to conduct after the music had already finished. He asks the chorus to perform like just another instrument or group of instruments, making great leaps in pitch, often to the limits of each section's range. Personally, my attempts to sing and intelligibly pronounce the German at the speed that the fourth movement's finale is often conducted are nothing short of comical, which only adds to the challenge. The dynamics, moreover, also vary widely, but tend toward the louder end, stretching the chorus even further to compete with the rest of the orchestra -- when the string and brass sections both have a fortissimo and the chorus also has a fortissimo, guess who usually wins, unless the conductor has thought of this ahead of time and adjusts accordingly?

The music gradually transitions from a dark, forboding mood into lighter sounds, until culminating in the almost raucous choral finale. It is always rousing, and after hearing five or six different orchestras perform the piece, (both live and recorded), I have to admit that listening to Beethoven's 9th Symphony is much like sex -- when it's good, it's GREAT, and when it's bad... it's still pretty good. When I'm up on stage, I have a hard time holding back, because the music carries you along and you want to shout it out with everything you've got, and never mind that you have a matinee to perform the next day. It's inspiring themes and undeniably catchy music are obvious reasons why this piece has endured and even gained popularity over the past 200 years, and will continue to be a crowd favorite for many years to come.

Text of fourth movement

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German original O Freunde, nicht diese Töne! Sondern lasst uns angenehmere anstimmen und freudenvollere. Freude! Freude! Freude, schöner Götterfunken Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder, (Schillers Original: Was der Mode Schwert geteilt; Bettler werden Fürstenbrüder,) Wo dein sanfter Flügel weilt. Wem der große Wurf gelungen, Eines Freundes Freund zu sein; Wer ein holdes Weib errungen, Mische seinen Jubel ein! Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer's nie gekonnt, der stehle Weinend sich aus diesem Bund! Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott. Froh, wie seine Sonnen fliegen Durch des Himmels prächt'gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen. Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Brüder, über'm Sternenzelt Muss ein lieber Vater wohnen. Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such' ihn über'm Sternenzelt! Über Sternen muss er wohnen. Finale repeats the words: Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Brüder, über'm Sternenzelt Muss ein lieber Vater wohnen. Seid umschlungen, Diesen Kuss der ganzen Welt! Freude, schöner Götterfunken Tochter aus Elysium, Freude, schöner Götterfunken

English translation Oh friends, not these tones! Rather let us sing more cheerful and more joyful ones. Joy! Joy! Joy, thou glorious spark of heaven, Daughter of Elysium, We approach fire-drunk, Heavenly One, your shrine. Your magic reunites What custom sternly divides; All people become brothers (Schiller's original: What custom's sword separates; Beggars become princes' brothers) Where your gentle wing alights. Whoever succeeds in the great attempt To be a friend of a friend, Whoever has won a lovely woman, Let him add his jubilation! Yes, whoever calls even one soul His own on the earth's globe! And who never has, let him steal, Weeping, away from this group. All creatures drink joy At the breasts of nature; All the good, all the evil Follow her roses' trail. Kisses gave she us, and wine, A friend, proven unto death; Pleasure was to the worm granted, And the cherub stands before God. Glad, as his suns fly Through the Heavens' glorious plan, Run, brothers, your race, Joyful, as a hero to victory. Be embraced, you millions! This kiss for the whole world! Brothers, beyond the star-canopy Must a loving Father dwell. Do you bow down, you millions? Do you sense the Creator, world? Seek Him beyond the star-canopy! Beyond the stars must He dwell. Finale repeats the words: Be embraced, ye millions! This kiss for the whole world! Brothers, beyond the star-canopy Must a loving Father dwell. Be embraced, This kiss for the whole world! Joy, beautiful spark of the gods, Daughter of Elysium, Joy, beautiful spark of the gods

Sources: The Beethoven Mystery: Why haven't we figured out his Ninth Symphony yet?By Jan Swafford, June 30, 2003, Slate.com
Wikipedia Nov. 2006
Program note from Kennedy Center

Reviews:
Year-end ritual was sheer joy thanks to powerful voices Melinda Bargreen, Seattle Times, December 30, 2006
Stellar soloists, orchestra align for superb ode to hope and goodwill Melinda Bargreen, Seattle Times, Dec. 30, 2005

Updated: Jan. 19, 2007
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