Herbert von Karjan conducting the Berlin Philharmonic (1977) 00:00 Allegro ma non troppo, un poco maestoso 15:16 Molto vivace 25:18 Adagio molto e cantabile 42:08 Presto
People don't talk about this enough, the ending is actually the best part, a fast Coda, ending with just 5 short notes, end of story, no dragging, it's Beethoven's equivalent of a mic-drop, as if saying :"I've said all there is to say, this is it."
Fourth Movement Guide: 42:08 Schreckensfanfare (as called by Wagner) 42:17 Recitative in the Basses 42:54 Quotation of the first movement 43:07 Rejection of the first movement 43:30 Quotation of the second movement 43:35 Rejection of the second movement 43:54 Quotation of the third movement 44:05 Rejection of the third movement 44:38 Hints of the Ode to Joy theme 45:13 Main Theme 45:55 Variation I 46:37 Variation II 47:16 Variation III (All instruments) 47:55 Codetta 48:36 Return of the Schreckensfanfare (WITH MORE DISSONANCE!!!!) 48:44 Vocal Recitative 49:29 Variation IV 50:12 Variation V 50:57 Variation VI 52:00 Introduction to Variation VII 52:13 Variation VII-VIII (Turkish March) 53:41 Double fugue based on the Joy theme and Variation VII 55:26 Variation IX (Final Variation) 56:17 Seid umschlungen Millionen 58:00 Ihr stürzt nieder 59:54 Double fugue based on the Ode to Joy and Seid umschlungen Millionen 1:01:30 Ihr stürzt nieder (Second time) 1:02:25 Coda figure 1 1:04:00 Coda figure 2 1:04:55 Coda figure 3
@@null3707 It's actually a mini symphony. The Recitative and Variations I-VI is the first movement. Variations VII-IX form the second movement. Seid umschlungen Millionen and Ihr stürzt nieder form the third movement. And the double fugue to coda is the final movement.
@@unoriginal422 There are different interpretations. I don't think Beethoven had this in mind. Wikipedia says Beethoven said it is structured "like his Choral Fantasy, Op. 80, only on a much grander scale." See: en.wikipedia.org/wiki/Symphony_No._9_(Beethoven)#IV._Finale
The finale gets all the press, and deservedly so, but I think the first movement might be even better. Incredible drama and power from beginning to end.
@@chickenflavor9880 Mess is probably not the right word. It is unusual and has many things going on in it fugues, turkish marches, double fugues, chorales. A lot to process
I'm still astonished at this symphony. It was completed in 1824. It's scope, it's vision for the audience at that time must have been scary. It's a monolith of composition. And tbh it set the scene for next 100 years of music.
I agree 100% with you. The end of the first movement is also breathtaking: from 14:13 to the end for me it represents beautifully the ineluctability, the tragedy, the strength of the fate.
*58:31** • Chills me everytime!* (also: 1:04:38 • The soprano's ascending note makes me feel reaching the sky and observing the infinite magnitude of the universe in slow motion, for a brief moment in Time).
I agree, julia,If the Ninth Symphony were -only- the first movement, it would still be one of the greatest! It's the movement that has become most important to me, after about 40 years of listening to it. It will always sound modern and innovative. I don't know how a mind can create something like that, especially compared with the music that had come before.
A quick interest fact is that Beethoven was never actually totally deaf and for a long time after his hearing started degreading he was still able to go to concerts and pick the timbre nuances and stuff.
@@leo17921 He could still hear a little, but he could not converse properly anymore and had to use conversation books. He sawed the legs off of his piano and used a stick to feel the vibrations
Your comment is stupid. Because he was deaf does not mean he can remember how a C # sounds or the sound of a violin. For many composer, they did not need to have a musical instrument to create a melody.
Hmm, it's close but I wouldn't even consider it Beethoven's greatest piece. I would choose either the Eroica symphony or the Missa solemnis over the ninth.
Oserei dire il contrario invece, che è il capolavoro finito per eccellenza, quello non abbandonato neanche in una misura ma concluso in ogni minimo dettaglio, un microcosmo perfetto già scritto nel paradiso e messo su carta. Finito nel senso più latino possibile del termine.
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free. Romans 3:23 John 3:16❤❤❤
47:55 I like this part so much. If you focus on the string section, Beethoven could have simply use the "classical" way, putting a tremolo here to provide the harmony. Instead, he chose to write a swirl of rapidly moving 16th notes. Together with the fanfare in the winds part and a gradual rising in pitch until the climax at 48:17, the amount of exuberance and ecstasy is beyond any words described.
Careful Ludwig, YT or Twitter will censor and ban you.....Amazon will pay you minimum wage.....Bill Gates will vaccinate your audience....and the POTUS will drone bomb you for publishing war crimes. These are dangerous times for great minds and artists like yourself!
The grand symphony. Changed the course of musical history. One of the best pieces of all times. If I were to rank symphonies, I would put this one as all-time Number One. This is the ultimate symphony. Movements 1 and 2 are incredibly good, the finale is experimental - variations on a theme with voices is unusual for a symphony, but it works, because Beethoven was a master of thematic development.
Thank you for posting this. It is nice to be able to follow Karajan and the Berlin Philharmonic with the sheet music. I really like being able do to this for sections that I can not figure out who is playing the melody, and who is playing the harmony.
I can play this in my sleep. Practice. Beethoven's musicians at the time complained about the difficulty of his 9th. Beethoven replied "I didn't write this for you. I wrote this for a different time." NTU school of music archives.
