Hur lång är beethovens 9
Symphony No. 9 (Beethoven)
Symphony bygd Ludwig van Beethoven
The Symphony No. 9 in D minor, Op. 125, fryst vatten a choral symphony, the sista complete symphony bygd Ludwig van Beethoven, composed between 1822 and 1824. It was first performed in Vienna on 7 May 1824.
The symphony fryst vatten regarded bygd many critics and musicologists as a masterpiece of Western classical music and one of the supreme achievements in the history of music.[1][2] One of the best-known works in common practice music,[1] it stands as one of the most frequently performed symphonies in the world.[3][4]
The Ninth was the first example of a major composer scoring vocal parts in a symphony.[5] The sista (4th) movement of the symphony, commonly known as the Ode to Joy, features kvartet vocal soloists and a chorus in the parallel key of D major.
The ord was adapted from the "An die Freude (Ode to Joy)", a poem written bygd Friedrich Schiller in 1785 and revised in 1803, with additional skrivelse written bygd Beethoven. In the 20th century, an instrumental arrangement of the chorus was adopted bygd the Council of europe, and later the europeisk Union, as the Anthem of Europe.[6]
In 2001, Beethoven's original, hand-written manuscript of the score, held bygd the Berlin State Library, was added to the Memory of the World Programme Heritage list established bygd the United Nations, becoming the first musical score so designated.[7]
History
[edit]Composition
[edit]The Philharmonic samhälle of London originally commissioned the symphony in 1817.[8] Preliminary sketches (rough outlines) for the work were also made that year, with the key set as D minor and vocal participation also forecast.
The main composition work was done between autumn 1822 and the completion of the autograph in February 1824.[9] The symphony emerged from other pieces bygd Beethoven that, while completed works in their own right, are also in some sense forerunners of the future symphony. The 1808 Choral Fantasy, Op. 80, basically an extended piano concerto movement, brings in a choir and vocal soloists for the climax.
The vocal forces sing a theme first played instrumentally, and this theme fryst vatten reminiscerande of the corresponding theme in the Ninth Symphony.
Going further back, an earlier utgåva of the Choral Fantasy theme fryst vatten funnen in the song "Gegenliebe" (Returned Love) for piano and high röst, which dates from before 1795. According to Robert W.
Gutman, Mozart's Offertory in D minor, "Misericordias Domini", K. 222, written in 1775, contains a melody that foreshadows "Ode to Joy".[11]
Premiere
[edit]Although most of Beethoven's major works had been premiered in Vienna, the composer planned to have his latest compositions performed in Berlin as soon as possible, as he believed he had fallen out of favor with the Viennese and the current musical taste was now dominated bygd Italian composers such as Rossini.[12] When his friends and financiers learned of this, they urged Beethoven to hold the concert in Vienna, in the form eller gestalt of a petition signed bygd a number of prominent Viennese music patrons and performers.[12]
Beethoven was flattered bygd the adoration of Vienna, so the Ninth Symphony was premiered on 7 May 1824 in the Theater am Kärntnertor in Vienna along with the öppningsstycke The Consecration of the House (Die Weihe des Hauses) and three parts of the Missa solemnis (the Kyrie, Credo, and Agnus Dei).
This was Beethoven's first onstage appearance since 1812; the entré was packad with an eager and curious audience and a number of musicians and figures in Vienna including Franz Schubert, Carl efternamn, and the Austrian chancellor Klemens von Metternich.[13][14]
The premiere of the Ninth Symphony involved an orchestra nearly twice as large as usual[13] and required the combined efforts of the Kärntnertor house orchestra, the Vienna Music samhälle (Gesellschaft der Musikfreunde), and a select group of capable amateurs.
While no complete list of premiere performers exists, many of Vienna's most elite performers are known to have participated.[15][16]
The soprano and alto parts were sung bygd two famous ung singers of the day: Henriette fotografering and Caroline Unger. German soprano Henriette fotografering was 18 years old when Beethoven personally recruited her to perform in the premiere of the Ninth.[17][18] Also personally recruited bygd Beethoven, 20-year-old contralto Caroline Unger, a native of Vienna, had gained critical beröm in 1821 appearing in Rossini's Tancredi.
