IX. symphony, d-minor, opus 125
Movement form: sonata
form.
Tempo designation:
Allegro ma non troppo, un poco maestoso
Time signature:
2/4
All three themes of the exposition is preceeded
by introductory music.
The melody of the first theme evolves from the
introductory music, its beginning is also called “fall-motif”. ♫ Egy_elso_tema
With some
alteration the introductory music and the first theme is repeated, then a motif of the first theme is repeated.
Transition follows. Its
material is developed from one of the main theme’s motif; its energetic, its
melody is repeated.
The melody of the second
theme is short and appealing; it first sounds on clarinet than on oboe; its
melody is not continuous, it consists of several short sections; it is
repeated. Let us notice the string passages playing
under the theme. /Counter point!/ ♫ Egy_masodik_tema
After the second theme a longer transition
section begins – rich in motivs –, in which we hear the scale-figurations repeated four times.
Then the so called episode-theme
follows, we hear it twice, and finally the transition is concluded by a melodic motif (sounds on fwoodwing instruments). The transition is characteristic of dynamic contrast:
fortissimo-piano; power- and tenderness.
The closing theme
is also preceeded by introductory music,
repeated several times on violins. In fact
there are two closing themes. It is
unusual, not customary; to notice them requires increased awareness. Under the
flowchart pointas of time mark their beginning, since their melody is covered
by fortissimo sounding and orchestral chords. The Z1
sounds in bass, Z2 sounds on oboe. ♫ Egy_zaro_tema
The
exposition part after the closing theme is concluded by an epilogue.
Beethoven did not instruct the repetition of
the exposition’s introductory line, so the next section is the
Elaboration
The elaboration can be divided into four
development sections, blocks.
A./ Reminiscent of the introductory music’s mood the beginning of the first theme, the
so called fall-motif sounds, it is repeated and accompanied by a concluding-figuration /the musical material of which is made of
the material of the transition at the end of the expostition/. Meanwhile the dynamics
become more intense, then the so called chorus made
from one of the motifs of the first theme; its melody is played on oboe and flute.
The chorus’ melody is present in all four developments; its role is to conclude
as well as connect the elaboration sections.
B./ Its musical material is similar that of the
previous section’s.
C./ This is the elaboration’s most significant
part. The main theme’s altered motif is developed in fugato.
As if we listened to Bach, this time in
classical style of course. In the followings a short motif is played and repeated
several times, then again the well known chorus sounds.
D./ In thei section – after a short transition –
the second theme is developed (we hear the repetition in bass), then a chorus follows. After, a powerful transition leads into the reexposition,
where the first theme sounds amid frightening rumbles; but this is the
beginning of the reexposition now.
Beethoven took special care when composing the
musical material that is included within the sonata form’s elaboration. He did
not elude this less significant section’s challenges. An example of this is the
III. and VIII.
Not all composers thought like him, as it was
considered hard work to embed and develop the musical themes, motifs within a
new environment.
Beethoven gave the maximum here as well. He
could not do otherwise, as he was extremely demanding of his own high
standards. /He made the sonata form’s coda classical as well./
Reexposition
Opposed to the rules of the sonata form, here
the exposition is not repeated exactly. The first theme sounds on the whole orchestra in fortissimo. We can hardly
recognize it. It can be seen as a climax of the movement. The orchestral
sounding slowly quietens down with the repetition of one of the movement’s
motifis. After, from the beginning of the second theme’s introductory music,
the reexposition’s melodies continue according to the exposition.
Coda
Just as the elaboration, the coda can also be
divided into sections.
First
section. The music begins with the first theme, more precisely the fall-motif,
then this motif is developed; more instruments join in, as if we were listening
to the elaboration; the music becomes richer, full of sounding; we await a
musical event, an entry of a theme.
Second
section. At the
end of the previous section the music progresses towards a dynamic climax, to
which we arrives to at the beginning of the second section. The musical
materiel here consists of scale-figurations and of the second theme’s motifs.
Third
section. The coda’s most beautiful part begins when the first theme’s motif
sounds on the horn. The motif is repeated
several times. When the woodwind instruments enter the sounding is elevated;
later the motif developes into a small dynamic climax, then the orchestra
gradually quietens, and as a conclusion scale-figurations follow, which lead to
a chorus.