Lets just think for a second about the fact that this symphony starts in a tragic mood with D-Minor and ends being a collosal party with D-Major and the ode to joy theme but a bit transformed. It ends so joyfully that it kind of feels aggressive haha
JOHANNES BRAHMS (1896): "I always find Beethoven's C Minor concerto (the Third Piano Concerto) much smaller and weaker than Mozart's. . . . I realize that Beethoven's new personality and his new vision, which people recognized in his works, made him the greater composer in their minds. But after fifty years, our views need more perspective. One must be able to distinguish between the charm that comes from newness and the value that is intrinsic to a work. I admit that Beethoven's concerto is more modern, but not more significant! I also realize that Beethoven's First Symphony made a strong impression on people. That's the nature of a new vision. But the last three Mozart symphonies are far more significant. . . . Yes, the Rasumovsky quartets, the later symphonies-these inhabit a significant new world, one already hinted at in his Second Symphony. But what is much weaker in Beethoven compared to Mozart, and especially compared to Sebastian Bach, is the use of dissonance. Dissonance, true dissonance as Mozart used it, is not to be found in Beethoven. Look at Idomeneo. Not only is it a marvel, but as Mozart was still quite young and brash when he wrote it, it was a completely new thing. What marvelous dissonance! What harmony! You couldn't commission great music from Beethoven since he created only lesser works on commission-his more conventional pieces, his variations and the like. When Haydn or Mozart wrote on commission, it was the same as their other works." books.google.ca/books?id=7iwZ-qTuSkUC&pg=PA134 books.google.ca/books?id=7iwZ-qTuSkUC&pg=PA135
Those are fugal sections. Beethoven still didn't write a good full-length fugue. Look at the continuous homorhythms of Op.131, Op.133, or the incoherence of Op.106
@@jackjack3320 My God, man, don't you get tired of copying and pasting the same text over and over and over and over and over and over and over? Bernstein was being provocative but also had no idea what he was talking about in that regard. Is the third movement of this symphony not unbelievably beautiful and songful? Yes, it is. Something like the last movement of the e minor sonata, op. 90? Yes, it is too. Bernstein took issue with the use of motifs before the flourishing of the melody, as in the second movement of the Pastoral. Well, okay, whatever. The melodic fragments are amazing regardless. Every composer has their strengths and weaknesses. Mozart's development sections, for example, can be quite small sometimes and I'm not even sure I would say his counterpoint is consistently on the level of Haydn. (Yes, he DID do it sometimes, as in the Jupiter symphony and the Requiem, and they blow everything out of the water, but he wasn't always doing it.) But so what. I suspect that was largely due to time constraints and not being paid enough for his genius. Oh, and dying young. I could go through every composer and find something missing. Even the towering genius of Bach lacked some of the dramatic flair we find in Handel in the same period. Did Bach, or COULD Bach, write anything as stirring as the opening movement of the Royal Fireworks? No. But...so what? Just give it up already.
@@MaestroTJS Beethoven's development sections are often dragged-out, diluted in effect by over-extended length, such as the 5th symphony 1st movement. Listen to sections that sound like a broken down machine beeping. ( ruclips.net/video/yKl4T5BnhOA/видео.html ) or the quasi-minimalism of the 6th symphony 1st movement. They don't seem to have as much impact as Mozart's string quartet K421 first movement ( ruclips.net/video/yIli9mrMFSo/видео.html ) in use of strettos and chromatic modulation, for example. The first movement of Beethoven's last piano sonata Op.111, the development section is his attempt to copy the contrapuntal writing of Mozart's Adagio and Fugue in C minor K546. ruclips.net/video/PFXF0Aysh4w/видео.html (Look at the use of fragments in each). Mozart organ Fantasie in F minor K608, the initial fugue turns into a fiery double fugue in the ending. ( ruclips.net/video/Jkh8Re4JUCw/видео.html ) We don't hear this kind of operatic drama in Beethoven's keyboard works. Hammerklavier Sonata 4th movement: Beethoven tries in vain to be coherent. due to Beethoven's struggle to write melodies, he also struggles with fluency in voice-leading, (which is a big part in the Germanic common practice tradition). look at Confitebor tibi from Mozart Vesperae de Dominica K321, ( ruclips.net/video/IqXFNq9e7oE/видео.html ) how the motif in dotted rhythm plays in the development of the whole movement.
@@MaestroTJS Mozart didn't always write counterpoint? Even Bach wasn't doing it all the time either (, cello suites, chorales, some preludes and fantasies) Mozart started writing counterpoint at age 9. Whereas Beethoven even in his mid twenties, had to study with Haydn and Albrechtsberger. Examples of Mozart's counterpoint (number inside brackets indicate the age he wrote them) Galimathias Musicum in D major K. 32: Fugue (10): ruclips.net/video/TPcMkmrJams/видео.html Missa solemnis in C minor "Waisenhausmesse" KV 139 Gloria (12): ruclips.net/video/XidEZEG3W3s/видео.html Missa solemnis in C minor "Waisenhausmesse" KV 139 Credo (12): ruclips.net/video/XidEZEG3W3s/видео.html Mass in C major "Dominicus Messe" K66 Gloria (13): ruclips.net/video/rlQJ2bgK3RQ/видео.html Mass in C major "Dominicus Messe" K66 Credo (13): ruclips.net/video/rlQJ2bgK3RQ/видео.html Te Deum in C major K. 141 [double fugue] (13): ruclips.net/video/3HLGJ7m-66U/видео.html Miserere in A minor, [4-part contrapuntal study] K.85 (14) ruclips.net/video/_PxqQOUn1v0/видео.html Kyrie in D minor [4-part contrapuntal study] K.90 (16): ruclips.net/video/ZOFFJJ1fAmU/видео.html KV125 - Pignus Futuræ Gloriæ (16): ruclips.net/video/dQ77xyyffjA/видео.html Missa in honorem Sanctissimae Trinitatis in C major KV 167 Gloria (17): ruclips.net/video/X9T_URjVl5I/видео.html Missa in honorem Sanctissimae Trinitatis in C major KV 167 Credo (17): ruclips.net/video/YvCnr15hh78/видео.html Missa in honorem Sanctissimae Trinitatis in C major KV 167 Agnus Dei* (17): ruclips.net/video/g2teM5WckzA/видео.html String Quartet No. 8 in F major K. 168 (17): ruclips.net/video/3JDrlCG-y_E/видео.html (the slow movement is a canon in F minor) String Quartet No.11 in E flat major K. 171 (17): ruclips.net/video/3_jlQ8tD4Uc/видео.html (written in the style of double fugue) String Quartet No. 13 in D minor K. 173 (17): ruclips.net/video/q5MVDsqIqCY/видео.html Fugue In G Minor KV 401 (17): ruclips.net/video/tXpV-gpgkQw/видео.html Missa Brevis in F major K. 192 (18): ruclips.net/video/QprTvKApc8c/видео.html Dixit Dominus K193 (18): ruclips.net/video/RBldFpGPijE/видео.html Magnificat K193 (18) ruclips.net/video/dlvD8CSdoUc/видео.html Missa Brevis in D major K. 194 (18): ruclips.net/video/_7liw0vQFPI/видео.html Litaniae de venerabili altaris sacramento K243 [double fugue] : VIII Pignus (19): ruclips.net/video/U-PDJozhBLI/видео.html Misericordias Domini in D minor K.222* (19): ruclips.net/video/o4PQRbBn3OI/видео.html Missa Longa in C K262 Kyrie [double fugue] (19): ruclips.net/video/yCDFfN7g_Bk/видео.html Missa Longa in C K262 Gloria [triple fugue] (19): ruclips.net/video/yCDFfN7g_Bk/видео.html Missa Longa in C K262 Credo (19): ruclips.net/video/yCDFfN7g_Bk/видео.html Missa Longa in C K262 Sanctus (19): ruclips.net/video/yCDFfN7g_Bk/видео.html Vesperae solennes de confessore in C, K.339 - 4. Laudate pueri Dominum (24): ruclips.net/video/c3rDwFFQ6bQ/видео.html Missa solemnis in C, K.337 - 5. Benedictus (26): ruclips.net/video/ghAa3BJ4b5I/видео.html Praeludium and Fugue KV 394 (26): ruclips.net/video/m9vVu8rNON4/видео.html Suite in C K.399 - I. Overture K399 (26): ruclips.net/video/UHgs7-u7wGQ/видео.html Sonata for Keyboard and Violin No. 29 in A Major, K. 402: II. Fuga (26): ruclips.net/video/mMe4MCsH2WY/видео.html Trio (Fuga a 3) in G Major, K. 443 (27): ruclips.net/video/UtLOtTDk848/видео.html Fugue In E Flat Major KV 153 (27): ruclips.net/video/_2rpWr3etWo/видео.html Fugue In G Minor KV 154 (27): ruclips.net/video/2t42ZCeLxlk/видео.html Grosse Messe in C minor KV 427 Kyrie: ruclips.net/video/97Twh_q8lQs/видео.html Grosse Messe in C minor KV 427 Jesu Christe - Cum Sancto Spiritu [double fugue] (27): ruclips.net/video/97Twh_q8lQs/видео.html Grosse Messe in C minor KV 427 Sanctus - Osanna [double fugue] (27): ruclips.net/video/97Twh_q8lQs/видео.html Adagio and Fugue for String Orchestra in C Minor, K. 546 (32): ruclips.net/video/PFXF0Aysh4w/видео.html Fantasia for mechanical organ in F minor K594 (34): ruclips.net/video/Qka_HMc2ajc/видео.html Fantasia for mechanical organ in F minor K608 (35): ruclips.net/video/Jkh8Re4JUCw/видео.html Overture to Die Zauberflote K620: ruclips.net/video/c2TGbfzTx2A/видео.html Der, welcher wandert diese StraBe voll Beschwerden (35): ruclips.net/video/kB56nw1zx-o/видео.html Requiem in D minor K626 Introitus: ruclips.net/video/sGg2AwyNZA4/видео.html Requiem in D minor K626 Kyrie (35) ruclips.net/video/8ybTabIfLgY/видео.html Requiem in D minor K626 Domine Jesu (35): ruclips.net/video/i4DyyUvZws4/видео.html +classical counterpoint in string quartets, quintets, symphonies, concertos (K449: ruclips.net/video/NtXTjLLT7Yo/видео.html K459: ruclips.net/video/61ODdVR2DFo/видео.html Canonic Minuet of Serenade for winds in C minor K388 ruclips.net/video/qk0MV_cJfvQ/видео.html ) Magnificent Counterpoint in the Finale of Mozart's Jupiter Symphony: ruclips.net/video/YTxYykhQZbI/видео.html The Ingenious Fugal Finale of Mozart's G Major Quartet, K. 387: ruclips.net/video/uoXDHOyfJ-k/видео.html The Incredible Finale of Mozart's K. 590 Quartet in F Major: ruclips.net/video/nkbdUjjfRTQ/видео.html Invertible Counterpoint in the Finale of Mozart's D Major String Quintet, K. 593: ruclips.net/video/IQbxsGtyc2g/видео.html Mozart: Canon for four voices, in C major, Anh. 191, K 562c: ruclips.net/video/YC9bKfzXC18/видео.html
Both subjects of the 4th movement's stunning double fugue at 59:53 seem drawn from two Mozart choral works ... k167 (Dona Nobis) and k222 (interval theme between fugues)
Be embraced, Millions! This kiss to all the world! Brothers, above the starry canopy There must dwell a loving Father. Are you collapsing, millions? Do you sense the Creator, world? Seek him above the starry canopy! Above stars must He dwell.
@@composaboi Yeah, canon in d is extremely overplayed and Pachelbel, the composer who inspired Bach, would be disappointed that it's become his signature piece instead of Hexachordum Apollinis or any other great piece by him
I know the 4th movement is the most popular (and I love it), but my favorite has to be the 1st movement. Those open fifths at the beginning immediately transport me into another world. It's as if I'm top of Mt. Everest, looking down in awe on the rest of the world. And the coda of the 1st movement one of my favorite codas of all time 😍😍
55:25 Beethoven be like trust me clarinets you are gonna need those 77 bars to change your B-flat to A so you won't be required in this climatic tutti passage. Enjoy your break.
Ever since I started listening to these while studying, whenever I go to bed at night I can vividly and loudly hear an orchestra playing, its beautiful really. I can control what happens too and can hear up to 4 instruments playing. Its not even very much like I control it, its really more like someone is putting this music into my head. Ive read that this might be a sign for mental illness though haha... I dont know.
Excerpt Timpani [First Movement] 0:24 Measures 16-35 8:04 Before K to L 14:08 Before S to the ends [Second Movement] 15:17 Intro 17:22 F [Third Movement] 38:25 before B
je suis fan de Bach, et je suis pas d' accord de réduire Bach à cette passion, qui est d' ailleurs surtout belle au début à la fin. il n y a que des joyaux dans Bach.
At about 17:35, the first violins play the octave higher than written (in the fifth bar of the left page). I suppose it was very unusual at Beethoven's time to write the notes that high, unlike the middle or late 19th century and after. I would believe that Beethoven wanted the way it is written and would have written an octave higher if he wanted to, not because the instrument could not reach the register (especially considering the high A in the first bar of the page). I wonder what led Karajan (and Bernstein in the 1979 performance with the Vienna) to decide on the higher register. Was there any historical context to it?
@@jquins19 I actually like the one with the octave higher, too. I think it makes sense more than playing it B flat and minor seventh higher to play A natural. But I still wonder what led Beethoven to notate that way, and if there was any historical context which led Karajan to play an octave higher. Can anyone answer that question for me(or for us)?
I discovered this piece while watching "Equilibrium". Not the smartest movie, given the absurd premise and gun fight scenes, but it did reveal this gem.
Do you know what is the sad part about this music. That the composer himself didn't able to hear at that time when he was making this beautiful symphony.
