Symphony No. 9 (Beethoven)

Symphony No. 9 (Beethoven) poser using voices in a symphony[2] (thus making it a choral symphony). The words are sung during the final movement by four vocal soloists and a chorus. They were taken from the "Ode to Joy", a poem written by Friedrich Schiller in 1785 and revised in 1803, with additions made by the composer. Today, it stands as one of the most played symphonies in the world. In 2001, Beethoven’s autograph score of the Ninth Symphony, held by the Berlin State Library, was added to the United Nations Memory of the World Programme Heritage list, becoming the first musical score so honoured.

1 History

A page from Beethoven’s manuscript of the 9th Symphony

1.1 Composition The Philharmonic Society of London originally commissioned the symphony in 1817.[3] The main composition work was done between autumn 1822 and the completion of the autograph in February 1824.[4] The symphony emerged from other pieces by Beethoven that, while completed works in their own right, are also in some sense sketches for the future symphony. The Choral Fantasy Opus. 80 (1808), basically a piano concerto movement, brings in a chorus and vocal soloists near the end to form the climax. As in the Ninth Symphony, the vocal forces sing a theme first played instrumentally, and this theme is highly reminiscent of the corresponding theme in the Ninth Symphony (for a detailed comparison, see Choral Fantasy). Going further back, an earlier version of the Choral Fantasy theme is found in the song “Gegenliebe” (“Returned Love”), for piano and high voice, which dates from before 1795.[5] According to Robert W. Gutman, Mozart’s K. 222 Offertory in D minor, “Misericordias Domini”, written in 1775, contains a melody that foreshadows “Ode to Joy”.[6] Portrait of Ludwig van Beethoven in 1820. Beethoven was almost completely deaf when he composed his ninth symphony.

1.2 Premiere

The Symphony No. 9 in D minor, Op. 125 (also known as “the Choral”), is Ludwig van Beethoven's final complete symphony. Completed in 1824, the symphony is one of the best-known works in classical music.[1] Among critics, it is almost universally considered Beethoven’s greatest work, and many consider it one of the greatest compositions in the western musical canon.[1]

Although his major works had primarily been premiered in Vienna, Beethoven was eager to have his latest composition performed in Berlin as soon as possible after finishing it, since he thought that musical taste in Vienna had become dominated by Italian composers such as Rossini.[7] When his friends and financiers heard this, they urged him to premiere the symphony in Vienna in The symphony was the first example of a major com- the form of a petition signed by a number of prominent 1

2 Viennese music patrons and performers.[7] Beethoven was flattered by the adoration of Vienna, so the Ninth Symphony was premiered on 7 May 1824 in the Theater am Kärntnertor in Vienna, along with the overture The Consecration of the House (Die Weihe des Hauses) and three parts of the Missa solemnis (the Kyrie, Credo, and the Agnus Dei).

2

INSTRUMENTATION

shared the stage with him. However, two years earlier, Umlauf had watched as the composer’s attempt to conduct a dress rehearsal of his opera Fidelio ended in disaster. So this time, he instructed the singers and musicians to ignore the almost totally deaf Beethoven. At the beginning of every part, Beethoven, who sat by the stage, gave the tempos. He was turning the pages of his score and beating time for an orchestra he could not hear.

This was the composer’s first on-stage appearance in 12 years; the hall was packed with an eager audience and a There are a number of anecdotes about the premiere of the Ninth. Based on the testimony of the participants, number of musicians.[8] there are suggestions that it was under-rehearsed (there The premiere of Symphony No. 9 involved the largest were only two full rehearsals) and rather scrappy in exeorchestra ever assembled by Beethoven[8] and required cution. On the other hand, the premiere was a great sucthe combined efforts of the Kärntnertor house orchestra, cess. In any case, Beethoven was not to blame, as violinThe Vienna Music Society (Gesellschaft der Musikfre- ist Joseph Böhm recalled: “Beethoven directed the piece unde), along with a select group of capable amateurs. himself; that is, he stood before the lectern and gesticuWhile no complete list of premiere performers exists, lated furiously. At times he rose, at other times he shrank many of Vienna’s most elite performers are known to to the ground, he moved as if he wanted to play all the inhave participated.[9] struments himself and sing for the whole chorus. All the musicians minded his rhythm alone while playing”. When the audience applauded—testimonies differ over whether at the end of the scherzo or the whole symphony—Beethoven was several measures off and still conducting. Because of that, the contralto Caroline Unger walked over and turned Beethoven around to accept the audience’s cheers and applause. According to one witness, “the public received the musical hero with the utmost respect and sympathy, listened to his wonderful, gigantic creations with the most absorbed attention and broke out in jubilant applause, often during sections, and repeatedly at the end of them.” The whole audience acclaimed him through standing ovations five times; there were handkerchiefs in the air, hats, raised hands, so that Beethoven, who could not hear the applause, could at least see the ovation gestures.