Fourth
or concluding section. The
section’s theme is called coda-theme,
– its rhythm and the sound of the kettledrum are reminiscent of a funeral march; in bass
foreboding, grim, chromatic passages are played. The musical material of the
coda thickens: one of its motifs is repeated, then as a conclusion the
fall-motif sounds on whole orchestra, along with two upward moving short passages,
and then the coda – and the movement – ends with the reprise of the first
theme’s second part.
II. movement
Movement form: scherzo in its attributes, but
A./ first part: scherzo in sonata form,
B./ second part: Presto (in fact a Trio),
C./ third part: scherzo.
Tempo designation: Molto vivace, time signature: 3/4
A./ Analysis of
the first main part
Exposition
As an introduction a rhythm-formula sounds four
times, it is called rhythm-motif.
Its correspondent in Greek poetics is the ”dactyl”.
Dactyl: a foot in
poetic meter consisting of a long syllable followed by two short
syllables; example: poetry; it is marked as: – È È )
This rhytm-motif is present throughout the
scherzo; within the flow of the music it sometimes sounds in its clearest form,
sometimes slightly hidden, almost inaudibly.
The scherezo has two themes.
The first theme is fast paced; the theme is began by
the second violins, cellos, then the first violins enter, followed by the double bass; the theme’s presentation is fugue-like. Its repetition is fulfilled
on the whole orchestra.♫ Ketto_elso_tema
After a transition
the second theme follows,
which is a melody characteristic of dancing and folk mood. ♫ Ketto_masodik_tema
After another transition the closing theme
begins, at the end of which we hear the entry of the rhythm-motif, interrupted
by an orchestral pause. ♫ Ketto_zaro_tema
In the followings, according to the rules of
the sonata form, the musical material, more precisely the theme’s introductory
line is repeated.
Elaboration
The elaboration part also begins with
rhythm-motifs, then the first theme sounds along with more rhythm motifs on kettledrums.
Then a small motif is rhythmically repeated, the dynamics become more
powerful at the end of which the first theme explodes on the whole orchestra
(this time not in fugato!), which means the beginning of the reprise.
Creating a flow chart would not possible, also
wouldn’t be practical.
Reexposition
After the repetition of the exposition’s
material we hear the elaboration then the reexposition again, at the end of
which the melody of the beginning of the first theme with increased speed
concludes the scherzo.
This “reexposition
structure is in fact a sonata in the sonata!
B./ Second main part: the Presto
(Beethoven wrote
Presto instead of Trio).
The presto can be divided into three sections
and has two melodies:
the Presto-theme,
♫ Ketto_presto_tema
and the melody of the transition section ♫ Ketto_Presto_atvez
1/ In the first section a Presto-theme is always repeated four
times; it is a most simple melody, accompanied by a constant counterpoint first played on bassoon.
Its rhythm is reminiscent of folk dance. Many think it is similar to the
Russian folk song “The Birch Tree (Beriozka)”. Its sounding is simple, idyllic.
While the transition’s melody is in
legato, the Presto-theme is in staccato. Hangzása egyszerû, idillikus.
In the followings the Presto-theme sounds on
horns, then on oboes.
2/ The second section is a repetition of the first. Its
sounding is softer, more pleasant. At the end of this section, the part that
begins with the entry of the oboe is
particularly beautiful, uplifting.
3/ In the third section the Presto theme sounds on strings, then the coda concludes the section. In
the coda the frame, the simplified melody of the Presto-theme remains, which
sounds clearly on the strings, then the
music gradually reaches a dynamic climax. After, the orchestra gradually goes
silent, and we reach the beginning of the scherzo, more precisely, its
repetition.
Observation: while what makes the scherzo’s music grand,
and an example of unmatched, peerless beauty in music is the alternations in
rhythm, the Presto’s music achieves this through its simple melody, clear
sounding and the masterful organization of harmonies.
C./ Third main part: Scherzo – 2.
After the trio, according to the rules of the
form, agaoin the scherzo follows, but the repetition of the themes is omitted
and the elaboration and reexposition are next.
At the end of the scherzo the beginning of the
first theme is sped up, as if the trio is to begin again, but a few concluding
chords end the movement.
III. movement
Movement tempo designation: Adagio molto e cantabile
Movement form: variational movement, time signature:
4/4
A short introductory
music (only two bars) begins the
movement.
The movement has two melodies: the main melody
and the episode-theme.