3 года назад+3
Sinfonia nº 9, em Ré menor, Opus 125, "Sinfonia Coral", de Ludwig van Beethoven (Segundo Felix e Borowsky): Os 5 Movimentos: I. Allegro ma non troppo, un poco maestoso II. Scherzo: Molto vivace - Presto III. Adagio molto e cantabile IV. Presto - Tempo I: Allegro - Allegro Moderato - Allegro Assai V. (Com Coro) Presto - Allegro assai - Allegro assai vivace - Andante maestoso - Adagio ma non troppo, ma devoto - Allegro energico, sempre ben marcato - Allegro - Poco Allegro - Prestísimo. #Data: 1824 Texto: "An die Freunde", de Friedrich Schiller Dedicado ao Imperador Friedrich Wilhelm III da Prússia Estilo: "Primeiro Romantismo"
13:38 The crecendo of shreiking violins, Leads into the Soulful base notes leading the way, Then the higher pitches respond into a great tension -- release. then comes the reminding motif of the entire movment Showing the listener that hes not just a powerhouse, The music has a purpose, which was masterfully composered
Oh it was gorgeousness and gorgeosity made flesh. The trombones crunched redgold under my bed, and behind my gulliver the trumpets three-wise silverflamed, and there by the door the timps rolling through my guts and out again crunched like candy thunder. Oh, it was wonder of wonders. And then, a bird of like rarest spun heavenmetal, or like silvery wine flowing in a spaceship, gravity all nonsense now, came the violin solo above all the other strings, and those strings were like a cage of silk round my bed. Then flute and oboe bored, like worms of like platinum, into the thick thick toffee gold and silver. I was in such bliss, my brothers
People don't talk about this enough, the ending is actually the best part, a fast Coda, ending with just 5 short notes, end of story, no dragging, it's Beethoven's equivalent of a mic-drop, as if saying :"I've said all there is to say, this is it."
I love this comment!
NPC
viva anuel AA
I love this symphony.
I love your symphonies too!
Your symphony number 7 is a probably my favourite even more so that this piece
Is that why you buckled down? No offence, I love yours.
“Shostakovich Approved”
Lmao
Fourth Movement Guide:
42:08 Schreckensfanfare (as called by Wagner)
42:17 Recitative in the Basses
42:54 Quotation of the first movement
43:07 Rejection of the first movement
43:30 Quotation of the second movement
43:35 Rejection of the second movement
43:54 Quotation of the third movement
44:05 Rejection of the third movement
44:38 Hints of the Ode to Joy theme
45:13 Main Theme
45:55 Variation I
46:37 Variation II
47:16 Variation III (All instruments)
47:55 Codetta
48:36 Return of the Schreckensfanfare (WITH MORE DISSONANCE!!!!)
48:44 Vocal Recitative
49:29 Variation IV
50:12 Variation V
50:57 Variation VI
52:00 Introduction to Variation VII
52:13 Variation VII-VIII (Turkish March)
53:41 Double fugue based on the Joy theme and Variation VII
55:26 Variation IX (Final Variation)
56:17 Seid umschlungen Millionen
58:00 Ihr stürzt nieder
59:54 Double fugue based on the Ode to Joy and Seid umschlungen Millionen
1:01:30 Ihr stürzt nieder (Second time)
1:02:25 Coda figure 1
1:04:00 Coda figure 2
1:04:55 Coda figure 3
You’re a god.
Wtf kind of structure is that
@@null3707 It's actually a mini symphony. The Recitative and Variations I-VI is the first movement. Variations VII-IX form the second movement. Seid umschlungen Millionen and Ihr stürzt nieder form the third movement. And the double fugue to coda is the final movement.
Thank you so much!
@@unoriginal422 There are different interpretations. I don't think Beethoven had this in mind. Wikipedia says Beethoven said it is structured "like his Choral Fantasy, Op. 80, only on a much grander scale."
See: en.wikipedia.org/wiki/Symphony_No._9_(Beethoven)#IV._Finale
The finale gets all the press, and deservedly so, but I think the first movement might be even better. Incredible drama and power from beginning to end.
Yes! The finale is a mess. A glorious mess but still a mess. The first movement is perfect!
@@jarbaralhut1810 how is it a mess????
@@chickenflavor9880 Mess is probably not the right word. It is unusual and has many things going on in it fugues, turkish marches, double fugues, chorales. A lot to process
@@jarbaralhut1810 ok
@@chickenflavor9880 I think it's a mess too! Especially in the wrong hands.
53:41 The double fugue based on the joy theme. My absolute favourite part of all of Beethoven’s Symphonies
Easily
I'm still astonished at this symphony.
It was completed in 1824.
It's scope, it's vision for the audience at that time must have been scary.
It's a monolith of composition. And tbh it set the scene for next 100 years of music.
...and Lou composed it while he was deaf to boot...what's next that we need to discover about him: did he juggle while playing his "Appassionata"!
53:41- 55:08 has to be one of my favorite passages on all of music.
One of mine as well
I was able to guess what passage you were talking about before even clicking the time stamp. The passage is seriously awesome!
It is a fugue.
@@chickenflavor9880 ...move over JSB!
6/8 fugues, but double fugues especially, are the greatest.
The opening of the first movement is still the best introduction to any piece of music I have EVER heard.
I agree 100% with you. The end of the first movement is also breathtaking: from 14:13 to the end for me it represents beautifully the ineluctability, the tragedy, the strength of the fate.
#Facts
@@marcocattaneo3242 What a rollercoaster of emotions this piece is!! That ending is sublime. Beethoven at his peak
*58:31** • Chills me everytime!*
(also: 1:04:38 • The soprano's ascending note makes me feel reaching the sky and observing the infinite magnitude of the universe in slow motion, for a brief moment in Time).
How’s 38:27 do for ya?
00:00 Allegro ma non troppo, un poco maestoso
15:16 Molto vivace
25:18 Adagio molto e cantabile
42:08 Presto
Which Karajan recording is this? 1976?
@@stefanosarzani3551 yes
any other italian speakers find these titles funny?
ありがとうございます❤
48:43
Press F!!!
45:14 is where Ode To Joy starts in case anyone’s curious
1:06:01 will never be topped. The best composed finale in all of music. When I die, this what I want to listen to when I go out.
Eargasm
Great music to euthanase to :)
the piece that changed everything. absolutely the most influential composer of all time.
Best music ever written.
You deserve that ego, sir.
You the man, van... Beethoven.
Well, I thought your 8th symphony and trio opus 70 no. 2 were better, but then I'm not a composer.
@Ludwig Van Beethoven I wish you could listen to that
Indeed.
1 часть:
0:27 - главная тема
1:07 - ГП, зарождение темы
2:05 - 1-я ПП
2:15 - 2-я ПП
3:21 - 3-я ПП
8:16 - переход от разработки к репризе
14:13 - кода
2 часть:
15:17 - 1-я тема
16:01 - 2-я тема
18:49 - трио
3 часть:
25:37 - 1-я тема
28:07 - 2-я тема
29:33 - 1-я вариация на 1-ю тему
4 часть:
42:09 - оркестровое вступление ("фанфары ужаса")
42:17 - ответ (речитатив виолончелей и контрабасов)
45:14 - тема радости
47:16 - тема радости, оркестровое tutti
52:14 - Alla Marcia
55:26 - хор, тема "Радость! Юной жизни пламя"
56:17 - хоральное песнопение Andante maestoso
59:53 - "Обнимитесь, миллионы", Allegro energico
The beginning of the 4th moment... With themes from the previous 3 moments... WONDERFUL!
im in love with the first movement I love all the others but the opening of the first is just beyond this world
c est de loin le plus émouvant de tous.
