On May 7, 1824, Beethoven shared his 9th Symphony with the world even though he could never hear it. On May 7, 2015 celebrate the anniversary of Beethoven’s most glorious and jubilant masterpiece with Riccardo Muti and the Chicago Symphony Orchestra and Chorus. An exhilarating testament to the human spirit, Beethoven’s Ninth bursts with brooding power and kinetic energy and culminates in the exultant hymn, “Ode to Joy.”The video is now available free on demand for all to enjoy! - See more at: http://cso.org/beethoven9 #sharethejoy
London Symphony Orchestra, cond. Josef Krips Soloists: Jennifer Vyvyan (EDIT), Soprano Shirley Verret, Mezzo-Soprano Rudolph Petrak, Tenor Donaldson Bell, Bass
Conducted by Leonard Bernstein, THE BERLIN CELEBRATION CONCERT is an historic performance marking the fall of the Berlin Wall. Performed on Christmas Day 1989 in the former East Berlin, the concert unites an international cast of celebrated musicians and vocalists for a moving performance of Beethoven's Ninth Symphony. Symphonieorchester des Bayerisches Rundfunks and members of Staatskapelle Dresden, Orchestra of the Leningrad Kirov Theatre, London Symphony Orchestra, New York Philharmonic and Orchestre de Paris.
Prom 18: Beethoven Cycle -- Symphony No. 9, 'Choral' Symphony No. 9 in D minor, Op. 125 1 - Allegro ma non troppo, un poco maestoso 2 - Scherzo: Molto vivace -- Presto 3 - Adagio molto e cantabile -- Andante moderato -- Tempo primo -- Andante moderato -- Adagio -- Lo stesso tempo 4 - Recitative: (Presto -- Allegro ma non troppo -- Vivace -- Adagio cantabile -- Allegro assai -- Presto: O Freunde) -- Allegro molto assai: Freude, schöner Götterfunken -- Alla marcia -- Allegro assai vivace: Froh, wie seine Sonnen -- Andante maestoso: Seid umschlungen, Millionen! -- Adagio ma non troppo, ma divoto: Ihr, stürzt nieder -- Allegro energico, sempre ben marcato: (Freude, schöner Götterfunken -- Seid umschlungen, Millionen!) -- Allegro ma non tanto: Freude, Tochter aus Elysium! -- Prestissimo, Maestoso, Molto Prestissimo: Seid umschlungen, Millionen! Anna Samuil soprano Waltraud Meier mezzo-soprano Michael König tenor René Pape bass National Youth Choir of Great Britain West-Eastern Divan Orchestra Daniel Barenboim, conductor Royal Albert Hall, 27 July 2012
Ludwig van Beethoven - Symphony No. 9 in D Minor "Choral" Op.125, Herbert von Karajan, 1963. Gundula Janowitz, soprano; Waldemar Kmentt, tenor; Walter Berry, Baritone; Hilde Rossel-Majdan, contralto. Wiener Singverein, Reinhold Schmid, Choir Master. Herbert von Karajan, Berlin Philharmonic Orchestra. Recorded: Berlin, Jesus-Christus-Kirche, October & November, 1962 Deutsche Grammophon Gesellschaft, 1963. Grand Prix du Disque Parts/Movements 00:00 I. Allegro ma non troppo 15:28 II. Molto vivace 26:28 III. Adagio molto e cantabile 42:53 IV. Presto - 49:15 V. "O Freunde, nicht diese Töne" - Allegro assai On May 7, 1824, Ludwig van Beethoven experienced what must certainly have been the greatest public triumph of his career. The audience which gathered at the Hoftheater adjacent to the Vienna Kärtnertor heard not only the abridged local premiere of Beethoven's Missa Solemnis (the Kyrie, Credo, and Gloria were given) and Op. 124 Overture, but also the first performance of the composer's 'Choral' Symphony. The event was a rousing success; indeed, one of the most moving accounts of Beethoven's final years describes how the profoundly deaf composer, unable to hear the colossal response of his admirers, had to be turned around by one of the soloists so that he could see the hundreds of clapping hands! Beethoven's Symphony No. 9 started life as two separate works - a symphony with a choral finale, and a purely instrumental work in D minor. He labored on these sporadically for almost 10 years before finally deciding (in 1822) to combine the two ideas into one symphony, with Friedrich von Schiller's Ode an die freude (Ode to Joy) - a text he had contemplated setting for a number of years - as the finale. The finished work is of visionary scope and proportions, and represents the apogee of technical difficulty in its day. There are passages, notably a horn solo in the slow movement, which would have been almost impossible to play on the transitional valveless brass instruments of Beethoven's time. As Dennis Matthews writes: "As with other late-period works, there are places where the medium quivers under the weight of thought and emotion, where the deaf composer seemed to fight against, or reach beyond, instrumental and vocal limitations." The Ninth also personifies the musical duality that was to become the nineteenth century - the conflict between the Classic and Romantic, the old and new. The radically different styles of Brahms and Liszt, for instance, both had their precedents in this work. On one hand, there was the search for a broader vocabulary (especially in terms of harmony and rhythm) within the eighteenth century framework; on the other, true Romanticism, embracing the imperfect, the unattainable, the personal and the extreme - qualities that violate the very nature of Classicism. When viewed individually, the first three movements still have their roots distinctly in the eighteenth century, while the fourth - rhapsodic, and imbued with poetic meaning - seems to explode from that mold, drawing the entire work into the realm of program music, a defining concept of musical Romanticism. Beethoven's Ninth represents a fitting culmination to the composer's symphonic ouvre - a body of work that is still unmatched in its scope and seminal ingenuity - and remains a pillar of the modern symphonic repertoire.
