Symphony No. 9 (Beethoven)

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The Symphony No. 9 in D minor, Op. 125, is the last complete symphony by Ludwig van Beethoven, compiled between 1822 and 1824. It was first performed in Vienna on May 7, 1824. One of the most famous works in public practice music is considered by many critics and musicians as one of the works Beethoven's biggest and one of the highest achievements in western music history. In 2010, he stands as one of the most accomplished symphony in the world.

Symphony is the first example of a major composer who uses sound in a symphony (thus making it a symphony of choir). Words were sung during the last movement by four solo singers and choirs. They were taken from "Ode to Joy", a poem written by Friedrich Schiller in 1785 and revised in 1803, with the addition of a text made by composers.

In 2001, the handwritten original handwritten Beethoven, held by the Berlin State Library, was added to the UN World Program's World Heritage Program list, becoming the first highly regarded musical value.

Video Symphony No. 9 (Beethoven)

History

Composition

The Philharmonic Society of London originally commissioned the symphony in 1817. The main compositional work was carried out between the autumn of 1822 and the completion of the signature in February 1824. The symphony emerged from other works by Beethoven who, while his works were completed in their own right, is also in some sense a "sketch" (a rough outline) for the symphony of the future. The Choral Fantasy Opus. 80 (1808), essentially a piano concerto movement, brought the choir and vocal vocalists near the end to reach climax. The power of vocals sings a theme that was first played instrumently, and the theme is reminiscent of a corresponding theme in the Ninth Symphony (for a detailed comparison, see Choral Fantasy).

Further back, an earlier version of the Choral Fantasy theme was found in the song "Gegenliebe" (Returned Love) for piano and high sound, dating from before 1795. According to Robert W. Gutman, Mozart K. 222 Offertory in D minor, "Misericordias Domini ", written in 1775, contains a melody describing" Ode to Joy ".

Premiere

Although his main work is primarily aired in Vienna, Beethoven is keen to have his latest composition done in Berlin as soon as possible after finishing it, as he thinks that the taste of music in Vienna has been dominated by Italian composers such as Rossini. When his friends and financiers heard this, they urged him to air the symphonium in Vienna in the form of a petition signed by a number of supporters and typical Viennese musicians.

Beethoven was flattered by Vienna worship, so the Ninth Symphony aired on May 7, 1824 at the Theater am KÃÆ'¤rntnertor in Vienna together with the inauguration of the Consecration of the House ( Die Weihe des Hauses ) and three parts of Missa solemnis (Kyrie, Credo, and Agnus Dei). This is the first stage performance of the composer in 12 years; the hall was packed with excited audiences and a number of musicians.

The premiere of Symphony No. 9 involves the largest orchestra ever assembled by Beethoven and requires the combined efforts of the orchestra of the KÃÆ'¤rntnertor house, the Vienna Music Society (Gesellschaft der Musikfreunde), and a select group of capable amateurs. Although there is no complete list of the inaugural performers, many of the most famous Viennese players are known to have participated.

The soprano and alto sections were sung by two famous young singers: Henriette Sontag and Caroline Unger. German Soprano Henriette Sontag was 18 when Beethoven personally recruited him to perform at the Ninth premiere. Also personally recruited by Beethoven, a 20-year contralto Caroline Unger, originally from Vienna, has been praised critically in 1821 appearing in Rossini Tancredi . After performing at Beethoven's 1824 premiere, Unger later found fame in Italy and Paris. Italian composers Donizetti and Bellini are known to have a special role for his voice. Anton Haizinger and Joseph Seipelt sang tenors and bass parts, respectively.

Although the show was officially directed by Michael Umlauf, the Kapellmeister theater, Beethoven shared a stage with him. However, two years earlier, Umlauf had witnessed the composer's attempt to rehearse his opera << Fidelio ending in disaster. So this time, he instructed singers and musicians to ignore Beethoven who was almost completely deaf. At the beginning of each section, Beethoven, who sat on stage, gave the tempo. He turned the pages of his score and wasted time for an orchestra he could not hear.