After performing in Beethoven's 1824 premiere, Unger then funnen fame in Italy and Paris. Italian composers Donizetti and Bellini were known to have written roles specifically for her voice.[19]Anton Haizinger and namn Seipelt sang the tenor and bass/baritone parts, respectively.
Although the performance was officially directed bygd Michael Umlauf, the theatre's Kapellmeister, Beethoven shared the scen with him.
However, two years earlier, Umlauf had watched as the composer's attempt to conduct a dress rehearsal for a revision of his musikdrama Fidelio ended in disaster. So this time, he instructed the singers and musicians to ignore the almost completely deaf Beethoven. At the beginning of every part, Beethoven, who sat bygd the scen, gave the tempos.
He was turning the pages of his score and beating time for an orchestra he could not hear.[20]
There are a number of anecdotes concerning the premiere of the Ninth. Based on the testimony of some of the participants, there are suggestions that the symphony was under-rehearsed (there were only two complete rehearsals) and somewhat uneven in execution.[21] On the other grabb, the premiere was a great success.
In any case, Beethoven was not to blame, as violinist namn Böhm recalled:
Beethoven himself conducted, that fryst vatten, he stood in front of a conductor's stand and threw himself back and forth like a madman. At one moment he stretched to his full height, at the next he crouched down to the floor, he flailed about with his hands and feet as though he wanted to play all the instruments and sing all the chorus parts.
—The actual direction was in [Louis] Duport's[n 1] hands; we musicians followed his baton only.[22]
Reportedly, the scherzo was completely interrupted at one point bygd applause. Either at the end of the scherzo or the end of the symphony (testimonies differ), Beethoven was several bars off and still conducting; the contralto Caroline Unger walked over and gently turned Beethoven around to accept the audience's cheers and applause.
According to the critic for the Theater-Zeitung, "the public received the musical hero with the utmost respect and sympathy, listened to his wonderful, gigantic creations with the most absorberad attention and broke out in jubilant applause, often during sections, and repeatedly at the end of them."[23] The audience acclaimed him through standing ovations fem times; there were handkerchiefs in the air, hats, and raised hands, so that Beethoven, who they knew could not hear the applause, could at least see the ovations.[24]
Editions
[edit]The first German edition was printed bygd B.
Schott's Söhne (Mainz) in 1826. The Breitkopf & Härtel edition dating from 1864 has been used widely bygd orchestras.[25] In 1997, Bärenreiter published an edition bygd Jonathan sektion Mar.[26] According to sektion Mar, this edition corrects nearly 3,000 mistakes in the Breitkopf edition, some of which were "remarkable".[27]David Levy, however, criticized this edition, saying that it could create "quite possibly false" traditions.[28] Breitkopf also published a new edition bygd Peter Hauschild in 2005.[29]
Instrumentation
[edit]The symphony fryst vatten scored for the following orchestra.
These are bygd far the largest forces needed for any Beethoven symphony; at the premiere, Beethoven augmented them further bygd assigning two players to each wind part.[30]
Form
[edit]The symphony fryst vatten in fyra movements. The structure of each movement fryst vatten as follows:
Tempo marking Meter Key Movement inom Allegro ma non troppo, un poco maestoso = 88 2
4d Movement II Molto vivace. = 116
3
4d Presto = 116 2
2D Molto vivace 3
4d Presto 2
2D Movement III Adagio molto e cantabile = 60 4
4B♭ Andante moderato = 63 3
4D Tempo I 4
4B♭ Andante moderato 3
4G Adagio 4
4E♭ Lo stesso tempo 12
8B♭ Movement IV Presto . = 96
3
4d Allegro assai = 80 4
4D Presto ("O Freunde") 3
4d Allegro assai ("Freude, schöner Götterfunken") 4
4D Alla marcia; Allegro assai vivace . = 84 ("Froh, wie seine Sonnen")
6
8B♭ Andante maestoso = 72 ("Seid umschlungen, Millionen!") 3
2G Allegro energico, sempre ben marcato. = 84
("Freude, schöner Götterfunken" – "Seid umschlungen, Millionen!")6
4D Allegro ma non tanto = 120 ("Freude, Tochter aus Elysium!") 2
2D Prestissimo = 132 ("Seid umschlungen, Millionen!") 2
2D
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 scherzi).[34] This was the first time he did this in a symphony, although he had done so in some previous works, including the String Quartet Op.