1.3 Editions Carolina Unger, who sang the contralto part at the first performance and who is credited with turning Beethoven to face the applauding audience.

The soprano and alto parts were interpreted by two famous young singers: Henriette Sontag and Caroline Unger. German soprano Henriette Sontag (1806–1854) was eighteen years old when Beethoven personally recruited her to perform in the premiere of the Ninth Symphony.[10][11]

The first German edition was printed by B. Schott’s Söhne (Mainz) in 1826. The Breitkopf & Härtel edition dating from 1864 has been used widely by orchestras.[13] In 1997 Bärenreiter published an edition by Jonathan Del Mar.[14] According to Del Mar, this edition corrects nearly 3,000 mistakes in the Breitkopf edition, some of which were “remarkable”.[15] David Levy, however, criticized this edition, saying that it could create “quite possibly false” traditions.[16] Breitkopf also published a new edition by Peter Hauschild in 2005.[17]

Also personally recruited by Beethoven, 21 year old contralto Caroline Unger (1803–1877), a native of Vienna, had gained critical praise in 1821 appearing in Rossini’s Tancredi. After performing in Beethoven’s 2 Instrumentation 1824 premiere, Unger found fame in Italy and Paris. Italian composers Donizetti and Bellini were known to have The symphony is scored for the following orchestra. written roles specifically for her voice.[12] These are by far the largest forces needed for any Although the performance was officially directed by Beethoven symphony; at the premiere, Beethoven augMichael Umlauf, the theatre’s Kapellmeister, Beethoven mented them further by assigning two players to each

3.2

Second movement

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wind part.[18]

3.2 Second movement

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Scherzo: Molto vivace – Presto. Duration approx. 12 mins.

Form

The 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 – Lo stesso tempo 4. Recitative: (Presto – Allegro ma non troppo – Vivace – Adagio cantabile – Allegro assai – Presto: O Freunde) – Allegro molto assai: Freude, schöner Götterfunken – Alla marcia – Allegro assai vivace: Froh, wie seine Sonnen – Andante maestoso: Seid umschlungen, Millionen! – Adagio ma non troppo, ma divoto: Ihr, stürzt nieder – Allegro energico, sempre ben marcato: (Freude, schöner Götterfunken – Seid umschlungen, Millionen!) – Allegro ma non tanto: Freude, Tochter aus Elysium! – Prestissimo, Maestoso, Molto prestissimo: Seid umschlungen, Millionen! Beethoven changes the usual pattern of Classical symphonies in placing the scherzo movement before the slow movement (in symphonies, slow movements are usually placed before scherzo[19] ). This was the first time that he did this in a symphony, although he had done so in some previous works (including the quartets Op. 18 no. 5, the “Archduke” piano trio Op. 97, the Hammerklavier piano sonata Op. 106). Haydn, too, had used this arrangement in a number of his own works such as the String Quartet No. 30 in E-flat major.

3.1

The second movement, a scherzo and trio, is also in D minor, with the introduction bearing a passing resemblance to the opening theme of the first movement, a pattern also found in the Hammerklavier piano sonata, written a few years earlier. At times during the piece, Beethoven specifies one downbeat every three beats—perhaps because of the fast tempo—with the direction ritmo di tre battute (“rhythm of three beats”), and one beat every four bars with the direction ritmo di quattro battute (“rhythm of four beats”). Beethoven had been criticised before for failing to adhere to standard form for his compositions. He used this movement to answer his critics. Normally, a scherzo is in triple time. Beethoven wrote this piece in triple time, but punctuated 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 dance movement (scherzo-trio-scherzo, or minuet-trio-minuet), the scherzo section has an elaborate internal structure; it is a complete sonata form. Within this sonata form, the first group of the exposition starts out with a fugue before modulating to C major for the second part. The exposition then repeats before a short development section. The recapitulation further develops the exposition, also containing timpani solos. A new development section leads to the repeat of the recapitulation, and the scherzo concludes with a brief codetta. The contrasting trio section is in D major and in duple time. The trio is the first time the trombones play in the movement. Following the trio, the second occurrence of the scherzo, unlike the first, plays through without any repetition, after which there is a brief reprise of the trio, and the movement ends with an abrupt coda.

