How Beethoven made a Symphony “Sing”
The most amazing thing about the addition of “song” to a symphony in Beethoven’s 9th is the fact that the “singing” starts long before the voices enter. The real lead singers in this amazing creation are the low strings. Here’s how Beethoven did it:
Background: The entire symphony is in 4 movements, as was the custom for classical symphonies. Normally the final movement would be very fast, light and exciting, often playful. Beethoven did and did not follow that pattern. Here’s what he does before the voices enter:
- Beethoven starts out with a loud, shrieking fanfare like opening that seems chaotic and terrifying. In his book Beethoven: The Ninth Symphony (Schirmer Books, 1995), David Benjamin Levy refers to this opening as the Schrekenfanfare, or “terror fanfare.”
- Beethoven then proceeds to have the orchestra briefly review the main themes from the previous three movements, but its what he does between those reprises that’s really interesting.
- The low strings, in the style of a well-known vocal technique called recitative, seem to wordlessly “discuss” the value of those previous themes. One after the other each of those themes is rejected. The mood of the low strings seems to be searching, longing for something new, more appropriate.
- Finally, after a rather decisive cadence, the low strings start alone on a new theme. That is the well-known “Ode to Joy” melody.
- After some hesitation, the upper strings seem to catch on and chime in. They are then joined by the woodwinds and ultimately, ecstatically, by the brass and percussion. The exuberance seems nearly out of control at this point.
- The Schrekenfanfare cuts into this exultation and brings everything to a stop – and which point the voices enter for the first time.
Basically, without a word being uttered Beethoven has managed to insinuate a rejection of all that existed prior to this symphony. He began with a violent explosion that initiated tentative attempts to establish status quo, and then rejected that status quo with one of the most engaging melodies ever composed. But – that melody, though it stimulated tremendous musical joy through all symphonic sounds – was then violently rejected itself. So words are now needed to establish the new dream Beethoven envisioned. He even wrote his own introductory lines to make sure no one missed the point. He then takes the listeners on a magnificent, though rather bewildering, journey.
Below is an analysis of the thematic treatment of text in this symphony. It’s important to know that this is not the entire Schiller poem. The original poem is much longer. It consists of several sections, referred to as “verses,” and “choruses” in the manner of a popular song. Beethoven picked and chose the sections he most wanted to include, often mixing them up out of order. He also seemed to pick sections particularly focused on nature, intoxication, brotherhood, love, and the belief in a higher power (though not in any particular religion’s mold.) Here’s what he did (translation by Margaret Boudreaux).
- Bass soloist introduces words – most likely written not by Schiller, but by Beethoven himself:
O Freunde nicht diese Töne, O friends, not these sounds, sondern lasst uns angenehmere anstimmen, rather let us voice more pleasing (songs), und freudenvollere. and more full of joy. - The bass soloist then sings the first verse of Schiller poem, introducing the famous Ode To Joy theme. Just as with the orchestra, that theme catches fire as the bass is joined by the other soloists, and by the full choir.
Freude schöner Götterfunken Joy, beautiful divine spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, We enter intoxicated with your fire, Himmlische, dein Heiligtum. (and) enraptured into your sanctuary! Deine Zauber binden wieder, Your magical power reunites Was die Mode streng geteilt; that which custom strictly divided: Alle Menschen werden Brüder, All mankind will become brothers, Wo dein sanfter Flügel weilt. wherever your gentle wings soar. Wem der große Wurf gelungen, Whoever has splendidly striven Eines Freundes Freund zu sein, to be a great friend to a friend, Wer ein holdes Weib errungen, Whoever has won a gracious woman, Mische seinen Jubel ein! joins in his jubilation! Ja - wer auch nur eine Seele Yes - whoever also can only know one soul Sein nennt auf dem Erdenrund! to himself from the world around! Und wer's nie gekonnt, der stehle And whoever has never know this, that one steals Weinend sich aus diesem Bund! away in tears from this fellowship! - This theme continues for quite sometime before it culminates in the words “steht vor Gott,” (stands before God), the first moment of complete awe. Everything comes to a stop followed by momentary silence.
Freude trinken alle Wesen All creatures drink joy An den Brüsten der Natur, at Nature's breast, Alle Guten, Alle Bösen All good things, all bad things Folgen ihrer Rosenspur. follow her rosy trail. Küße gab sie uns und Reben, She gave us kisses and grapes (wine), Einen Freund, geprüft im Tod; and a friend to the death; Wollust ward dem Wurm gegeben, Ecstacy was granted (even) to the worm, Und der Cherub steht vor Gott. and the cherub stands before God. - That seems to exhaust the power of words, at least momentarily, so Beethoven gives the singers a break. There is a rousing march like orchestral interlude. While it seems to be a call to action of some sort, it is amazingly cheerful.
- Male voices take over in the following “Hero’s March” section. First a tenor soloist gives the call to move forward, and not too slowly, and all the men then follow him.
Froh, wie seine Sonnen fliegen Joyous, as his suns fly Durch des Himmel's prächt'gen Plan through heaven's magnificent architecture Laufet Brüder, eure Bahn, march, brothers through your destiny, Freudig, wie ein Held zum siegen. Joyfully as a hero to his victory. - Beethoven again lets the orchestra do the “singing” with an interlude combining both the “Ode to Joy” and “Hero’s March” themes.
- Now Beethoven introduces the third and final thematic concept, the “Ecstatic theme.” This is more of a mood than a theme. The tempo slows down to a crawl and the vocal ranges become both very high and very low, illustrating the profound devotion implied by the text.
Seid umschlungen, Millionen! Be embraced millions! Diesen Kuß der ganzen Welt! This kiss belongs to the entire world! Brüder-überm Sternenzelt Brothers - above the starry canopy Muß ein lieber Vater wohnen. A loving father surely dwells. Ihr stürtzt nieder Millionen? Do you bow down, millions? Ahnest du den Schöpfer, Welt? Do you comprehend the creator, world? Such ihn überm Sternen zelt Do you seek him above the starry canopy? Über Sternen muß er wohnen. He must abide above the stars. - Having said just about everything he has to say, both with and without words, Beethoven then proceeded to mix it all together in a wild rush of themes and text. He particularly focuses on the original verse of the “Ode to Joy” section “Joy, beautiful divine spark,” and the “ecstatic” theme “Be embraced, millions.” One is led to think he’s finished several times, but he finds yet another way to pound his impossible dream in through his music. At the end both performers and audience find themselves exhausted, but somehow energized.
Thus ends the musical manifestations of a profoundly lonely man, a man who, just when it appeared his life would go well, lost his most treasured sense. This musical testament challenges the world and everyone in it to overcome fear, bigotry and hatred even in times of the most profound sorrow and loss. Considering what happened in the now nearly two centuries since this amazing work was composed, one wishes the world had been more ready to listen. Still, this symphony still inspires more passion in performance worldwide than any other symphonic work in existence. As long as voices still raise their songs together “Joy” can yet be achieved, and hope remains.
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