Beethoven: Symphony 9
Preface
The famous Symphony no. 9, sometimes labeled as the 'Choral', has never been a favorite of mine. I think, for me, it is a matter of expectation and length. The listener must wait patiently to even reach the first vocal utterance, which in this recording appears at about 45 minutes into the symphony. The sense of expectation either draws the listener into a fever pitch or wears away during the first three orchestral-only movements. For me, the expectation tends to wear away. The same holds true for Mendelssohn's Symphony no. 2 'Lobgesang', a work which is born out of Beethoven's Ninth Symphony.
Don't let my preferences let you believe I don't recognize this work's appeal, though. If anything, on this particular listening I fully recognize aspects of Beethoven's symphonic music as highly experimental, even coming from hearing the composer's three or four previous symphonies. Symphony no. 9 is a markéd step forward for the composer, baffling at times, thrilling in others, yet still, here is a work ever cognizant of its symphonic structure and orchestral color.
I wouldn't be surprised if my breakdown below focused more on Chailly's performance rather than the intricacies of every measure of music. At over 60 minutes, this is a long work, so I will probably focus on areas of interest or the performance on hand.
Those looking for my generalized thoughts alone should skip to the bottom to read my final thoughts. Otherwise, I will do a movement-by-movement breakdown of each symphony for those who wish to listen along. I will provide a video of these same performers I am listening to in order to make it easier to follow along with my thoughts. That YouTube playlist can be found at the very bottom of this blog post.
Symphony 9 in D minor, op. 125
Movement 1
Key: D minor
Meter: 2/4
Tempo: Allegro ma non troppo, un poco maestoso
BPM Chailly:
= 84
Movement 1
Key: D minor
Meter: 2/4
Tempo: Allegro ma non troppo, un poco maestoso
BPM Chailly:
= 84The tuning of strings idea, which opens this symphony, could have been a one-off introductory idea. Beethoven, however, turns this unique musical concept into a rather effective linking motive across the entire first movement.
Intervals of held and falling fifths and fourths becomes rather important throughout. Beethoven will use these for the listener to know what section he is toying with musically, always adding variation and melodic style to his original idea.
The second motivic area, one of sustained winds and strings trading figures, follows in rather short measure. Without an exposition repeat, the listener can tell Beethoven really wants to get to the fun stuff - developmental material.
To skip ahead, I really enjoy the tremolo chromatic bass line of the Coda, a wonderful musical moment demarcating Beethoven's move to finish off the movement.
I do not sense Italian conductor Riccardo Chailly moving forward with any particular great haste. There was never a musical sense of impatience, other than what Beethoven writes into the music. Instead, the Gewandhaus gives the music a lot of portent and weight, with the timpani particularly coming out of the texture. I daresay, the loudest tutti moments are almost impenetrable as an ensemble, a texture I don't remember from the Gewandhaus in the earlier volumes.
Movement 2
Key: D minor & D major
Meter: 3/4 & Cut time
Tempo: Molto vivace
BPM Chailly: 𝅗𝅥. 124 = & 𝅗𝅥 = 160
It is rather unusual for Beethoven to place the Scherzo in the second-movement position, shifting the slow movement to the third position. I suppose this was done so as to break up the choral finale from the more fleet motions of the first two movements, thus allowing a break for the listener.
The second movement contains another Scherzo which initially bangs out loudly, only to follow fleet-footed and lightly, and later building a crescendo over a long period of time for a final loud utterance. This has been a Scherzo form from Beethoven which I have enjoyed quite a bit over his nine symphonies.
If the first movement was built around the intervals of fourths and fifths surrounding a minor key, this Scherzo really makes something of the octave leap, particularly a downward leap with a dotted rhythm attached to it. The uses of bassoon reminds me of what will come from Dukas a century away in France, yet the pounding timpani are all Beethoven.
Usually, the Scherzo or Minuet movement is a rather brief affair, but here, the listener is 7 minutes into the movement before we even reach the Trio. I do enjoy this Trio however, a woodsy musical world where the counterpoint of solo wind instruments and horn against light strings is simply delightful.
We are out of the Trio just after some 9 minutes under Chailly, where the Scherzo comes back in full force and with plenty of repeats. Akin to one of his last two symphonies, Beethoven inserts a return of the Trio before the final button on the last chords of the movement.
Movement 3
Key: B-flat Major & D Major
Meter: Common time & 3/4 & 12/8
Tempo: Adagio molto e cantabile & Andante moderato
BPM Chailly: = 48 & = 54 & . = 48
I have been waiting for a slow movement in a symphony from Beethoven, here in the third-movement position, which has no other purpose than to charm the listener with melody, and I think Symphony no. 9 is the closest this listener will get from the composer in that regard. Certainly, Chailly keeps the pace of the opening Adagio set in a peaceful manner.