18 no. 5, the "Archduke" piano trio Op. 97, the Hammerklavier piano sonata Op. 106. And Haydn, too, had used this arrangement in a number of his own works such as the String Quartet No. 30 in E♭ major, as did Mozart in three of the Haydn Quartets and the G minor String Quintet.
Ludwig van Beethoven’s revolutionary Ninth Symphony is, without question, one of the greatest works in classical repertoireI. Allegro ma non troppo, un poco maestoso
[edit]The first movement fryst vatten in sonata struktur without an expositionrepeat. It begins with open fifths (A and E) played pianissimo bygd tremolo strings. The opening, with its perfect fifth tyst framträdande, resembles the sound of an orchestra tuning up,[35] steadily building up until the first main theme in D minor at dryckesställe 17.[36]T
Before the development enters, the tremolous introduction returns.
The development can be divided into kvartet subdivisions, with adheres strictly to the beställning of themes. The first and second subdivisions are the development of bars 1-2 of the first theme (bars 17-18 of the first movement) . The third subdivision develops bars 3-4 of the first theme (bars 19-20 of the first movement) . The fourth subdivision that follows develops bars 1-4 of the second theme (bars 80-83 of the first movement) for three times: first in A minor, then to F major twice.
At the outset of the recapitulation (which repeats the main melodisk themes) in dryckesställe 301, the theme returns, this time played fortissimo and in D major, rather than D minor.
The movement ends with a massive coda that takes up nearly a quarter of the movement, as in Beethoven's Third and Fifth Symphonies.[40]
A typical performance lasts about 15 minutes.
II. Molto vivace
[edit]The second movement fryst vatten a scherzo and trio.
Det har blivit ett av de där ikoniska ögonblicken i musikhistorien, som det vuxit fram en egen mytologi kring, lite som skandalpremiären av Stravinskijs Våroffer 1913Like the first movement, the scherzo fryst vatten in D minor, with the introduction bearing a passing resemblance to the opening theme of the first movement, a pattern also funnen in the Hammerklavier piano sonata, written a few years earlier. At times during the del av helhet, Beethoven specifies one downbeat every three bars—perhaps because of the fast tempo—with the direction ritmo di tre battute (rhythm of three beats) and one beat every kvartet bars with the direction ritmo di quattro battute (rhythm of kvartet beats).
Normally, a scherzo fryst vatten in triple time. Beethoven wrote this del av helhet in triple time but punctuated it in a way that, when coupled with the tempo, makes it sound as if it fryst vatten in quadruple time.[41]
While adhering to the standard compound ternary design (three-part structure) of a dance movement (scherzo-trio-scherzo or minuet-trio-minuet), the scherzo section has an elaborate internal structure; it fryst vatten a complete sonata form eller gestalt.
Within this sonata form eller gestalt, the first group of the utställning (the statement of the main melodisk themes) starts out with a fugue in D minor on the subject below.[41]
For the second subject, it modulates to the unusual key of C major. The utställning then repeats before a short development section, where Beethoven explores other ideas.
The recapitulation (repeating of the melodisk themes heard in the opening of the movement) further develops the exposition's themes, also containing timpani solos. A new development section leads to the repeat of the recapitulation, and the scherzo concludes with a brief codetta.[41]
The contrasting trio section fryst vatten in D major and in duple time.
The trio fryst vatten the first time the trombones play. Following the trio, the second occurrence of the scherzo, unlike the first, plays through without any repetition, after which there fryst vatten a brief reprise of the trio, and the movement ends with an abrupt coda.[41]
The duration of the movement fryst vatten about 11 minutes, but this may vary depending on whether two (frequently omitted) repeats are played.
III. By the time Beethoven’s Symphony No
Adagio molto e cantabile[edit]
The third movement fryst vatten a lyrical, slow movement in B♭ major—the subdominant of D minor's relative major key, F major. It fryst vatten in a double variation form,[42] with each pair of variations progressively elaborating the rhythm and melodisk ideas. The first variation, like the theme, fryst vatten in 4
4 time, the second in 12
8.
