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Symphony No. 9 (Beethoven)

Part 1


Ludwig van Beethoven was almost completely deaf when he composed his ninth symphony.The Symphony No. 9 in D minor, Op. 125 "Choral" is the last complete symphony composed by Ludwig van Beethoven. Completed in 1824, the choral Ninth Symphony is one of the best known works of the Western repertoire, considered both an icon and a forefather of Romantic music, and one of Beethoven's greatest masterpieces.

Symphony No. 9 incorporates part of An die Freude ("Ode to Joy"), an ode by Friedrich Schiller, with text sung by soloists and a chorus in the last movement. It is the first example of a major composer using the human voice on the same level with instruments in a symphony, creating a work of a grand scope that set the tone for the Romantic symphonic form.

Further testament to its prominence is that an original manuscript of this work sold in 2003 for $3.3 million USD at Sotheby's, London. The head of Sotheby's manuscripts department, Dr. Stephen Roe stated, "it is one of the highest achievements of man, ranking alongside Shakespeare's Hamlet and King Lear."



Composition of the symphony

The Philharmonic Society of London (later the Royal Philharmonic Society) originally commissioned the symphony in 1817. Beethoven started work on his last symphony in 1818 and finished it early in 1824. This was roughly twelve years after his eighth symphony. However, he was interested in the Ode to Joy from a much earlier time, having set it to music as early as 1793; that setting is lost.

The theme for the scherzo can be traced back to a fugue written in 1815. The introduction for the vocal part of the symphony caused many difficulties for Beethoven. It was the first time he—or anyone—had used a vocal component in a symphony. Beethoven's friend, Anton Schindler, later said: "When he started working on the fourth movement the struggle began as never before. The aim was to find an appropriate way of introducing Schiller's ode. One day he [Beethoven] entered the room and shouted 'I got it, I just got it!' Then he showed me a sketchbook with the words 'let us sing the ode of the immortal Schiller'. However, that introduction did not make it into the work, and Beethoven spent a great deal of time rewriting the part until it had reached the form recognizable today.



Beethoven was eager to have his work played in Berlin as soon as possible after finishing it. He was thinking that musical taste in Vienna was dominated by Italian composers such as Rossini. When his friends and financiers heard this, they urged him to premiere the symphony in Vienna.

The Ninth Symphony was premiered on May 7, 1824 in the K?rntnertortheater in Vienna, along with the overture Die Weihe des Hauses and the first three parts of the Missa Solemnis. This was the composer's first on-stage appearance in twelve years; the hall was packed. The soprano and alto parts were interpreted by two famous young singers: Henriette Sontag and Caroline Unger.

Although the performance was officially directed by Michael Umlauf, the theatre's Kapellmeister, Beethoven 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 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 was beating time for an orchestra he could not hear.

There are a number of anecdotes about the premiere of the Ninth. Based on the testimony of the participants, there are suggestions that it was under-rehearsed (there were only two full rehearsals) and rather scrappy in execution. On the other hand, the premiere was a big success. In any case, Beethoven was not to blame, as violist Josef Bohm recalled, "Beethoven directed the piece himself; that is, he stood before the lectern and gesticulated furiously. At times he raised, at other times he shrunk to the ground, he moved as if he wanted to play all the instruments 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. The theatre house had never seen such enthusiasm in applause.

At that time, it was customary that the Imperial couple be greeted with three ovations when they entered the hall. The fact that five ovations were received by a private person who was not even employed by the state, and moreover, was a musician (a class of people who had been perceived as lackeys at court), was in itself considered almost indecent. Police agents present at the concert had to break off this spontaneous explosion of ovations. Beethoven left the concert deeply moved.

The repeat performance on May 23 in the great hall of the Fort was, however, poorly attended ...

Source: encyclopedia.freedictionary.com

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