The main melody sounds on violins. It is a long arched melody, which is not
concluded; some parts of the melody are echoed by the
wind. (Beethoven rarely composed such long arched melodies!). ♫ Harom_fodallam
After the main melody the so called episode-theme
follows, which is repeated three times. It is perhaps even more intimate than
the main melody.
Next sounds the main melody’s first variation. It is figurative, which means
that while the melody itself remains unaltered, the violins
elaborate it in an extremely variegated way.
The episode-theme follows, again repeated three
times.
After a transition
section prepares the main melody’s newer, second variation. The
figurations here are even richer than in the first variation.
The trumpet’s
and the horn’s shrill sign announces the beginning of the coda, then, we hear the main melody’s free variation. In
this variational development most of the time the main melody is carried by the
bass part, but we can also experience the
varied motif-weaving of the main melody. The sign sounds once again, then for a
short part Beethoven reprises a section of the main melody.
The concluding
section is introduced by violin passages.
It is extremely poetic; it emenates endless peace, tranquility just like the
whole music of the movement.
IV. movement:
Finale, with choir
Movement form: free variational movement.
The movement’s tempo designations are varied. A new tempo designation
for each variation.
Time signatures are also varied.
In this movement of the symphony the solo
singers (soprano, contralto, tenor, bass) and the choir are given an
significant part. Of course this is not an oratorio.
The movement’s only musical theme is the so
called “Ode to Joy”. According to musical history, its melody was inspired by
F. Schiller’s (1759-0805) “Ode to Joy”, which Beethoven read
when he was young.
It is interesting how we reach the melody of
the Ode to Joy. Beethoven composes it in the introductory music – seemingly
before us – with the involvement of the listener. He reminiscences the
beginning of the themes’ melody from the previous movements, until finally he
finds the searched melody, which I’ve marked with a capital “O” (ode) within the analysis.
Analysis
The introductory
section of the movement
begins with the fanfare-motif. (Fanfare music traditionally sounds at the
beginning of ceremonies; just think of the Olympic Games. It was also the same
in antiquity, e.g. at a Roman victory march - fanfare
After, “recitativo”
sounds on deep string instruments. Both the
fanfare-motif and the recitative are repeated. Although the recitativo is a
singing technique, Beethoven applies it to instruments.
recitativo – French:
a style of delivery (much used in operas, oratorios,
and cantatas) in which a singer is allowed to adopt the rhythms of ordinary
speech, while the melody of the speech follows the music”
Then Beethoven reminiscences for but a moment
the fall-motif of first movement’s (allegro) first theme, – after, we hear
recitative, which stops the melody that has begun.
Then the first theme of the second movement
(vivace) begins, – but it is also stopped by the recitative.
The same happens with the third movement’s
(adagio) main melody; it hardly begins when it is stopped by the recitative. Let us observe how this time the sounding of
the recitative is softer!
Then – in piano – sounds the beginning of the
ode to joy, which the recitativo approves, meaning that Beethoven (and the
listener as well) have found the searched melody, which sounds in its whole
later.
The introductory section is concluded by two
orchestral chords and a short orchestral pause, the general pause.
1/ First section of
the movement
After the orchestral pause the ode to joy’s
melody sounds in bass, whioch is divided in
three: A-B-B, more precisely: AA AB AB. This is in fact the introduction of the
ode to joy’s melody. It couldn’t be simpler. It’s not exultant, but it silently
emanates joy, that feels to come from infinity. It is a crowd-song like melody,
meaning that everyone can sing it after one hearing.
Next we hear the first variation. The
melody sounds on violins and cellos.
The following second variation is
similar to the previous one. The melody now sounds only on violins.
The third variation sounds with a shrill
march-like dynamism on the whole orchestra,
shining in its full bright; here we now hear real bass supporting harmony.
From the last bar of the ode to joy Beethoven
composes a motif called ode-motif. (This
motif appears in the transition sections on the orchestra after the fourth,
fith and ninth variations.)
The fabric of music thickens, the melody line
elevates, then in the concluding part, next to the ode-motif a new motif
appears, which creates a mood of anticipation in us, the listeners; we
anticipate that some kind of change is bound to happen in the music.
The first three variations form a larger
structural unit that we called the first section of the movement, in which
solely the orchestra plays. There isn’t a trace of singing or choirs. Although
variations sounded, the melody line remained intact.