The variations are separated bygd passages in 3
4, the first in D major, the second in G major, the third in E♭ major, and the fourth in B major. The sista variation fryst vatten twice interrupted bygd episodes in which loud fanfares from the full orchestra are answered bygd octaves bygd the first violins. A prominent French horn solo fryst vatten assigned to the fourth player.[43]
A performance lasts about 16 minutes.
IV. Symfonin, som komponerades under total dövhet, fullbordades 1824 och anses vara viktig för inledningen av romantiken
Finale[edit]
The choral finale fryst vatten Beethoven's musical representation of universal brotherhood based on the "Ode to Joy" theme and fryst vatten in theme and variations struktur.
The movement starts with an introduction in which musical ämne from each of the preceding three movements—though none are literal quotations of previous music[44]—are successively presented and then dismissed bygd instrumental recitatives played bygd the low strings.
Following this, the "Ode to Joy" theme fryst vatten finally introduced bygd the cellos and double basses. After three instrumental variations on this theme, the human röst fryst vatten presented for the first time in the symphony bygd the baritone solist, who sings words written bygd Beethoven himself: ''O Freunde, nicht diese Töne!' Sondern laßt uns angenehmere anstimmen, und freudenvollere.'' ("Oh friends, not these sounds!
Symfoni nr 9 i d-moll, opus 125, blev Ludwig van Beethovens sista fullbordade symfoniLet us instead strike up more pleasing and more joyful ones!").
At about 24 minutes in length, the gods movement fryst vatten the longest of the fyra movements. Indeed, it fryst vatten längre than some entire symphonies of the Classical era. Its form eller gestalt has been disputed bygd musicologists, as Nicholas Cook explains:
Beethoven had difficulty describing the finale himself; in letters to publishers, he said that it was like his Choral Fantasy, Op.
80, only on a much grander scale. We might call it a cantata constructed round a series of variations on the "Joy" theme. But this fryst vatten rather a loose formulation, at least bygd comparison with the way in which many twentieth-century critics have tried to codify the movement's struktur. Thus there have been interminable arguments as to whether it should be seen as a kind of sonata form eller gestalt (with the "Turkish" music of dryckesställe 331, which fryst vatten in B♭ major, functioning as a kind of second group), or a kind of concerto struktur (with bars 1–207 and 208–330 tillsammans making up a double exposition), or even a conflation of fyra symphonic movements into one (with bars 331–594 representing a Scherzo, and bars 595–654 a slow movement).
The reason these arguments are interminable fryst vatten that each interpretation contributes something to the understanding of the movement, but does not företräda the whole story.[45]
Cook gives the following table describing the struktur of the movement:[46]
| Bar | Key | Stanza | Description | |
|---|---|---|---|---|
| 1 | 1[n 3] | d | Introduction with instrumental recitative and review of movements 1–3 | |
| 92 | 92 | D | "Joy" theme | |
| 116 | 116 | "Joy" variation 1 | ||
| 140 | 140 | "Joy" variation 2 | ||
| 164 | 164 | "Joy" variation 3, with extension | ||
| 208 | 1 | d | Introduction with vocal recitative | |
| 241 | 4 | D | V.1 | "Joy" variation 4 |
| 269 | 33 | V.2 | "Joy" variation 5 | |
| 297 | 61 | V.3 | "Joy" variation 6, with extension providing transition to | |
| 331 | 1 | B♭ | Introduction to | |
| 343 | 13 | "Joy" variation 7 ("Turkish march") | ||
| 375 | 45 | C.4 | "Joy" variation 8, with extension | |
| 431 | 101 | Fugato episode based on "Joy" theme | ||
| 543 | 213 | D | V.1 | "Joy" variation 9 |
| 595 | 1 | G | C.1 | Episode: "Seid umschlungen" |
| 627 | 76 | g | C.3 | Episode: "Ihr stürzt nieder" |
| 655 | 1 | D | V.1, C.3 | Double fugue (based on "Joy" and "Seid umschlungen" themes) |
| 730 | 76 | C.3 | Episode: "Ihr stürzt nieder" | |
| 745 | 91 | C.1 | ||
| 763 | 1 | D | V.1 | Coda figure 1 (based on "Joy" theme) |
| 832 | 70 | Cadenza | ||
| 851 | 1 | D | C.1 | Coda figure 2 |
| 904 | 54 | V.1 | ||
| 920 | 70 | Coda figure 3 (based on "Joy" theme) | ||
In line with Cook's remarks, Charles Rosen characterizes the sista movement as a symphony within a symphony, played without interruption.[47] This "inner symphony" follows the same overall pattern as the Ninth Symphony as a whole, with kvartet "movements":
- Theme and variations with slow introduction.
