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{{Infobox musical composition
| name = Symphony No. 9
| type = [[Choral symphony]]
| composer = [[Ludwig van Beethoven]]
| image = The Premiere of Symphony No. 9.jpg
| caption = 19th-century lithograph by [[Carl Offterdinger]], depicting the premiere of the 9th Symphony. Beethoven stands in the center.
| key = [[D minor]]
| opus = 125
| period = [[Classical period (music)|Classical]]-[[Romantic music|Romantic]] ([[Transition from Classical to Romantic music|transitional]])
| text = [[Friedrich Schiller]]'s "[[Ode to Joy]]"
| language = German
| composed = 1822–1824
| dedication = King [[Frederick William III of Prussia]]
| duration = 65 to 70 minutes
| movements = Four
| scoring = [[Orchestra]] with [[SATB]] [[choir|chorus]] and soloists
| premiere_date = {{Start date|1824|05|07|df=y}}
| premiere_conductor = [[Michael Umlauf]] and [[Ludwig van Beethoven]]
| premiere_location = [[Theater am Kärntnertor]], Vienna, Austrian Empire
| premiere_performers = Kärntnertor house orchestra, [[Gesellschaft der Musikfreunde]] with soloists: [[Henriette Sontag]] ([[soprano]]), [[Caroline Unger]] ([[Contralto|alto]]), [[Anton Haizinger]] ([[tenor]]), and [[Joseph Seipelt]] ([[Bass (voice type)|bass]])
}}
The '''Symphony No. 9''' in [[D minor]], [[Opus number|Op.]] 125, is a [[choral symphony]], the final complete symphony by [[Ludwig van Beethoven]], composed between 1822 and 1824. It was first performed in [[Vienna]] on 7 May 1824. The symphony is regarded by many critics and musicologists as a [[masterpiece]] of [[Western classical music]] and one of the supreme achievements in the history of music.<ref name=NCookblurb /><ref name=TomServiceSymphGuide>{{cite news|url=https://www.theguardian.com/music/tomserviceblog/2014/sep/09/symphony-guide-beethoven-ninth-choral-tom-service|title=Symphony guide: Beethoven's Ninth ('Choral')|first=Tom|last=Service|author-link=Tom Service|work=[[The Guardian]]|date=9 September 2014|quote=the central artwork of Western music, the symphony to end all symphonies}}</ref> One of the best-known works in [[Common practice period|common practice music]],<ref name=NCookblurb>{{harvnb|Cook|1993|loc=Product description (blurb). "Beethoven's Ninth Symphony is acknowledged as one of the supreme masterpieces of the Western tradition. More than any other musical work it has become an international symbol of unity and affirmation."}}</ref> it stands as one of the most frequently performed symphonies in the world.<ref>{{Cite news |last=Glickman |first=Ken |date=2 November 2016 |title=Lansing Symphony Orchestra to perform joyful Beethoven's 9th |url=https://www.lansingstatejournal.com/story/entertainment/music/2016/11/02/lansing-symphony-orchestra-perform-joyful-beethovens-th/93156368/ |access-date=2025-03-25 |work=Lansing State Journal |language=en-US}}</ref><ref>[https://www.gfsymphony.org/beethoven-s-ninth-ode-to-joy "Beethoven's Ninth: 'Ode to Joy'"] {{Webarchive|url=https://web.archive.org/web/20171201081120/https://www.gfsymphony.org/beethoven-s-ninth-ode-to-joy |date=1 December 2017 }}, Great Falls Symphony, 2017/18 announcement</ref>
The Ninth was the first example of a major composer scoring vocal parts in a symphony.<ref name="bonds24837">Bonds, Mark Evan, "Symphony: II. The 19th century", ''[[The New Grove Dictionary of Music and Musicians]]'', 2nd ed. (London: Macmillan, 2001), 29 vols. {{ISBN|0-333-60800-3}}, 24:837.</ref> The final (4th) movement of the symphony, commonly known as the '''Ode to Joy''', features four vocal soloists and a [[choir|chorus]] in the [[parallel key]] of [[D major]]. The text was adapted from the "[[Ode to Joy|An die Freude (Ode to Joy)]]", a poem written by [[Friedrich Schiller]] in 1785 and revised in 1803, with additional text written by Beethoven. In the 20th century, an instrumental arrangement of the chorus was adopted by the [[Council of Europe]], and later the [[European Union]], as the [[Anthem of Europe]].<ref>{{cite web|url=https://european-union.europa.eu/principles-countries-history/symbols/european-anthem_en |title=European Anthem |access-date=2010-08-29 |work=[[Europa (web portal)|Europa]] |archive-url=https://web.archive.org/web/20100815100314/http://europa.eu/abc/symbols/anthem/index_en.htm |archive-date=15 August 2010 |url-status=live }}</ref>
In 2001, Beethoven's original, hand-written manuscript of the score, held by the [[Berlin State Library]], was added by [[UNESCO]] to its [[Memory of the World International Register]], becoming the first musical score so designated.<ref>{{cite web| url =https://www.unesco.org/en/memory-world/ludwig-van-beethoven-symphony-no-9-d-minor-op-125| title=Ludwig van Beethoven: Symphony No 9, D minor, Op. 125|publisher=UNESCO Memory of the World Programme|access-date=2025-08-15}}</ref>
{{TOC limit|3}}
==History==
===Composition===
The [[Philharmonic Society of London]] originally commissioned the symphony in 1817.<ref>[[Maynard Solomon|Solomon, Maynard]]. ''Beethoven''. New York: Schirmer Books, 1997, p. 251.</ref> Beethoven made preliminary sketches for the work later that year with the [[key (music)|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.<ref>[[Breitkopf & Härtel|Breitkopf]] [[Urtext edition|Urtext]], Beethoven: [http://www.breitkopf.com/feature/download/3738/3667 Symphonie Nr. 9 d-moll] {{webarchive|url=https://web.archive.org/web/20120401012840/http://www.breitkopf.com/feature/download/3738/3667 |date=1 April 2012 }}, op. 125, pbl.: Hauschild, Peter, p. VIII</ref> The symphony emerged from other pieces by Beethoven that, while completed works in their own right, are also in some sense forerunners of the future symphony. The [[Choral Fantasy (Beethoven)|''Choral Fantasy'']], Op. 80, composed in 1808, 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 is reminiscent of the corresponding theme in the Ninth Symphony.
Going further back, an earlier version of the Choral Fantasy theme is found in the song "[[Gegenliebe]]" ("Returned Love") for piano and high voice, which dates from before 1795.{{sfn|Hopkins|1981|p=249}} According to Robert W. Gutman, [[Wolfgang Amadeus Mozart|Mozart]]'s Offertory in D minor, "Misericordias Domini", K. 222, written in 1775, contains a melody that foreshadows "Ode to Joy".<ref>Robert W. Gutman, ''Mozart: A Cultural Biography'', 1999, p. 344</ref>
===Premiere===
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 by [[Chronological list of Italian classical composers#Classical era|Italian operatic composers]] such as [[Gioachino Rossini|Rossini]].<ref name="The Ninth">{{harvnb|Sachs|2010|p={{page needed|date=September 2019}}}}</ref> When his friends and financiers learned of this, they pleaded with Beethoven to hold the concert in Vienna, in the form of a petition signed by a number of prominent Viennese music patrons and performers.<ref name="The Ninth" />
[[File:Kärntnertortheater 1830.jpg|left|thumb|[[Theater am Kärntnertor]] in 1830]]
Beethoven, flattered by the adoration of the Viennese, premiered the Ninth Symphony on 7 May 1824 in the [[Theater am Kärntnertor]] in Vienna along with the overture ''[[The Consecration of the House (overture)|The Consecration of the House]]'' ({{lang|de|Die Weihe des Hauses}}) and three parts (Kyrie, Credo and Agnus Dei) of the ''[[Missa solemnis (Beethoven)|Missa solemnis]]''. This was Beethoven's first onstage appearance since 1812 and the hall was packed with an eager and curious audience with a number of noted musicians and figures in Vienna including [[Franz Schubert]], [[Carl Czerny]], and the Austrian chancellor [[Klemens von Metternich]].<ref name="Levy David">{{harvnb|Levy|2003|p={{page needed|date=September 2019}}}}</ref><ref name=Morrisroe>{{cite news|author=[[Patricia Morrisroe]]|title=The Behind-the-Scenes Assist that Made Beethoven's Ninth Happen|newspaper=[[The New York Times]]|date=8 December 2020|url=https://www.nytimes.com/2020/12/08/arts/music/beethoven-ninth-symphony-classical-music.html|access-date=25 March 2025}}</ref>
The premiere of the Ninth Symphony involved an orchestra nearly twice as large as usual<ref name="Levy David" /> and required the combined efforts of the Kärntnertor house orchestra, the Vienna Music Society ([[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.<ref>{{cite book|last=Kelly|first=Thomas Forrest|author-link=Thomas Forrest Kelly|year=2000|title=First Nights: Five Musical Premieres|chapter=3. Ludwig van Beethoven, Ninth Symphony|pages=108–179|publisher=Yale University Press|isbn=9780300091052}}</ref><ref name=Morrisroe />
The [[soprano]] and [[alto]] parts were sung by two famous young singers of the day, both recruited personally by Beethoven: [[Henriette Sontag]] and [[Caroline Unger]]. German soprano Henriette Sontag was 18 years old when Beethoven asked her to perform in the premiere of the Ninth.<ref>{{cite book|title=Life of Henriette Sontag, Countess de Rossi|publisher=Stringer & Townsend|___location=New York|year=1852|url={{Google books|id=eSIWAAAAYAAJ|plainurl=yes}}}}</ref> 20-year-old [[contralto]] Caroline Unger, a native of Vienna, had gained critical praise in 1821 appearing in Rossini's ''[[Tancredi]]''. After performing in Beethoven's 1824 premiere, Unger then found fame in Italy and Paris. Italian opera composers [[Vincenzo Bellini|Bellini]] and [[Gaetano Donizetti|Donizetti]] were known to have written roles specifically for her voice.<ref>[[Michael Kennedy (music critic)|Kennedy, Michael]] and Bourne, Joyce (1996). ''The Concise Oxford Dictionary of Music''. Oxford University Press, 2007.{{Page needed|date=May 2021}}</ref> [[Anton Haizinger]] and [[Joseph Seipelt]] sang the [[tenor]] and [[Bass (voice type)|bass]]/[[baritone]] parts, respectively.