2/ The second section
The second section is the section of choir
variations; it begins with the fanfare-motif, after which the baritone-singer enters with the solo of “Oh Freunde, nicht diese Töne! Sondern lasst
uns angenehmere und freudenvollere!”. The sound of singing connects the previously
heard three orchestral variations with the choir variation beginning now.
In the fourth variation first the
baritone solo, then the choir sings.
In the fifth variation first the solo
singers sing, then the choir sings through two verses of the ode to joy.
In the sixth variation Beethoven breaks
the melody into figurations; again performed by the solo and the choir. Then
the section is concluded: in this section the choir sings e.g. “Und der Cherub
steht vor Gott” verse line. We again feel that some change is bound to happen.
As we discussed earlier, after the fourth and
fifth variation there is a transition, which is the motif of the ode to joy’s
last bar.
3/ The third section
This section begins with an introductory rhythm-formula.
The important element in the mentioned change
at the end of the second section is the tempo change. This is realized in the seventh
variation. We hear the ode to joy’s march-like variation, which is also
army-like and masculine. This is proven by the entry of the tenor solo, and
that in the choir only the men are singing. The variation ends with a short
concluding-transition section which begins with the words “Freudig, freudig…”.
The eigth variation sounds on orchestra as a freely developed “fugato”. the
melody is accompanied by a constant counter-point, which is played on second violins, horns
and clarinets. The dynamics become stronger,
the fabric of music thickens. The transition
section after the variation induces an anticipating mood: what comes next?
– we could ask.
In the followings the ode of joy begins
silently, then the whole orchestra along with the choir presents the ode of
joy’s ninth variation in fortissimo. This variation may remind us of Händel’s
highly influential choirmusic. Its sounding is glorious and exultant, it sounds
in fortissimo throughout; it suggests that we have reached the end of the
symphony, but this is not the case.
Interlude. After a transition and an orchestral pause
significant changes are made regarding sounding and tempo. The principal sign
of change is the new theme, the new orchestral mood, which is religious-like:
here and there it reminds of Gregorian elements. We may observe the Palestrina-style
and sounding, then Bach’s chorale harmony. All these give an archaic shade to the music. –
Palestrina
The poam’s lines are about millions of people.
And its message could have had a great influence on Beethoven, who composed
this staggering piece of music. this part of the movement is qualified as an interlude, because it’s
in no connection with the ode to joy’s melody.
Under the solemnly flowing singing voices fast
paced violin parts play without disturbing
the harmony of the music. The beauty of the music can be described with one
word: “heavenly”. As if the music would lead us to space and its atmosphere,
the endless empire of stars, where “He” resides; can you feel it, people? It
can be truly felt!
In the tenth variation after the slowly
flowing harmonies an energetic, wildly galloping, fast-paced development
follows.
In this variation the melody of the interlude
and the ode to joy is developed in a double fugue. Each theme is present with
their own lyrics in the parts of the choir. The dynamics are energetic, forte
from the beginning.
A transition follows the variation, for which
Beethoven freely chose the lyrics from the verses of the ode to joy.
Coda
The coda’s role is to summarize and conclude.
It can be divided into two parts.
1. The first section begins with a fast-paced violinpassage,
then the solos start to sing. (Here the
following lyrics are sang: Freunde! Tochter aus Elysium! – repeated
three more times.)
After, accompanied by the orchestra
the choir sings about the thought of fraternity present in the second verse of
the ode to joy; a highlighted new motif of this section is the melody of the
line “Alle Menschen werden Brümen”.
Then the solos singing follow. The
four singing voice concludes the melody unified in a single harmony, identifying
with the lyrics’ message. The sounding is poetic, sublime. A short orchestral
pause marks the end of the first section.
2./ The second section is the concluding
section. The tempo increases, the dynamics become stronger. This melody is the raging version of the interlude’s
melody.
While in the tenth variation the
mood is humble, pious, here the music is about the abandoned rejoice of
happiness, the praise and apotheosis of joy. so the most important message of
the concluding section is thought of fraternity unifying millions of people and
the glorification of joy.
The fast tempo comes to a sudden
stop at the words “Tochter aus Elysium!”, then the tempo increases even more,
and in an unstoppable blare of glorious chords resounding on the whole
orchestra conclude the movement, as well as the symphony.
I n w o r d s
The IX. symphony is the greatest masterpiece of
musical arts of all times. “The hymnic music of joy, from which emanates the love
towards humanity with immesurable force; it conquers the hearts of nation
evermore.” – writes Bence Szabolcsi musicologist.
