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with choruses, he arranged with me at the somewhat hurried rehearsal, with wet voice-parts as usual, that the second variation should be played without repeat. In the evening, however, absorbed in his creation, he forgot all about the instructions which he had given, repeated the first part while the
656:
with the addition of solo voices and chorus, another point of similarity with the finale of the Ninth
Symphony. After a prolonged dominant pedal and arpeggios from the soloist the chorus, two solo sopranos sing the main theme, followed by a variation featuring a trio of men's voices. After these two
258:
Beethoven wrote the piece during the second half of
December 1808 in an unusually short time by his standards. He commissioned a poet—whose identity is disputed—to write the words shortly before the performance to fit the already written parts. According to Beethoven's pupil
308:
orchestra accompanied the second, which sounded not altogether edifying. A trifle too late, the
Concertmaster, Unrath, noticed the mistake, looked in surprise at his lost companions, stopped playing and called out dryly: 'Again!' A little displeased, the violinist
575:, with an extended cadenza. The implied key is never confirmed and the music eventually returns to C minor in a stormy passage, which at the last moment turns once more toward the dominant seventh of G in a sweeping arpeggio. This concludes the opening section.
255:, Op. 80, written shortly before, was thus composed expressly to fulfil this role. Beethoven himself played the piano part and the opening solo offers an example of his improvisational style (at the premiere he did, in fact, improvise this section).
598:
discussed above. Variations on the theme are then played by gradually increasing contingents of instruments: a solo flute, two oboes, a trio of two clarinets and bassoon, and string quartet. A full orchestral version of the theme played at a
605:
dynamic leads to the re-entry of the piano and to what seems at first like a postlude to this variation set, but that once again turns toward the dominant. The music pauses with a cadenza on the dominant seventh for the solo piano.
251:. To conclude this memorable concert program, Beethoven wanted a "brilliant finale" that would unite in a single piece the different musical elements highlighted in the concert night: piano solo, mixed chorus and orchestra. The
815:
in the same position. Becher's text, inspired by
Beethoven's explicit permission to change the lyrics, is an ode to peace that reflects the post-war atmosphere. Becher's lyrics were used in several recordings especially in
613:. The alternating phrases for piano and orchestra are a disguised variation of the principal theme. In fact, the three sections that follow the first variation set form another, larger-scale set of variations. The
412:
Beethoven himself acknowledged the kinship of the two works. In a letter of 1824, when he was writing the Ninth
Symphony, he described his project as "a setting of the words of Schiller's immortal '
295:, it "simply fell apart", a result most likely attributable to insufficient rehearsal time. Because of a mistake in the execution of the piece, it was stopped halfway through and restarted. In
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soon takes on a developmental quality with a series of modulations, the strings playing phrases of the theme accompanied by rapid broken chords on the solo piano. After another cadenza on an
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The work includes a sequence of variations on a theme that is widely felt to be an early version of a far better known variation theme, namely the one to which
Beethoven set the words of
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Albrecht et al. (1996, 10) identify
Kuffner (1780–1846) as "an official at the War Ministry, musically talented poet, author of the text of the Choral Fantasia Op. 80, and of the drama
402:) "Lieb und Kraft" ("love and strength") and (for the Ninth Symphony) "Ăśber'm Sternenzelt! Ăśber Sternen muss er wohnen." ("Above the tent of the stars, above the stars he must dwell.")
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section prominently featuring the clarinets. This ends with a call-and-response section between double reeds, horn, and piano, and leads without break into the key of
1219:
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Michael
Broyles has suggested another musical similarity: the two works share essentially the same harmonic sequence at their climactic moments, the chords (in
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he put on for himself on 22 December 1808; the performers consisted of vocal soloists, mixed chorus, an orchestra, and
Beethoven himself as piano soloist. The
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You may wish to print another text, as the text like the music was written very quickly ... Still with another set of words I want the word
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As noted above, the words were written in haste, and
Beethoven was perhaps not entirely pleased with them. He later wrote to his publisher
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and modulating through a variety of keys in florid, improvisatory fashion. At its midpoint it settles on the dominant of the dominant,
1182:"Fantasia in C minor, Op.80 (Performed by Mahler Chamber Orchestra with the BBC Singers, Leif Ove Andsnes (Pianist & Conductor))"
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928:"Wet" refers to the ink; in Beethoven's day the performance parts would have been prepared by copyists using pens.