This comment deserves more replies
I agree, julia,If the Ninth Symphony were -only- the first movement, it would still be one of the greatest! It's the movement that has become most important to me, after about 40 years of listening to it. It will always sound modern and innovative. I don't know how a mind can create something like that, especially compared with the music that had come before.
I... I am really impressed. This... The whole one hour long symphony... Has been written by one... One DEAF HUMAN. Human capabilities are incredible.
Spot on
A quick interest fact is that Beethoven was never actually totally deaf and for a long time after his hearing started degreading he was still able to go to concerts and pick the timbre nuances and stuff.
@@grezende4056 false, after 1818 or so he was stone deaf
@@leo17921 He could still hear a little, but he could not converse properly anymore and had to use conversation books. He sawed the legs off of his piano and used a stick to feel the vibrations
Your comment is stupid. Because he was deaf does not mean he can remember how a C # sounds or the sound of a violin. For many composer, they did not need to have a musical instrument to create a melody.
Peak of music. First movement is perfection
I am still thoroughly convinced that this is the single greatest piece of music ever written
Hmm, it's close but I wouldn't even consider it Beethoven's greatest piece. I would choose either the Eroica symphony or the Missa solemnis over the ninth.
What about gucci gang
Montykins In a league of its own
There is doubt???
2nd best. Mahler 2>
Non ci sono cazzi... è un capolavoro infinito
Minchia si…
Concordo
Oserei dire il contrario invece, che è il capolavoro finito per eccellenza, quello non abbandonato neanche in una misura ma concluso in ogni minimo dettaglio, un microcosmo perfetto già scritto nel paradiso e messo su carta.
Finito nel senso più latino possibile del termine.
Repent and trust in Jesus. He's the only way to Heaven. We've all sinned and deserve Hell. Sins like lying, lusting, etc. Repent and trust only in Jesus, and you will be saved! You can be saved because he took the punishment for our sins on himself when he died on the cross, just like someone can pay your speeding fine in court, and you get off free.
Romans 3:23
John 3:16❤❤❤
47:55 I like this part so much. If you focus on the string section, Beethoven could have simply use the "classical" way, putting a tremolo here to provide the harmony. Instead, he chose to write a swirl of rapidly moving 16th notes. Together with the fanfare in the winds part and a gradual rising in pitch until the climax at 48:17, the amount of exuberance and ecstasy is beyond any words described.
It's amazing, I was thinking the exact same thing as I was listening to that part. It made my heart beat faster, it's so thrilling.
My work is so welcomed even after 200 yrs!
👏👏👏👏👏
Yes
yes, look to my channel, thanks :)
@@Tizohip autopromotion moment
Careful Ludwig, YT or Twitter will censor and ban you.....Amazon will pay you minimum wage.....Bill Gates will vaccinate your audience....and the POTUS will drone bomb you for publishing war crimes. These are dangerous times for great minds and artists like yourself!
The grand symphony. Changed the course of musical history. One of the best pieces of all times. If I were to rank symphonies, I would put this one as all-time Number One. This is the ultimate symphony. Movements 1 and 2 are incredibly good, the finale is experimental - variations on a theme with voices is unusual for a symphony, but it works, because Beethoven was a master of thematic development.
It is the greatest piece of all time behind Fade to Black by Metallica
@@ProdbyMadMaxserious?
I'd put Mahlers 9th at number 1 personally, and I'd put Beethoven's 3rd above this one.
@@PieInTheSky9Mahler seems to be a common contender for Beethoven and now I wanna see what all the hype is about
My symphonies lasted 30 minutes...this lasts more than an hour 🤔. Anyway good job Ludwig!!
It means a lot coming from you, maestro!
Great job on the Jupiter!
who are you?
@@adenagistafirastandju5949 just a random admirer
@@adenagistafirastandju5949 Didn't you read my name? I'm you.
I love how Beethoven can make a work of music sound like a thunderstorm: 8:00
He did it even prior to this, in symphony no. 6, movement 4
@@f.p.2010 yeah, i know. i have the scores for all of his symphonies. thank you, though, for the reminder. :-)
I went to the symphony and it was great, fantastic.I want to see it again
This one of the few performances in which I can actually follow the string pulse at the beginning. I don't have to guess when the first violins enter.
It's measured tremolo in sixteenth notes, but many players seem to play it as unmeasured tremolo.
@@DeflatingAtheism I think it's triplet tremolo, actually, judging by the fact that the triplets appear there in the first part TBH
I cannot fathom how Beethoven managed to write that last Prestissimo passage in his head.
Time stamp?
@@usernotfound6475 1:05:02
quite resembles the final chorus of KV 384
this must be one of the deepest introductions in any music
And to think that Beethoven never heard that...
I could listen a thousand times and Beethoven’s music would never fail to leave me inspired and in awe.
Thank you for posting this. It is nice to be able to follow Karajan and the Berlin Philharmonic with the sheet music. I really like being able do to this for sections that I can not figure out who is playing the melody, and who is playing the harmony.
I like how the description says it’s the Theme from Jurassic Park
That's literally in every fucking classical piece and its fucking annoying. Wtf youtube?
I can play this in my sleep. Practice. Beethoven's musicians at the time complained about the difficulty of his 9th. Beethoven replied "I didn't write this for you. I wrote this for a different time." NTU school of music archives.
In my opinion. Best performance of 4th movement. Just great!!
E un capolavoro maestoso
Karajans interpretation of this masterpiece is brutal
1:06:12 absolutely exhilarating!!!
40:40 was probable my favorite to hear this whole video really amaze me
Lets just think for a second about the fact that this symphony starts in a tragic mood with D-Minor and ends being a collosal party with D-Major and the ode to joy theme but a bit transformed. It ends so joyfully that it kind of feels aggressive haha
47:55. What an insane build! There’s just something about the way he builds layers and develops themes which is almost psychedelic!
Plenty of other notable areas but this one isn’t mentioned as often
i agree
Came here after Music class and learning about Beethoven. I wanted to listen to the whole thing!
This symphony pave the way to future mega symhonies by Mahler and Harvegel Gothic Symphony with near 1000 strong.
It has been quiet the bowing of ones Violin for you Beethoven .. worth it !!! ♥️
48:30 gives me the chills
YESS
You are grass block
Your profile pic tho
A cHoPiN fAn it used to be a Minecraft grass block
@@bruhmomenthdr7575 now its the POG
Literally most of the people: Beethoven can't write a good fugue
Me: hold my beer
(6:04) (15:21) (53:40) (59:53)
JOHANNES BRAHMS (1896): "I always find Beethoven's C Minor concerto (the Third Piano Concerto) much smaller and weaker than Mozart's. . . . I realize that Beethoven's new personality and his new vision, which people recognized in his works, made him the greater composer in their minds. But after fifty years, our views need more perspective. One must be able to distinguish between the charm that comes from newness and the value that is intrinsic to a work. I admit that Beethoven's concerto is more modern, but not more significant!