[[File:Beethoven 6.jpg|thumb|upright|left|Portrait of Beethoven in 1824, the year his Ninth Symphony was premiered. He was almost completely deaf by the time of its composition.]]
[[File:CarolineUngher.jpg|thumb|upright|[[Caroline Unger]], who sang the contralto part at the first performance and is credited with turning Beethoven to face the applauding audience]]
Although the performance was officially conducted by [[Michael Umlauf]], the theatre's [[Kapellmeister]], Beethoven shared the stage with him. Because two years earlier, Umlauf had watched as the composer's attempt to conduct a [[dress rehearsal]] for a revision of his opera ''[[Fidelio]]'' ended in disaster, Umlauf instructed the singers and musicians to ignore the almost completely deaf composer. At the beginning of every part, Beethoven, who sat by the stage, gave the tempos. He was turning the pages of his score and beating time for an orchestra he could not hear.{{sfn|Cook|1993b|p={{page needed|date=January 2021}}}}
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.<ref>{{harvnb|Sachs|2010|p=22}}</ref> On the other hand, the premiere was a great success. In any case, Beethoven was not to blame, as violinist [[Joseph Böhm]] recalled:
<blockquote>Beethoven himself conducted, that is, 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{{refn|group=n|Presumably, Böhm meant the conductor [[Michael Umlauf]].}} hands; we musicians followed his baton only.<ref>{{harvnb|Cook|1993|p=22}}</ref></blockquote>
Reportedly, the [[scherzo]] was completely interrupted at one point by 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 absorbed attention and broke out in jubilant applause, often during sections, and repeatedly at the end of them."<ref>{{harvnb|Cook|1993|p=23}}</ref> The audience acclaimed him through [[standing ovation]]s five 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.<ref>{{harvnb|Sachs|2010|pp=23–24}}</ref>
===Editions===
The first German edition was printed by [[Schott Music|B. Schott's Söhne]] (Mainz) in 1826. The [[Breitkopf & Härtel]] edition dating from 1864 has been used widely by orchestras.<ref>{{cite web|url=http://www.britac.ac.uk/pubs/review/02-99b/24-delmar.html|publisher=British Academy Review|author=Del Mar, Jonathan|author-link=Jonathan Del Mar|date=July–December 1999|title=Jonathan Del Mar, New Urtext Edition: Beethoven Symphonies 1–9|access-date=13 November 2007|url-status=dead|archive-url=https://web.archive.org/web/20071023113830/http://www.britac.ac.uk/pubs/review/02-99b/24-delmar.html|archive-date=23 October 2007}}</ref> In 1997, [[Bärenreiter]] published an edition by [[Jonathan Del Mar]].<ref>{{cite web|url=https://www.baerenreiter.com/html/lvb/index.html|title=Ludwig van Beethoven The Nine Symphonies The New Bärenreiter Urtext Edition|access-date=13 November 2007|url-status=dead|archive-url=https://web.archive.org/web/20071017101624/http://baerenreiter.com/html/lvb/index.html|archive-date=17 October 2007}}</ref> According to Del Mar, this edition corrects nearly 3,000 mistakes in the Breitkopf edition, some of which were "remarkable".<ref name="Zander">{{cite web|url=http://www.benjaminzander.com/recordings/boston-philharmonic/beet9/review/130|title=Beethoven 9 The fundamental reappraisal of a classic|author=Zander, Benjamin|author-link=Benjamin Zander|access-date=13 November 2007|url-status=dead|archive-url=https://web.archive.org/web/20120419181733/http://www.benjaminzander.com/recordings/boston-philharmonic/beet9/review/130|archive-date=19 April 2012}}</ref> [[David Benjamin Levy|David Levy]], however, criticized this edition, saying that it could create "quite possibly false" traditions.<ref>{{cite web|url=http://bf.press.uiuc.edu/10.1/delmar.html|title=Concerning the Review of the Urtext Edition of Beethoven's Ninth Symphony|access-date=13 November 2007|url-status=dead|archive-url=https://web.archive.org/web/20070628061833/http://bf.press.uiuc.edu/10.1/delmar.html|archive-date=28 June 2007}}</ref> Breitkopf also published a new edition by Peter Hauschild in 2005.<ref>{{cite web|url=https://www.breitkopf.com/downloads/kataloge/pdf_en/33_Beeth_Symph_en.pdf |title=Beethoven The Nine Symphonies|url-status=dead|archive-url=https://web.archive.org/web/20080627152927/https://www.breitkopf.com/downloads/kataloge/pdf_en/33_Beeth_Symph_en.pdf |archive-date=27 June 2008 }}</ref>
==Instrumentation==
The symphony is scored for the following orchestra. These are by far the largest forces needed for any Beethoven symphony; at the premiere, Beethoven augmented them further by assigning two players to each wind part.<ref>[[Alexander Wheelock Thayer|Thayer, Alexander Wheelock]]. ''Thayer's Life of Beethoven.'' Revised and edited by Elliott Forbes. (Princeton, New Jersey: Princeton University Press, 1973), p. 905.</ref>
{{col-begin}}
{{col-3}}
'''[[Woodwind section|Woodwind]]s'''
:{{Hanging indent |[[Piccolo]] (fourth movement only)}}
:2 [[Western concert flute|Flutes]]
:2 [[Oboe]]s
:2 [[Clarinet]]s in A, [[soprano clarinet|B{{music|flat}}]] and C
:2 [[Bassoon]]s
:{{Hanging indent |[[Contrabassoon]] (fourth movement only)}}
{{col-3}}
'''[[Brass section|Brass]]'''
:4 [[French horn|Horns]] in D, B{{music|flat}} and E{{music|flat}}
:2 [[Trumpet]]s in D and B{{music|flat}}
:{{Hanging indent |3 [[Trombone]]s ([[alto trombone|alto]], [[tenor trombone|tenor]], and [[bass trombone|bass]]; second and fourth movements only)}}
'''[[Percussion section|Percussion]]'''
:[[Timpani]]
:[[Bass drum]] (fourth movement only)
:[[triangle (musical instrument)|Triangle]] (fourth movement only)
:[[Cymbal]]s (fourth movement only)
{{col-3}}
{{Hanging indent |'''[[Vocal music|Voices]]''' (fourth movement only)}}
:[[Soprano]] solo
:[[Alto]] solo
:[[Tenor]] solo
:{{Hanging indent |[[Baritone]] (or [[bass (voice type)|bass]]) solo{{refn|group=n|The score specifies baritone,<ref>Score, [[Dover Publications]] 1997, [http://www.dlib.indiana.edu/variations/scores/cab4188/sco40113.gif p. 113]</ref> performance practice often uses a bass.}}}}
:{{Hanging indent |[[SATB]] [[choir]] (tenor briefly [[divisi|divides]])}}
'''[[String section|Strings]]'''
:[[Violin]]s I, II
:[[Viola]]s
:[[Cello]]s
:[[Double bass]]es
{{col-end}}
==Form==
The symphony is in four [[movement (music)|movements]]. The structure of each movement is as follows:{{sfn|IMSLP score}}
{{Listen
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| title = I. Allegro ma non troppo, un poco maestoso
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| title3 = III. Adagio molto e cantabile
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}}
:{| class="wikitable"
! style="background: Silver" |Tempo marking
! style="background: Silver" |Meter
! style="background: Silver" |Key
|-
! colspan="3" style="text-align:center" |Movement I
|-
|[[Allegro (music)|Allegro]] ma non troppo, un poco [[maestoso]] {{music|quarter}} = 88
| style="text-align:center" | {{music|time|2|4}}
| style="text-align:center" | d
|-
! colspan="3" style="text-align:center" |Movement II
|-
|Molto [[Tempo#Basic tempo markings|vivace]] {{music|half}}{{music|dot}} = 116
| style="text-align:center" | {{music|time|3|4}}
| style="text-align:center" | d
|-
|Tempo#Basic_tempo_markings|Presto {{music|whole}} = 116
| style="text-align:center" | {{music|time|2|2}}
| style="text-align:center" | D
|-
|Molto vivace
| style="text-align:center" | {{music|time|3|4}}
| style="text-align:center" | d
|-
|Presto
| style="text-align:center" | {{music|time|2|2}}
| style="text-align:center" | D
|-
! colspan="3" style="text-align:center" |Movement III
|-
|Tempo#Basic_tempo_markings|Adagio molto e [[cantabile]] {{music|quarter}} = 60
| style="text-align:center" | {{music|time|4|4}}
| style="text-align:center" | B{{music|flat}}
|-
|Tempo#Basic_tempo_markings|Andante moderato {{music|quarter}} = 63
| style="text-align:center" | {{music|time|3|4}}
| style="text-align:center" | D
|-
|[[Tempo primo|Tempo I]]
| style="text-align:center" | {{music|time|4|4}}
| style="text-align:center" | B{{music|flat}}
|-
|Andante moderato
| style="text-align:center" | {{music|time|3|4}}
| style="text-align:center" | G
|-
|Adagio
| style="text-align:center" | {{music|time|4|4}}
| style="text-align:center" | E{{music|flat}}-e{{music|flat}}-B
|-
|[[Lo stesso tempo]]
| style="text-align:center" | {{music|time|12|8}}
| style="text-align:center" | B{{music|flat}}
|-
! colspan="3" style="text-align:center" |Movement IV
|-
|Presto {{music|half}}{{music|dot}} = 96{{sfn|Noorduin|2021}}
| style="text-align:center" | {{music|time|3|4}}
| style="text-align:center" | d
|-
|Allegro assai {{music|half}} = 80
| style="text-align:center" | {{music|time|4|4}}
| style="text-align:center" | D
|-
|Presto ("O Freunde")
| style="text-align:center" | {{music|time|3|4}}
| style="text-align:center" | d
|-
|Allegro assai ("Freude, schöner Götterfunken")
| style="text-align:center" | {{music|time|4|4}}
| style="text-align:center" | D
|-
|Alla [[March (music)|marcia]]; Allegro assai vivace {{music|half}}{{music|dot}} = 84 ("Froh, wie seine Sonnen")
| style="text-align:center" | {{music|time|6|8}}
| style="text-align:center" | B{{music|flat}}
|-
|Andante maestoso {{music|half}} = 72 ("Seid umschlungen, Millionen!")