First movement

Allegro ma non troppo, un poco maestoso. Duration ap- 3.3 prox. 15 mins. The first movement is in sonata form, and the mood is often stormy. The opening theme, played pianissimo over string tremolos, so much resembles the sound of an orchestra tuning, many commentators have suggested that was Beethoven’s inspiration—but from within that musical limbo emerges a theme of power and clarity that later drives the entire movement. At the outset of the recapitulation section, the theme returns fortissimo in D major, rather than the opening’s D minor. The introduction also uses the mediant to tonic relationship, which further distorts the tonic key until, finally, the bassoon plays in its lowest possible register. The coda employs the chromatic fourth interval.

Third movement

Adagio molto e cantabile – Andante Moderato – Tempo Primo – Andante Moderato – Adagio – Lo Stesso Tempo. Duration approx. 16 mins. The lyrical slow movement, in B-flat major, is in a loose variation form, with each pair of variations progressively elaborating the rhythm and melody. The first variation, like the theme, is in 4/4 time, the second in 12/8. The variations are separated by passages in 3/4, the first in D major, the second in G major. The final variation is twice interrupted by episodes in which loud fanfares for the full orchestra are answered by octaves played by the first violins alone. A prominent horn solo is assigned to the fourth player. Trombones are tacet for the movement.

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3.4

Fourth movement

PERFORMANCE CHALLENGES

3.4.1 Text of the fourth movement

Presto; Allegro molto assai (Alla marcia); Andante The text is largely taken from Schiller's "Ode to Joy", with maestoso; Allegro energico, sempre ben marcato. Du- a few additional introductory words written specifically by Beethoven (shown in italics).[22] The text without reration approx. 24 mins. peats is shown below, with a translation into English.[23] The famous choral finale is Beethoven’s musical repThe score includes many repeats. For the full libretto, resentation of Universal Brotherhood. American piincluding all repetitions, see German Wikisource.[24] anist and music scholar Charles Rosen has characterized it as a symphony within a symphony, played without Towards the end of the movement, the choir sings the interruption.[20] This “inner symphony” follows the same last four lines of the main theme, concluding with "Alle overall pattern as the Ninth Symphony as a whole. The Menschen", before the soloists sing for one last time the song of joy at a slower tempo. The chorus repeats parts scheme is as follows: of "Seid umschlungen, Millionen! ...", then quietly sings, "Tochter aus Elysium". And finally, "Freude, schöner Göt• First “movement": theme and variations with slow terfunken, Götterfunken!".[24] introduction. The main theme, which first appears in the cellos and basses, is later recapitulated with voices.

4 Reception

• Second “movement": 6/8 scherzo in military style (begins at “Alla marcia,” words “Froh, wie seine Sonnen fliegen”), in the "Turkish style"—and concludes with a 6/8 variation of the main theme with chorus.

Music critics almost universally consider the Ninth Symphony one of Beethoven’s greatest works,[25] and among the greatest musical works ever written. The finale, however, has its detractors. “Early critics rejected [the finale] as cryptic and eccentric, the product of a deaf and aging • Third “movement": slow meditation with a new composer.”[1] Giuseppe Verdi complained about the votheme on the text “Seid umschlungen, Millionen!" cal writing;[1] in a letter he wrote to Clarina Maffei dated (begins at "Andante maestoso”) 20 April 1878, he said the symphony was: • Fourth “movement": fugato finale on the themes of the first and third “movements” (begins at "Allegro energico”) The movement has a thematic unity, in which every part is based on either the main theme, the “Seid umschlungen” theme, or some combination of the two.

...marvelous in its first three movements, very badly set in the last. No one will ever surpass the sublimity of the first movement, but it will be an easy task to write as badly for voices as is done in the last movement.

Gustav Leonhardt objected to the text itself, saying: The first “movement within a movement” itself is orga- “That 'Ode to Joy', talk about vulgarity! And the text! nized into sections: Completely puerile!"[26] • An introduction, which starts with a stormy Presto passage. It then briefly quotes all three of the previ- 5 Performance challenges ous movements in order, each dismissed by the cellos and basses, which then play in an instrumental foreshadowing of the vocal recitative. At the intro- 5.1 Metronome markings duction of the main theme, the cellos and basses take Conductors in the historically informed performance it up and play it through. movement, notably Roger Norrington,[27][28] have • The main theme forms the basis of a series of used Beethoven’s suggested tempos, to mixed reviews. Benjamin Zander has made a case for following variations for orchestra alone. Beethoven’s metronome markings, both in writing[15] • The introduction is then repeated from the Presto and in performances with the Boston Philharmonic [29][30] passage, this time with the bass soloist singing the Orchestra and Philharmonia Orchestra of London. recitatives previously suggested by cellos and basses. While one account holds that Beethoven’s metronome still exists and was tested and found accurate,[31] a recent • The main theme again undergoes variations, this study finds that his metronome was likely damaged and time for vocal soloists and chorus.[21] out of calibration.[32]