Faces of Classical Music http://facesofclassicalmusic.blogspot.com • More information: http://facesofclassicalmusic.blogspot.gr/2017/06/ludwig-van-beethoven-symphony-no9-in-d.html CHRISTIAN THIELEMANN CONDUCTS LUDWIG VAN BEETHOVEN Ludwig van Beethoven (1770-1827) ♪ Symphony No.9 in D minor, Op.125 "Choral" (1822-1824) i. Allegro ma non troppo ii. Molto vivace iii. Adagio molto e cantabile iv. Presto – Allegro assai v. Recitative – Allegro assai Annette Dasch, soprano Mihoko Fujimura, mezzo-soprano Piotr Beczala, tenor Georg Zeppenfeld, bass Wiener Singverein Wiener Philharmoniker Conductor: Christian Thielemann Wiener Musikverein, April 2010 (HD 1080p) Uploaded on Youtube for the Blog "Faces of Classical Music" More information: http://facesofclassicalmusic.blogspot.gr/2017/06/ludwig-van-beethoven-symphony-no9-in-d.html • Faces of Classical Music http://facesofclassicalmusic.blogspot.com
A live VHS recording of a BBC Prom concert from the Royal Albert Hall, London.1986. Seen lots of performances of this mighty work since then, but none of them equal, or surpass this one. I do not own the copyright for this material.
Prom 18: Beethoven Cycle -- Symphony No. 9, 'Choral' Friday 27 July 6.30pm -- c. 7.55pm Royal Albert Hall Anna Samuil (soprano) Waltraud Meier (mezzo-soprano) Michael König (tenor) René Pape (bass) National Youth Choir of Great Britain West-Eastern Divan Orchestra Daniel Barenboim (conductor)
Ludwig Van Beethoven - Symphony No. 9 in D minor http://www.facebook.com/9Beethoven Scherzo: Molto vivace -- Presto. The second movement, a scherzo and trio, is also in D minor, with the introduction bearing a passing resemblance to the opening theme of the first movement, a pattern also found in the Hammerklavier piano sonata, written a few years earlier. At times during the piece, Beethoven directs that the beat should be one downbeat every three bars, perhaps because of the very fast pace of the movement, with the direction ritmo di tre battute ("rhythm of three bars"), and one beat every four bars with the direction ritmo di quattro battute ("rhythm of four bars"). Beethoven had been criticised before for failing to adhere to standard form for his compositions. He used this movement to answer his critics. Normally, scherzi are written in triple time. Beethoven wrote this piece in triple time, but it is punctuated in a way that, when coupled with the speed of the metre, makes it sound as though it is in quadruple time. While adhering to the standard ternary design of a dance movement (scherzo-trio-scherzo, or minuet-trio-minuet), the scherzo section has an elaborate internal structure; it is a complete sonata form. Within this sonata form, the first group of the exposition starts out with a fugue before modulating to C major for the second part of the exposition. The exposition is then repeated before a short development section. The recapitulation further develops the exposition, also containing timpani solos. A new development section is played before the recapitulation is repeated, and the scherzo concludes with a brief codetta. The contrasting trio section is in D major and in duple time. The trio is the first time the trombones play in the movement. Following the trio, the second occurrence of the scherzo, unlike the first, plays through without any repetition, after which there is a brief reprise of the trio, and the movement ends with an abrupt coda.