| style="text-align:center" | {{music|time|3|2}}
| style="text-align:center" | G
|-
|Allegro energico, sempre ben [[marcato]] {{music|half}}{{music|dot}} = 84<br />("Freude, schöner Götterfunken" – "Seid umschlungen, Millionen!")
| style="text-align:center" | {{music|time|6|4}}
| style="text-align:center" | D
|-
|Allegro [[ma non tanto]] {{music|half}} = 120 ("Freude, Tochter aus Elysium!")
| style="text-align:center" | {{music|time|2|2}}
| style="text-align:center" | D
|-
|Tempo#Basic_tempo_markings|Prestissimo {{music|half}} = 132 ("Seid umschlungen, Millionen!")
| style="text-align:center" | {{music|time|2|2}}
| style="text-align:center" | D
|-
|}
Beethoven changes the usual pattern of [[Classical music era|Classical]] symphonies in placing the [[scherzo]] movement before the slow movement (in symphonies, slow movements are usually placed before scherzi).<ref>Jackson 1999, 26;{{incomplete short citation|date=January 2021}} Stein 1979, 106{{incomplete short citation|date=January 2021}}</ref> This was the first time he did this in a symphony, although he had done so in some previous works, including the [[String Quartet No. 5 (Beethoven)|String Quartet Op. 18 no. 5]], the [[Piano Trio, Op. 97 (Beethoven)|"Archduke" piano trio Op. 97]], the [[Piano Sonata No. 29 (Beethoven)|''Hammerklavier'' piano sonata Op. 106]]. And [[Joseph Haydn|Haydn]], too, had used this arrangement in a number of his own works such as the [[String Quartets, Op. 33 (Haydn)#Opus 33 No. 2|String Quartet No. 30 in E{{music|flat}} major]], as did [[Wolfgang Amadeus Mozart|Mozart]] in three of the [[Haydn Quartets (Mozart)|Haydn Quartets]] and the [[String Quintet No. 4 (Mozart)|G minor String Quintet]].
=== I. Allegro ma non troppo, un poco maestoso ===
The first movement is in [[sonata form]] without an [[Exposition (music)|exposition]] [[Repeat sign|repeat]]. It begins with [[open fifth]]s (A and E) played ''[[Dynamics (music)#Dynamic markings|pianissimo]]'' by [[tremolo]] strings. The opening, with its perfect fifth quietly emerging, resembles the sound of an orchestra [[Musical tuning|tuning up]],<ref>{{Cite book |last=Young |first=John Bell |url=https://archive.org/details/beethovenssympho0000youn |title=Beethoven's Symphonies: A Guided Tour |publisher=Amadeus Press |year=2008 |isbn=978-1574671698 |___location=New York |oclc=180757068 |url-access=registration}}</ref> steadily building up until the first main theme in [[D minor]] at [[bar (music)|bar]] 17.<ref>{{harvnb|Cook|1993b|p=28}}</ref>
{{block indent|<score sound="1">
\relative c''' {
\set Staff.midiInstrument = #"violin"
\set Score.tempoHideNote = ##t \tempo 4 = 88
\key d \minor
\time 2/4
\set Score.currentBarNumber = #17
\partial 32 d32\ff^\markup "First theme"
a4~ a8.. f32
d8.. a32 f8. a32( f)
d4~ d16 f'-. e-. d-.
a'8-. g-. e-. a-.
d,8.\sf
}
</score>}}
Before the development enters, the tremolous introduction returns. The development can be divided into four subdivisions, with adheres strictly to the order 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) .{{sfn|Schenker|1992|p=89}} The third subdivision develops bars 3–4 of the first theme (bars 19–20 of the first movement).{{sfn|Schenker|1992|p=93}} 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.{{sfn|Schenker|1992|p=97}}
At the outset of the [[Recapitulation (music)|recapitulation]] (which repeats the main melodic themes) in bar 301, the theme returns, this time played ''fortissimo'' and in D {{em|major}}, rather than D {{em|minor}}. The movement ends with a massive [[Coda (music)|coda]] that takes up nearly a quarter of the movement, as in Beethoven's [[Symphony No. 3 (Beethoven)|Third]] and [[Symphony No. 5 (Beethoven)|Fifth Symphonies]].<ref>{{harvnb|Cook|1993b|p=30}}</ref>
A performance of the first movement typically lasts about 15 minutes.
=== II. Molto vivace ===
The second movement is a [[scherzo|scherzo and trio]]. Like the first movement, the scherzo is in D minor, with the introduction bearing a passing resemblance to the opening theme of the first movement, a pattern also found in the [[Piano Sonata No. 29 (Beethoven)|''Hammerklavier'' piano sonata]], written a few years earlier. At times during the piece, 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 four bars with the direction ''ritmo di quattro battute'' (rhythm of four beats). Normally, a scherzo is in [[Triple metre|triple time]]. Beethoven wrote this piece in triple time but [[Hypermetre|punctuated]] it in a way that, when coupled with the tempo, makes it sound as if it is in [[Duple and quadruple metre|quadruple time]].<ref name=":0">{{cite journal |last1=Cohn |first1=Richard L. |title=The Dramatization of Hypermetric Conflicts in the Scherzo of Beethoven's Ninth Symphony |journal=[[19th-Century Music]]|date=1992 |volume=15 |issue=3 |pages=188–206 |doi=10.2307/746424 |jstor=746424|issn=0148-2076}}</ref>
While adhering to the standard [[Ternary form#Compound ternary or trio form|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 is a complete sonata form. Within this sonata form, the first group of the exposition (the statement of the main melodic themes) starts out with a [[fugue]] in D minor on the subject below.<ref name=":0" />
{{Block indent|<score sound="1">
\relative c''' {
\set Staff.midiInstrument = #"violin"
\set Score.tempoHideNote = ##t \tempo 2. = 116
\key d \minor
\time 3/4
\set Score.currentBarNumber = #9
\bar ""
a4.\pp^\markup "First theme" a,8 a4
d4-. e-. f-.
e-. f-. g-.
f-. e-. d-.
f e d
c b a
gis a b
a gis a
}
</score>}}
For the second subject, it modulates to the unusual key of [[C major]]. The exposition then repeats before a short [[development section]], where Beethoven explores other ideas. The recapitulation (repeating of the melodic 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 [[Coda (music)#Codetta|codetta]].<ref name=":0" />
The contrasting trio section is in [[D major]] and in duple time. The trio is 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 is a brief reprise of the trio, and the movement ends with an abrupt coda.<ref name=":0" />
The duration of the complete second movement is about 14 minutes when two frequently omitted repeats are played.
=== III. Adagio molto e cantabile ===
The third movement is a lyrical, slow movement in [[B-flat major|B{{music|flat}} major]]—the [[subdominant]] of D minor's relative major key, [[F major]]. It is in a [[Double variation|double variation form]],<ref>{{cite book |title=Beethoven Forum |date=1994 |publisher=University of Nebraska Press |isbn=978-0-8032-4246-3 |url=https://books.google.com/books?id=uBoqUJ2Xcj8C&q=double+variation+ninth+symphony&pg=PA69 |access-date=6 October 2021 |page=69 |language=en}}</ref> with each pair of variations progressively elaborating the rhythm and melodic ideas. The first variation, like the theme, is in {{music|time|4|4}} time, the second in {{music|time|12|8}}. The variations are separated by passages in {{music|time|3|4}}, the first in D major, the second in [[G major]], the third in [[E-flat major|E{{music|flat}} major]], and the fourth in [[B major]]. The final variation is twice interrupted by episodes in which loud [[fanfare]]s from the full orchestra are answered by octaves by the first violins. A prominent French horn solo is assigned to the fourth player.<ref>{{Cite web|last=Ericson|first=John|date=2010-04-10|title=The Natural Horn and the Beethoven 9 "Controversy"|url=https://www.hornmatters.com/2010/04/the-beethoven-9-controversy/|access-date=2021-10-06|website=Horn Matters {{!}} A French Horn and Brass Site and Resource {{!}} John Ericson and Bruce Hembd|language=en-US}}</ref>
A typical performance of the third movement lasts around 15 minutes.
===IV. Finale===
The choral finale is Beethoven's musical representation of universal brotherhood based on the "[[Ode to Joy]]" theme and is in [[theme and variations]] form.
{{Block indent|<score sound="1">
\new Score {
\new Staff {
\relative c {
\set Staff.instrumentName = #"Vc."
\set Staff.midiInstrument = #"cello"
\set Score.currentBarNumber = #92
\time 4/4
\key d \major
\clef bass
\tempo "Allegro assai" 2 = 60
\set Score.tempoHideNote=##t
\bar ""
fis2\p( g4 a) | a4( g fis e) | d2( e4 fis) | fis4.( e8) e2 |
fis2( g4 a) | a4( g fis e) | d2( e4 fis) | e4.( d8) d2 | \break
e( fis4 d) | e( fis8 g fis4 d) | e( fis8 g fis4 e) | d( e a,) fis'~ |
fis fis( g a) | a( g fis e) | d2( e4 fis) | e4.( d8) d2
}
}
}
</score>}}
The movement starts with an introduction in which musical material from each of the preceding three movements—though none are literal quotations of previous music<ref>{{harvnb|Cook|1993b|p=36}}</ref>—are successively presented and then dismissed by [[Recitative#Instrumental recitative|instrumental recitatives]] played by the low strings. Following this, the "Ode to Joy" theme is finally introduced by the cellos and double basses. After three instrumental variations on this theme, the human voice is presented for the first time in the symphony by the baritone soloist, who sings words written by Beethoven himself: <nowiki>''</nowiki>''O Freunde, nicht diese Töne!' Sondern laßt uns angenehmere anstimmen, und freudenvollere''.<nowiki>''</nowiki> ("Oh friends, not these sounds! Let us instead strike up more pleasing and more joyful ones!").