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5.2

Re-orchestrations and alterations

A number of conductors have made alterations in the instrumentation of the symphony, notably Richard Wagner, who doubled many woodwind passages, a modification greatly extended by Gustav Mahler,[33] who revised the orchestration of the Ninth to make it sound like what he believed Beethoven would have wanted if given a modern orchestra.[34]

Kirov Theatre; from the United Kingdom, members of the London Symphony Orchestra; from the USA, members of the New York Philharmonic; and from France, members of the Orchestre de Paris. Soloists were June Anderson, soprano, Sarah Walker, mezzo-soprano, Klaus König, tenor, and Jan-Hendrik Rootering, bass.[41] It was the last time that Bernstein conducted the symphony; he died ten months later.

Bernstein made his first recording of the Beethoven Ninth in 1964 with the New York Philharmonic, for Columbia Masterworks, with soloists Martina Arroyo (soprano), Regina Safarty (mezzo), Nicholas di Virgilio (tenor), Norman Scott (bass), and the Juilliard Chorus. It was later reissued on CD. It was the first of three complete recordings of the Ninth that Bernstein made. He made his 5.2.1 Horn and trumpet alterations second recording of the piece with the Vienna Philharmonic for Deutsche Grammophon, in 1979. This second Beethoven’s writing for horns and trumpets throughout one featured Gwyneth Jones (soprano), Hanna Schwarz the symphony (mostly the 2nd horn and 2nd trumpet) (mezzo), René Kollo, and Kurt Moll (bass), with the chois sometimes altered by performers to avoid large leaps rus of the Vienna State Opera.[42] (those of a 12th or more), as leaps of this sort are very difficult to perform on brass instruments and may be con- Sir Georg Solti recorded the symphony with the Chicago sistently and flawlessly executed only by highly proficient Symphony Orchestra and Chicago Symphony Chorus on two occasions: first in 1972 with soloists Pilar Lorenmusicians.[35] gar, Yvonne Minton, Stuart Burrows, and Martti Talvela; and again in 1986 with soloists Jessye Norman, Reinhild 5.2.2 2nd bassoon doubling basses in the finale Runkel, Robert Schunk, and Hans Sotin. On both occasions, the chorus was prepared by Margaret Hillis. The Beethoven’s indication that the 2nd bassoon should dou- second recording won the 1987 Grammy Award for Best ble the basses in measures 115–164 of the finale was not Orchestral Performance.[43] included in the Breitkopf parts, though it was included in There have been various attempts to record the Ninth to the full score.[36] come closer to what Beethoven’s contemporaries would have heard, i.e., with period instruments. Roger Norrington conducting the London Classical Players recorded 6 Notable performances and it with period instruments for a 1987 release by EMI Records (rereleased in 1997 under the Virgin Classics recordings label). Benjamin Zander made a 1992 recording of the Ninth with the Boston Philharmonic Orchestra and The London Philharmonic Choir debuted on 15 May noted soprano Dominique Labelle (who first performed 1947 performing the Ninth Symphony with the London the work with Robert Shaw), following Beethoven’s own Philharmonic Orchestra under the baton of Victor de metronome markings. Twelve years later after NorSabata at the Royal Albert Hall.[37] rington, Philippe Herreweghe recorded the Ninth with In 1951 Wilhelm Furtwängler and the Bayreuth Festi- his period-instrument Orchestre des Champs-Élysées and val Orchestra reopened the Bayreuth Festival with a per- his Collegium Vocale chorus for Harmonia Mundi in formance of the symphony, after the Allies temporar- 1999. Sir John Eliot Gardiner recorded his periodily suspended the Festival following the Second World instrument version of the Ninth Symphony,[44] conductWar.[38][39] ing his Monteverdi Choir and Orchestre RévolutionPolitical significance has attached to Beethoven’s Ninth: naire et Romantique in 1992. It was first released by Leonard Bernstein conducted a version of the 9th at Deutsche Grammophon in 1994 on their early music the Brandenburg Gate, with "Freiheit" (“Freedom”) re- Archiv Produktion label as part of his complete cycle placing "Freude" (“Joy”), to celebrate the fall of the of the Beethoven symphonies. His soloists included Berlin Wall during Christmas 1989.[40] This concert Ľuba Orgonášová, Anne Sofie von Otter, Anthony Rolfe was performed by an orchestra and chorus made up of Johnson and Gilles Cachemaille. An additional periodmany nationalities: from Germany, the Bavarian Ra- instrument recording by Christopher Hogwood and the dio Symphony Orchestra and Chorus, the Chorus of the Academy of Ancient Music was released in 1997 under Berlin Radio Symphony Orchestra, and members of the the label Éditions de l'Oiseau-Lyre. Wagner’s Dresden performance of 1864 was the first to place the chorus and the solo singers behind the orchestra as has since become standard; previous conductors placed them between the orchestra and the audience.[33]

