Ludwig van Beethoven (1770~1827) – Symphony 9 in D minor, Op.

125
“Choral”

I. Allegro ma non troppo, un poco maestoso

II. Molto vivace

III. Adagio molto e cantabile

IV. Presto - Allegro assai

Never in a million years would Ludwig van Beethoven imagine this extraordinary symphony,
especially the famous “Ode to Joy” section in the final movement, becomes a universal anthem
for human strength and spirit. From Tiananmen Square in China to the Berlin Wall in Germany,
this symphony rang out during those monumental events of 1989. This also serves as the official
anthem of the European Union.

But what makes this particular symphony resonate so much with so many of us, both past and
present and wherever each of us is in the world? Well, perhaps a little thing called the
Enlightenment means a lot to Beethoven personally. He live to hear about the revolutions in
America and France that rocked the world, and he really believed in the ideas of liberty, equality,
and brotherhood. Whether it was Symphony 3 “Eroica”, Egmont Overture, or the opera Fidelio,
they speak to the human struggle to be free and to find eternal peace, however naïve it may be.
Symphony 9 is definitely not an exception in this case.

It would surprise most of us today that the premiere of the symphony in 1824 was lukewarm at
best, even with the legend of a Mezzo-Soprano pointed Beethoven to an enthusiastic reception.
Perhaps the Viennese audience struggled to comprehend the gargantuan scale of this work, or
they lost appetite in symphonic music in favor of Italian operas. Nevertheless these factors,
among other things, contributed to the mixed reception of the symphony, and both performances
generated insufficient amount of money for Beethoven.

The first movement opens with an eerie sense of mystery and void. The music soon crescendos
and explodes as it gives way to the epic Exposition. The first theme enters in an intense and
frightening atmosphere, and the orchestra struggles mightily to escape the conflict. The second
theme in the woodwinds, which resembles the “Ode to Joy” theme, offered some solace and rest
after the conflict, but this doesn’t help prevent another storm approaching later on. The battle
among the orchestra remains unresolved as we arrive at the Development, The eerie episode that
was in the opening returns, which give way to more conflicts. The tension mounts as the themes
get passed around the orchestra, with passionate and urgent exchanges among the different parts
contrasting with moments of rest and lightness. A relentless crescendo and building of tension
hurl us to the Recapitulation, where the struggles from the opening become ever so intense. The
Coda brings the music to a gradual halt, but the menacing chromatic line reminds us the war is
not over.

The restless and nervous energy offers no respite in the scherzo second movement, opening with
those famous hammer strokes. The movement proceeds with ecstatic yet maniacal vigor and
sudden burst of energy. The obsessive nature of the scherzo is contrasted by the charming and
easy-going trio, now modulated to the parallel major. The trio is permeated with joyful dialogues
among the instruments, but it is not long before the maniacal scherzo returns.

In the next movement, the Adagio, Beethoven returns to his root using one of his favorite forms:
theme and variations. This form is championed by Beethoven throughout his many works, and it
connects with the composer’s mastery of improvising at the piano. The movement presents two
themes: a hymn-like, solemn first theme and a sweet, intimate second theme. Beethoven then
treats the two sweets through his masterfully-crafted variations. The variations are interrupted by
two regal brass fanfares, but the variations proceed on and retire quietly.

Out of this tranquility comes in the fourth movement, opening with what Richard Wagner
dubbed Schreckensfanfare (Ger: Fanfare of Terror). The cellos and basses responded to the
Schreckensfanfare with a defiant recitative. The recitative is intertwined with moments extracted
from the previous three movements. When the low strings finish its recitative, we come to a
silence as the famous “Ode to Joy” begins to emerge from the depths of the orchestra. As it
emerges, the “Ode to Joy” theme becomes ever more triumphant. Save for a suddenly quiet
moment, the orchestra celebrates until the Schreckensfanfare made its menacing return, but this
time the Solo Baritone firmly rejects the tyrannical fanfare with his solo featuring the bold words
“O Freunde, nicht diese Tőne!” (Ger: O friends, not those sound!).
The music that was played in the orchestra is now played again but this time with the choir and
the soloists singing the “Ode to Joy” with words by Frederich Schiller. After a great pompous
episode with the full orchestra and choir comes, seemly from a distance, a Janissary march –
(Janissaries are elite military units of the Ottoman Empire) based on the “Ode to Joy” theme in
the woodwinds, trumpets, and percussions, witty commentaries from the violins, and soon a solo
tenor(?) singing with great praise. The exotic march is soon succeeded by an urgent and restless
fugato (fugue-like) passage in the strings, based on the same “Ode to Joy” theme. When the
fugato passage comes to a halt, the orchestra ponders quietly for a moment, but the full orchestra
and choir erupts in an ecstatic paean of “Ode to Joy”. What follows are alternating episodes of
great joy and great tranquility, with frequent returns of “Ode to Joy”, but ultimately this colossal
symphony brings everything together in one triumphant and celebratory conclusion.