Program Booklet
200 years of Beethoven's Symphony No. 9
friday, may 24
20:15
hour until approximately 9:45 p.m.
Everyone knows it: "Alle Menschen werden Brüder" from Beethoven's Ninth Symphony. A universal message of peace and harmony set to music.
Programme
Prior to this concert there will be a Starter at 7:30 pm. A lively and relaxed program with live performances by our own musicians and interviews with soloists and conductors. The Starter is free of charge and will take place in the Swing, to the left of cloakroom.
Nikos Galenianos (1985)
One Minute Symphony: PseudOde (2024)
Read more about PseudOde? Check it out here!
Ludwig van Beethoven (1770-1827)
Symphony no. 9 in d, op. 125 (1821-24)
Allegro ma non troppo, un poco maestoso
Molto vivace - Presto
Adagio molto e cantabile - Andante moderato
Finale with closing chorus 'Ode an die Freude'
What are you going to listen to?
Exactly two hundred years ago, Beethoven's Ninth Symphony experienced its first performance in Vienna. The theme of the final chorus to Schiller's Ode an die Freude, perfect in its simplicity, quickly grew to become the most famous melody of all time and has not faded away to this day.
A lifelong quest
It was in 1817 that Ludwig van Beethoven received the request from the London Philharmonic Society to compose a new symphony. From the very beginning, the composer had planned to use vocal soloists and chorus on the text of Schiller's Ode an die Freude. With that poem, the writer had achieved considerable fame. Written in 1785, it was published almost immediately and provided with a melody by a friend. Thus, it quickly gained enormous popularity and many other composers such as Carl Zelter and Franz Schubert also set it to music. Beethoven was deeply moved by the poem. As a straight republican who cherished the ideas of the Enlightenment, the vision of a brilliant new society, in which all men are brothers, appealed to him greatly. But to such a lofty text belonged an at least equally lofty melody. And that was something Beethoven had been searching for all his life. A very first germ could already be heard in the 1794 song Gegenliebe. And the basic melody of the 1808 Choral Fantasy was already very similar to that of the Ode, even though Beethoven used a different text. In the numerous sketches the composer made leading up to the finale, it is easy to see how he struggled to arrive at a perfect melody. Consequently, it took until 1824 before the work was finally finished. Initially, Beethoven composed mainly the first three instrumental movements. As impressive as it was, the finale had to far surpass all that, and the opening bars of the finale refer brilliantly to this. We hear a short excerpt from each of the three movements, whereupon the bass exclaims in words of Beethoven himself, "O friends, not these tones, but let us sound more pleasant and joyful. Then the famous melody, heard once before in the orchestra, finally bursts forth and continues to dominate the entire finale.
Last performance
Although the request for this symphony came from London, Beethoven had initially planned to have the premiere in Berlin. Even for that reason, he had dedicated the work to the Prussian king Friedrich Wilhelm II. But his friends still managed to convince him to move the first performance to Vienna, the city where he had lived and worked most of his life. And so on May 7, 1824, the Ninth sounded for the first time at the Vienna Theater am Kärtnertor. Although conductor Michael Umlauf was in actual charge, Beethoven was swinging along drily beside him. True, he could no longer hear anything, but from the movement of the instruments and the mouths, he had some idea of the proceedings, even if he was painfully out of tune most of the time. Afterwards, the composer was completely ecstatic and the alto from the soloist ensemble had to turn him to the audience to receive the frenzied applause. The resulting enthusiasm and disorder was so great that the police had to be called in to clear the hall in some peace. For Beethoven it was his Last public appearance. He would not appear on any stage again until his death in 1827.
The symphony, and especially the famous melody of the final chorus, was elevated to an icon of Western music in subsequent years. Wagner used it as the dedication of his famous Festspielhaus in Bayreuth. A large number of new lyrics have been created to it, functioning as religious hymns or national anthems of several countries. Without lyrics, the melody is symbolic of European union as a Europe anthem. And Bernstein conducted a jubilant performance of it with a diverse international ensemble to celebrate the fall of the Berlin Wall in late 1989. Perhaps a glimpse of "Alle Menschen werder Brüder," though it has faded in the decades since.
Kees Wisse
Prefer it on paper? Download a condensed printable version of this program.
Want to read along with the song lyrics from the Last section? Download them here!
Biographies
Residentie Orkest The Hague
Richard Egarr
Ilse Eerens
Barbara Kozelj
Joel Williams
Andreas Wolf
Laurens Symphonic
The Residentie Orkest offers the conductor and soloist at this concert a linocut by The Hague artist Mariska Mallee.
Fun Fact
During the development of the CD by Philips and Sony in the early 1980s, discussion arose over the length of the disc. Sony director Ohga, a big fan of Beethoven's Ninth, demanded that his favorite performance of this work under the legendary Furtwängler fit on a single CD. That recording, previously released on gramophone record, was 74 minutes and thus determined the final length of the new CD.
RO QUIZ
What was conductor Hans von Bülow's encore after Beethoven 9?-
Beethoven's "Choral Fantasy.
Right answer: once again "Beethoven 9.
The nineteenth-century conductor Hans von Bülow was so impressed by Beethoven's "Ninth Symphony" that after a performance in Hamburg he surprised the audience with an encore, namely one more performance of the entire symphony. When some of the audience wanted to leave the hall, he spoke, "Wanting to leave is pointless since the attendants locked the doors at my request."
-
A movement from Beethoven's 'Pastorale'
Right answer: once again "Beethoven 9.
The nineteenth-century conductor Hans von Bülow was so impressed by Beethoven's "Ninth Symphony" that after a performance in Hamburg he surprised the audience with an encore, namely one more performance of the entire symphony. When some of the audience wanted to leave the hall, he spoke, "Wanting to leave is pointless since the attendants locked the doors at my request."
-
Once again "Beethoven 9
Right answer: once again "Beethoven 9.
The nineteenth-century conductor Hans von Bülow was so impressed by Beethoven's "Ninth Symphony" that after a performance in Hamburg he surprised the audience with an encore, namely one more performance of the entire symphony. When some of the audience wanted to leave the hall, he spoke, "Wanting to leave is pointless since the attendants locked the doors at my request."
Right answer: once again "Beethoven 9.
The nineteenth-century conductor Hans von Bülow was so impressed by Beethoven's "Ninth Symphony" that after a performance in Hamburg he surprised the audience with an encore, namely one more performance of the entire symphony. When some of the audience wanted to leave the hall, he spoke, "Wanting to leave is pointless since the attendants locked the doors at my request."
Today in the orchestra
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