There are a number of anecdotes about the Ninth premiere. Based on the testimony of the participants, there are suggestions that it is underrehearsed (there are only two full exercises) and a bit rash in the execution. On the other hand, the premiere was a huge success. In any case, Beethoven can not be blamed, as violinist Joseph BÃÆ'¶hm remembers:

Beethoven himself did, that is, he stood in front of standing conductor and threw himself back and forth like crazy. At one point he stretched as high as his body, the next time he crouched to the floor, he flailed with his hands and feet as if he wanted to play all the instruments and sing all the parts of the chorus. - The real direction is in the hands of [Louis] Duport; we musicians follow the stick alone.

When the audience applauded - different testimonies about whether at the end of scherzo or symphony - Beethoven a few steps and still do. Therefore, Caroline Unger's contralto walked over and turned Beethoven to receive cheers and audience applause. According to critics for Theater-Zeitung, "[t] he publicly receives a music hero with respect and sympathy, listens to his extraordinary great creations with the most absorbing attention and breaks in the applause of joy, often during the passage , and repeatedly at their end. "The audience praised him through standing ovations five times; there was a handkerchief in the air, a hat, hands raised, so that Beethoven, who could not hear the applause, could at least see the applause.

Edition

The first German edition was printed by B. Schott's SÃÆ'¶hne (Mainz) in 1826. Breitkopf & amp; The HÃÆ'¤rtel edition dating from 1864 has been used extensively by the orchestra. In 1997, BÃÆ'¤renreiter published an edition by Jonathan Del Mar. According to Del Mar, this edition corrects nearly 3,000 errors in the Breitkopf edition, some of which are "extraordinary". David Levy, however, criticized this edition, saying that it could create a "very possibly wrong" tradition. Breitkopf also published a new edition by Peter Hauschild in 2005.

Maps Symphony No. 9 (Beethoven)

Instrumentation

Symphonies are judged for the following orchestra. This is the greatest force required for any Beethoven symphony; at the premiere, Beethoven added it further by assigning two players to every part of the wind.

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Form

His symphony in four movements. The structure of each movement is as follows:

Beethoven changed the usual Classic Symphony pattern in placing the scherzo movement before slow motion. In symphonies, slow motion is usually placed before scherzi. This is the first time she has done this in a symphony, even though she has done so in several previous works, including the Op Quartet String. 18 no. 5, the piano trio "Archduke" Op. 97, Hammerklavier piano sonata Op. 106. Haydn, too, has used this arrangement in a number of his own works such as String Quartet no. 30 on E ? major.

I. Allegro ma non troppo, un poco maestoso

The first movement is a form of sonata without repetition of exposition. It begins with open fifths (A and E) plays pianissimo by the tremolo string, continuing to build up to the first major theme in the D minor in m. 17

The opening, with the perfect fifth that appears silently, resembles the sound of rising orchestra.

At the beginning of the recapitulation (which repeats the main melodic theme) at m. 301, the theme is back, this time plays fortissimo and in D main , rather than D minor . This movement ends with a large cod that consumes nearly a quarter of the movement, as in the Third and Fifth Symphonies of Beethoven.

The typical show lasts about 15 minutes.

II. Very lively

The second movement is scherzo and trio. Like the first movement, scherzo was in D minor, with an introduction that brought a passing resemblance to the opening theme of the first movement, a pattern also found in the Hammerklavier piano sonata, written several years earlier.. At times during the work, Beethoven determines a downbeat every three sizes - probably because of the fast tempo - with the direction of the ritmo in tre battute (rhythm of three beats) and one beats every four steps in the direction of ritmo in quattro battute (rhythm of four beats). Beethoven has been criticized for failing to comply with the standard Classical form for its composition. He uses this movement to answer his criticism. Typically, scherzo in triples. Beethoven wrote this passage in three times but was interspersed in a way that, when combined with tempo, made it sound as though it were within fourfold.