{{Block indent|<score sound="1">
\layout { indent = 2.5\cm }
\relative c' {
\set Staff.instrumentName = #"Baritone"
\set Staff.midiInstrument = #"voice oohs"
\set Score.currentBarNumber = #216
\bar ""
\clef bass
\key d \minor
\time 3/4
\set Score.tempoHideNote = ##t \tempo 4 = 104
r4^\markup { \bold { \italic { Recitativo } } } r a
\grace { a8^( } e'2.)(~
e4 d8 cis d e)~
e4 g,4 r8 g
bes2( a8) e
f4 f r
}
\addlyrics { O Freun -- de, nicht die -- se Tö -- ne! }
</score>}}
At about 25 minutes in length, the finale is the longest of the four movements. Indeed, it is longer than several entire symphonies composed during the [[Classical period (music)|Classical era]]. Its form has been disputed by musicologists, as [[Nicholas Cook]] explains:
{{Blockquote|Beethoven had difficulty describing the finale himself; in letters to publishers, he said that it was like his [[Choral Fantasy (Beethoven)|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 is rather a loose formulation, at least by comparison with the way in which many twentieth-century critics have tried to codify the movement's form. Thus there have been interminable arguments as to whether it should be seen as a kind of sonata form (with the [[Turkish music (style)|"Turkish" music]] of bar 331, which is in B{{music|flat}} major, functioning as a kind of second group), or a kind of [[Concerto|concerto form]] (with bars 1–207 and 208–330 together making up a double exposition), or even a conflation of four symphonic movements into one (with bars 331–594 representing a Scherzo, and bars 595–654 a slow movement). The reason these arguments are interminable is that each interpretation contributes something to the understanding of the movement, but does not represent the whole story.<ref>{{harvnb|Cook|1993b|p=34}}</ref>}}
Cook gives the following table describing the form of the movement:<ref>{{harvnb|Cook|1993b|p=35}}</ref>
{| class="wikitable" style="margin-left: auto; margin-right: auto; border: none;"
|+
! colspan="2" style="background: Silver"|Bar
! style="background: Silver" | Key
! style="background: Silver" | Stanza
! style="background: Silver" | Description
|-
|1
|1{{refn|group=n|The second column of bar numbers refers to the editions in which the finale is subdivided. Verses and choruses are numbered in accordance with the complete text of Schiller's "[[An die Freude]]"}}
| style="text-align:center" | d
|
|Introduction with instrumental recitative and review of movements 1–3
|-
|92
|92
| style="text-align:center" | D
|
|"Joy" theme
|-
|116
|116
|
|
|"Joy" variation 1
|-
|140
|140
|
|
|"Joy" variation 2
|-
|164
|164
|
|
|"Joy" variation 3, with extension
|- style="background: Gainsboro;"
| 208
| 1
| style="text-align:center" | d
|
|Introduction with vocal recitative
|- style="background: Gainsboro;"
|241
|4
| style="text-align:center" | D
| style="text-align:center" | V.1
|"Joy" variation 4
|- style="background: Gainsboro;"
|269
|33
|
| style="text-align:center" | V.2
|"Joy" variation 5
|- style="background: Gainsboro;"
|297
|61
|
| style="text-align:center" | V.3
|"Joy" variation 6, with extension providing transition to
|-
|331
|1
| style="text-align:center" | B{{music|flat}}
|
|Introduction to
|-
|343
|13
|
|
|"Joy" variation 7 ("[[Turkish music (style)|Turkish march]]")
|-
|375
|45
|
| style="text-align:center" | C.4
|"Joy" variation 8, with extension
|-
|431
|101
|
|
|[[Fugue|Fugato]] episode based on "Joy" theme
|-
|543
|213
| style="text-align:center" | D
| style="text-align:center" | V.1
|"Joy" variation 9
|- style="background: Gainsboro;"
|595
|1
| style="text-align:center" | G
| style="text-align:center" | C.1
|Episode: "Seid umschlungen"
|- style="background: Gainsboro;"
|627
|76
| style="text-align:center" | g
| style="text-align:center" | C.3
|Episode: "Ihr stürzt nieder"
|-
|655
|1
| style="text-align:center" | D
| style="text-align:center" | V.1, C.3
|[[Double fugue]] (based on "Joy" and "Seid umschlungen" themes)
|-
|730
|76
|
| style="text-align:center" | C.3
|Episode: "Ihr stürzt nieder"
|-
|745
|91
|
| style="text-align:center" | C.1
|
|- style="background: Gainsboro;"
|763
|1
| style="text-align:center" | D
| style="text-align:center" | V.1
|[[Coda (music)|Coda]] figure 1 (based on "Joy" theme)
|- style="background: Gainsboro;"
|832
|70
|
|
|[[Cadenza]]
|-
|851
|1
| style="text-align:center" | D
| style="text-align:center" | C.1
|Coda figure 2
|-
|904
|54
|
| style="text-align:center" | V.1
|
|-
|920
|70
|
|
|Coda figure 3 (based on "Joy" theme)
|}
In line with Cook's remarks, [[Charles Rosen]] characterizes the final movement as a symphony within a symphony, played without interruption.<ref name=Rosen>[[Charles Rosen|Rosen, Charles]]. ''[[The Classical Style|The Classical Style: Haydn, Mozart, Beethoven]]''. p. 440. New York: Norton, 1997.</ref> This "inner symphony" follows the same overall pattern as the Ninth Symphony as a whole, with four "movements":
# [[Theme and variations]] with slow introduction. The main theme, first in the cellos and basses, is later recapitulated by voices.
# [[Scherzo]] in a {{music|time|6|8}} military style. It begins at ''Alla marcia'' (bars 331–594) and concludes with a {{music|time|6|8}} variation of the main theme with [[Choir|chorus]].
# Slow section with a new theme on the text "Seid umschlungen, Millionen!" It begins at ''Andante maestoso'' (bars 595–654).
# [[fugue|Fugato]] finale on the themes of the first and third "movements". It begins at ''Allegro energico'' (bars 655–762), and two [[canon (music)|canons]] on main theme and "Seid unschlungen, Millionen!" respectively. It begins at ''Allegro ma non tanto'' (bars 763–940).
Rosen notes that the movement can also be analysed as a set of variations and simultaneously as a concerto sonata form with double exposition (with the fugato acting both as a development section and the second tutti of the concerto).<ref name=Rosen />
==
[[File:Friedrich Schiller by Ludovike Simanowiz.jpg|thumb|Portrait of [[Friedrich Schiller]] by [[Ludovike Simanowiz]] (1794)]]
The text is largely taken from [[Friedrich Schiller]]'s "[[Ode to Joy]]", with a few additional introductory words written specifically by Beethoven (shown in italics).<ref>{{cite web|url=http://raptusassociation.org/ode1785.html|title=Beethoven Foundation – Schiller's "An die Freude" and Authoritative Translation|access-date=5 October 2008|archive-url=https://web.archive.org/web/20080923211420/http://www.raptusassociation.org/ode1785.html|archive-date=23 September 2008|url-status=dead}}</ref> The text, without repeats, is shown below, with a translation into English.<ref>The translation is taken from the [[BBC Proms]] 2013 programme, for a concert held at the [[Royal Albert Hall]] ([http://www.bbc.co.uk/proms/whats-on/2013/august-11/14710 Prom 38, 11 August 2013]). This concert was broadcast live on BBC Radio 3 and later on BBC4 television on 6 September 2013, where the same translation was used as subtitles.</ref> The score includes many repeats.
{|
|<poem style="margin-left: 2em;">''O Freunde, nicht diese Töne!''
''Sondern laßt uns angenehmere anstimmen,''
''und freudenvollere.''</poem>
|<poem style="margin-left: 2em;">''Oh friends, not these sounds!''
''Let us instead strike up more pleasing''
''and more joyful ones!''</poem>
|-
|<poem style="margin-left: 2em;">''Freude!''
''Freude!''</poem>
|<poem style="margin-left: 2em;">''Joy!''
''Joy!''</poem>
|-
|<poem style="margin-left: 2em;">Freude, schöner Götterfunken
Tochter aus Elysium,
Wir betreten feuertrunken,
Himmlische, dein Heiligtum!
Deine Zauber binden wieder
Was die Mode streng geteilt;
Alle Menschen werden Brüder,
Wo dein sanfter Flügel weilt.</poem>
|<poem style="margin-left: 2em;">Joy, beautiful spark of divinity,
Daughter from [[Elysium]],
We enter, burning with fervour,
heavenly being, your sanctuary!
Your magic brings together
what custom has sternly divided.
All men shall become brothers,
wherever your gentle wings hover.</poem>
|-
|<poem style="margin-left: 2em;">Wem der große Wurf gelungen,
Eines Freundes Freund zu sein;
Wer ein holdes Weib errungen,
Mische seinen Jubel ein!
Ja, wer auch nur eine Seele
Sein nennt auf dem Erdenrund!
Und wer's nie gekonnt, der stehle
Weinend sich aus diesem Bund!</poem>
|<poem style="margin-left: 2em;">Whoever has been lucky enough
to become a friend to a friend,
Whoever has found a beloved wife,
let him join our songs of praise!
Yes, and anyone who can call one soul
his own on this earth!
Any who cannot, let them slink away
from this gathering in tears!</poem>
|-
|<poem style="margin-left: 2em;">Freude trinken alle Wesen
An den Brüsten der Natur;
Alle Guten, alle Bösen
Folgen ihrer Rosenspur.
Küsse gab sie uns und Reben,
Einen Freund, geprüft im Tod;
Wollust ward dem Wurm gegeben,
Und der Cherub steht vor Gott.</poem>
|<poem style="margin-left: 2em;">Every creature drinks in joy
at nature's breast;
Good and Evil alike
follow her trail of roses.
She gives us kisses and wine,
a true friend, even in death;
Even the worm was given desire,
and the cherub stands before God.</poem>
|-
|<poem style="margin-left: 2em;">Froh, wie seine Sonnen fliegen
Durch des Himmels prächt'gen Plan,
Laufet, Brüder, eure Bahn,
Freudig, wie ein Held zum Siegen.</poem>
|<poem style="margin-left: 2em;">Gladly, just as His suns hurtle
through the glorious universe,
So you, brothers, should run your course,
joyfully, like a conquering hero.</poem>
|-
|<poem style="margin-left: 2em;">Seid umschlungen, Millionen!
Diesen Kuß der ganzen Welt!
Brüder, über'm Sternenzelt
Muß ein lieber Vater wohnen.
Ihr stürzt nieder, Millionen?
Ahnest du den Schöpfer, Welt?