Sächsische Staatskapelle Dresden, the Philharmonischer At 79 minutes, one of the longest Ninths recorded is Karl Kinderchor Dresden; members of the orchestra of the

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REFERENCES

Böhm's, conducting the Vienna Philharmonic in 1981 the musical backing (without the words) was adopted as with Jessye Norman and Plácido Domingo among the the Anthem of Europe by the Council of Europe and soloists.[45] subsequently by the European Communities (now the European Union) in 1985.[54][55] The “Ode to Joy” was used as the national anthem of Rhodesia between 1974 and 1979, as "Rise, O Voices of Rhodesia".[56] 7 Influence Many later composers of the Romantic period and beyond were influenced specifically by Beethoven’s Ninth Symphony. An important theme in the finale of Johannes Brahms’ Symphony No. 1 in C minor is related to the “Ode to Joy” theme from the last movement of Beethoven’s Ninth symphony. When this was pointed out to Brahms, he is reputed to have retorted “Any fool can see that!" Brahms’s first symphony was, at times, both praised and derided as “Beethoven’s Tenth”.[46] The Ninth Symphony influenced the forms that Bruckner used for the movements of his symphonies. Bruckner’s Symphony No. 3 is in the same D minor key as Beethoven’s 9th and makes substantial use of thematic ideas from it. The colossal slow movement of Bruckner’s Symphony No. 7, “as usual”, takes the same A–B–A–B– A form as the 3rd movement of Beethoven’s symphony, and also uses some figuration from it.[47] In the opening notes of the third movement of his Symphony No. 9 (The “New World”), Antonín Dvořák pays homage to the scherzo of this symphony with his falling fourths and timpani strokes.[48] Likewise, Béla Bartók borrows the opening motif of the Scherzo from Beethoven’s Ninth symphony to introduce the second movement Scherzo in his own, Four Orchestral Pieces, op. 12.[49][50] One legend is that the compact disc was deliberately designed to have a 74-minute playing so that it could accommodate Beethoven’s Ninth Symphony. Kees Immink, Philips’ chief engineer, who developed the CD, recalls that a commercial tug-of-war between the development partners, Sony and Philips, led to a settlement in a neutral 12-cm diameter format. The 1951 performance of the Ninth Symphony by Furtwängler was brought forward as the perfect excuse for the change.[51][52] A Philips news release on 16 August 2007, celebrating the 25th anniversary of the Compact Disc, mentioned the parties— Philips and Sony—extended the Compact Disc capacity to 74 minutes to accommodate a complete performance of Beethoven’s 9th Symphony.[53]

8

Use as anthem

During the division of Germany in the Cold War, the “Ode to Joy” segment of the symphony was also played in lieu of an anthem at the Olympic Games for the Unified Team of Germany between 1956 and 1968. In 1972,

9 Use as a hymn melody In 1907, the Presbyterian pastor Henry van Dyke wrote the hymn "Joyful, Joyful, we adore thee" while staying at Williams College.[57] The hymn is commonly sung in English-language churches to the “Ode to Joy” melody from this symphony.

10 Year-end’s tradition in Japan The Ninth symphony is traditionally performed throughout Japan at the end of year. In December 2009, for example, there were 55 performances of the symphony by various major orchestras and choirs in Japan.[58] It was introduced to Japan during World War I by German prisoners held at the Bandō prisoner-of-war camp. Japanese orchestras, notably the NHK Symphony Orchestra, began performing the symphony in 1925 and during World War II, the Imperial government promoted performances of the symphony, including on New Year’s Eve. In an effort to capitalize on its popularity, orchestras and choruses undergoing economic hard times during Japan’s reconstruction, performed the piece at years-end. In the 1960s, these year-end performances of the symphony became more widespread, and included the participation of local choirs and orchestras, firmly establishing a tradition that continues today.