I also realize that Beethoven's First Symphony made a strong impression on people. That's the nature of a new vision. But the last three Mozart symphonies are far more significant. . . . Yes, the Rasumovsky quartets, the later symphonies-these inhabit a significant new world, one already hinted at in his Second Symphony. But what is much weaker in Beethoven compared to Mozart, and especially compared to Sebastian Bach, is the use of dissonance. Dissonance, true dissonance as Mozart used it, is not to be found in Beethoven. Look at Idomeneo. Not only is it a marvel, but as Mozart was still quite young and brash when he wrote it, it was a completely new thing. What marvelous dissonance! What harmony! You couldn't commission great music from Beethoven since he created only lesser works on commission-his more conventional pieces, his variations and the like. When Haydn or Mozart wrote on commission, it was the same as their other works."
books.google.ca/books?id=7iwZ-qTuSkUC&pg=PA134
books.google.ca/books?id=7iwZ-qTuSkUC&pg=PA135
Those are fugal sections. Beethoven still didn't write a good full-length fugue. Look at the continuous homorhythms of Op.131, Op.133, or the incoherence of Op.106
@@jackjack3320 My God, man, don't you get tired of copying and pasting the same text over and over and over and over and over and over and over? Bernstein was being provocative but also had no idea what he was talking about in that regard. Is the third movement of this symphony not unbelievably beautiful and songful? Yes, it is. Something like the last movement of the e minor sonata, op. 90? Yes, it is too. Bernstein took issue with the use of motifs before the flourishing of the melody, as in the second movement of the Pastoral. Well, okay, whatever. The melodic fragments are amazing regardless. Every composer has their strengths and weaknesses. Mozart's development sections, for example, can be quite small sometimes and I'm not even sure I would say his counterpoint is consistently on the level of Haydn. (Yes, he DID do it sometimes, as in the Jupiter symphony and the Requiem, and they blow everything out of the water, but he wasn't always doing it.) But so what. I suspect that was largely due to time constraints and not being paid enough for his genius. Oh, and dying young. I could go through every composer and find something missing. Even the towering genius of Bach lacked some of the dramatic flair we find in Handel in the same period. Did Bach, or COULD Bach, write anything as stirring as the opening movement of the Royal Fireworks? No. But...so what? Just give it up already.
@@MaestroTJS Beethoven's development sections are often dragged-out, diluted in effect by over-extended length, such as the 5th symphony 1st movement. Listen to sections that sound like a broken down machine beeping. ( ruclips.net/video/yKl4T5BnhOA/видео.html ) or the quasi-minimalism of the 6th symphony 1st movement. They don't seem to have as much impact as Mozart's string quartet K421 first movement ( ruclips.net/video/yIli9mrMFSo/видео.html ) in use of strettos and chromatic modulation, for example. The first movement of Beethoven's last piano sonata Op.111, the development section is his attempt to copy the contrapuntal writing of Mozart's Adagio and Fugue in C minor K546. ruclips.net/video/PFXF0Aysh4w/видео.html (Look at the use of fragments in each). Mozart organ Fantasie in F minor K608, the initial fugue turns into a fiery double fugue in the ending. ( ruclips.net/video/Jkh8Re4JUCw/видео.html ) We don't hear this kind of operatic drama in Beethoven's keyboard works. Hammerklavier Sonata 4th movement: Beethoven tries in vain to be coherent.
due to Beethoven's struggle to write melodies, he also struggles with fluency in voice-leading, (which is a big part in the Germanic common practice tradition). look at Confitebor tibi from Mozart Vesperae de Dominica K321, ( ruclips.net/video/IqXFNq9e7oE/видео.html ) how the motif in dotted rhythm plays in the development of the whole movement.
@@MaestroTJS Mozart didn't always write counterpoint? Even Bach wasn't doing it all the time either (, cello suites, chorales, some preludes and fantasies) Mozart started writing counterpoint at age 9. Whereas Beethoven even in his mid twenties, had to study with Haydn and Albrechtsberger.
Examples of Mozart's counterpoint (number inside brackets indicate the age he wrote them)
Galimathias Musicum in D major K. 32: Fugue (10): ruclips.net/video/TPcMkmrJams/видео.html
Missa solemnis in C minor "Waisenhausmesse" KV 139 Gloria (12): ruclips.net/video/XidEZEG3W3s/видео.html
Missa solemnis in C minor "Waisenhausmesse" KV 139 Credo (12): ruclips.net/video/XidEZEG3W3s/видео.html
Mass in C major "Dominicus Messe" K66 Gloria (13): ruclips.net/video/rlQJ2bgK3RQ/видео.html
Mass in C major "Dominicus Messe" K66 Credo (13): ruclips.net/video/rlQJ2bgK3RQ/видео.html
Te Deum in C major K. 141 [double fugue] (13): ruclips.net/video/3HLGJ7m-66U/видео.html
Miserere in A minor, [4-part contrapuntal study] K.85 (14) ruclips.net/video/_PxqQOUn1v0/видео.html
Kyrie in D minor [4-part contrapuntal study] K.90 (16): ruclips.net/video/ZOFFJJ1fAmU/видео.html
KV125 - Pignus Futuræ Gloriæ (16): ruclips.net/video/dQ77xyyffjA/видео.html
Missa in honorem Sanctissimae Trinitatis in C major KV 167 Gloria (17): ruclips.net/video/X9T_URjVl5I/видео.html
Missa in honorem Sanctissimae Trinitatis in C major KV 167 Credo (17): ruclips.net/video/YvCnr15hh78/видео.html
Missa in honorem Sanctissimae Trinitatis in C major KV 167 Agnus Dei* (17): ruclips.net/video/g2teM5WckzA/видео.html
String Quartet No. 8 in F major K. 168 (17): ruclips.net/video/3JDrlCG-y_E/видео.html (the slow movement is a canon in F minor)
String Quartet No.11 in E flat major K. 171 (17): ruclips.net/video/3_jlQ8tD4Uc/видео.html (written in the style of double fugue)
String Quartet No. 13 in D minor K. 173 (17): ruclips.net/video/q5MVDsqIqCY/видео.html
Fugue In G Minor KV 401 (17): ruclips.net/video/tXpV-gpgkQw/видео.html