Such' ihn über'm Sternenzelt!
Über Sternen muß er wohnen.</poem>
|<poem style="margin-left: 2em;">Be embraced, you millions!
This kiss is for the whole world!
Brothers, above the canopy of stars
must dwell a loving father.
Do you bow down before Him, you millions?
Do you sense your Creator, O world?
Seek Him above the canopy of stars!
He must dwell beyond the stars.</poem>
|}
In the last two sections of the text, Beethoven goes back to the [[medieval music|medieval]] [[sacred music]] tradition:{{sfn|Buch|2003|p={{page needed|date=December 2024}}}} the composer recalls a liturgical [[hymn]], more specifically a [[psalmody]], using the eighth [[church mode|mode]] of [[Gregorian chant]], the ''[[Mixolydian|Hypomixolydian]]''.{{sfn|Buch|2003|p={{page needed|date=December 2024}}}} The religious questions, simultaneously with the affirmations and exhortations, are musically characterized by archaistic moments, veritable "Gregorian fossils" inserted into a "quasi-liturgical" structure based on the sequence first versicle (male chorus) – response (full chorus) – second versicle (male chorus) – response (full chorus) – main hymn.{{sfn|Buch|2003|p={{page needed|date=December 2024}}}} Beethoven's employment of this sacred music style has the effect of attenuating the interrogative nature of the text when is mentioned the prostration to the supreme being.{{sfn|Buch|2003|p={{page needed|date=December 2024}}}}
Towards the end of the movement, the choir sings the last four lines of the main theme, concluding with "Alle Menschen" before the soloists sing for one last time the song of joy at a slower tempo. The chorus repeats parts of "Seid umschlungen, Millionen!", then quietly sings, "Tochter aus Elysium", and finally, "Freude, schöner Götterfunken, Götterfunken!".<ref>{{Cite book|author=Ludwig van Beethoven|title=Symphony No. 9|publisher=Eulenburg|year=1938|editor=Max Unger|editor-link=Max Unger (musicologist)|pages=265ff}} [[:de:s:An die Freude (Beethoven)|Text transcription at German Wikisource]]</ref>
==Reception==
The symphony was dedicated to the [[King of Prussia]], [[Frederick William III]].<ref>{{cite journal|last=Solomon|first=Maynard|author-link=Maynard Solomon|title=Beethoven: The Nobility Pretense|journal=[[The Musical Quarterly]]|date=April 1975|volume=61|issue=2|pages=272–294|doi=10.1093/mq/LXI.2.272|jstor=741620}}</ref>
Music critics almost universally consider the Ninth Symphony one of Beethoven's greatest works, and among the greatest musical works ever written.<ref name=NCookblurb /><ref name=TomServiceSymphGuide /> The finale, however, has had its detractors: "Early critics rejected [the finale] as cryptic and eccentric, the product of a deaf and ageing composer."<ref name=NCookblurb /> [[Giuseppe Verdi|Verdi]] admired the first three movements but lamented what he saw as the bad writing for the voices in the last movement:
{{Blockquote
|text=The alpha and omega is Beethoven's Ninth Symphony, marvellous in the first three movements, very badly set in the last. No one will ever approach the sublimity of the first movement, but it will be an easy task to write as badly for voices as in the last movement. And supported by the authority of Beethoven, they will all shout: "That's the way to do it..."<ref>Letter of April 1878 in ''Giuseppe Verdi: Autobiografia delle Lettere'', Aldo Oberdorfer ed., Milano, 1941, p. 325.</ref>
|author=Giuseppe Verdi
|source=1878
|title=}}
==Performance challenges==
[[File:Beethoven Ninth Symphony.png|thumb|upright=1.4|Handwritten page of the fourth movement]]
===Metronome markings===
Conductors in the [[historically informed performance]] movement, notably [[Roger Norrington]],<ref>{{cite news|last=Norrington|first=Roger|author-link=Roger Norrington|title=In tune with the time|url=https://www.theguardian.com/music/2009/mar/14/beethoven|work=[[The Guardian]]|date=14 March 2009|access-date=15 May 2013|___location=London}}</ref> have used Beethoven's suggested tempos, to mixed reviews. [[Benjamin Zander]] has made a case for following Beethoven's [[metronome]] markings, both in writing<ref name="Zander" /> and in performances with the [[Boston Philharmonic Orchestra]] and Philharmonia Orchestra of London.<ref>{{Cite news |last=Holland |first=Bernard|author-link=Bernard Holland|date=1983-10-11 |title=Concert: Beethoven 9th, Benjamin Zander and the Boston Philharmonic at Carnegie Hall |url=https://www.nytimes.com/1983/10/11/arts/concert-beethoven-9th.html |access-date=2025-03-25|newspaper=[[The New York Times]]}}</ref><ref>[https://www.amazon.com/Beethoven-Symphony-No-Dominique-Labelle/dp/B00000IGQ6 Recording of the Beethoven 9th] with Benjamin Zander, Dominique Labelle, D'Anna Fortunato, Brad Cresswell, David Arnold, the Boston Philharmonic Orchestra, and [[Chorus pro Musica]].</ref> Beethoven's metronome still exists and was tested and found accurate,<ref>{{cite book| url = https://books.google.com/books?id=5-9Cdy-Y-M8C&pg=PA34| title =The Compleat Conductor| isbn = 978-0-19-984058-8| last1 = Schuller| first1 = Gunther| date = 10 December 1998| publisher = Oxford University Press}}</ref> but the original heavy weight (whose position is vital to its accuracy) is missing and many musicians have considered his metronome marks to be unacceptably high.<ref>Sture Forsén, Harry B. Gray, L. K. Olof Lindgren, and Shirley B. Gray. October 2013. [http://www.ams.org/notices/201309/rnoti-p1146.pdf "Was Something Wrong with Beethoven's Metronome?"], ''Notices of the [[American Mathematical Society]]'' 60(9):1146–1153.</ref>
===Re-orchestrations and alterations===
{{Main|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 by [[Gustav Mahler]],<ref name=Holden>Raymond Holden, "The iconic symphony: performing Beethoven's Ninth Wagner's Way" ''[[The Musical Times]]'', Winter 2011</ref> who revised the orchestration of the Ninth to make it sound like what he believed Beethoven would have wanted if given a modern orchestra.<ref>[[Natalie Bauer-Lechner|Bauer-Lechner, Natalie]]: ''Erinnerungen an Gustav Mahler'', p. 131. E.P. Tal & Co. Verlag, 1923</ref> Wagner's Dresden 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.<ref name=Holden />
====2nd bassoon doubling basses in the finale====
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.<ref>[[Jonathan Del Mar|Del Mar, Jonathan]] (1981) ''Orchestral Variations: Confusion and Error in the Orchestral Repertoire'' London: Eulenburg Books, p. 43</ref>
[[File:Ino Savini (Porto 25-05-1955) dirige L. v. Beethoven Sinfonia N.9.jpg|thumb|upright=1.4|{{ill|Ino Savini|it}} conducting the Ninth Symphony at the [[Rivoli Theatre (Portugal)|Rivoli Theatre]] in Porto, Portugal (1955)|alt=]]
==Notable performances and recordings==
The [[British première of Beethoven's Symphony No. 9|British première of the symphony]] was presented on 21 March 1825 by its commissioners, the [[Philharmonic Society of London]], at its [[Argyll Rooms]] conducted by [[George Thomas Smart|Sir George Smart]] and with the choral part sung in Italian. The American première was presented on 20 May 1846 by the newly formed [[New York Philharmonic]] at [[Castle Garden]] (in an attempt to raise funds for a new concert hall), conducted by the English-born [[George Loder]], with the choral part translated into English for the first time.<ref>{{Cite news|last=Keller|first=James M.|title=Notes on the Program|work=New York Philharmonic|url=https://nyphil.org/~/media/pdfs/program-notes/1819/Beethoven-Allegro-con-brio-from-Symphony-No-5.pdf |archive-url=https://ghostarchive.org/archive/20221009/https://nyphil.org/~/media/pdfs/program-notes/1819/Beethoven-Allegro-con-brio-from-Symphony-No-5.pdf |archive-date=2022-10-09 |url-status=live }}</ref> [[Leopold Stokowski]]'s 1934 [[Philadelphia Orchestra]]<ref>"Stokowski conducts Beethoven : Symphony no. 9 ('Choral')", recorded April 30, 1934. {{OCLC|32939031}}</ref> and 1941 [[NBC Symphony Orchestra]] recordings also used English lyrics in the fourth movement.<ref>"NBC Symphony Orchestra. 1941-11-11: Symphony no. 9, in D minor, op. 125 (Choral)", NBC broadcast from Cosmopolitan Opera House (City Center). {{OCLC|53462096}}</ref>
[[Richard Wagner]] inaugurated his [[Bayreuth Festspielhaus]] by conducting the Ninth; since then it is 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.<ref name="PhilBeet">{{cite web
|url = http://www.marantzphilips.nl/The_cd_laser
|title = Beethoven's Ninth Symphony of greater importance than technology
|author = Philips
|access-date = 9 February 2007
|url-status = dead
|archive-url = https://web.archive.org/web/20090202030718/http://marantzphilips.nl/The_cd_laser/
|archive-date = 2 February 2009}}</ref><ref>{{cite web
|url=http://www.aes.org/historical/store/oralhistory/?code=OHP-016-DVD
|title=AES Oral History Project: Kees A.Schouhamer Immink
|author=AES
|access-date=29 July 2008
}}</ref>
[[Leonard Bernstein]] conducted a version of the Ninth Symphony at the [[Konzerthaus Berlin]] with {{Lang|de|Freiheit}} (Freedom) replacing {{Lang|de|Freude}} (Joy), to celebrate the [[fall of the Berlin Wall]] during Christmas of 1989.{{sfn|Makell|2002|p=98}} This concert was performed by an orchestra and chorus made up of many nationalities: from [[German Democratic Republic|East]] and [[West Germany]], the [[Bavarian Radio Symphony Orchestra]] and Chorus, the Chorus of the [[Berlin Radio Symphony Orchestra (East Berlin)|Berlin Radio Symphony Orchestra]], and members of the [[Sächsische Staatskapelle Dresden]], the Philharmonischer Kinderchor Dresden (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 de Paris]]. Soloists were [[June Anderson]], soprano, [[Sarah Walker (mezzo-soprano)|Sarah Walker]], mezzo-soprano, [[Klaus König]], tenor, and [[Jan-Hendrik Rootering]], bass.<ref>{{cite web |url=http://www.naxos.com/catalogue/item.asp?item_code=2072038 |title=Ode To Freedom – Beethoven: Symphony No. 9|access-date=26 November 2006 |author=Naxos |author-link=Naxos Records |year=2006 |work=Naxos.com Classical Music Catalogue}}</ref> Bernstein conducted the Ninth Symphony one last time with soloists [[Lucia Popp]], soprano, [[Ute Trekel-Burckhardt]], contralto, [[Wiesław Ochman]], tenor, and {{ill|Sergej Kopčák|qid=Q95491288}}, bass, at the [[Prague Spring Festival]]<ref>{{YouTube|id=bip4uUZhrPM|time=14m20s|title=Symphony No. 9, Leonard Bernstein at Prague Spring 1990}}</ref> with the [[Czech Philharmonic]] and {{ill|Prague Philharmonic Choir|cs|Pražský filharmonický sbor|de|Prager Philharmonischer Chor}} in June 1990; he died four months later.