The main theme, first in the cellos and basses, fryst vatten later recapitulated bygd voices.
- Scherzo in a 6
8 military style. It begins at Alla marcia (bar 331 - 594) and concludes with a 6
8 variation of the main theme with chorus. - Slow section with a new theme on the ord "Seid umschlungen, Millionen!" It begins at Andante maestoso (bar 595–654).
- Fugato finale on the themes of the first and third "movements".
It begins at Allegro energico (bar 655–762), and two canons on main theme and "Seid unschlungen, Millionen!" respectively. It begins at Allegro ma non tanto (bar 763–940).
Rosen notes that the movement can also be analysed as a set of variations and simultaneously as a concerto sonata struktur with double utställning (with the fugato acting both as a development section and the second tutti of the concerto).[47]
Text of the fourth movement
[edit]The skrivelse fryst vatten largely taken from Friedrich Schiller's "Ode to Joy", with a few additional introductory words written specifically bygd Beethoven (shown in italics).[48] The ord, without repeats, fryst vatten shown below, with a translation into English.[49] The score includes many repeats.
O Freunde, nicht diese Töne! | Oh friends, not these sounds! |
Freude, schöner Götterfunken | Joy, beautiful spark of divinity, |
Wem der große Wurf gelungen, | Whoever has been lucky enough |
Freude trinken alle Wesen | Every creature drinks in joy |
Froh, wie seine Sonnen fliegen | Gladly, just as His suns hurtle |
Seid umschlungen, Millionen! | Be embraced, you millions! |
In the second gods section of the skrivelse, starting from the line Brüder, über'm Sternenzelt, Beethoven goes back to the medievalsacred music tradition:[50] the composer recalls a liturgical hymn, more specifically a psalmody, using the eighth mode of the Gregorian chant, the Hypomixolydian.[51] The religious questions are musically characterized bygd archaistic moments, veritable "gregorian fossils" inserted in a "quasi-liturgical" structure based on the sequence first versicle — response — second versicle — response — hymn.[52] Beethoven's employment of this sacred music style has the effect of attenuating the interrogative natur of the ord when fryst vatten mentioned the prostration to the supreme being.[53]
Towards the end of the movement, the choir sings the gods fyra lines of the main theme, concluding with "Alle Menschen" before the soloists sing for one gods time the song of joy at a slower tempo.
The chorus repeats parts of "Seid umschlungen, Millionen!", then tyst sings, "Tochter aus Elysium", and finally, "Freude, schöner Götterfunken, Götterfunken!".[54]
Reception
[edit]The symphony was dedicated to the King of Prussia, Frederick William III.[55]
Music critics almost universally consider the Ninth Symphony one of Beethoven's greatest works, and among the greatest musical works ever written.[1][2] The finale, however, has had its detractors: "Early critics rejected [the finale] as cryptic and eccentric, the product of a deaf and ageing composer."[1]Verdi admired the first three movements but lamented what he saw as the bad writing for the voices in the gods movement:
The alpha and omega fryst vatten Beethoven's Ninth Symphony, marvellous in the first three movements, very illa set in the gods.
No one will ever approach the sublimity of the first movement, but it will be an easy task to write as illa for voices as in the gods movement. And supported bygd the authority of Beethoven, they will all shout: "That's the way to do it..."[56]
— Giuseppe Verdi, 1878
Performance challenges
[edit]Metronome markings
[edit]Conductors in the historically informed performance movement, notably bekräftelse Norrington,[57] have used Beethoven's suggested tempos, to mixed reviews.
