Beethoven and his nine symphonies . rregisters, Beethoven has produced an effect which is noteasily forgotten. The flutes, oboes, and clarinets seem towing their way up among the stars themselves. The germof this most mystical and beautiful effect is found in theFinale to ? Fidelio; and then more developed in the ChoralFantasia. It has been alluded to by Schumann in the Finaleto the third part of his * Faust. 4. Chorus : Allegro energico, sempre ben marcato. (D major.) Freude, schoner, &o. Seid umschlungen, Millionen, &c. Sing then of the, & ye millions, &c. Beethoven does not intend his he
Beethoven and his nine symphonies . rregisters, Beethoven has produced an effect which is noteasily forgotten. The flutes, oboes, and clarinets seem towing their way up among the stars themselves. The germof this most mystical and beautiful effect is found in theFinale to ? Fidelio; and then more developed in the ChoralFantasia. It has been alluded to by Schumann in the Finaleto the third part of his * Faust. 4. Chorus : Allegro energico, sempre ben marcato. (D major.) Freude, schoner, &o. Seid umschlungen, Millionen, &c. Sing then of the, & ye millions, &c. Beethoven does not intend his hearers to remain in thismood of mystic devotion. The next movement is a chorus ofextraordinary energy and spirit. It is formed on two motifs—the original tune (in triple time), supported by trumpet andtrombones, and the theme of the last chorus, which we nowdiscover to have a most intimate relation with the maintheme—and it starts thus:— No. 82 FreuSing de, schonthen of er Gottthe Heavn erde funkscend en, ed,. ff ff 886 NINTH SYMPHONY. TochDaugh ter aus ter of 3£ E - lithe star -J- st - wn. ry realm. -4- ^ MilI liem HE cmbrace *-* nrTJE P=^ S icff £ 7 The brilliant accompaniment for the violins is afterwardstransferred to the basses. This is one of the most trying movements in the work forthe chorus, and though not so exacting as the well-knownpassage of the Credo of the #Mass in D—where the sopranoslead off the subject of the Et vitam venturi with four highB flats—it has a passagef in which the high A natural has tobe sustained for twelve bars, as well as other all but impossiblefeats. Many representations and remonstrances were addressedat the time to Beethoven, not only by Sontag and Ungher,but by the {chorus-master, but without effect, he wouldchange nothing; and it is affecting (though not unnatural) tofind that at last the singers were compelled by the necessitiesof the case either to be silent in these impossible passages orto take advantage of Beethove
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectsymphon, bookyear1896