In 1998, Japanese conductor [[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.<ref>{{Cite news |last=Strom |first=Stephanie|author-link=Stephanie Strom|date=1998-02-07 |title=The XVIII Winter Games: Opening Ceremonies; The Latest Sport? After a Worldwide Effort, Synchronized Singing Gets In |url=https://www.nytimes.com/1998/02/07/sports/xviii-winter-games-opening-ceremonies-latest-sport-after-worldwide-effort.html |access-date=2025-03-25|newspaper=[[The New York Times]]}}</ref>
In 1923, the first complete recording of Beethoven's Ninth Symphony was made by the [[acoustic recording]] process conducted by [[Bruno Seidler-Winkler]]. The recording was issued by [[Deutsche Grammophon]] in Germany and in the United States on the [[Vocalion Records|Vocalion]] label. The first electrical recording of the Ninth was recorded in England in 1926 by the [[London Symphony Orchestra]] conducted by [[Felix Weingartner]], issued by [[Columbia Graphophone Company|Columbia Records]]. In 1934, the first complete American recording was made by [[RCA Victor]] with [[Leopold Stokowski]] conducting the [[Philadelphia Orchestra]]. Since the late 20th century, the Ninth has been recorded regularly by [[Historically informed performance|period performers]], including [[Roger Norrington]], [[Christopher Hogwood]], and Sir [[John Eliot Gardiner]].{{Citation needed|date=January 2024}}
The BBC Proms Youth Choir performed the piece alongside [[Georg Solti]]'s UNESCO World Orchestra for Peace at the [[Royal Albert Hall]] during the 2018 [[The Proms|Proms]] at Prom 9, titled "War & Peace" as a commemoration to the centenary of the end of [[World War I|World War One]].<ref>{{Cite web|title=Prom 9: War & Peace|url=https://www.bbc.co.uk/events/emrz3d|access-date=2022-02-19|website=BBC Music Events|language=en}}</ref>
At 79 minutes, one of the longest Ninths recorded is [[Karl Böhm]]'s, conducting the [[Vienna Philharmonic]] in 1981 with [[Jessye Norman]] and [[Plácido Domingo]] among the soloists.<ref>{{cite book |last1=Gronow |first1=Pekka |last2=Saunio |first2=Ilpo |title=International History of the Recording Industry |date=26 July 1999 |publisher=A&C Black |___location=London |isbn=978-0-3047-0590-0 |page=195 |url=https://books.google.com/books?id=paPRxPJ7jjEC&q=Karl+Böhm+9th+symphony+70+minutes&pg=PA195}}</ref>
==Influence==
[[File:Haus-UngargasseNr5-Tafel2.jpg|thumb|upright=1.2|Plaque at building Ungargasse No. 5, Vienna. "Ludwig van Beethoven completed in this house during the winter of 1823/24 his Ninth Symphony. In memory of the centenary of its first performance on 7 May 1824 the [[Wiener Schubertbund]] dedicated this memorial plaque to the master and his work on 7 May 1924."]]
Many later composers of the [[Romantic music|Romantic period]] and beyond were influenced by the Ninth Symphony.
An important theme in the finale of [[Johannes Brahms]]' [[Symphony No. 1 (Brahms)|Symphony No. 1 in C minor]] is related to the "Ode to Joy" theme from the last movement of Beethoven's Ninth Symphony. When this was pointed out to Brahms, he is 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 Bruckner]] used for the movements of his symphonies. His [[Symphony No. 3 (Bruckner)|Symphony No. 3]] is 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 (Bruckner)|Symphony No. 7]] uses the A–B–A–B–A form found in the 3rd movement of Beethoven's piece and takes various figurations from it.<ref name=taruskin>{{Cite book| first=Richard |last=Taruskin |author-link=Richard Taruskin |year=2010 |title=Music in the Nineteenth Century |series=The Oxford History of Western Music |volume=3 |pages=747–751 |publisher=Oxford University Press |___location=New York |isbn=978-0-19-538483-3}}</ref>
In the opening notes of the third movement of his [[Symphony No. 9 (Dvořák)|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.<ref>[[Michael Steinberg (music critic)|Steinberg, Michael]]. ''The Symphony: A Listeners Guide''. p. 153. Oxford University Press, 1995.</ref>
[[Béla Bartók]] borrowed the opening [[Motif (music)|motif]] of the scherzo from Beethoven's Ninth Symphony to introduce the second movement (scherzo) in his own Four Orchestral Pieces, Op. 12 (Sz 51).<ref>{{cite web|last=Howard|first=Orrin|title=About the Piece {{!}} Four Orchestral Pieces, Op. 12|url=http://www.laphil.com/philpedia/music/four-orchestral-pieces-op-12-bela-bartok|publisher=Los Angeles Philharmonic|access-date=27 December 2012|archive-url=https://web.archive.org/web/20150608004144/http://www.laphil.com/philpedia/music/four-orchestral-pieces-op-12-bela-bartok|archive-date=8 June 2015|url-status=dead}}</ref><ref>{{cite book|last=Bartók|first=Béla|title=4 Pieces, Op. 12 – Violin I – (Musical Score)|year=1912|publisher=Universal Edition|pages=3|url=http://hz.imslp.info/files/imglnks/usimg/8/8b/IMSLP54751-PMLP46172-Bartok-Op12.Violin1.pdf|access-date=25 December 2017|archive-url=https://web.archive.org/web/20171225203314/http://hz.imslp.info/files/imglnks/usimg/8/8b/IMSLP54751-PMLP46172-Bartok-Op12.Violin1.pdf|archive-date=25 December 2017|url-status=dead}}</ref>
[[Michael Tippett]] in his [[Symphony No. 3 (Tippett)|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.{{sfn|Matthews|1980|p=93}}
In the film ''[[The Pervert's Guide to Ideology]]'', the philosopher [[Slavoj Žižek]] comments on the use of the Ode by [[Nazism]], [[Bolshevism]], the Chinese [[Cultural Revolution]], the [[United Team of Germany at the Olympics|East-West German Olympic team]], [[Southern Rhodesia]], [[Abimael Guzmán]] (leader of the [[Shining Path]]), and the [[Council of Europe]] and the [[Symbols of the European Union|European Union]].<ref>{{cite AV media
| people = [[Slavoj Žižek]]
| date = 7 September 2012
| title = [[The Pervert's Guide to Ideology]]
| medium = Motion picture
| publisher = [[Zeitgeist Films]]
}}; {{cite web|first=Josh|last=Jones|date=26 November 2013 |title=Slavoj Žižek Examines the Perverse Ideology of Beethoven's Ode to Joy|website=[[Open Culture]]|url=https://www.openculture.com/2013/11/slavoj-zizek-examines-the-perverse-ideology-of-beethovens-ode-to-joy.html|access-date=10 July 2023}}</ref>
===Compact disc format===
One legend is that the [[compact disc]] was deliberately designed to have a 74-minute playing time so that it could accommodate Beethoven's Ninth Symphony.<ref>{{Cite web|title=Why is a CD 74 minutes long? It's because of Beethoven|url=https://www.classicfm.com/discover-music/why-is-a-cd-74-minutes/|access-date=2021-03-27|author=Victoria Longdon|website=[[Classic FM (UK)|Classic FM]]|date=3 May 2019}}</ref> [[Kees Immink]], [[Philips]]' chief 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 by [[Wilhelm Furtwängler|Furtwängler]] was brought forward as the perfect excuse for the change,<ref name="Immink2">{{Cite journal
|journal=IEEE Information Theory Society Newsletter
|volume=57
|date=2007
|title=Shannon, Beethoven, and the Compact Disc
|author=K. A. Schouhamer Immink
|author-link=Kees Schouhamer Immink
|url=https://www.researchgate.net/publication/322951358
|pages=42–46
|access-date=2018-02-06
}}</ref><ref name="Imminknature">{{Cite journal
|journal=[[Nature Electronics]]
|volume=1
|date=2018
|title=How we made the compact disc
|author=K.A. Schouhamer Immink
|author-link=Kees Schouhamer Immink
|url=https://www.researchgate.net/publication/324571504
|access-date=2018-04-16
|quote=An international collaboration between Philips and the Sony Corporation lead to the creation of the compact disc. The author explains how it came about
}}</ref> 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.<ref>{{cite web|url=https://www.ecoustics.com/products/philips-celebrates-25th-anniversary-compact/|title=Philips Celebrates 25th Anniversary of the Compact Disc|author=Brian Mitchell|date=16 August 2007|access-date=10 July 2023|website=ecoustics.com}}</ref>
===TV theme music===
