Album available // Beethoven: The 9 Symphonies by Herbert von Karajan (2024 Remastered, Berlin 1962)
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Ludwig van Beethoven (1770-1827) Symphony No. 9 in D minor, Op. 125 "An die Freude"
00:00 I. Allegro ma non troppo, un poco Maestoso
15:27 II. Molto vivace
26:31 III. Adagio molto e cantabile
43:01 IVa. Presto, Allegro assai, Allegro molto assai - Alla marcia
49:23 IVb. Presto, Recitativo: "O Freunde, nicht diese Töne!" - Andante maestoso, Adagio ma non troppo - ma divoto, Allegro energico - sempre ben marcato, Allegro ma non tanto, Prestissimo
Berliner Philharmoniker
Wiener Singverein
Soprano: Gundula Janowitz
Alto: Hilde Rössel-Majdan
Tenor: Waldemar Kmentt
Bass: Walter Berry
Conductor: Herbert von Karajan
Recorded in 1962, at Berlin
New mastering in 2022 by AB for CMRR
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Symphony No. 9 in D minor, Op. 125; To Schiller's ode "An die Freude" (Ode to Joy) // Completed in February 1824, the Symphony with Chorus is a universally celebrated poem in music; it is the pinnacle of Beethoven's symphonic oeuvre, and the year 1822, in which it was conceived, marks the symphony's most important date... (...) COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT.
I. Allegro, ma non troppo, un poco maestoso. The movement begins pianissimo in the strings and horns, with small descending phrases that seem insignificant, then become increasingly loud until the powerful main theme appears like lightning falling from the sky. The movement is epic in its breadth and dramatic power. The passage in which the timpani roll frenetically for thirty-eight bars sounds like a storm. The movement ends with the main theme played in unison, percussive as thunder.
II. Molto vivace. This is the only scherzo in all Beethoven's symphonies - apart from the Eighth, which is in second place, the usual position being that of the third movement. The main theme is treated as a fugue, with an equality of rhythm that is maintained throughout. Here, the timpani and the rest of the orchestra take up the theme alternately. A cheerful rustic air is heard in triple variations, and returns again at the end.
III. Adagio molto e cantabile. Considered one of Beethoven's finest inspirations. It is a peaceful, religious cantabile in B flat, followed by a lighter, more fanciful section in D. One music critic described it thus: "Both themes have a divine breath and float towards infinity. It's as if the music suppresses time and space and gives us a glimpse of eternity."
IV. Presto. In this movement, the tempo changes frequently and the peaceful atmosphere is destroyed. The noisy dissonance of a short, violent presto is abruptly broken by imperious recitatives played by double basses and cellos. The agitated atmosphere is broken by repeated reminiscences of the preceding movements, but each of these is cut short by the double bass until, finally, the woodwinds introduce a new melody, and the theme 'Freude' takes shape, calm, majestic and uninterrupted. It is taken up again, in fugal style, by the strings, so that once again the dissonances of the opening bars can be heard, but this time the human voice replaces these frightening sounds, and all is rejoicing. The 'Freude' theme passes from baritone to chorus and solo quartet. The second major part of the finale with chorus begins with an Andante maestoso, in which tenors and baritones sing in powerful unison. Then comes a passage of uncertainty and fear, but soon conviction and joy reappear. In an allegro energico, the 'Freude' theme and the unison theme of the male voices come together in a powerful double fugue. The movement gradually acquires enormous dimensions, and finally rises to a joyful prestissimo, celebrating the Creator and his creation.
Beethoven: Missa Solemnis in D Major Op. 123
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