Beethoven and his nine symphonies . a genius likeBeethoven can have put it on paper. And now, that he may carry out consistently the planwhich he had conceived for introducing Schillers poem,Beethoven again suddenly dismisses his irresolution, andallows his music to be interrupted by the horrible cry whichwe have heard twice already, and which might well be animpersonation of the opposite to all that is embodied in the1 Ode to Joy. But this time the rebuke of the prophet findsan articulate voice, and Beethoven addresses us in his ownwords and through the bass singer, in a noble strain of flori
Beethoven and his nine symphonies . a genius likeBeethoven can have put it on paper. And now, that he may carry out consistently the planwhich he had conceived for introducing Schillers poem,Beethoven again suddenly dismisses his irresolution, andallows his music to be interrupted by the horrible cry whichwe have heard twice already, and which might well be animpersonation of the opposite to all that is embodied in the1 Ode to Joy. But this time the rebuke of the prophet findsan articulate voice, and Beethoven addresses us in his ownwords and through the bass singer, in a noble strain of floridrecitative:— 0 Freunde, nicht diese Tone! Sondern lasst unsangenehmere anstimmen und freudenvollere! * 0 friends, no more these sounds ! But let us sing some-thing more cheerful, and more full of gladness ! * L. van Beethoven, ii., 258. f Selbstbiographie, i., —Beethovens Nine Symphonies.—Novellos Edition. 2 B 878 NINTH SYMPHONY. This recitative stands in the score as follows :— No, 70. Baritone Solo. lasst uns an M HE ^ffriVnaae ge - neh-me-re an-stimmen,—/* ad lib. £pg| rr^ M fefe aczii -rw tindfreu den-volle-re. But the latter part was too much for Preisinger, a bassoprofondo who was engaged to sing the part; and, notwith-standing Beethovens dislike to changes for the sake ofexecutants, and his rebuffs to Mademoiselles Sontag andUngher, we are told by Schindler* that Beethoven alteredit as ffollows, both in range and length:— _ x-£* ». w | FftJ-*1- u^-UL^jp 1—*??— and freu den-vol-le-re. With which exhortation and a third repetition of the fournoisy bars we enter the vocal portion of the Symphony. Thewhole of the following six numbers are formed on the greatmelody so recently played (No. 62), or on motifs formed out ofit or upon it. * Biography, ii., 78. + Preisinger, however, did not sing it after all; but at the performance itvas taken by Seipelt with one rehearsal (Schindler, ii., 78). bebthovenb alteration of schilleb
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectsymphon, bookyear1896