''[[The Huntley–Brinkley Report]]'' used the opening to the second movement as its theme music during the run of the program on [[NBC]] from 1956 until 1970. The theme was taken from the 1952 [[RCA Red Seal|RCA Victor]] recording of the Ninth Symphony by the [[NBC Symphony Orchestra]] conducted by [[Arturo Toscanini]].<ref>{{Cite web|url=https://www.networknewsmusic.com/huntley-brinkley-report-theme|title=''Huntley–Brinkley Report'' Theme|website=networknewsmusic.com|date=20 September 1959|access-date=2020-07-01}}</ref> A [[synthesizer|synthesized]] version of the opening bars of the second movement were also used as the theme for ''[[Countdown with Keith Olbermann]]'' on [[MSNBC]] and [[Current TV]].<ref>{{Cite web|date=2003-03-31|title="Countdown with Keith Olbermann" (MSNBC) 2003 – 2011 Theme|url=https://www.networknewsmusic.com/countdown-with-keith-olbermann-msnbc-2003-2011-theme/|access-date=2021-02-12|website=Network News Music|language=en}}</ref> A rock guitar version of the "Ode to Joy" theme was used as the theme for ''[[Suddenly Susan]]'' in its first season.<ref>{{cite magazine |last1=Fretts |first1=Bruce |title=TV Show Openings |url=https://ew.com/article/1996/11/15/tv-show-openings/ |magazine=[[Entertainment Weekly|EW.com]] |access-date=2022-05-19 |date=15 November 1996}}</ref>
===Use as (national) anthem===
{{Listen|type=music|filename=Anthem of Europe (US Navy instrumental short version).ogg|title=Anthem of Europe (short version)}}
During the [[division of Germany]] in the [[Cold War]], the "Ode to Joy" segment of the symphony was played in lieu of a national anthem at the Olympic Games for the [[United Team of Germany]] between 1956 and 1968. In 1972, the musical backing (without the words) was adopted as the [[Anthem of Europe]] by the [[Council of Europe]] and subsequently by the [[European Communities]] (now the [[European Union]]) in 1985.<ref>{{cite web|url=http://europa.eu/abc/symbols/anthem/index_en.htm|title=The European Anthem|website=europa.eu|date=16 June 2016}}</ref> The "Ode to Joy" was used as the national anthem of [[Rhodesia]] between 1974 and 1979, as "[[Rise, O Voices of Rhodesia]]".<ref>[https://news.google.com/newspapers?id=cHBmAAAAIBAJ&sjid=XosNAAAAIBAJ&pg=6475,5011881&dq "Rhodesia picks Ode to Joy"], ''[[Vancouver Sun]]'', 30 August 1974</ref> During the early 1990s, South Africa used an instrumental version of "Ode to Joy" in lieu of its national anthem at the time "[[Die Stem van Suid-Afrika]]" at sporting events, though it was never actually adopted as an official national anthem.<ref>{{Cite news|url=https://www.nytimes.com/1991/11/24/opinion/l-south-africa-poaches-on-europe-s-anthem-000891.html|title=Opinion | South Africa Poaches on Europe's Anthem|newspaper=The New York Times|date=24 November 1991}}</ref>
===Use as a hymn melody===
In 1907, the [[Presbyterianism|Presbyterian]] pastor [[Henry van Dyke Jr.]] wrote the hymn "[[The Hymn of Joy|Joyful, Joyful, we adore thee]]" while staying at [[Williams College]].<ref>{{cite book|last=van Dyke|first=Henry|author-link=Henry van Dyke Jr.|title=The Poems of Henry van Dyke|year=2004|publisher=Fredonia Books|___location=Netherlands|isbn=1410105741}}</ref> The hymn is commonly sung in English-language churches to the "Ode to Joy" melody from this symphony.<ref>Rev. Corey F. O'Brien, "[https://web.archive.org/web/20191113190313/http://www.northprospectchurch.org/Sermons/s081109.pdf November 9, 2008 sermon]" at North Prospect Union United Church of Christ in Medford.</ref>
[[Josephine Daskam Bacon]] is credited <ref>https://www.riseupsinging.org/songs/hymn-nations</ref><ref>https://hymnary.org/person/Bacon_Josephine</ref> with the poem that became the lyrics in ''Hymn for Nations'' (also called ''Hymn to Nations'') set to the ''Ode to Joy'' melodic theme of the Finale of the Fourth Movement, as recorded by [[Paul Robeson]], [[Pete Seeger]], and others.
===Year-end tradition===
The [[Trade unions in Germany|German workers' movement]] began the tradition of performing the Ninth Symphony on New Year's Eve in 1918. Performances started at 11 p.m. so that the symphony's finale would be played at the beginning of the new year. This tradition continued during the [[Nazi Germany|Nazi period]] and was also observed by [[East Germany]] after the war.<ref>{{cite web|url=http://www.hr-online.de/servlet/de.hr.cms.servlet.File/11-006.pdf?enc=d3M9aHJteXNxbCZibG9iSWQ9MTE5NDAzNDkmaWQ9NDA3NDE2MTkmZm9yY2VEb3dubG9hZD0x|url-status=dead|title=Beethovens 9. Sinfonie – Musik für alle Zwecke – Die Neunte und Europa: 'Die Marseillaise der Menschheit'|language=de|author=Niels Kaiser|publisher=hr2|date=26 January 2011|archive-url=https://web.archive.org/web/20180108120547/http://www.hr-online.de/servlet/de.hr.cms.servlet.File/11-006.pdf?enc=d3M9aHJteXNxbCZibG9iSWQ9MTE5NDAzNDkmaWQ9NDA3NDE2MTkmZm9yY2VEb3dubG9hZD0x|archive-date=8 January 2018}}</ref>
The Ninth Symphony is traditionally performed throughout Japan at [[Ōmisoka|the end of the year]]. In December 2009, for example, there were 55 performances of the symphony by various major orchestras and choirs in Japan.<ref name="Brasor">Brasor, Philip, "[http://search.japantimes.co.jp/cgi-bin/fm20101224r1.html Japan makes Beethoven's Ninth No. 1 for the holidays]", ''[[The Japan Times]]'', 24 December 2010, p. 20, retrieved on 24 December 2010; {{Webarchive|url=https://web.archive.org/web/20110609215442/http://search.japantimes.co.jp/cgi-bin/fm20101224r1.html |date=9 June 2011 }}<br />Uranaka, Taiga, "[http://search.japantimes.co.jp/cgi-bin/nn19991201a5.html Beethoven concert to fete students' wartime sendoff]", ''The Japan Times'', 1 December 1999, retrieved on 24 December 2010. {{Webarchive|url=https://web.archive.org/web/20110609215516/http://search.japantimes.co.jp/cgi-bin/nn19991201a5.html |date=9 June 2011 }}</ref> It was introduced to [[Japan during World War I]] by German prisoners held at the [[Bandō prisoner-of-war camp]].<ref name="ST">{{cite news |title=How World War I made Beethoven's Ninth a Japanese New Year's tradition |url=https://www.seattletimes.com/entertainment/classical-music/how-world-war-i-made-beethovens-ninth-a-japanese-new-year-tradition/ |access-date=21 July 2020 |work=[[The Seattle Times]] |date=30 December 2015}}</ref> Japanese orchestras, notably the [[NHK Symphony Orchestra]], began performing the symphony in 1925 and during World War II; the [[Empire of Japan|Imperial government]] promoted performances of the symphony, including on New Year's Eve. In an effort to capitalize on its popularity, orchestras and choruses undergoing economic hard times during Japan's reconstruction performed the piece at year's end. In the 1960s, these year-end performances of the symphony became more widespread, and included the participation of local choirs and orchestras, firmly establishing a tradition that continues today. Some of these performances feature massed choirs of up to 10,000 singers.<ref>{{cite news |title=10,000 people sing Japan's Christmas song |url=https://www.bbc.co.uk/news/av/world-asia-42436120/beethoven-s-ninth-10000-singers-for-japan-s-christmas-song |access-date=21 July 2020 |work=[[BBC News]]}}</ref><ref name="ST" />
[[WQXR-FM]], a classical [[radio station]] serving the [[New York metropolitan area]], ends every year with a [[wiktionary:countdown|countdown]] of the pieces of classical music most requested in a survey held every December; though any piece could win the place of honor and thus welcome the New Year, i.e. play through midnight on January 1, Beethoven's Choral has won in every year on record.<ref>https://www.wqxr.org/story/2021-classical-countdown/ N. B. Links to previous years' countdowns can be found at the link in the reference.</ref>
===Other choral symphonies===
{{See also|List of choral symphonies}}
Prior to Beethoven's ninth, symphonies had not used choral forces and the piece thus established the genre of [[choral symphony]]. Numbered choral symphonies as part of a cycle of otherwise instrumental works have subsequently been written by numerous composers, including [[Felix Mendelssohn]], [[Gustav Mahler]], [[Ralph Vaughan Williams]] and [[Charles Ives]] among many others.