Its opening performance was held at the Kärtnerthor-Theater
in Wien on the 7th of May, 1824. This was Beethoven’s last big
composer night. Three passages from Missa Solemnis and Op. 115. Name day were
played as well.
Beethoven composed the symphony for two years,
but its preparations in fact required one and a half decade. In 1793 (at the
age of 23) Beethoven had already read F. Schiller’s
(1759-1805) “Ode to joy”, and possibly he had
already decided to set it to music. He found the ultimate solution in the
melody of Ode to joy. (Schiller wrote the poem in 1785; Beethoven was 15 years
old then.)
Within this symphony, and also within Missa
Solemnis and the last string quartet is where all of Beethoven’s experience in
his creative work is summarized, and something else beyond, which we call:
ingenuity.
An interesting quote from P. Bekker (German
composer and critic, 1882-1937):
“If
Beethoven were to die in 1813, it could have been proven crystal clear, that we
wouldn’t have lost anything with his death, since he had already composed
everything he was meant to compose.”
Three years after
presenting the symphony Beethoven passed away. The IX. symphony was his last.
Now, two hundred years later, are we able to give satisfactory answers to the
questions regarding this symphony:
Is it a
symphonic summary of his art?
Is it
farewell from life?
Is it
the glorification, the proclamation of the joy of life?
Maybe it is all of them, maybe none.
It is much more the committed artist’s gratification
of a desire to create, driven by the wish to fulfill Nature’s command. Beethoven
had came with a quest, that he fulfilled. Somewhere he was given the task to
compose this symphony, and many more pieces of music. He was concerned about
several compositions, several plans even on his deathbed.
Musical specialist books primarily deal with
the compositions’ analysis in terms of musical theory. There’s hardly anything
about what the unexperienced listener would like to know:
What is
this symphony about? What is its message?
What
does this message mean for people living today?
The symphony /and of course any other great
work of art/ arouse different thoughts, and they can be explained and
understood in several ways:
-
it
can be viewed in connection with a literary piece,
-
we
may turn to philosophy for help in understanding,
-
we
can search for the essence of its message in Beethoven’s personality (on the
basis of his biography, speeches, letters, statements),
-
we
can draw ideas from antiquity, history, or The Bible,
-
or
we can approach it uniquely: either through cold reason, or through warm
emotions, and so on.
About each movement
The I. symphony.
It is a general rule
that among the symphony’s movements the first is the most important, the base,
on which the other movements are built. It has a significant influence on the
other three movements even if they are different in xcharacter and style. As we
know in case of content the first movement is dramatic, the second is lyrical,
the third is merry, joyous, and the fourth is the fortunate resolution; just as
the audience would have expected a happy ending from the authors in the golden
age of Italian comic operas.
Of course there is no
need to search for a connection between the movements, since these are not
operas, where the second act cannot be understood without the first, and the
third act without the second. Each movement of the symphonies are somewhat
independent, where the aim is the realization of content and form on the
highest possible level.
After this brief
discussion, and mainly if we have listened to each movement and the whole
symphony several times, we can feel how the first movement has a dramatic tone,
mood; the word “demonic” is also
often used to describe it. - demon.
Just as the first
movement of the III. and V. symphony, this movement is also about the
struggling men; about the various struggles and battles in life. It is about
the ability to fight, about the battles fought for justice and freedom, but
also about failures and defeats, and that the desire for justice and freedom
within a human heart is unquenchable. It is about the unbreakable will of men,
about heroes who oppose tyranny, injustice, and who are always prepared to act
and fight for a better, happier future.
The Greek already
claimed that no man can live his life without worries and problems – we can
also add: and without struggling. Many claim that life’s goal is to struggle. Sulla, Lucius Cornelius (138-78 BC), the most powerful dictator of
ancient times also thought the same.
At about the end of
the movement Beethoven for a moment reminiscences a few passages of the
funeral-march from the VII. symphony’s II. movement, maybe to remember and
honor those heroes who had fallen in battle. (This is of course only an
assumption, but after so many explanations of the movements and melodies that I
took the liberty of creating my own. You may – of course – disagree!)
It is without doubt
that music primarily affects our senses, but it also has an effect on our way
of thinking, and also on our will. I wrote a few personal thoughts about this
before, how I feel about it, but it is obvious that there are different
opinions and that is natural. As justice has several paths, we cannot
monopolize it, it is not only “I” who own it.
