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the slow, bittersweet second movement that we expect. Instead, it’ s the peppy, semi-dark II. Molto vivace, arguably the second most-popular movement from this symphony. Beethoven builds the tension through repetition and dynamic growth of the theme passing around the orchestra.
Why switch the order of the fast and slow movements? Most likely to enhance the contrast, thus making the finale even more memorable. III. Adagio molto e cantabile is tender, akin to a flowing stream, a nice respite before the blustering, stormy theme that opens IV. Finale. It isn’ t until we hear this stormy melody a second time that the chorus and soloists stand, a powerful visual indicator of what’ s to come. Amidst the introduction, we hear snippets of the“ Ode to Joy” theme, but the full statement is delayed; like Coleman, Beethoven introduces the theme softly, almost imperceptibly. Through repetition across the orchestra, the melody blossoms and strengthens. But it is at its full power when sung by the soloists and chorus, imbuing Schiller’ s words of friendship and unity with a hopefulness that stops just short of naivete.
The Ninth is a testament to the range of musical emotion the man could conjure. And like Coleman, of the extra-musical function of music. We may enter the concert hall individually; leave the concert hall individually. But regardless of where we go, we have a responsibility to each other. A responsibility that contains beyond the final note and rapturous applause.
A. KORI HILL specializes in American music, Black composers, and music of the nineteenth and twentieth centuries. She is a program note annotator for Seattle Symphony and Chamber Music Society at Lincoln and the lead writer for Classics for Kids Blog at Cincinnati Public Radio. She is co-editor of The Cambridge Companion to Florence B. Price, forthcoming from Cambridge University Press.
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