11 References [1] Beethoven: Symphony No. 9 (Cambridge Music Handbooks), Nicholas Cook, Cambridge University Press (24 June 1993), product description (blurb). ISBN 9780521399241. “Beethoven’s Ninth Symphony is acknowledged as one of the supreme masterpieces of the Western tradition. More than any other musical work it has become an international symbol of unity and affirmation.” [2] Bonds, Mark Evan, “Symphony: II. The 19th century”, The New Grove Dictionary of Music and Musicians, Second Edition (London: Macmillan, 2001), 29 vols. ISBN 0-333-60800-3, 24:837. [3] Solomon, Maynard. Beethoven. New York: Schirmer Books, 1997, p. 251. [4] Breitkopf Urtext, Beethoven: Symphonie Nr. 9 d-moll, op. 125, pbl.: Hauschild, Peter, p. VIII

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[5] Hopkins (1981, 249) [6] Robert W. Gutman, Mozart: A Cultural Biography, 1999, pg. 344 [7] Sachs, Harvey (2010), The Ninth: Beethoven and the World in 1824, Faber [8] Levy, David Benjamin. Beethoven: The Ninth Symphony. Yale University Press 2003. [9] Kelly, Thomas Forrest (2000). First Nights: Five Musical Premiers (Chapter 3). Yale University Press, 2001. [10] Elson, Louis, Chief Editor. University Musical Encyclopedia of Vocal Music. University Society, New York, 1912 [11] Life of Henriette Sontag, Countess de Rossi. (Various Authors) Stringer & Townsend, publishers. New York, 1852.

[25] . Dissenters, however, include Brahms, who wrote of Mozart’s opera The Marriage of Figaro, “Every number in Mozart’s Figaro is a miracle; I find it absolutely incomprehensible how anyone can create something so absolutely perfect; nothing like it has ever been done again, not even by Beethoven.” Peter Gay, Mozart: a Life, New York, Penguin, 1999, p. 131. The same statement in a different translation from German is in Robert Harris, What to 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 the time”. The Guardian. [28] Norrington, Roger (14 March 2009). “In tune with the time”. The Guardian (London: Guardian News and Media Limited). Retrieved 15 May 2013.

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

[29] “Concert: Beethoven 9th, Benjamin Zander and the Boston Philharmonic at Carnegie Hall” by Bernhard Holland, The New York Times, 11 October 1983

[13] Del Mar, Jonathan (July–December 1999). “Jonathan Del Mar, New Urtext Edition: Beethoven Symphonies 1–9”. British Academy Review. Retrieved 13 November 2007.

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

[14] “Ludwig van Beethoven The Nine Symphonies The New Bärenreiter Urtext Edition”. Retrieved 13 November 2007.

[31] Gunther Schuller, The Compleat Conductor

[15] Zander, Benjamin. “Beethoven 9 The fundamental reappraisal of a classic”. Retrieved 13 November 2007. [16] “Concerning the Review of the Urtext Edition of Beethoven’s Ninth Symphony”. Retrieved 13 November 2007. [17] “Beethoven The Nine Symphonies” (PDF). [18] Thayer, Alexander Wheelock. Thayer’s 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 movement in different terms, including Heinrich Schenker and Donald Tovey. [22] “Beethoven Foundation – Schiller’s “An die Freude” and Authoritative Translation”. [23] The translation is taken from the BBC Proms 2013 programme, for a concert held at the Royal Albert Hall (Prom 38, 11 August 2013, http://www.bbc.co.uk/ proms/whats-on/2013/august-11/14710). This concert was broadcast live on BBC Radio 3 and later on BBC4 television on 6 September 2013, where the same translation was used as subtitles. [24] “An die Freude” (Beethoven), German Wikisource