The II. movement.
Beethoven’s longest scherzo movement – overall
16 minutes – is built on three melodies: the first and second themes (melodies)
of the scherzo and the trio’s melody. The II. movement begins with a
rhythm-motif of three drum beats; we have discussed this in the analysis. This
motif is there throughout the scherzo’s music, it rules it just as the music of
the splashing brook in the VI. symphony’s II. movement, or the beating-motif of
the IV. symphony’s II. movement.
The music summons the mood of dancing and
celebration.
If it’s true that the main characteristic of
the classical music language is motif-weaving, then here the “dactyl-motif” as
rhythm is “woven” under the movement’s music and between the bars.
The middle part, the trio – after the scherzo –
is like when after a raging storm sunlight fills the landscape. The music’s
mood is idyllic, completele different than that of the scherzo. By the way,
Beethoven does not call the movement scherzo, he was satisfied by the tempo
designation: Molto vivace.
Beethoven is the master of repetitions, the
trio melody is repeated twenty-three times, yet it is not boring. The trio’s
orchestration, the “orchestral gown” is extremely beautiful. The music is
enchanting, magical. Here Beethoven affects us with tones and harmonies instead
of rhythm. The sounding is shining, the melody is warm and updrift. Let us also
observe that the trio’s melody is staccato (interrupted), while the transition’s
music sounds in legato (bound, continuously). It is to no avail: the principle
of contrast is present here as well, which is not only the fundamental
principle of European philosophical
thinking but also of classical music, and it is primarily powerful in dynamics.
Many claim that Beethoven used the fundamental theory of
thesis-antithesis-synthesis earlier than G.W.F.
Hegel
(1770-1831), who is the greatest among European classical philosophers..
The III.
movement.
Two melodies sound within the movement.
The melody of the Adagio /with an Adagio
molto e cantabile tempo
designation/ is sad, like a lamentation.
The melody of the episode’s theme /tempo
designation: Andante moderato/ – is consoling, and at the same time
seeking peace and tranquility.
Indeed. While
the symphony’s first movement is about the struggles of life, and the second is
about the bustling world of life, here the harmonies of silence, peace and
tranquility rule.
Beyond that the movement’s music seeks peace
and tranquility, it also truly and accurately presents Beethoven’s feeling and
state of mind. The composer had already passed the struggles of his life and
achieved success; he wishes peace, the peace of the soul; perhaps the ebst word
to describe this feeling is “nirvana”.
Due to his deafness he left the people, he
didn’t go out, he didn’t get visitors, more and more people left him in turn,
and he was being forgotten; French opera is now the center of attention in
Wien. He once remarked bitterly, how his pieces are no longer played, how no
one is interested in them anymore.
The world closed around him twice: he was deaf
and lonely. He lived alone, had no family, wife, children. He kept in touch
with the outside world through notes. In his last years he often moved (from
apartment to apartment). He was often deceived, no one cared for him, and his
appearance was neglected. The Wien police once arrested him while he was on his
evening walk because they thought him to be a loafer. However hard we may try
we couldn’t possibly imagine his everyday concerns, his situation, state of
mind, and how it felt to be disregarded.
At the
same time, however, he reached such heights, where he was alone; there are no
comrades, no one to share his life, art and thoughts with. In this movement the
music sounds also about complaints, but not demanding, mutinous, like from
youngsters; not even cursing, grabbing fate by the throat as in the V.
symphony; instead he views the world, his fate with wise serenity, with tranquility
of a peaceful heart and soul; he continues to write scores.
The
music here also speaks about the grief of a lonely soul; not about despair,
disappointment, but about the soul that has been empowered by the tiring
struggles he had been through; it proclaims its elevation with the peace and
experience of the wise.
Beethoven
not only pours his own feelings, griefs, complaints, but all the feelings of
those who live, struggle, work, suffer, love and enjoy life. he seeks the peace
that everyone desires in this troubled life. Therefore do not think for a
moment that the composer pours only his own feelings, mood and grief into the
music, and transmits it to the audience (however this is also true); just the
opposite: he lifts the listenners’ emotions closer to reality, through music’s
enchanting power. Words are incapable of this, only music can express it;
solely because there are no proper words to express feelings, we cannot put
them to words.