The Andante is a little more perfunctory in Chailly's hands, so I am always happy to return to the Adagio ideas in this recording, even if the conductor never captures the same calm as he initially does. Here, Beethoven treats his melodies in a variation form, and winsomely so, never betraying the initial mood of the movement.
The third movement surprisingly ends in 12/8 time, a rather Romantic final portrayal of the melodic material. Could this be my favorite slow movement from a Beethoven symphony?
Movement 4
Key: D minor, D Major, B-flat Major, G Major, D major
Meter: 3/4, Common time, 6/8, 3/2, 6/4, Cut time,
Tempo: Presto, Allegro assai, Allegro assai vivace, Andante maestoso, Allegro energico e sempre ben marcato, Allegro ma non tanto, Presto, Prestissimo
BPM Chailly: = 178 & 𝅗𝅥 = 74 - 84 & . 152 = & 𝅗𝅥 = 68 & 𝅗𝅥 = 56 & 𝅗𝅥. = 88 & 𝅗𝅥 = 126 & 𝅗𝅥 = 130 & = 52 & 𝅗𝅥 = 160
So, I started to list the keys, meters, and tempo markings above, as I normally do, but there are simply too many changes in the music to indicate them all completely in this last movement, as many return again and again. I apologize for the poor listing; I should probably list the tempo marking with the BPM to avoid confusion.
As mentioned earlier, it is in this very long final movement (22 minutes here) in which solo voices, solo-voiced ensembles, and chorus are employed, but not until about six minutes into the last movement does he uinsert these unusual forces into his symphony.
And yet, in the instrumental portion before the voices enter, Beethoven treats the cellos and basses as voices, setting them in a recitative style, the same we will hear from the vocal baritone later on. What a strange choice, rather than simply starting with the vocalists who bear much of the same music. Instead, the composer uses this instrumental moment, led by the low-string recitative, to remind the listener of the music from the previous three movements, albeit meted out in tiny morsels, and including a sneak preview of his 'Ode to Joy'. Indeed, the listener is treated to a full-fleshing out of 'Ode to Joy' before the vocal soloist interrupts the proceedings, done so rather lovingly with strings and bassoon before the entire ensemble joins in.
To my ears, the Gewandhaus chorus, combined with the MDR Radio Choir, sounds excellent here. They have the right heft for a choral ensemble in this work, with an excellent tone and balance in what eventually becomes a strain for the singers in their upper ranges.
The quality of the soloists will depend on personal tastes. I find German baritone Hanno Müller-Brachmann a little too wavery of vibrato, especially in his upper reaches, although he has a tone and commitment of voice which is effective in this music. I do enjoy the following US tenor Robert Dean Smith, and as a group, the four soloists come together well, with only the Czechian soprano a little inconsistent vocally. Individual tastes will also prevail regarding tempo relationships. Chailly takes the John Eliot Gardiner approach in this last movement, with negligible differences.
Intervals of held and falling fifths and fourths becomes rather important throughout. Beethoven will use these for the listener to know what section he is toying with musically, always adding variation and melodic style to his original idea.
The second motivic area, one of sustained winds and strings trading figures, follows in rather short measure. Without an exposition repeat, the listener can tell Beethoven really wants to get to the fun stuff - developmental material.
To skip ahead, I really enjoy the tremolo chromatic bass line of the Coda, a wonderful musical moment demarcating Beethoven's move to finish off the movement.
I do not sense Italian conductor Riccardo Chailly moving forward with any particular great haste. There was never a musical sense of impatience, other than what Beethoven writes into the music. Instead, the Gewandhaus gives the music a lot of portent and weight, with the timpani particularly coming out of the texture. I daresay, the loudest tutti moments are almost impenetrable as an ensemble, a texture I don't remember from the Gewandhaus in the earlier volumes.
Movement 2
Key: D minor & D major
Meter: 3/4 & Cut time
Tempo: Molto vivace
BPM Chailly: 𝅗𝅥. 124 = & 𝅗𝅥 = 160
It is rather unusual for Beethoven to place the Scherzo in the second-movement position, shifting the slow movement to the third position. I suppose this was done so as to break up the choral finale from the more fleet motions of the first two movements, thus allowing a break for the listener.
The second movement contains another Scherzo which initially bangs out loudly, only to follow fleet-footed and lightly, and later building a crescendo over a long period of time for a final loud utterance. This has been a Scherzo form from Beethoven which I have enjoyed quite a bit over his nine symphonies.
If the first movement was built around the intervals of fourths and fifths surrounding a minor key, this Scherzo really makes something of the octave leap, particularly a downward leap with a dotted rhythm attached to it. The uses of bassoon reminds me of what will come from Dukas a century away in France, yet the pounding timpani are all Beethoven.
Usually, the Scherzo or Minuet movement is a rather brief affair, but here, the listener is 7 minutes into the movement before we even reach the Trio. I do enjoy this Trio however, a woodsy musical world where the counterpoint of solo wind instruments and horn against light strings is simply delightful.