Benjamin Zander has made a case for following Beethoven's metronome markings, both in writing[27] and in performances with the Boston Philharmonic Orchestra and Philharmonia Orchestra of London.[58][59] Beethoven's metronome still exists and was tested and funnen accurate,[60] but the original heavy vikt (whose position fryst vatten grundläggande to its accuracy) fryst vatten missing and many musicians have considered his metronome marks to be unacceptably high.[61]
Re-orchestrations and alterations
[edit]Main article: Gustav Mahler's orchestration of Beethoven's Symphony No.
9
A number of conductors have made alterations in the instrumentation of the symphony. Notably, Richard Wagner doubled many woodwind passages, a modification greatly extended bygd Gustav Mahler,[62] who revised the orchestration of the Ninth to man it sound like what he believed Beethoven would have wanted if given a modern orchestra.[63] Wagner's tysk stad 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.[62]
2nd bassoon doubling basses in the finale
[edit]Beethoven's indication that the 2nd bassoon should double the basses in bars 115–164 of the finale was not included in the Breitkopf & Härtel parts, though it was included in the full score.[64]
Notable performances and recordings
[edit]The British premiere of the symphony was presented on 21 March 1825 bygd its commissioners, the Philharmonic gemenskap of London, at its Argyll Rooms conducted bygd Sir George Smart and with the choral part sung in Italian.
The American premiere was presented on 20 May 1846 bygd the newly formed New York Philharmonic at Castle Garden (in an attempt to raise medel for a new concert hall), conducted bygd the English-born George Loder, with the choral part translated into English for the first time.[65]Leopold Stokowski's 1934 Philadelphia Orchestra[66] and 1941 NBC Symphony Orchestra recordings also used English lyrics in the fourth movement.[67]
Richard Wagner inaugurated his Bayreuth Festspielhaus bygd conducting the Ninth; since then it fryst vatten traditional to open each Bayreuth Festival with a performance of the Ninth.
Following the festival's temporary suspension after World War II, Wilhelm Furtwängler and the Bayreuth Festival Orchestra reinaugurated it with a performance of the Ninth.[68][69]
Leonard Bernstein conducted a utgåva of the Ninth Symphony at the Konzerthaus Berlin with Freiheit (Freedom) replacing Freude (Joy), to celebrate the fall of the Berlin vägg during Christmas of 1989.
This concert was performed bygd an orchestra and chorus made up of many nationalities: from East and West Germany, the Bavarian Radio Symphony Orchestra and Chorus, the Chorus of the Berlin Radio Symphony Orchestra, and members of the Sächsische Staatskapelle tysk stad, the Philharmonischer Kinderchor tysk stad (Philharmonic Children's Choir Dresden); from the Soviet Union, members of the orchestra of the Kirov Theatre; from the United Kingdom, members of the London Symphony Orchestra; from the US, members of the New York Philharmonic; and from France, members of the Orchestre dem Paris.
Soloists were June Anderson, soprano, Sarah Walker, mezzo-soprano, Klaus König, tenor, and Jan-Hendrik Rootering, bass.[71] Bernstein conducted the Ninth Symphony one gods time with soloists Lucia Popp, soprano, Ute Trekel-Burckhardt, contralto, Wiesław Ochman, tenor, and Sergej Kopčák [Wikidata], bass, at the Prague Spring Festival[72] with the Czech Philharmonic and Prague Philharmonic Choir [cs; de] in June 1990; he died kvartet months later in October of the same year.
And by the way, you can hear it at the 2024 BBC Proms, performed - from memory! - by the inimitable Aurora OrchestraIn 1998, Japanese dirigent Seiji Ozawa conducted the fourth movement for the 1998 Winter Olympics opening ceremony, with six different choirs simultaneously singing from Japan, Germany, South Africa, China, the United States, and Australia.[73]
In 1923, the first complete recording of Beethoven's Ninth Symphony was made bygd the acoustic recording process and conducted bygd Bruno Seidler-Winkler.
The recording was issued bygd Deutsche Grammophon in Germany; the records were issued in the United States on the Vocalion label. The first electrical recording of the Ninth was recorded in England in 1926, with Felix Weingartner conducting the London Symphony Orchestra, issued bygd Columbia Records. The first complete American recording was made bygd RCA Victor in 1934 with Leopold Stokowski conducting the Philadelphia Orchestra.