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theme is itself taken from an earlier work by Beethoven: it is a slightly modified version of the composer's "
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The first half of this is essentially a recapitulation of previously heard material at the beginning of the
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The premiere performance seems to have been a rather troubled one; according to the composer's secretary,
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text – universal fraternity with the meeting of arts – evokes similar feelings as the "Ode to Joy" text.
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was designed to include all the participants in the program and thus unites all of these musical forces.
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asked 'With repeats?' 'Yes', came the answer, and now the thing went straight as a string.
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by the Dexter Community Orchestra and the Washtenaw Community Orchestra Chorus in 2009
418:' in the same way as my pianoforte fantasia with chorus, but on a far grander scale."
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variations the entire chorus is joined by the orchestra for the first time in a
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The main part of the piece, marked "Finale", begins with a march-like motive (
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1005:, notes by Bernd Stremmel, 2 December 2013, klassik-prisma.de (in German)
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A new German text was written by a German poet and Communist politician
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There is an abrupt change of mood as the minor mode returns in a stormy
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opens with a slow but virtuosic 26-bar piano introduction, beginning in
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Source for quotation and "Kraft" comment: Kalischer et al. (1972, 106).
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919:. Princeton, New Jersey, Princeton University Press, 1964, pp. 448–449
488:– Meno allegro (Allegretto) – Allegro molto – Adagio ma non troppo –
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The piece ends with repetition of phrases from the last four lines.
667:) with all forces joining to bring the piece to a triumphant close.
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Beethoven: The Emergence and Evolution of Beethoven's Heroic Style
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Program notes from the Los Angeles Philharmonic (Herbert Glass)
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by Wolfgang Näser, 3 January 2013, uni-marburg.de (in German)
1141:. Berkeley and Los Angeles: University of California Press.
282:, who in 1814 prepared the final text of Beethoven's opera
1127:, John South Shedlock, and Arthur Eaglefield Hull (1972)
405:
There are also affinities in the texts. The theme of the
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Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
1105:
Letters to Beethoven and Other Correspondence: 1824–1828
1003:"Fantasie fĂĽr Klavier, Orchester und Chor c-Moll op. 80"
470:, which lasts about twenty minutes, is divided into two
278:
doubted this attribution and suggested it may have been
235:, a benefit concert which also saw the premieres of the
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for piano, vocal soloists, mixed chorus, and orchestra,
641:). A reprise of the instrumental theme from the first
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stands out from its harmonic context and is performed
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and the solo piano introduces the principal theme (
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872:. Thames and Hudson. New York City. 1992; p. 149
433:for high voice and piano written c. 1794–1795.
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212:The work is noted as a precursor to the later
1213:
796:to be kept or one similar to it in its place.
645:forms the transition into the choral finale (
8:
1466:Compositions for piano, chorus and orchestra
1420:List of compositions by Ludwig van Beethoven
804:"is treated with grand style in the music."
528:soloist, and an orchestra consisting of two
413:
398:. The words sung at this point are (for the
247:as well as a performance of excerpts of the
1461:Choral compositions by Ludwig van Beethoven
633:and the third variation on the main theme,
303:When the master brought out his orchestral
190:, was composed in 1808 by then 38-year-old
16:Musical composition by Ludwig van Beethoven
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1176:International Music Score Library Project
763:Greatness, once it has pierced the heart,
752:The night and the tempest turns to light:
737:Peace and joy advance in perfect concord,
729:Graceful, charming and sweet is the sound
769:A choir of spirits resounds in response.
201:to serve as the concluding work for the
1435:
1184:. YouTube. 26 July 2015. Archived from
1156:Beethoven: Lieder und Gesänge, Band II
836:
800:As Kalischer et al. observe, the word
676:Schmeichelnd hold und lieblich klingen
494:Schmeichelnd hold und lieblich klingen
440:
427:Seufzer eines Ungeliebten – Gegenliebe
963:
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337:. The two themes are compared below.