We are out of the Trio just after some 9 minutes under Chailly, where the Scherzo comes back in full force and with plenty of repeats. Akin to one of his last two symphonies, Beethoven inserts a return of the Trio before the final button on the last chords of the movement.
Movement 3
Key: B-flat Major & D Major
Meter: Common time & 3/4 & 12/8
Tempo: Adagio molto e cantabile & Andante moderato
BPM Chailly:
= 48 & = 54 & . = 48I have been waiting for a slow movement in a symphony from Beethoven, here in the third-movement position, which has no other purpose than to charm the listener with melody, and I think Symphony no. 9 is the closest this listener will get from the composer in that regard. Certainly, Chailly keeps the pace of the opening Adagio set in a peaceful manner.
The Andante is a little more perfunctory in Chailly's hands, so I am always happy to return to the Adagio ideas in this recording, even if the conductor never captures the same calm as he initially does. Here, Beethoven treats his melodies in a variation form, and winsomely so, never betraying the initial mood of the movement.
The third movement surprisingly ends in 12/8 time, a rather Romantic final portrayal of the melodic material. Could this be my favorite slow movement from a Beethoven symphony?
Movement 4
Key: D minor, D Major, B-flat Major, G Major, D major
Meter: 3/4, Common time, 6/8, 3/2, 6/4, Cut time,
Tempo: Presto, Allegro assai, Allegro assai vivace, Andante maestoso, Allegro energico e sempre ben marcato, Allegro ma non tanto, Presto, Prestissimo
BPM Chailly:
= 178 & 𝅗𝅥 = 74 - 84 & . 152 = & 𝅗𝅥 = 68 & 𝅗𝅥 = 56 & 𝅗𝅥. = 88 & 𝅗𝅥 = 126 & 𝅗𝅥 = 130 & = 52 & 𝅗𝅥 = 160 So, I started to list the keys, meters, and tempo markings above, as I normally do, but there are simply too many changes in the music to indicate them all completely in this last movement, as many return again and again. I apologize for the poor listing; I should probably list the tempo marking with the BPM to avoid confusion.
As mentioned earlier, it is in this very long final movement (22 minutes here) in which solo voices, solo-voiced ensembles, and chorus are employed, but not until about six minutes into the last movement does he uinsert these unusual forces into his symphony.
And yet, in the instrumental portion before the voices enter, Beethoven treats the cellos and basses as voices, setting them in a recitative style, the same we will hear from the vocal baritone later on. What a strange choice, rather than simply starting with the vocalists who bear much of the same music. Instead, the composer uses this instrumental moment, led by the low-string recitative, to remind the listener of the music from the previous three movements, albeit meted out in tiny morsels, and including a sneak preview of his 'Ode to Joy'. Indeed, the listener is treated to a full-fleshing out of 'Ode to Joy' before the vocal soloist interrupts the proceedings, done so rather lovingly with strings and bassoon before the entire ensemble joins in.
To my ears, the Gewandhaus chorus, combined with the MDR Radio Choir, sounds excellent here. They have the right heft for a choral ensemble in this work, with an excellent tone and balance in what eventually becomes a strain for the singers in their upper ranges.
The quality of the soloists will depend on personal tastes. I find German baritone Hanno Müller-Brachmann a little too wavery of vibrato, especially in his upper reaches, although he has a tone and commitment of voice which is effective in this music. I do enjoy the following US tenor Robert Dean Smith, and as a group, the four soloists come together well, with only the Czechian soprano a little inconsistent vocally. Individual tastes will also prevail regarding tempo relationships. Chailly takes the John Eliot Gardiner approach in this last movement, with negligible differences.
Overtures
Usually when listening to Symphony no. 9, the work often sits on a recording all by lonesome. In this case, we are treated to the addition of the Namensfeier Overture, as well as the Overture from King Stephan. The latter overture has those unusually progressing unison notes at the ope, but eventually the music becomes a jaunty affair. The former is considered a lesser outing from the composer, yet all of Beethoven's musical hallmarks are present.
Final Thoughts
With only a few exceptions, I found myself enjoying this performance of Symphony no. 9 from Chailly and the Gewandhaus. No, the symphony is not a favorite of mine from Beethoven, but some of my feelings might be due to overexposure, classical-music hype, all amidst my previous comments concerning listener expectation and the sheer length of the work.
While the soloists were just fine, I greatly enjoyed the chorus. Plus, having the Gewandhaus on hand in Beethoven is a treat no matter whose hands they are in! At the very, very least, timpani lovers should have a whole lot to love here.
Work Series
Vol. 5 from Beethoven Symphonies on Decca
Works
Symphony 9 in D minor, op. 125 (62.51)
King Stephan, op. 117: Overture (6.02)
Namensfeier Overture, op. 115 (6.06)
Performers
Gewandhaus Orchestra
Riccardo Chailly, conductor
Label: Decca
Year: 2011
Total Timing: 75.01
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