While following the ternary design of standard compounds (the three-part structure) of the dance movement (scherzo-trio-scherzo or minuet-trio-minuet), the scherzo section has an intricate internal structure; it is a complete form of sonata. In the form of this sonata, the first group of expositions (main melodic theme statements) begins with a fugue in D minor on the subject below.

For the second subject, he modulated an unusual C major key. The exposition is then repeated before the short development section, where Beethoven explores other ideas. Recapitulation (the repetition of melodic themes heard in the opening of the movement) further develops the themes of the exposition, which also contains a solo timpani. The new development section leads to a recapitulation repetition, and scherzo ends with a short codetta.

The trio part of the contrast is in the main D and in duple time. This trio is the first time a trombone plays. Following the trio, the second appearance of scherzo, unlike the first, is played without repetition, after which there is a short reaper of the trio, and the movement ends with a sudden coda.

The movement duration is about 12 minutes, but this can vary depending on whether two frequently overlooked repetitions are played.

III. Adagio molto e cantabile

The third movement is a slow, lyrical movement in B ? , which is the sixth minor away from the main key of the D minor symphony. This is in the form of multiple variations, with each pair of variations progressively describing the rhythm and melody ideas. The first variation, such as theme, in ⁴ ₄ time, second in ¹² ₈ . Variations are separated by inside ³
₄ , first in D major, second in G major, third in E ? major, the fourth in F ? major, and the fifth in B major. The final variation is twice distracted by episodes in which the loud noise of the full orchestra is answered by the octave by the first violin. In unison the leading French horn is assigned to the fourth player.

The typical performance lasts about 16 minutes.

IV. Finale

The famous choir finals are Beethoven's musical representations of a universal brotherhood based on the 'Ode to Joy' theme and in the form of themes and variations.

The movement begins with an introduction in which the musical material of each of the three previous movements - though there is no literal quote from the previous music - is presented in a row and then dismissed by an instrumental recital played by a low string. After this, the theme 'Ode to Joy' was finally introduced by cello and double bass players. After three instrumental variations on this theme, the human voice is presented for the first time in symphony by a baritone soloist, who sings the words written by Beethoven himself: '' O Freunde, nicht diese TÃÆ'¶ne! 'Sondern la uns angenehmere anstimmen, und freudenvollere . '' ("Oh friends, not these voices! Let's substitute more fun and more fun!").

At about 24 minutes in length, the last movement is the longest of the four movements. Indeed, it's longer than some of the whole Classical symphonies. The form has been debated by music experts, as Nicholas Cook explains:

Beethoven had trouble describing his own end; in a letter to the publisher, he says that it's like his Choral Fantasy, Op. 80, only on a larger scale. We might call it a cantata built around a series of variations on the 'Joy' theme. But this is rather loose, at least compared to the way many critics of the twentieth century tried to codify the shape of the movement. So there is an endless argument, whether it should be seen as some sort of sonata form (with 'Turkish' music bar 331, which is in the main B , serves as a kind of second group ), or a kind of concerto form (with bars 1-207 and 208-330 together forming double expositions), or even combining four symphonic movements into one (with 331-594 bars representing Scherzo, and a slow 595-654 bar movement). The reason for these endless arguments is that each interpretation contributes to the understanding of movement, but does not represent the whole story.

Cook gives the following table explaining the shape of the movement:

In line with Cook's comments, Charles Rosen characterized the last movement as a symphony in the symphony, played without interruption. This "inner symphony" follows the same overall pattern as the Ninth Symphony as a whole:

• First "movement": Themes and variations with slow introduction. The main theme, first in cello and bass, is then captured by voices.
• Second "movement": Scherzo in ⁶
  ₈ military style. It starts at Alla marcia (m.331) and ends with ⁶
  ₈ variations of main theme with chorus.
• The three "movements": Slow meditation with new themes in the text " Seid umschlungen, Millionen! " Beginning at Andante maestoso (m 595).
• The fourth "movement": Fugato finale on the first and third "movement" themes. It starts at Allegro energico (m. 763).