When I
write these lines I am over 70 yerars old, and it seems that my concerns only
grow, there is no rest; life is more and more restless, not only around me, but
also in my country and in the world, and I cannot hope for days more tranquil.
Yet, when I listen to this movement my soul finds peace, I am relaxed by the
sounds of music and an unusual calmness fills me, which consoles and lifts me,
gives me strength for the next day, for new fights, for the meaning of life and
for my existence.
George
Bernard Shaw (1856-1950) English dramatist, novelist, critic
expresses it more beautifully: “…without fear he opened his heart, and by doing so
expressed us, ordinary people.”
The
lines of the writer of Révai Nagy
Lexikon are really apt, and they suit the musical content of the I. and
III. movement so well; pages could be written about this, but not more
concisely, more beautifully! The sentence is of the whole symphony, but its
first half is the truest for the I. movement, and its second half is the truest
for the III. movement. “It expresses the struggles of a heart, as among many
worries it desires the ray of joy.” (II. volume – 1911)
Perhaps, however, it is He, who put to
words essence of his artistic quest, his fate the best in only three words,
which he wrote in Countess Erdõdy’s album:
Durch
Leiden Freude. Joy,
at the cost of suffering.
A
cruicial change happens in the IV. movement’s music. Beethoven passes the
centuries old world of form and introduces human sound, singing, so he can
express the last big and burning confession of his art clearly for “everyone”,
for “every listener”.
Many
disapproved of a choir to be introduced to symphonic music, they considered it
a mistake. Almost two hundred years passed since, and it’s more and more
obvious, that Beethoven was right after all.
Musicographers
also consider that the IX. symphony is a less unified composition, because in
the structure of a symphony the movements should be more closely connected to
each other. Beethoven was aware of this, and this is why in the IV. movement he
reminiscences the main themes of the first three movements, until he finally
finds the melody of the ode to joy.
The
symphony is popular all around the world, it is performed more and more, and it
is known for and increasing number of people. Thanks to Pablo Casals’, the
world famous cellist’s suggestion, since 1958 the IX. symphony is broadcast by
radio- and television stations on the 31st of December in the same
hour in the five major cities representing the five continents. In the piece
proclaiming the brotherhood of the nations, in the last movement – in the
melody written to Schiller’s Ode to Joy – Beethoven proclaims and sends the
message of his music to all humanity: “Be
embraced, millions! / This kiss to the entire world!” (The best last will ever written!)
The IV. movement’s
music requires no particular explanation. Schiller’s lines and Beethoven’s
music are in perfect harmony with each other, proclaiming the joy of life. It
also sends another message, the togetherness of world’s nations, the thought of
brotherhood, just as how the thinkers of the French enlightenment have done. It
is therefore not a coincidence, that this symphony was given the name “The
symphony of brotherhood”; although we call it the Ode to Joy.
Many
also claim that Beethoven thanks the Maker with the melody of the ode to joy
for allowing him to fulfill his quest; he also thanks the almighty FATE for
letting him accomplish to fulfill his art, and to present his works to
humanity. Let us think for but a moment about his last will written when he was
32, in which he considers suicide because of his worsening hearing.
Was Beethoven unhappy, or happy?
today,
when we have don’t have enough time for seemingly anything, we have even less
time for listening to and examining music, if any at all; thus who hadn’t read
or heard, probably do not know that:
When
Beethoven was composing the IX. symphony…
§ he lived his daily life among
unworthy, inhuman, adverse circumstances; bluntly: he lived in filth,
§ we know from his biography that in
his last years he often moved (moved to a new apartment)
Is he
unhappy?
Left to
his fate, deaf and old, forgotten by Wien and the world, with neglected
appearance and clothing, struggling with illness – yet he works, creates…
Composes
the IX. symphony for humanity…
Before
him is Schiller’s poem, he opens his arm:
“Joy, beautiful sparkle of the
gods,
Daughter of Elysium,
We enter, fire-drunk,
Heavenly one, your shrine.
Your magics bind again
What
custom's sword has parted.
Beggars
become princes' brothers
Where your tender wing lingers.”
He pours
the poem’s thought into music, forgetting earthly life’s petty, but worrying
nuisances…
On the
swift wings of his thoughts he explores art’s endless world, where…
his
artistic spirit happily sojourns in the warmth of the “beautiful sparkle of the
gods” and at the thoughts of “brotherhood”.