220:Background, composition, and premiere
7:
1397:Other works for violin and orchestra
1380:Rondo for Piano and Orchestra, WoO 6
870:Beethoven: His Life, Work, and World
739:like the changing play of the waves.
688:Was sich drängte rauh und feindlich,
1373:Other works for piano and orchestra
1343:Concerto in C major, WoO 5, Hess 10
777:Divine grace is bestowed upon Man.
765:Then blooms anew in all its beauty.
722:Wenn sich Lieb und Kraft vermählen,
718:Nehmt denn hin, ihr schönen Seelen,
684:Fried und Freude gleiten freundlich
680:und dem Schönheitssinn entschwingen
1364:Triple Concerto in C major, Op. 56
775:When love and strength are united,
767:Once one's being has taken flight,
714:Hat ein Geist sich aufgeschwungen,
621:triad the second large variation (
274:, but the later Beethoven scholar
14:
946:Quoted from Kinderman (1995, 132)
771:Accept then, you beautiful souls,
1438:
1409:Romance No. 2 in F major, Op. 50
1404:Romance No. 1 in G major, Op. 40
746:When music's enchantment reigns,
743:has turned into sublime delight.
733:and from a sense of beauty arise
724:lohnt den Menschen Göttergunst.
716:hallt ihm stets ein Geisterchor.
449:
1107:. University of Nebraska Press.
979:: 19–20. Fall 2013 – via
977:North Carolina State University
773:Joyously the gifts of high art.
741:All that was harsh and hostile,
712:blüht dann neu und schön empor.
710:GroĂźes, das ins Herz gedrungen,
707:läßt aus beiden Licht entstehn.
697:muss sich Herrliches gestalten,
756:Reign o'er the fortunate ones.
735:Flowers which eternally bloom.
705:Doch der KĂĽnste FrĂĽhlingssonne
703:herrschen fĂĽr den GlĂĽcklichen.
699:Nacht und StĂĽrme werden Licht.
1:
1337:(arranged for the Piano solo)
1335:Concerto in D major, Op. 61a
1131:. Courier Dover Publications.
695:und des Wortes Weihe spricht,
504:The piece is scored for solo
184: 80, usually called the
1118:Kalischer, Alfred Christlieb
1082:Leipzig Gewandhaus Orchestra
748:speaking of the sacred word,
720:froh die Gaben schöner Kunst
686:wie der Wellen Wechselspiel.
682:Blumen sich, die ewig blĂĽhn.
363:
344:
168:Ludwig van Beethoven (piano)
1330:Concerto in D major, Op. 61
758:All art in the spring's sun
754:Outer peace and inner bliss
693:Wenn der Töne Zauber walten
625:) follows, a calm, flowing
228:was first performed at the
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811:in 1951, keeping the word
760:Lets light flow from both.
690:ordnet sich zu HochgefĂĽhl.
474:, played without a break:
280:Georg Friedrich Treitschke
1417:
1309:No. 6 in D major, Hess 15
1304:(early, fragmentary work)
701:Ă„uĂź're Ruhe, inn're Wonne
678:unseres Lebens Harmonien,
448:
414:
38:
30:
1274:No. 4 in G major, Op. 58
1269:No. 3 in C minor, Op. 37
1253:No. 1 in C major, Op. 15
1110:Broyles, Michael (1987)
750:Magnificence takes form,
731:Of our life's harmonies,
674:
1481:Compositions in C minor
937:Broyles (1987, 263–264)
820:, for example those of
368:download the audio file
349:download the audio file
197:Beethoven intended the
798:
786:Breitkopf & Härtel
321:and the Ninth Symphony
314:
1114:. Taylor and Francis.
1015:"Becher, Johannes R."
971:. Totally Beethoven.
866:Landon, H. C. Robbins
856:Kinderman (1995, 132)
790:
623:Adagio, ma non troppo
245:Fourth Piano Concerto
1235:Ludwig van Beethoven
1158:. Munich: G. Henle.