This movement has a thematic unity in which each part is based on a main theme, the theme "Seid umschlungen", or a combination of both. Indeed, Rosen also noted that the movement can also be analyzed as a set of variations and simultaneously as a concerto sonata with multiple exposition (with the fugato acting both as a development part and the second tutti of the concerto).

Text of the fourth movement

The text is mostly taken from Schiller's "Ode to Joy", with some extra introductory words specially written by Beethoven (shown in italics). The text, without repetition, is shown below, with translations into English. Scores include lots of repetitions. For the complete libretto, including all repetitions, see Wikisource Germany.

Toward the end of the movement, the choir sang the last four lines of the main theme, ending with "Alle Menschen" before the solo singer sang for the last time a song of joy at a slower pace. Chorus repeats part of "Seid umschlungen, Millionen!", Then quietly sings, "Tochter aus Elysium", and finally, "Freude, schÃÆ'¶ner GÃÆ'¶tterfunken, GÃÆ'¶tterfunken!".

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Reception

Music critics almost universally regard the Ninth Symphony as one of Beethoven's greatest works, and among the greatest musical works ever written. However, the cover has its critics: "[e] critics reject [cover] as faint and eccentric, the product of the deaf and aging compost."

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Performance challenge

Metronome signs

The conductors in the performance movement based on historical information, especially Roger Norrington, have used the tempo suggested by Beethoven, for various reviews. Benjamin Zander has made a case to follow in the footsteps of Beethoven metronome, both in writing and in performances with the Boston Philharmonic Orchestra and the Philharmonia Orchestra of London. While one account states that Beethoven's metronome is still there and tested and found accurately, a 2013 math paper found that its metronome may be damaged and out of calibration.

Re-orchestration and change

A number of conductors have made changes in symphonic instrumentation. In particular, Richard Wagner doubled a lot of wooden crates, a greatly expanded modification by Gustav Mahler, who revised the Ninth orchestration to make it sound like what he believed Beethoven wanted if given a modern orchestra. Wagner's performance in Dresden in 1864 was the first to place the choir and soloist behind the orchestra that had become the standard; the previous conductors put them in between the orchestra and the audience.

Doubling doubled the second bassoon at the end

Beethoven's indication that the 2nd bassoon should double the bass in size from 115-164 of the finale is not included in the Breitkopf section, although it is included in the full score.

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Famous performance and record

The English premiere was presented on March 21, 1825 by its commissioner, the Philharmonic Society of London, in Argyll Rooms hosted by Sir George Smart and with the choir sung in Italian. The American premiere was presented on May 20, 1846 by the newly formed New York Philharmonic at Castle Garden (in an attempt to raise funds for a new concert hall), performed by George Loder who was born in England with a chorus section translated into English for the first time.

Richard Wagner performed symphonies many times in his career. His last performance took place in 1872 at a concert to mark the foundation stone for Bayreuth Festspielhaus. Wagner then published an essay entitled "The rendering of Beethoven's Ninth Symphony" in which he described the changes he made to the orchestration (see above) for the 1872 show.

The London Philharmonic Choir debuted on May 15, 1947 performing the Ninth Symphony with the London Philharmonic Orchestra under Victor de Sabata's rod at the Royal Albert Hall. In 1951, Wilhelm FurtwÃÆ'¤ngler and Bayreuth Festival Orchestra reopened the Bayreuth Festival with a symphonic performance, after the Allies temporarily suspended the Festival after the Second World War.

American Conductor Leonard Bernstein made the first of three recordings from Beethoven Ninth in 1964 with New York Philharmonic, for Columbia Masterworks, with soloists Martina Arroyo (soprano), Regina Sarfaty (mezzo), Nicholas in Virgilio (tenor), Norman Scott (bass ), and Juilliard Chorus. It was then reissued on the CD.