[32] Sture Forsén, Harry B. Gray, L. K. Olof Lindgren, and Shirley B. Gray. 2013. “Was Something Wrong with Beethoven’s Metronome?" Notices of the AMS 60(9):1146-1153. [33] Raymond Holden, “The iconic symphony: performing Beethoven’s Ninth Wagner’s Way” The Musical Times Winter 2011 [34] Bauer-Lechner, Natalie: Erinnerungen an Gustav Mahler, page 131. E.P. Tal & Co. Verlag, 1923 [35] Rimsky-Korsakov “Principles of Orchestration” http://216.129.110.22/files/imglnks/usimg/4/41/ IMSLP21030-PMLP48692-Rimsky_Osnovy_Ch1.PDF “Though far less flexible than the wood-wind, brass instruments heighten the effect of other orchestral groups ... In spite of valves, the horn has little mobility.” (pp. 23–24) [36] Del Mar, Jonathan (1981) Orchestral Variations: Confusion and Error in the Orchestral Repertoire London: Eulenburg Books, p. 43 [37] Anon. (April 1947). “London Concerts”. The Musical Times (Musical Times Publications Ltd.) 88 (1250): 139. doi:10.2307/933316. JSTOR 933316. [38] Philips. “Beethoven’s Ninth Symphony of greater importance than technology”. Retrieved 9 February 2007. [39] AES. “AES Oral History Project: Kees A.Schouhamer Immink”. Retrieved 29 July 2008. [40] Morin (2002), p. 98

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[41] Naxos (2006). “Ode To Freedom – Beethoven: Symphony No. 9”. Naxos.com Classical Music Catalogue. Retrieved 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 April 2011. [44] Talli Makell, “Ludwig van Beethoven” in Classical Music: The Listener’s Companion ed. Alexander J. Morin (San Francisco: Backbeat Books, 2002), p. 99 [45] Ludwig van Beethoven (Composer), Karl Böhm (Conductor), Vienna Philharmonic Orchestra (Orchestra), Jessye Norman (Performer), Plácido Domingo (Performer), Brigitte Fassbaender (Performer), Walter Berry (Performer). “Beethoven: Symphony No. 9”.

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EXTERNAL LINKS

12 Bibliography Selected books and scholarly articles: • Buch, Esteban, Beethoven’s Ninth: A Political History, translated by Richard Miller, ISBN 0-22607824-8 (University Of Chicago Press) • Hopkins, Antony (1981) The Nine Symphonies of Beethoven. London: Heinemann. • Levy, David Benjamin, “Beethoven: the Ninth Symphony”, revised edition (Yale University Press, 2003). • Parsons, James, "‘Deine Zauber binden wieder’: Beethoven, Schiller, and the Joyous Reconciliation of Opposites” (“Your magic binds again”), Beethoven Forum (2002) 9/1, 1–53.

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

• Sachs, Harvey (2010), The Ninth: Beethoven and the World in 1824, Faber.

[47] Taruskin, Richard (2010). Music in the Nineteenth Century. The Oxford History of Western Music 3. New York: Oxford University Press. pp. 747–751. ISBN 978-0-19538483-3.

• 'Treads warily, accurately and responsibly round the great unsleeping beast', The Daily Telegraph, 3 July 2010.

[48] Steinberg, Michael. The Symphony: a listeners guide. page 153. Oxford University Press, 1995.

• Taruskin, Richard, “Resisting the Ninth”, in his Text and Act: Essays on Music and Performance (Oxford University Press, 1995).

[49] Howard, Orrin. “About the Piece | Four Orchestral Pieces, op. 12”. Los Angeles Philharmonic. Retrieved 27 December 2012.

13 External links

[50] Bartók, Béla (1912). 4 Pieces, Op. 12 – Violin I – (Musical Score) (PDF). Universal Edition. p. 3.

Scores, manuscripts and text

[51] Cassidy, Fergus (23 October 2005). “Great Lengths” (REPRINT). Sunday Tribune. Retrieved 21 December 2007.

• Schott Musik International 31st and last publisher of Beethoven & copyright holder OperaResource – RealHoffmann, A Brief History of Schott

[52] Immink, Kees A. Schouhamer (2007). “Shannon, Beethoven, and the Compact Disc”. IEEE Information Theory Newsletter: 42–46. Retrieved 21 December 2014.

• Symphony No. 9: Scores at the International Music Score Library Project

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

• Free sheet music of Symphony No. 9 from Cantorion.org

[54] “The European Anthem”. Europa.

• Original manuscript (site in German)

[55] Europa – The EU at a glance – The European Anthem [56] “Rhodesia picks Ode to Joy”, The Vancouver Sun, 30 August 1974 [57] van Dyke, Henry (2004). The poems of Henry van Dyke. Netherlands: Fredonia Books. ISBN 1410105741. [58] Brasor, Philip, "Japan makes Beethoven’s Ninth No. 1 for the holidays", The Japan Times, 24 December 2010, p. 20, retrieved on 24 December 2010; Uranaka, Taiga, "Beethoven concert to fete students’ wartime sendoff", The Japan Times, 1 December 1999, retrieved on 24 December 2010.

