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Rating: The triumph of brotherhood. Man freeing himself from evil and malice. Joy!
The Ninth Symphony in D Minor, op. 125 is the last symphony of the great romantic composer, the German Ludwig van Beethoven. It was composed between 1822 and 1824, a full ten years after the eighth symphony. Not much had changed in this interval, except for the fact that Beethoven had isolated himself from the world and had become completely deaf.
Despite everything, he succeeded in the feat of composing a magnum opus of classical music. It is certainly the most well-known even among those who are not enthusiasts of classical works.
Beethoven had long wanted to write a symphony on the verses of "An die Freude" ("Ode to Joy") by Friedrich Schiller and only managed to achieve this in 1824.
The result was a manifesto work of European Romanticism. Not immediately, however, was it acclaimed by critics; in fact, many considered it revolutionary and "out of the ordinary" and beyond classical stylistic solutions. Naturally, it was Beethoven’s genius that did not want to compose a "craftsmanship" work, and soon critics changed their minds and placed the Ninth Symphony in the pantheon of classical music. Instead, it was a huge public success, so much so that at the premiere of the work (performed in Vienna in 1824 in the presence of Emperor Francis I of Austria) the audience granted the German composer no less than 5 ovations and waved white handkerchiefs.
The Ninth Symphony is based on four movements: "Andante ma non troppo", somewhat majestic (in D minor), "Molto Vivace" (in D minor), "Adagio molto e cantabile" (in B-flat major) and "Presto" (in D minor).
The first movement opens with a background created by strings and winds, and the opening is based on a leap of two notes in a progressive crescendo, which introduces the main theme. During the execution, calm phases alternate with real musical explosions, dominated by violins, flutes, and brass. All this gives a sense of confusion and chaos, almost as if to signify the inner turmoil of Man. Emotions are experienced that only our subconscious knows how to interpret, and with tremendous grandeur, the main theme is repeated, closing the first movement. A splendid start.
The second movement, "Molto Vivace", is even more resounding and powerful. It is a "Scherzo" that transmits a power never tried before, thanks also to the main motto given by an octave leap by the violins, interspersed with timpani, which help create a unique atmosphere. The sharp sound of the strings is contrasted by the sweet sound of the flutes, which accompany the execution in the various allusions to the opening motto and the main theme. Here the sense of emptiness and indistinctness tends to fade, yet it still permeates the path of Man in search of joy. The closure of the second movement is again given to the recall of the theme.
The "Adagio and molto Cantabile" softens the tones of the previous two movements, characterized by strong musical impetus. In the third movement, the soft melodies designed by clarinets, bassoons, and flutes superbly accompanied by the musical tapestry created by the strings reign. At the finale, a horn fanfare is introduced, bringing back the vehemence of the first two movements.
This is the moment when, after the initial confusion and bewilderment, Man can finally achieve happiness and free himself from hatred and wickedness. This movement is a prelude to Man’s full awareness.
Fourth and final movement: a fanfare of winds interrupted twice by the recitative of cellos and double basses. In this first part, the themes from the first two movements are revisited, each time interrupted by the bass recitative. The violins also anticipate the theme of joy in a crescendo characterized by the "Allegro Assai" of the fourth movement. The resumption of the initial fanfare introduces the choral, with the tenor introducing the first verses of Schiller’s Ode to Joy (to which Beethoven will add a personal quatrain).
Tenor, baritone, alto, and soprano sing Schiller’s hymn’s first part in unison. A call to brotherly fraternity, to joy. Suddenly a pause. The "alla turca" percussion opens the march sung by the baritone. It follows with a violin interlude that creates an agonizing wait for the finale sung by the entire choir.
The work continues majestically, with the singers and the choir reciting the Ode to Joy. Finally, a rapid acceleration of tempo in a grand crescendo at full orchestration; sudden suspension and tight conclusion.
Thunderous applause. The genius has not failed and responds to deafness with his last great work. The Ode to Joy thus contains a clear message: men must be brothers, must live in harmony and peace with one another. Everyone must then internalize the ideas this wonderful work communicates to us: peace is not an unattainable prospect; on the contrary, with the commitment of us all, it will be easier to build a world of brotherhood and harmony.
Man has achieved happiness. Joy!
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