A Choral Finale (Beethoven)

 

The Chloral finale depicts the musical values that are manifested in innovativeness that are intimately connected with Beethoven and his music. 1824 Premiere of Beethoven’s Ninth Symphony is one of the best known works in classical music where the composer, Beethoven uses voices of four vocal soloists and a chorus to generate a symphony. The success of the musical concert by Beethoven was revealed by one of the most prominent musical newspapers in Vienna which referred to the concert as a grand performance of a new work (Khnopff, 1883).

One of the reasons that made the concert a success was the time dedicated to the entire performance. The performance was long complex and required a larger orchestra.  The use of a chorus and vocal soloists in the final movements made the chorus a great success (Khnopff, 1883).

Another critical aspect that is loudly manifested in this classical musical concern is the fact that the composer, Beethoven decided to merely convert an already existing poem by Fredrich Schiller called “Ode to Joy” to a classical music performance. Despite the success realized by the concert, Beethoven’s lack of originality makes his works less appealing to poets and other musical artists, composers and performers (Khnopff, 1883).

The 1824 Premiere of Beethoven’s Ninth Symphony reveals the actions of a great music composer in terms of style and dynamics. A great music composer’s actions should always be animated through back and forth movements, stretching and crouching among other movement actions in music performances (Khnopff, 1883).

Another important attribute that made Beethoven’s musical performance a classic masterpiece was his deafness. Beethoven could not hear the applause from the audience at the end of the symphony, the mezzo-soprano soloist had to tap him on the arm so that he could be able to turn around and witness the thunderous applause from the audience and many of those attending the concern found it one of the most touching music stories of all time (Khnopff, 1883).

The 1824 Premiere of Beethoven’s Ninth Symphony works was created in an era of repression that was characterized by the French revolution, and napoleon wars and the author, Sachs demonstrates that the composer, Beethoven was not the only one who was unhappy with the state of the world at the time, and that Beethoven’s classical music masterpiece became a prism through which people could use to view politics, aesthetics and the world at the time (Khnopff, 1883).

In the 1824 Premiere of Beethoven’s Ninth Symphony, the Soprano and Alto were performed by two famous young singers. The Sopranoist was a German born young singer who had made her debut in music at a tender age of 15 was admired for her charming personality and fleet colotura skills. The contralto was a 21 year old Austro-Hungarian whose stage debut was in native city and was admired for her mastery in anecdote regarding the applause at the 1824 Premiere of Beethoven’s Ninth Symphony for turning the deaf composer, Beethoven around to witness the thunderous applause from the audience after the classical music performance (Khnopff, 1883).

After the 1824 Premiere of Beethoven’s Ninth Symphony, testimonies from the participants revealed that the music performance was under-rehearsed and that the participants only engaged in two full rehearsals which were rather scrappy despite the success in the actual performance, Beethoven was several measures off, yet he continued to conduct the performance, however, the public reception was beyond expectations (Tovey, 2015).

The success of the 1824 Premiere of Beethoven’s Ninth Symphony performance can also be attributed to diverse instrumentation used at the premiere and they included woodwinds, brass, voices, percussion and string which were augmented with a wind pipe assigned two players to each (Khnopff, 1883).

The Form used in the 1824 Premiere of Beethoven’s Ninth was based on four symphony movements which were marked as allegro, scherzo, adago molto and recitative (Tovey, 2015).

Some of the performance challenges witnessed in the premiere include use of an uncalibrated and damaged metronome, horn and trumpet alterations and that the second bassoon was found to be doubling basses in some measures of the finale (Watson, 2010).

One of the most outstanding aspects of the 1824 Premiere of Beethoven’s Ninth Symphony was that it was so unorthodox that it confused and amazed the audience during the premiere and yet it has become a standard for creative artists and composers in the subsequent generations (Khnopff, 1883).

The age in which the symphony was created especially the music is clearly manifested in the events that are depicted in the play, summed up through acts of repression and isolation. The manifestation of these events in the play is a motivation for the audience who are encouraged to confront a brave new emotional, spiritual and sound universe (Watson, 2010).

Finally, Beethoven’s actions in the classical music play conflicts with all his embracing love for humanity because he shows great contempt for most human beings. However, the justifications for his actions are compounded by his campaign against social ills at the time (Khnopff, 1883).

 

 

References:

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Fernand Khnopff, (1883): Listening to Schumann