English Commentary by Sergio Cánovas

Beethoven’s Symphony No.9 had a long gestation period. The London Philharmonic Society commissioned him a new symphony in 1817, and between 1817-8 Beethoven outlined the first two movements, but the Missa Solemnis demanded his full attention. He resumed work on the piece between 1822-4. It was premiered on May 7 of 1824, performed by the Kärntnertor house orchestra conducted by Michael Umlauf, with Beethoven by his side attempting as well despite being completely deaf at that point. The Ninth is regarded by many composers, critics and musicologists alike as Beethoven’s greatest work and one of the supreme achievements in the history of music. One of the best-known works of classical music, it stands as one of the most frequently performed symphonies in the world. It’s influenced has spread through centuries, styles of music and composers, specially it’s choral last movement with the poem «Ode to Joy». Thus, it stands as one of the pillars of western culture.

The first movement is structured in sonata form. It opens with a brief introduction that, with its perfect fifth quietly emerging, resembles the sound of an orchestra tuning up. A passionate and willful main theme is presented forcefully, contrasted by a lyrical second theme on the strings. The development begins with a reference to the introduction, being expressive and dramatic in character. The music culminates in a contrapuntal passage, followed by melodic contrast. The recapitulation begins triumphally with the main theme, followed by the second. The coda is extensive, combining the materials of both themes towards an exciting conclusion.

The second movement is a scherzo in a complex structure (A-B-B’-C-A’-B»). The scherzo opens with a rhythmic and forceful main theme in the form of a fugue, derived from the one of the first movement. A more sustained and solemn second theme is also presented, which soon drives us to a powerful and exciting climax. This section is completely reexposed. The trio begins with a contrasting playful third theme, gracefully exposed by the orchestra. Forcefully, the scherzo is resumed, and the two themes are recapitulated. There is an optional repeat of this recapitulation that most conductors no longer follow. When it seems that the trio is going to be recapitulated, a rushed coda ends the scherzo.

The third movement is structured in a double variation form. It begins with a brief bucolic introduction, followed by a deeply lyrical main theme. The second theme, presented by the cellos, is graceful and elegant. The first variation is on the main theme, progressively elaborating rhythms and melodic ideas. The second variation is on the second theme, with the woods ornamenting as well as transforming the melodies. The third variation, on the main theme from now on, is more calm and meditative, with the prominence of the horn. The fourth and final variation is a more complex elaboration on the main theme, all while keeping its lyrical roots. Sudden triumphal fanfares appear, but they are quickly subdued. Follows a variation-recapitulation on the main theme. A peaceful coda ends the movement.

The final movement needs additional explanations. In it, we find the famous «Ode to Joy», which by its resemblance is derived from the second part of the lied «Seufzer eines Ungeliebten und Gegenliebe», composed between 1794-5. The «Choral Fantasy», composed in 1808, takes the same theme of the lied, first presented by the piano and followed by variations in which the orchestra intervenes, to end with a brilliant intervention of choirs. This work represents a preparatory phase of the end of his ninth symphony. The theme is simple, close to popular music, but its nobility has made it one of the most famous in the history of music. The movement is complex in form, not following any standard structure. It opens with a dissonant and chaotic introduction, followed by a recitative of the cellos. After a repetition, the three previous movements are quoted in order, separated by recitatives of the cellos. The clarinet anticipates the ode to joy theme before being interrupted by the cellos. Then this theme is fully exposed by the cellos and basses in pianissimo, representing the brotherhood of mankind. Follows three brilliant variations on said theme, concluding with a reminiscence of the introduction. The choral part begins with the baritone in a recitative singing the phrase: «O Freunde, nicht diese Töne!». The ode to joy theme is then taken by the baritone in a new variation, being followed by the choir and the rest of vocal soloists, singing the text from Schiller’s poem «Ode to Joy». The recitative serves as a bridge between earthly reality and heavenly joy. The music rises in a powerful climax. Follows a new variation in the form of a Turkish march, leading us to a fugato passage. The music rises in a massive choral climax. The music suddenly diverts itself, as the mood suddenly turns sour with the phrase «Seid umschlungen», contrasted by a more hopeful «Ihr stürzt nieder». The music turns more solemn, leading us to a brilliant double fugue, combining the phrases «Freude… Tochter aus Elysium» with «Seid umschlungen Millionen». A brief contrasting episode opens with the phrase «Ihr stürzt nieder», leading us to an exciting new variation on the joy theme. A lyrical cadenza between the vocal soloists takes place. The coda begins greatly accelerating the rhythm with the phrase «Tochter aus Elysium, Freude, schöner Götterfunken», a brilliant prestissimo ends the work.