• The William and Gayle Cook Music Library at the Indiana University School of Music’s has posted a score for the symphony. • Text/libretto, with translation, in English and German • Symphony No. 9 is available in PDF format created from MuseData. Analysis • Beethoven Symphony No. 9, an analysis from allabout-beethoven.com

9 • Analysis for students (with timings) of the final movement, at Washington State University

• Program note from the Kennedy Center with information about the finale as it is and might have been

• Hinton, Stephen (Summer 1998). “Not Which Tones? The Crux of Beethoven’s Ninth”. 19th-Century Music 22 (1): 61–77. doi:10.1525/ncm.1998.22.1.02a00040. JSTOR 746792.

• Following the Ninth: In the Footsteps of Beethoven’s Final Symphony, Kerry Candaele’s 2013 documentary film about the Ninth Symphony

• Signell, Karl, “The Riddle of Beethoven’s Alla Marcia in his Ninth Symphony” (self-published) • Beethoven 9, Benjamin Zander advocating a stricter adherence to Beethoven’s metronome indications, with reference to Jonathan del Mar’s research (before the Bärenreiter edition was published) and to Stravinsky’s intuition about the correct tempo for the Scherzo Trio Audio • Christoph Eschenbach conducting the Philadelphia Orchestra from National Public Radio • Felix Weingartner conducting the Vienna Philharmonic Orchestra (1935 recording) from the Internet Archive • Otto Klemperer conducting the Concertbegouw Orchestra (1956 Live Recording) from the Internet Archive Video • Furtwängler on 19 March 1942 on YouTube, Wilhelm Furtwängler conducting the Berlin Philharmonic on the eve of Hitler’s 53rd birthday • 1st mvt. on YouTube, 2nd mvt. on YouTube, 3rd mvt. on YouTube, 4th mvt. on YouTube, Nicholas McGegan conducting the Philharmonia Baroque Orchestra, graphical score • Beethoven 9th on YouTube, Leonard Bernstein conducting at The Freedom Concert in Berlin, Christmas 1989 • Beethoven 9th - fourth movement on YouTube, Leonard Slatkin conducting the Fourth Movement at The Last Night of the Proms in Royal Albert Hall, a couple of days after 9/11 2001 • Beethoven 9th - fourth movement, pt. 1 on YouTube, Beethoven 9th - fourth movement, pt. 2 on YouTube,Daniel Barenboim conducting, Sumi Jo performing Other material • Official EU page about the anthem

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14 14.1

TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses 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, Geoffrey~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, JeffyJeffyMan2004, Nova77, R. fiend, 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 Thanh Quang, Sango123, Robert Fraser, X1987x, SNIyer12, Matharvest, RobertG, Gurch, Scottrainey, Scroteau96, Chobot, Cjmarsicano, Jake Schwartz, CuteLittleDoggie, Melodia, YurikBot, Hairy Dude, Hillman, Robert A West, Dimblethum, Gaius Cornelius, Schlockading, BigCow, 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, Pfly, 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, Axem Titanium, 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. 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14.2

Images

• File:'A'_(PSF).png Source: http://upload.wikimedia.org/wikipedia/commons/6/68/%27A%27_%28PSF%29.png License: Public domain Contributors: Archives of Pearson Scott Foresman, donated to the Wikimedia Foundation Original artist: Pearson Scott Foresman • File:Beethoven.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/6f/Beethoven.jpg License: Public domain Contributors: http://www.fraunhofer.de/archiv/presseinfos/pflege.zv.fhg.de/german/press/pi/pi2002/08/md_fo6a.html Original artist: Joseph Karl Stieler • File:CarolineUngher.jpg Source: http://upload.wikimedia.org/wikipedia/commons/e/e7/CarolineUngher.jpg License: Public domain

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Contributors: Booklet «Parisina», Opera rara, ORC 40 Original artist: Unknown • File:Commons-logo.svg Source: http://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original artist: ? • File:Ninth_Symphony_original.png Source: http://upload.wikimedia.org/wikipedia/commons/3/3f/Ninth_Symphony_original.png License: Public domain Contributors: The website of the Staatsbibliothek zu Berlin http://beethoven.staatsbibliothek-berlin.de/de/sinfonien/9/1/27.html Original artist: Ludwig van Beethoven • File:Question_book-new.svg Source: http://upload.wikimedia.org/wikipedia/en/9/99/Question_book-new.svg License: Cc-by-sa-3.0 Contributors: Created from scratch in Adobe Illustrator. Based on Image:Question book.png created by User:Equazcion Original artist: Tkgd2007

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