He hopes
for a free and more beautiful future for humanity.
He is
happy.
Fridrich
Schiller
Ode to
Joy
|
1. Joy,
beautiful sparkle of the gods, Daughter
of Elysium, We
enter, fire-drunk, Heavenly
one, your shrine. Your
magics bind again What custom's sword has parted. Beggars become princes' brothers Where
your tender wing lingers. |
5. From the
fiery mirror of truth She
smiles upon the researcher, Towards
virtue’s steep hill She
guides the endurer’s path. Upon
faith’s sunlit mountain One
sees her banners in the wind, Through
the opening of burst coffins One sees them
standing in the chorus of angels. |
|
Be embraced, millions! This kiss to the entire world! Brothers, above the starry canopy Must a loving Father reside. |
Endure courageously, millions! Endure for the better world! There above the starry canopy A great God will reward. |
|
2. Whoever
has succeeded in the great attempt To be
a friend's friend; Whoever
has won a lovely woman Add
in his jubilation! Yes,
who calls even one soul His
own on the earth's sphere! And
whoever never could achieve this, Let
him steal away crying from this gathering! |
6. Gods
one cannot repay Beautiful
it is, to be like them. Grief
and poverty, acquaint yourselves With
the joyful ones rejoice. Anger
and revenge be forgotten, Our
deadly enemy be forgiven, No
tears shall he shed No
remorse shall gnaw at him |
|
Those who occupy the great
circle, Pay homage to sympathy! It leads to the stars Where the unknown one reigns. |
Our debt registers be abolished Reconcile the entire world! Brothers, over the starry canopy God judges, as we judged. |
|
3. All
creatures drink joy At
the breasts of nature, All
good, all evil Follow
her trail of roses. Kisses
she gave us, and the vine, A
friend, proven in death. Pleasure
was given to the worm, And
the cherub stands before God. |
7. Joy
bubbles in the cup, In
the grape’s golden blood Cannibals
drink gentleness The
fearful, courage -- Brothers,
fly from your perches, When
the full cup is passed, Let
the foam spray to the heavens This
glass to the good spirit |
|
Do you fall down, you millions? Do you sense the creator, world? Seek him above the starry canopy, Above the stars he must live. |
He whom the spirals of stars
praise, He whom the seraphim’s hymn
glorifies, This glass to the good spirit Above the starry canopy! |
|
4. Joy
is the name of the strong spring In
eternal nature. Joy,
joy drives the wheels In
the great clock of worlds. She
lures flowers from the buds, Suns
out of the firmament, She
rolls spheres in the spaces That
the seer's telescope does not know. |
8. Courage
firm in great suffering, Help
there, where innocence weeps, Eternally
sworn oaths, Truth
towards friend and foe, Mens’
pride before kings’ thrones -- Brothers,
even if it costs property and blood, -- The
crowns to those who earn them, Defeat
to the lying brood! |
|
Happy, as his suns fly Through the heaven’s magnificent
plain Run, brothers, your track Joyfully, as a hero to victory. |
Close the holy circle tighter, Swear by this golden vine: Remain true to the vows, Swear by the judge above the
stars! |
Translation from German (Deutsch) to English
copyright © 2004
by John
Glenn Paton
Index
archaic gr-lat 1.
ancient, age-old, of antiquity 2. art in Greek arts – dating from
the period before the middle 5th century B.C; initial, early; antiquated
→ in the text the word is used in the meaning of the
underlined words < back
demon gr-lat – in
the mythology of some natural people being that control godly powers but are
inferior to gods. < back
fanfare fr – long, straight trumpet-like instrument < back
nirvana ind – 1. in
Buddhist religion it is the cease of all desire and pain, the escape from reincarnation
by merging with the universe, the disappearance of the individual soul and the
state of greatest happiness
2. total
annihilation, the opposite of existence, not existing,
when using the word I
primarily mean undisturbed peace, being reconciled with one’s fate < back
Palestrina,
Giovanni Pierluigi da – excellent musicologists /1525 – 1594/, a
crowning, summarizing artist; his six-part masses, his music is clearly the
climax of vocal literature; in schools of music the Palestrina-style is taught
even today; of course he composed non-religious pieces as well /madrigals/.-
< back
refrain fr – lit.,
music – more or less unaltered, reaccuring line(s) or melody-parts at the end
of a poem’s/song’s sections < back