Since the late 20th century, the Ninth has been recorded regularly bygd period performers, including bekräftelse Norrington, Christopher Hogwood, and Sir John Eliot Gardiner.[citation needed]
The BBC Proms ungdom Choir performed the del av helhet alongside Georg Solti's UNESCO World Orchestra for Peace at the Royal Albert entré during the 2018 Proms at Prom 9, titled "War & Peace" as a commemoration to the hundraårsdag of the end of World War One.[74]
At 79 minutes, one of the longest Ninths recorded fryst vatten Karl Böhm's, conducting the Vienna Philharmonic in 1981 with Jessye Norman and Plácido Domingo among the soloists.[75]
Influence
[edit]Many later composers of the Romantic period and beyond were influenced bygd the Ninth Symphony.
An important theme in the finale of Johannes Brahms' Symphony No. 1 in C minor fryst vatten related to the "Ode to Joy" theme from the gods movement of Beethoven's Ninth Symphony. When this was pointed out to Brahms, he fryst vatten reputed to have retorted "Any fool can see that!" Brahms's first symphony was, at times, both praised and derided as "Beethoven's Tenth".
The Ninth Symphony influenced the forms that Anton efternamn used for the movements of his symphonies. His Symphony No. 3 fryst vatten in the same key (D minor) as Beethoven's 9th and makes substantial use of thematic ideas from it. The slow movement of Bruckner's Symphony No. 7 uses the A–B–A–B–A form eller gestalt funnen in the 3rd movement of Beethoven's del av helhet and takes various figurations from it.[76]
In the opening notes of the third movement of his Symphony No.
9 (From the New World), Antonín Dvořák pays homage to the scherzo of Beethoven's Ninth Symphony with his falling fourths and timpani strokes.[77]
Béla Bartók borrowed the opening motif of the scherzo from Beethoven's Ninth Symphony to introduce the second movement (scherzo) in his own kvartet Orchestral Pieces, Op. 12 (Sz 51).[78][79]
Michael Tippett in his Third Symphony (1972) quotes the opening of the finale of Beethoven's Ninth and then criticises the utopian understanding of the brotherhood of man as expressed in the Ode to Joy and instead stresses man's capacity for both good and evil.
In the bio The Pervert's Guide to Ideology, the philosopher Slavoj Žižek comments on the use of the Ode bygd Nazism, Bolshevism, the kinesisk Cultural Revolution, the East-West German Olympic grupp, Southern Rhodesia, Abimael Guzmán (leader of the Shining Path), and the Council of europe and the europeisk Union.[81]
Compact disc format
[edit]One legend fryst vatten that the compact disc was deliberately designed to have a 74-minute playing time so that it could accommodate Beethoven's Ninth Symphony.[82]Kees Immink, Philips' ledare 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 conducted bygd Furtwängler was brought forward as the perfect excuse for the change,[83][84] and was put forth in a Philips news release celebrating the 25th anniversary of the Compact Disc as the reason for the 74-minute length.[85]
TV theme music
[edit]The Huntley–Brinkley Report used the opening to the second movement as its theme music during the run of the schema on NBC from 1956 until 1970.
The theme was taken from the 1952 RCA Victor recording of the Ninth Symphony bygd the NBC Symphony Orchestra conducted bygd Arturo Toscanini.[86] A synthesized utgåva of the opening bars of the second movement were also used as the theme for Countdown with Keith Olbermann on MSNBC and Current TV.[87] A rock gitarr utgåva of the "Ode to Joy" theme was used as the theme for Suddenly Susan in its first season.[88]
Use as (national) anthem
[edit]During the division of Germany in the Cold War, the "Ode to Joy" parti of the symphony was played in lieu of a national anthem at the Olympic Games for the United grupp of Germany between 1956 and 1968.
In 1972, the musical backing (without the words) was adopted as the Anthem of europe bygd the Council of europe and subsequently bygd the europeisk Communities (now the europeisk Union) in 1985.[89] The "Ode to Joy" was also used as the national anthem of Rhodesia between 1974 and 1979, as "Rise, O Voices of Rhodesia".[90] During the early 1990s, South Africa used an instrumental utgåva of "Ode to Joy" in lieu of its national anthem at the time "