1045:Dresden Philharmonic
192:Ludwig van Beethoven
33:Ludwig van Beethoven
1170:Fantasia in C minor
1129:Beethoven's Letters
233:of 22 December 1808
158:Theater an der Wien
1346:(fragmentary work)
1135:Kinderman, William
1101:Albrecht, Theodore
809:Johannes R. Becher
415:Lied an die Freude
327:Friedrich Schiller
297:Ignaz von Seyfried
1476:Fantasias (music)
1471:1808 compositions
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1086:Franz Konwitschny
955:LĂĽhning 1990, 200
913:Life of Beethoven
822:Franz Konwitschny
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265:Christoph Kuffner
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1188:on 9 March 2018.
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148:22 December 1808
111:About 20 minutes
74:, modulating to
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890:on 4 March 2007
884:"Program notes"
882:Roger Ruggeri.
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1312:(unfinished)
1301:major, WoO 4
1286:
1186:the original
1169:
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1128:
1111:
1104:
1071:GĂĽnter Kootz
1066:
1065:on YouTube,
1056:
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989:
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969:"Program #3"
951:
942:
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924:
915:, edited by
912:
909:A. W. Thayer
904:
894:24 September
892:. Retrieved
888:the original
877:
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844:
839:
818:East Germany
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128:mixed chorus
61:
51:J. W. Mähler
45:Detail of a
24:
18:
1148: [
1121: [
1074: [
1041:Peter Rösel
268: [
261:Carl Czerny
58:Native name
1455:Categories
1295:No. 0 in E
1279:No. 5 in E
1258:No. 2 in B
1095:References
1088:conducting
1051:conducting
647:Allegretto
396:fortissimo
331:Ode to Joy
299:'s words:
165:Performers
1287:(Emperor)
1229:Concertos
1139:Beethoven
1080:(piano),
1043:(piano),
538:clarinets
472:movements
458:performed
333:" in his
131:orchestra
1388:, Op. 80
1298:♭
1282:♭
1261:♭
1172:, Op. 80
580:Allegro)
550:trumpets
542:bassoons
508:, mixed
484:Finale.
391:♭
385:♭
305:Fantasia
253:Fantasia
243:and the
231:Akademie
226:Fantasia
160:, Vienna
154:Location
139:Premiere
108:Duration
100:Composed
92:Language
62:Fantasia
1154:(1990)
1137:(1995)
1033:YouTube
845:Tarpeja
643:Allegro
631:F major
627:A major
619:E major
592:C major
573:G major
569:C minor
565:Fantasy
558:strings
554:timpani
514:soprano
486:Allegro
380:C major
285:Fidelio
207:Fantasy
199:Fantasy
177:Fantasy
116:Scoring
76:C major
72:C minor
1431:Portal
665:Presto
654:Finale
635:Marcia
588:basses
584:cellos
548:, two
544:, two
540:, two
536:, two
532:, two
530:flutes
512:, two
510:chorus
498:Presto
490:Marcia
480:Adagio
95:German
1152:]
1125:]
1078:]
1062:Audio
1028:Audio
981:issuu
832:Notes
813:Kraft
802:Kraft
794:kraft
660:tutti
602:forte
546:horns
534:oboes
522:tenor
506:piano
429:,” a
272:]
237:Fifth
122:piano
896:2010
671:Text
586:and
563:The
556:and
526:bass
518:alto
466:The
437:Form
431:lied
421:The
329:'s "
317:The
239:and
224:The
174:The
144:Date
103:1808
83:Opus
1231:by
1031:on
824:or
649:).
182:Op.
68:Key
31:by
1457::
1150:de
1123:de
1084:,
1076:de
1069:,
1047:,
1039:,
1035:,
975:.
960:^
911:,
868:.
828:.
788::
560:.
552:,
496:–
288:.
270:de
216:.
194:.
87:80
1433::
1221:e
1214:t
1207:v
983:.
898:.
637:(
370:.
351:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