Missa Brevis in F major K. 192 (18): ruclips.net/video/QprTvKApc8c/видео.html
Dixit Dominus K193 (18): ruclips.net/video/RBldFpGPijE/видео.html
Magnificat K193 (18) ruclips.net/video/dlvD8CSdoUc/видео.html
Missa Brevis in D major K. 194 (18): ruclips.net/video/_7liw0vQFPI/видео.html
Litaniae de venerabili altaris sacramento K243 [double fugue] : VIII Pignus (19): ruclips.net/video/U-PDJozhBLI/видео.html
Misericordias Domini in D minor K.222* (19): ruclips.net/video/o4PQRbBn3OI/видео.html
Missa Longa in C K262 Kyrie [double fugue] (19): ruclips.net/video/yCDFfN7g_Bk/видео.html
Missa Longa in C K262 Gloria [triple fugue] (19): ruclips.net/video/yCDFfN7g_Bk/видео.html
Missa Longa in C K262 Credo (19): ruclips.net/video/yCDFfN7g_Bk/видео.html
Missa Longa in C K262 Sanctus (19): ruclips.net/video/yCDFfN7g_Bk/видео.html
Vesperae solennes de confessore in C, K.339 - 4. Laudate pueri Dominum (24): ruclips.net/video/c3rDwFFQ6bQ/видео.html
Missa solemnis in C, K.337 - 5. Benedictus (26): ruclips.net/video/ghAa3BJ4b5I/видео.html
Praeludium and Fugue KV 394 (26): ruclips.net/video/m9vVu8rNON4/видео.html
Suite in C K.399 - I. Overture K399 (26): ruclips.net/video/UHgs7-u7wGQ/видео.html
Sonata for Keyboard and Violin No. 29 in A Major, K. 402: II. Fuga (26): ruclips.net/video/mMe4MCsH2WY/видео.html
Trio (Fuga a 3) in G Major, K. 443 (27): ruclips.net/video/UtLOtTDk848/видео.html
Fugue In E Flat Major KV 153 (27): ruclips.net/video/_2rpWr3etWo/видео.html
Fugue In G Minor KV 154 (27): ruclips.net/video/2t42ZCeLxlk/видео.html
Grosse Messe in C minor KV 427 Kyrie: ruclips.net/video/97Twh_q8lQs/видео.html
Grosse Messe in C minor KV 427 Jesu Christe - Cum Sancto Spiritu [double fugue] (27): ruclips.net/video/97Twh_q8lQs/видео.html
Grosse Messe in C minor KV 427 Sanctus - Osanna [double fugue] (27): ruclips.net/video/97Twh_q8lQs/видео.html
Adagio and Fugue for String Orchestra in C Minor, K. 546 (32): ruclips.net/video/PFXF0Aysh4w/видео.html
Fantasia for mechanical organ in F minor K594 (34): ruclips.net/video/Qka_HMc2ajc/видео.html
Fantasia for mechanical organ in F minor K608 (35): ruclips.net/video/Jkh8Re4JUCw/видео.html
Overture to Die Zauberflote K620: ruclips.net/video/c2TGbfzTx2A/видео.html
Der, welcher wandert diese StraBe voll Beschwerden (35): ruclips.net/video/kB56nw1zx-o/видео.html
Requiem in D minor K626 Introitus: ruclips.net/video/sGg2AwyNZA4/видео.html
Requiem in D minor K626 Kyrie
(35) ruclips.net/video/8ybTabIfLgY/видео.html
Requiem in D minor K626 Domine Jesu (35): ruclips.net/video/i4DyyUvZws4/видео.html
+classical counterpoint in string quartets, quintets, symphonies, concertos (K449: ruclips.net/video/NtXTjLLT7Yo/видео.html K459: ruclips.net/video/61ODdVR2DFo/видео.html Canonic Minuet of Serenade for winds in C minor K388 ruclips.net/video/qk0MV_cJfvQ/видео.html )
Magnificent Counterpoint in the Finale of Mozart's Jupiter Symphony: ruclips.net/video/YTxYykhQZbI/видео.html
The Ingenious Fugal Finale of Mozart's G Major Quartet, K. 387: ruclips.net/video/uoXDHOyfJ-k/видео.html
The Incredible Finale of Mozart's K. 590 Quartet in F Major: ruclips.net/video/nkbdUjjfRTQ/видео.html
Invertible Counterpoint in the Finale of Mozart's D Major String Quintet, K. 593: ruclips.net/video/IQbxsGtyc2g/видео.html
Mozart: Canon for four voices, in C major, Anh. 191, K 562c: ruclips.net/video/YC9bKfzXC18/видео.html
This music is breathtaking and remarkable for this symphony.
49:28 Bariton
1:27두번째 창조 (B-flat major)
0:27 첫번째 창조 (D minor)
15:21 2악장 익살스러움
48:37 노래 들어가는 분분
56:17 인류애 노래
59:54 인류애와 환희의 송가 함께 나옴
4 часть:
42:09 - оркестровое вступление ("фанфары ужаса")
42:17 - ответ (речитатив виолончелей и контрабасов)
45:14 - тема радости
47:16 - тема радости, оркестровое tutti
52:14 - Alla Marcia
55:26 - хор, тема "Радость! Юной жизни пламя"
56:17 - хоральное песнопение Andante maestoso
59:53 - "Обнимитесь, миллионы", Allegro energico
56:43 music from Heaven
1st Movement 00:00
2nd Movement 15:15
3rd Movement 25:19
4th Movement 42:09
Both subjects of the 4th movement's stunning double fugue at 59:53 seem drawn from two Mozart choral works ... k167 (Dona Nobis) and k222 (interval theme between fugues)
59:50 The most beautiful part of the symphony and of all music. With this life is permanently affirmed
Be embraced, Millions!
This kiss to all the world!
Brothers, above the starry canopy
There must dwell a loving Father.
Are you collapsing, millions?
Do you sense the Creator, world?
Seek him above the starry canopy!
Above stars must He dwell.
The soundtrack of all rebellions and revolutions.
0:00 You feeling great about waking up in the morning
0:27 When you realize it’s Monday and you’re late for school
Oh my goodness!!!! Scary!!! That gets the heart pumping!!!
Серге й His music I will admit is finesse. Attitude? Disgusting.
@@antoniosalieri5886 did you meant Friday or Saturday?
55:26?
Hi my favorite and most underrated composer of all time
grazie meistro salieri
Just amazing.
My mind was blown when I discovered that the double fugue at 59:54 uses the same chord progression as Canon in D.
Not really
Not really, and even if it did the chord progression in canon in d is extremely common and unimpressive
@@composaboi Yeah, canon in d is extremely overplayed and Pachelbel, the composer who inspired Bach, would be disappointed that it's become his signature piece instead of Hexachordum Apollinis or any other great piece by him
Yes, it does! The Romanesca sequence
I liked this recording of this music. Very fast and energetic.
I know the 4th movement is the most popular (and I love it), but my favorite has to be the 1st movement. Those open fifths at the beginning immediately transport me into another world. It's as if I'm top of Mt. Everest, looking down in awe on the rest of the world. And the coda of the 1st movement one of my favorite codas of all time 😍😍
55:25 Beethoven be like trust me clarinets you are gonna need those 77 bars to change your B-flat to A so you won't be required in this climatic tutti passage. Enjoy your break.
