Classical 5: Beethoven’s Ninth Symphony

(A) Introduction

Ah, the ol’ Ludwig Van.  I got that phrase – “the ol’ Ludwig Van” – from A Clockwork Orange.  In the movie version, our protagonist Alex tends to like committing all sorts of heinous, violent acts to the soundtrack of Beethoven’s Ninth Symphony.  Later on in the movie, that same symphony makes him sick – an effect of his having undergone a brainwashing program in prison.

 

Is this the way Beethoven wanted his last symphony to be remembered?  “Hey, that’s that crazy Clockwork Orange music!  Remember when in the end of the movie Alex is dreaming about screwing in the snow surrounded by people cheering him on because he was cured from that brainwashing stuff?  Good times, man, good times.”

So far all I’ve been listening to is violin concertos.  This is my first symphony.  So let me read up on what I can expect from a symphony.

 

A symphony uses usually consists of four movements, as opposed to the three movements of a concerto.  The first is usually a fast movement in sonata form.  The second is a slow movement.  The third is either (a) a minuet and trio or (b) a dance-like movement in “simple triple” metre.  The fourth finishes off the symphony with a fast movement in rondo and/or sonata form.

 

The symphony usually uses a full orchestra, and there’s no real soloist.  It’s an ensemble piece with no obvious star instrument.

 

(B) Beethoven’s Symphony No. 9 in D minor, Op. 125, ‘Choral’ (1824)

 

This was Beethoven’s last complete symphony.  He died three years after finishing it.  This obviously means it’s part of his Late period, so we’re in for some far-out experimentation.

In fact, Beethoven was the guy that really blew open the symphonic format.  He expanded each of the four parts, often to hugely dramatic effect.  His experiments led to all sorts of variations and experiments.  For example, in this piece he brings in a chorus of singers in the last movement, which no one had ever done before.

I. Allegro ma non troppo, un poco maestoso.  Lively but not too lively, and a little majestic to boot.

It starts with a low hum of the strings, building slowly.  It’s a very dramatic opening, slowly rising from the ocean like Godzilla.  That’s awesome!  In fact, the whole movement is pretty dramatic.  The highs sound like the soundtrack to some sort of big conflict, like maybe Godzilla vs. King Ghidorah over the skyline of Tokyo.  The quiet moments are interspersed very nicely; they don’t create a jarring break to the momentum, rather, they let you catch your breath.  Then they start building up again, and suddenly it’s giant monsters are battling once again.

II. Molto vivace.  Very lively!

There’s a riff in here that I swear would fit right in to the theme music from the Superman movies.  The first time the riff appears is shortly before the 1:00 mark.  The strings lay down the rhythm with steady notes while the flutes do the melody above them; it’s the strings that really make the riff rawk.  I dare you to not see Christopher Reeve flying through the air when that riff hits you.

I find the three rapid hits of the drums in the quieter parts throw me off the rhythm a little.

There’s at least two sections to this movement.  The Superman segment, and a quieter one that follows it about halfway through.  Then the opening riff kicks in again, and we’re back to Superman.

III. Adagio molto e cantabile – Andante moderato.  Adagio molto e cantabile = very slow, in a singing style.  Andante moderato = moderate walking pace.

 

After about half an hour of dramatic music, the slow strains of the third movement are a big contrast, and a welcome change of pace.

 

IV. Finale: Presto.  Presto = very fast.  Finale means, well, the last movement.

Hey, I’ve heard this!  This movement (without the words) is the official anthem of the European Union, and I’m sure I’ve heard it elsewhere.

The chorus is singing in German.  Apparently they’re reciting the poem “Ode to Joy”, written by the poet Friedrich Schiller in the late 1700s.  I can’t understand what they’re saying, but man are they feeling it.  This is the only part where you get something approximating a solo.  The orchestra stops a few times to let the voices go on their own.

(C) Commentary

I guess this is one of the reasons why Beethoven is considered the bridge between Classical and Romantic music.  He took the standard formal structure of the symphony, which had already been well-established and solidified, and messed around with it, allowing for a greater capacity to be grandiose, epic and emotionally intense. 

I think I can detect some of his innovations.  The obvious one to my untrained ear is the chorus in the fourth movement.  Even if I didn’t already know this was the first symphony to use voices, their appearance still signals a significant change: they weren’t in any of the previous movements, so I suspect Beethoven brought the singers in at the end to really hammer home his point.  I’m not sure at this point what that point was, but I did enjoy the hammering.

(D) What I’ve Learned

-A symphony is a long composition written for orchestra, usually consisting of four movements.  It’s longer, more complex and grander than a concerto, and doesn’t feature a soloist.

-Beethoven is a musical god who reinvented the symphony.  Great, my first symphony and I have to pick the guy that bends all the rules on it… 

-There’s a lot to absorb with Beethoven.  I’ll be making several trips back to him.

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