===Other ninth symphonies===
The scale and influence of Beethoven's ninth led later composers to ascribe a special significance to their own ninth symphonies, which may have contributed to the cultural phenomenon known as the [[curse of the ninth]]. A number of other composers' ninth symphonies also employ a chorus, such as those by [[Kurt Atterberg]], [[Mieczysław Weinberg]], [[Edmund Rubbra]], [[Hans Werner Henze]], and [[Robert Kyr]]. [[Anton Bruckner]] had not originally intended his unfinished [[Symphony No. 9 (Bruckner)|ninth symphony]] to feature choral forces, but the use of his choral ''Te Deum'' in lieu of the uncompleted Finale was supposedly sanctioned by the composer.<ref>{{cite news |title=Bruckner's Te Deum: A Hymn of Praise |url=https://thelistenersclub.com/2021/03/10/bruckners-te-deum-a-hymn-of-praise/ |access-date=6 October 2021 |work=The Listeners' Club |date=10 March 2021}}</ref> [[Dmitri Shostakovich]] had originally intended his [[Symphony No. 9 (Shostakovich)|Ninth Symphony]] to be a large work with chorus and soloists, although the symphony as it eventually appeared was a relatively short work without vocal forces.<ref>Fay, Laurel E. Shostakovich: A life. Oxford University Press, 2000.</ref>
Of his own Ninth Symphony, [[George Lloyd (composer)|George Lloyd]] wrote: "When a composer has written eight symphonies he may find that the horizon has been blacked out by the overwhelming image of Beethoven and his one and only Ninth. There are other very good No. 5s and No. 3s, for instance, but how can one possibly have the temerity of trying to write another Ninth Symphony?"<ref>{{cite web|url=https://www.prestomusic.com/classical/products/7951321--george-lloyd-symphonies-nos-2-9|title=George Lloyd: Symphonies Nos 2 & 9|access-date=22 Jan 2021}}</ref> [[Niels Gade]] composed only eight symphonies, despite living for another twenty years after completing the eighth. He is believed to have replied, when asked why he did not compose another symphony, "There is only one ninth", in reference to Beethoven.<ref>{{cite book|last=Henriques|first=Robert|year=1891|title=Niels W. Gade|___location=Copenhagen|publisher=Studentersamfundets Førlag [Student Society]|language=da|page=23|oclc=179892774}}</ref>
==References==
'''Notes'''
{{Reflist|group=n|liststyle=lower-alpha}}
'''Citations'''
{{Reflist}}
'''Sources'''
* {{cite book|last=Buch|first=Esteban|title=Beethoven's Ninth: A Political History|year=2003|isbn=978-0-226-07812-0|url=http://www.press.uchicago.edu/cgi-bin/hfs.cgi/00/15634.ctl|url-status=dead|archive-url=https://web.archive.org/web/20080608230214/http://www.press.uchicago.edu/cgi-bin/hfs.cgi/00/15634.ctl|archive-date=8 June 2008|translator=Richard Miller|publisher=University of Chicago Press}}
* {{Cite book|last=Cook|first=Nicholas|title=Beethoven: Symphony No. 9|author-link=Nicholas Cook|series=Cambridge Music Handbooks|publisher=Cambridge University Press|year=1993|isbn=978-0-521-39924-1|___location=Cambridge|doi=10.1017/CBO9780511611612}}
** {{harvc|last=Cook|first=Nicholas|chapter=2. Early impressions|pages=26–47|in=Cook|year=1993|anchor-year=1993b}} {{doi|10.1017/cbo9780511611612.003}}
* {{cite book|last=Hopkins|first=Antony|author-link=Antony Hopkins|year=1981|title=The Nine Symphonies of Beethoven|___location=London|publisher=Heinemann}}
* {{wikicite|reference={{IMSLP|work=Symphony No.9, Op.125 (Beethoven, Ludwig van)|cname=Symphony No. 9, Op. 125}}|ref={{harvid|IMSLP score}}}}
* {{Cantorion|pieces/147/Symphony_No._9|Symphony No. 9}}
* {{cite book|author-link=David Benjamin Levy|last=Levy|first=David Benjamin|title=Beethoven: the Ninth Symphony|edition=revised|publisher=Yale University Press|year=2003}}
* {{cite book|last=Makell|first=Talli|chapter=Ludwig van Beethoven|title=Classical Music: The Listener's Companion|editor=Alexander J. Morin|___location=San Francisco|publisher=Backbeat Books|year=2002}}
*{{cite book|last=Matthews|first=David|author-link=David Matthews (composer)|title=Michael Tippett: An Introductory Study|url=https://archive.org/details/michaeltippettin00matt|url-access=registration|publisher=Faber|___location=London|year=1980}}
*{{Cite journal|last=Noorduin|first=Marten|date=2021-05-17|title=The metronome marks for Beethoven's Ninth Symphony in context|journal=[[Early Music (journal)|Early Music]]|volume=49|pages=129–145|doi=10.1093/em/caab005|issn=0306-1078|doi-access=free}}
* {{cite book|last=Sachs|first=Harvey|author-link=Harvey Sachs|year=2010|title=The Ninth: Beethoven and the World in 1824|publisher=Faber and Faber|postscript=none}} ([https://www.telegraph.co.uk/culture/books/bookreviews/7865902/The-Ninth-Beethoven-and-the-World-in-1824-by-Harvey-Sachs-review.html Review] by [[Philip Hensher]], ''[[The Daily Telegraph]]'' (London), 5 July 2010).
*{{cite book |last=Schenker |first=Heinrich|author-link=Heinrich Schenker|title=Beethoven's Ninth Symphony, A Portrayal of Its Musical Content with Running Commentary on Performance and Literature As Well |publisher=[[Yale University Press]] |isbn=0-300-05459-9 |___location=New Haven, Connecticut and London, England |translator-last=Rothgeb |translator-first=John|year = 1992}}
==Further reading==
*{{cite book|title=Beethoven's Ninth Symphony: Rehearsing and Performing Its 1824 Premiere|last=Albrecht|first=Theodore|author-link=Theodore Albrecht|year=2024|publisher=[[Boydell & Brewer]]|___location=Martlesham, Suffolk, UK|jstor=jj.5806809|doi=10.2307/jj.5806809|isbn=978-1-83765-105-4|ref=none}}
* {{cite journal|last=Parsons|first=James|url=https://www.academia.edu/1447244|via=[[Academia.edu]]|title='Deine Zauber binden wieder': Beethoven, Schiller, and the Joyous Reconciliation of Opposites|journal=Beethoven Forum|year=2002|volume=9|issue=1|pages=1–53|ref=none}}
* Rasmussen, Michelle, [http://schillerinstitute.org/music/2015/0626-beethoven-m_rasmussen.html "All Men Become Brothers: The Decades-Long Struggle for Beethoven's Ninth Symphony"], [[Schiller Institute]], June, 2015.
* [[Richard Taruskin|Taruskin, Richard]], "Resisting the Ninth", in his ''Text and Act: Essays on Music and Performance'' (Oxford University Press, 1995).
*Wegner, Sascha (2018). ''Symphonien aus dem Geiste der Vokalmusik : Zur Finalgestaltung in der Symphonik im 18. und frühen 19. Jahrhundert''. Stuttgart: J. B. Metzler.
==External links==
{{Commons category|Symphony No. 9 (Beethoven)}}
{{Wikiquote|Symphony No. 9 (Beethoven)}}
'''Scores, manuscripts and text'''
* {{IMSLP|work=Symphony No.9, Op.125 (Beethoven, Ludwig van)|cname=Symphony No. 9, Op. 125}}
* {{Cantorion|pieces/147/Symphony_No._9|Symphony No. 9}}
* [http://beethoven.staatsbibliothek-berlin.de/beethoven/de/sinfonien/9/1/1.html Original manuscript] (site in German)
* [http://www.dlib.indiana.edu/variations/scores/cab4188/index.html Score], William and Gayle Cook Music Library, [[Indiana University School of Music]]
* [https://web.archive.org/web/20060525171802/http://edboyden.org/beet9.html Text/libretto, with translation, in English and German]
*[[doi:10.1093/em/caab005|Sources for the metronome marks]].
'''Analysis'''
* [https://web.archive.org/web/20070923024056/http://wsu.edu/~brians/hum_303/beethoven.html Analysis for students] (with timings) of the final movement, at [[Washington State University]]
* {{Cite journal|last=Hinton|first=Stephen|author-link=Stephen Hinton|date=Summer 1998|title=Not ''Which'' Tones? The Crux of Beethoven's Ninth|journal=[[19th-Century Music]]|volume=22|issue=1|pages=61–77|doi=10.1525/ncm.1998.22.1.02a00040 |jstor=746792|ref=none}}
* Signell, Karl, [http://userpages.umbc.edu/~signell/Princeton2010/Beethoven.html "The Riddle of Beethoven's Alla Marcia in his Ninth Symphony"] (self-published)
* [https://web.archive.org/web/20120419181733/http://www.benjaminzander.com/recordings/boston-philharmonic/beet9/review/130 Beethoven 9], Benjamin Zander advocating a stricter adherence to Beethoven's metronome indications, with reference to Jonathan del Mar's research (before the Bärenreiter edition was published) and to Stravinsky's intuition about the correct tempo for the Scherzo Trio
'''Audio'''
* [https://www.npr.org/templates/story/story.php?storyId=5487727 Christoph Eschenbach conducting the Philadelphia Orchestra] from [[National Public Radio]]
* [https://archive.org/details/BeethovenSymphonyNo.9choral Felix Weingartner conducting the Vienna Philharmonic Orchestra (1935 recording)] from the [[Internet Archive]]
* [https://archive.org/details/beethoven9 Otto Klemperer conducting the Concertgebouw Orchestra (1956 live recording)] from the [[Internet Archive]]
'''Video'''
* {{YouTube|id=Yqff1F0Ijn0 |title=Furtwängler on 19 April 1942}}, [[Wilhelm Furtwängler]] conducting the [[Berlin Philharmonic]] on the eve of Hitler's 53rd birthday
* {{YouTube|id=3SZ9QzGg95g |title=1st mvt.|link=no}}, {{YouTube|id=p5favl2Qtx0|title=2nd mvt.|link=no}}, {{YouTube|id=Kri2jWr08S4 |title=3rd mvt.|link=no}}, {{YouTube|id=ljGMhDSSGFU |title=4th mvt.|link=no}}, [[Nicholas McGegan]] conducting the [[Philharmonia Baroque Orchestra]], graphical score
* {{YouTube|id= rOjHhS5MtvA |title= Beethoven 9th |link= no}}, [[Chicago Symphony Orchestra]], [[Riccardo Muti]] conductor, [[Camilla Nylund]] soprano, [[Ekaterina Gubanova]] mezzo-soprano, [[Matthew Polenzani]] tenor, [[Eric Owens (bass-baritone)|Eric Owens]] bass-baritone, anniversary May 2015
'''Other material'''
* [http://europa.eu/abc/symbols/anthem/index_en.htm Official EU page] about the anthem
* [https://web.archive.org/web/20070515013052/http://www.kennedy-center.org/calendar/index.cfm?fuseaction=composition&composition_id=2761 Program note] by [[Richard Freed]], [[John F. Kennedy Center for the Performing Arts]], February 2004
* [http://followingtheninth.com/ ''Following the Ninth: In the Footsteps of Beethoven's Final Symphony''], Kerry Candaele's 2013 documentary film about the Ninth Symphony
{{Symphony No. 9}}
{{Beethoven symphonies|state=expanded}}
{{Portal bar|Classical music}}
{{Authority control}}
[[
[[Category:Symphonies by Ludwig van Beethoven|09]]
[[Category:Choral symphonies|Beethoven 9]]
[[Category:Choral compositions by Ludwig van Beethoven]]
[[Category:Works commissioned by the Royal Philharmonic Society]]
[[Category:Music dedicated to nobility or royalty]]
[[Category:1824 compositions]]
[[Category:Musical settings of poems by Friedrich Schiller]]
[[Category:Memory of the World Register]]
[[Category:Compositions in D minor]]
[[Category:Frederick William III of Prussia]]
[[Category:Ode to Joy]]
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