Bernstein made the second recording of the song with the Vienna Philharmonic for Deutsche Grammophon, in 1979. It featured Gwyneth Jones (soprano), Hanna Schwarz (mezzo), Renà ©  © Kollo (tenor), and Kurt Moll (bass), with a chorus of Vienna State Opera.

Bernstein performed the Ninth version at the Schauspielhaus in East Berlin, with Freiheit (Freedom) replacing Freude (Joy), to celebrate the fall of the Berlin Wall during Christmas 1989. The concert was performed by an orchestra and choir made up of many nationalities: from both Germanies, Bavarian Radio Symphony Orchestra and Chorus, Chorus from the Berlin Radio Symphony Orchestra, and members of the SÃÆ'¤chsische Staatskapelle Dresden, Philharmonischer Kinderchor Dresden; from the Soviet Union, a member of the Kirov Theater orchestra; from the United Kingdom, a member of the London Symphony Orchestra; from the United States, a member of the New York Philharmonic; and from France, a member of Orchester de Paris. Solois is June Anderson, soprano, Sarah Walker, mezzo-soprano, Klaus KÃÆ'¶nig, tenor, and Jan-Hendrik Rootering, bass. This is the last time Bernstein performed a symphony; he died ten months later.

Sir Georg Solti recorded symphonies with Chicago Symphony Orchestra and Chicago Symphony Chorus on two occasions: first in 1972 with soloist Pilar Lorengar, Yvonne Minton, Stuart Burrows, and Martti Talvela; and again in 1986 with soloist Jessye Norman, Reinhild Runkel, Robert Schunk, and Hans Sotin. On both occasions, the choir was prepared by Margaret Hillis. The second record won the 1987 Grammy Award for Best Orchestral Performance.

There are many attempts to record the Ninth to approach what the Seethoven people might hear, with the instruments of the period:

• Roger Norrington, who leads the London Classical Players, recorded it with a period instrument for the 1987 release by EMI Records (rereleased in 1997 under the Virgin Classics label).
Benjamin Zander made a 1992 tape of the Ninth with the Boston Philharmonic Orchestra and recorded soprano Dominique Labelle (who first did work with Robert Shaw), following in the footsteps of Beethoven's own metrononomist.
• Philippe Herreweghe recorded the Ninth with an instrument period of Orchester des Champs-ÃÆ' â € ° lysÃÆ'Â © Ã © es and his Collegium Vocale choir for Harmonia Mundi in 1999.
Sir John Eliot Gardiner recorded a periodic version of the Ninth Symphony, performing Monteverdi Choir and Orchester RÃÆ' Â © volutionnaire et Romantique in 1992. It was first released by Deutsche Grammophon in 1994 on their early music label Archiv Produktion as part of the cycle complete Beethoven symphony. His solo players include? Uba OrgonÃÆ'¡? OvÃÆ'¡, Anne Sofie von Otter, Anthony Rolfe Johnson, and Gilles Cachemaille.
• An additional instrument-period recording by Christopher Hogwood and the Academy of Ancient Music was released in 1997 under the label ÃÆ'â € ° tions de l'Oiseau-Lyre.

At 79 minutes, one of Ninth's longest recorded was Karl BÃÆ'¶hm's, performing the Vienna Philharmonic in 1981 with Jessye Norman and PlÃÆ'¡cido Domingo among the solo players.

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Influence

Many Romantic time composers and then influenced by the Ninth Symphony.

An important theme at the end of Johannes Brahms' Symphony. 1 in C minor is related to the theme "Ode to Joy" from the last movement of Beethoven's Ninth Symphony. When this is shown to Brahms, he is considered to have replied, "Fools can see that!" Brahms's first symphony, sometimes, praised and derided as "Beethoven's Tenth".