Lol ikr
He gets rid of the third and fourth horns too-he must’ve wanted a clear sound for that part!
Ever since I started listening to these while studying, whenever I go to bed at night I can vividly and loudly hear an orchestra playing, its beautiful really. I can control what happens too and can hear up to 4 instruments playing. Its not even very much like I control it, its really more like someone is putting this music into my head. Ive read that this might be a sign for mental illness though haha... I dont know.
Excerpt Timpani
[First Movement]
0:24 Measures 16-35
8:04 Before K to L
14:08 Before S to the ends
[Second Movement]
15:17 Intro
17:22 F
[Third Movement]
38:25 before B
08:16 makes me feel like a superhero
Whoever thought of interrupting the greatest piece of music piece of music in the middle of a movement displays the sensitivity of a lavatory seat.
A barbed wire toilet seat. v
In my opinion, the best way to listen to the fourth mvt is almost as a mini opera
More like a symphony within a symphony.
ABSOLUTE PERFECTION!
Thank you for this
Muchas gracias por compartir !!!
Gracias. Muchas gracias.
The best symphony.
Start playing at 34 seconds past 11:04pm for New Year's Celebration.
This symphony is worth 10 symphonies of any composer has ever written
Ode a Joy 45:13
1:06:00 i never watch without cry
47:57, 56:13 - in the first flute part and second flute part respectively, it’s the motif of the second theme of the movement, played backwards.
La novena de Beethoven y la Pasión Según San Mateo de Bach son las 2 grandes joyas de la música Occidental
je suis fan de Bach, et je suis pas d' accord de réduire Bach à cette passion, qui est d' ailleurs surtout belle au début à la fin. il n y a que des joyaux dans Bach.
the dislikes are all of napoleon bonaparte's channels
one thing i can't understand is when they don't like it why do they search for it on youtube????? or do they just don't like this quality?????
@@animalistiktiero3835 I honestly don't know. It's ridiculous.
@@ricardonachmanowicz2890 brave of you to describe Karajan and the Berlin Phil as crude
Those people probably love the Ninth Symphony, its just they don’t like this recording SPECIFICALLY. I personally love it tho :)
52:01 this sounds like me when I play well moonlight sonata
48:35 the second time poly chord
One of the best parts
very good
Todo es musica, vibracion y matematicas in the universe!!
Beethoven: Symphony No. 9, Mvt. IV - 5 measures after K to mm. 462
53:44-54:10
Beethoven: Symphony No. 9, Mvt. IV - mm. 899 to 916
1:05:38-1:05:51
for the percussionists: 14:12 51:59 1:04:55
third movement has also a beautiful timpani part!
Best recording ever
Um testamento sinfônico para a humanidade.....
Cette représentation est exceptionnelle !!!
At about 17:35, the first violins play the octave higher than written (in the fifth bar of the left page). I suppose it was very unusual at Beethoven's time to write the notes that high, unlike the middle or late 19th century and after. I would believe that Beethoven wanted the way it is written and would have written an octave higher if he wanted to, not because the instrument could not reach the register (especially considering the high A in the first bar of the page). I wonder what led Karajan (and Bernstein in the 1979 performance with the Vienna) to decide on the higher register. Was there any historical context to it?
I noticed that too. Quite like the version with the octave higher myself.
@@jquins19 I actually like the one with the octave higher, too. I think it makes sense more than playing it B flat and minor seventh higher to play A natural. But I still wonder what led Beethoven to notate that way, and if there was any historical context which led Karajan to play an octave higher. Can anyone answer that question for me(or for us)?
Holy shit how am I supposed to even sing this 😳 the finale...it's so fast dear lord
Around 1:06:00 when you recieve an A or if it's Friday!!
It's also me when I at least get a C, especially if it's math.
@@JaviCubanSpy why
Today is Friday and I have passed the hardest test in bachelor today 😂😂😂
I discovered this piece while watching "Equilibrium". Not the smartest movie, given the absurd premise and gun fight scenes, but it did reveal this gem.
Do you know what is the sad part about this music. That the composer himself didn't able to hear at that time when he was making this beautiful symphony.
Sinfonia nº 9, em Ré menor, Opus 125, "Sinfonia Coral", de Ludwig van Beethoven (Segundo Felix e Borowsky):
Os 5 Movimentos:
I. Allegro ma non troppo, un poco maestoso
II. Scherzo: Molto vivace - Presto
III. Adagio molto e cantabile
IV. Presto - Tempo I: Allegro - Allegro Moderato - Allegro Assai
V. (Com Coro) Presto - Allegro assai - Allegro assai vivace - Andante maestoso - Adagio ma non troppo, ma devoto - Allegro energico, sempre ben marcato - Allegro - Poco Allegro - Prestísimo.
#Data: 1824
Texto: "An die Freunde", de Friedrich Schiller
Dedicado ao Imperador Friedrich Wilhelm III da Prússia
Estilo: "Primeiro Romantismo"
It's a miracle...
God, please allow me into heaven. Beethoven, please have more than 100 symphonies completed. Same goes for you Bach.
lmfao bach didnt write symphonies
@@leo17921 I'm hoping he will have by the time I'm there.
Inis boru you’re aware bach is dead?
Excuse me!
I saw him last week at the DPO!
59:53 best part.
13:38 The crecendo of shreiking violins, Leads into the Soulful base notes leading the way, Then the higher pitches respond into a great tension -- release. then comes the reminding motif of the entire movment Showing the listener that hes not just a powerhouse, The music has a purpose, which was masterfully composered
the second movemnent is very nice
0:00 1. Allegro ma non troppo (D minor)
15:16 2. Molto vivace (D minor) - Presto (D major)
25:18 3. Adagio molto e cantabile (B-flat major)
42:08 4. 1) Presto (D minor) - Allegro assai (D major)
52:01 4. 2) Allegro assai vivace (B-flat major - D major)
56:17 4. 3) Andante maestoso (G major) - Adagio ma non troppo (G minor)
59:54 4. 4) Allegro energico - Allegro ma non tanto (D major)
1:04:55 4. 5) Prestissimo (D major)
Oh it was gorgeousness and gorgeosity made flesh. The trombones crunched redgold under my bed, and behind my gulliver the trumpets three-wise silverflamed, and there by the door the timps rolling through my guts and out again crunched like candy thunder. Oh, it was wonder of wonders. And then, a bird of like rarest spun heavenmetal, or like silvery wine flowing in a spaceship, gravity all nonsense now, came the violin solo above all the other strings, and those strings were like a cage of silk round my bed. Then flute and oboe bored, like worms of like platinum, into the thick thick toffee gold and silver. I was in such bliss, my brothers
¡WOOOOOOOOOOOOOOOOW!