The Ninth Symphony affects the forms used by Anton Bruckner for his symphonic movements. Symphony No. 3 is in the same D-minor key with 9 from Beethoven and uses thematic ideas from it. The incredible slow movement of Symphony No. 7 Bruckner, "as usual," takes the same A-B-A-B-A form as the 3rd movement of the Beethoven symphony and also uses some of its configurations.

In the opening note of Symphony's third movement No. 9 ( From the New World ), AntonÃÆ'¡n Dvo? Ãкkk paid tribute to this symphony scherzo with a fourth blow and a tympanic fall.

Likewise, BÃÆ'Â © la BartÃÆ'³k borrows the schizo's opening motif from Beethoven's Ninth symphony to introduce the second scherzo movement in his Four Orchestral Piece, Op. 12 (Sz 51).

One of the legends is that the compact disc is deliberately designed to be played for 74 minutes so as to accommodate Beethoven's Ninth Symphony. Kees Immink, chief engineer of Philips, who developed the CD, recalled that commercial tugs between development partners, Sony and Philips, led to a settlement in a neutral 12 cm diameter format. The 1951 Ninth Symphony performance performed by Furtwöngler was brought forward as the perfect excuse for change, and filed in a Philips press release celebrating the 25th anniversary of the Compact Disc as a reason for the 74 minute length.

In the movie The Pervert's Guide to Ideology , the psychoanalystist philosopher Slavoj? I? Ek commented on the use of Ode by Nazism, Bolshevism, the Cultural Revolution of China, the East-West German Olympic team, Southern Rhodesia, Abimael GuzmÃÆ'¡n (the leader of the Shining Path), and the Council of Europe and the European Union.

Use as the national anthem

During the German division in the Cold War, the "Ode to Joy" segment of the symphony was played as a substitute for the anthem in the Olympic Games for the German Unity Team between 1956 and 1968. In 1972, musical support (without words) was adopted as European Anthem by Council Europe and then by the European Community (now the European Union) in 1985. "Ode to Joy" was used as the Rhodesia national anthem between 1974 and 1979, as "Rise, O Voice of Rhodesia".

Use hymn melody

In 1907, Presbyterian pastor Henry van Dyke wrote the song "Joyful, Joyful, we adore you" while living at Williams College. The singing is usually sung in English-speaking churches to the "Ode to Joy" melody of this symphony.

Year-end tradition

The German workers' movement started the tradition of performing the Ninth Symphony on New Year's Eve in 1918. The show began at 11 pm so the end of the symphony will be played at the beginning of the new year. This tradition continued throughout the Nazi period and was also observed by East Germany after the war.

The Ninth Symphony is traditionally performed throughout Japan at the end of the year. In December 2009, for example, there were 55 symphonic performances by various major orchestras and choirs in Japan.

Was it introduced to Japan during World War I by German prisoners held in Band? prisoner of war camps. The Japanese orchestra, especially the NHK Symphony Orchestra, began performing symphonies in 1925 and during World War II, the imperial government promoted symphonic performances, including on New Year's Eve. In an attempt to capitalize on its popularity, the orchestra and the chorus that experienced economic hardship during the Japanese reconstruction, did that part by the end of the year. In the 1960s, symphonic performances later this year became wider, and included the participation of local choirs and orchestras, firmly building on a tradition that continues to this day.

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See also

• The ninth curse

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References

Note

Quotes

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Bibliography

Beberapa buku dan artikel ilmiah:

• Buch, Esteban, Kesembilan Beethoven: Sejarah Politik , diterjemahkan oleh Richard Miller, ISBNÂ 0-226-07824-8 (Universitas Chicago Press)
• Cook, Nicholas (1993). Beethoven: Symphony No. 9 . Cambridge: Cambridge University Press. ISBN: 0-521-39039-7.
• Hopkins, Antony (1981) Sembilan Simfoni Beethoven . London: Heinemann.
• Levy, David Benjamin, "Beethoven: Kesembilan Symphony", edisi revisi (Yale University Press, 2003).
• Makell, Talli, "Ludwig van Beethoven" dalam Musik Klasik: The Listener's Companion ed. Alexander J. Morin (San Francisco: Backbeat Books, 2002)
• Parsons, James, " Deine Zauber binden wieder : Beethoven, Schiller, dan Rekonsiliasi Sukacita dari lawan" ("Sihirmu mengikat lagi"), Beethoven Forum ( 2002) 9/1, 1-53.
• Rasmussen, Michelle, "Semua Pria Menjadi Saudara: Perjuangan Setahun Terakhir untuk Kesembilan Simfoni Beethoven", The Schiller Institute, Juni 2015.
• Sachs, Harvey (2010), Kesembilan: Beethoven dan Dunia pada tahun 1824 , Faber. (Ulasan oleh Philip Hensher, The Daily Telegraph , 5 Juli 2010)
• Taruskin, Richard, "Menolak Kesembilan", dalam bukunya Teks dan Bertindak: Esai tentang Musik dan Pertunjukan (Oxford University Press, 1995).

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Tautan eksternal

Scores, manuscripts, and text

• Symphony No. 9, Op. 125: Printing Scores at the International Music Score Library Project (IMSLP)
• Free music sheet Symphony No. 9 of Cantorion.org
• Original script (site in German)
• Scores, William's Music Library and Gayle Cook, Indiana University School of Music
• Text/libretto, with translations, in English and German
• Symphony No. 9 is available in PDF format created from MuseData.

Analisis

• Beethoven Symphony No. 9, analisis dari all-about-beethoven.com
• Analisis untuk siswa (dengan pengaturan waktu) dari gerakan terakhir, di Washington State University
• Hinton, Stephen (Summer 1998). "Tidak Yang mana? Nada? The Crux of Beethoven's Kesembilan". Musik Abad ke-19 . 22 (1): 61-77. doi: 10.1525/ncm.1998.22.1.02a00040. JSTORÂ 746792.
• Signell, Karl, "The Riddle of Beethoven's Alla Marcia dalam Symphony Kesembilan" (diterbitkan sendiri)
• Beethoven 9, Benjamin Zander menganjurkan kepatuhan yang lebih ketat terhadap indikasi metronom Beethoven, dengan mengacu pada penelitian Jonathan del Mar (sebelum edisi BÃÆ'¤renreiter diterbitkan) dan pada intuisi Stravinsky tentang tempo yang tepat untuk Trio Scherzo

Audio

• Christoph Eschenbach performs the Philadelphia Orchestra of National Public Radio
• Felix Weingartner conducted the Vienna Philharmonic Orchestra (recording of 1935) from the Internet Archive
• Otto Klemperer organized the Concertbegouw Orchestra (live recording of 1956) from the Internet Archive

Videos

• FurtwÃÆ'¤ngler on March 19, 1942 on YouTube, Wilhelm FurtwÃÆ'¤ngler hosted the Berlin Philharmonic on the night of Hitler's 53rd birthday
• 1 mvt. on YouTube, mvt 2 on YouTube, mvt 3 on YouTube, mvt 4th. on YouTube, Nicholas McGegan performs Philharmonia Baroque Orchestra, graphics score
• Beethoven 9th on YouTube, Leonard Bernstein leads at The Freedom Concert in Berlin, Christmas 1989
• Beethoven 9th - fourth movement on YouTube, Leonard Slatkin made a fourth move at The Last Night of the Proms at the Royal Albert Hall, a few days after 9/11 2001
• Beethoven 9th - fourth movement, pt. 1 on YouTube, Beethoven 9th - fourth movement, pt. 2 on YouTube, Daniel Barenboim performs, Sumi Jo performs

Other material

• EU official page on the national anthem
• Program notes from the Kennedy Center with information about the end as is and may have been
• Following the Ninth: In The End of Beethoven's Late Symphony , Kerie Candaele's documentary 2013 about the Ninth Symphony

Source of the article : Wikipedia