Editing Symphony No. 9 (Beethoven) (section)

===IV. Finale===
The choral finale is Beethoven's musical representation of universal brotherhood based on the "[[Ode to Joy]]" theme and is in [[theme and variations]] form.
{{Block indent|<score sound="1">
\new Score {
  \new Staff {
    \relative c {
      \set Staff.instrumentName = #"Vc."
      \set Staff.midiInstrument = #"cello"
      \set Score.currentBarNumber = #92
      \time 4/4
      \key d \major
      \clef bass
      \tempo "Allegro assai" 2 = 60
      \set Score.tempoHideNote=##t
      \bar ""
        fis2\p( g4 a) | a4( g fis e) | d2( e4 fis) | fis4.( e8) e2 |
        fis2( g4 a) | a4( g fis e) | d2( e4 fis) | e4.( d8) d2 | \break
        e( fis4 d) | e( fis8 g fis4 d) | e( fis8 g fis4 e) | d( e a,) fis'~ |
        fis fis( g a) | a( g fis e) | d2( e4 fis) | e4.( d8) d2
    }
  }
}
</score>}}

The movement starts with an introduction in which musical material from each of the preceding three movements—though none are literal quotations of previous music<ref>{{harvnb|Cook|1993b|p=36}}</ref>—are successively presented and then dismissed by [[Recitative#Instrumental recitative|instrumental recitatives]] played by the low strings. Following this, the "Ode to Joy" theme is finally introduced by the cellos and double basses. After three instrumental variations on this theme, the human voice is presented for the first time in the symphony by the baritone soloist, who sings words written by Beethoven himself: <nowiki>''</nowiki>''O Freunde, nicht diese Töne!' Sondern laßt uns angenehmere anstimmen, und freudenvollere''.<nowiki>''</nowiki> ("Oh friends, not these sounds! Let us instead strike up more pleasing and more joyful ones!").

{{Block indent|<score sound="1">
\layout { indent = 2.5\cm }
\relative c' {
   \set Staff.instrumentName = #"Baritone"
   \set Staff.midiInstrument = #"voice oohs"
   \set Score.currentBarNumber = #216
   \bar ""
   \clef bass
   \key d \minor
   \time 3/4
   \set Score.tempoHideNote = ##t \tempo 4 = 104
   r4^\markup { \bold { \italic { Recitativo } } } r a
   \grace { a8^( } e'2.)(~
   e4 d8 cis d e)~
   e4 g,4 r8 g
   bes2( a8) e
   f4 f r
   }
   \addlyrics { O Freun -- de, nicht die -- se Tö -- ne! }
</score>}}

At about 25 minutes in length, the finale is the longest of the four movements. Indeed, it is longer than several entire symphonies composed during the [[Classical period (music)|Classical era]]. Its form has been disputed by musicologists, as [[Nicholas Cook]] explains:

{{Blockquote|Beethoven had difficulty describing the finale himself; in letters to publishers, he said that it was like his [[Choral Fantasy (Beethoven)|Choral Fantasy]], Op. 80, only on a much grander scale. We might call it a [[cantata]] constructed round a series of variations on the "Joy" theme. But this is rather a loose formulation, at least by comparison with the way in which many twentieth-century critics have tried to codify the movement's form. Thus there have been interminable arguments as to whether it should be seen as a kind of sonata form (with the [[Turkish music (style)|"Turkish" music]] of bar 331, which is in B{{music|flat}} major, functioning as a kind of second group), or a kind of [[Concerto|concerto form]] (with bars 1–207 and 208–330 together making up a double exposition), or even a conflation of four symphonic movements into one (with bars 331–594 representing a Scherzo, and bars 595–654 a slow movement). The reason these arguments are interminable is that each interpretation contributes something to the understanding of the movement, but does not represent the whole story.<ref>{{harvnb|Cook|1993b|p=34}}</ref>}}

Cook gives the following table describing the form of the movement:<ref>{{harvnb|Cook|1993b|p=35}}</ref>

{| class="wikitable" style="margin-left: auto; margin-right: auto; border: none;"
|+
! colspan="2" style="background: Silver"|Bar
! style="background: Silver" | Key
! style="background: Silver" | Stanza
! style="background: Silver" | Description
|-
|1
|1{{refn|group=n|The second column of bar numbers refers to the editions in which the finale is subdivided. Verses and choruses are numbered in accordance with the complete text of Schiller's "[[An die Freude]]"}}
| style="text-align:center" | d
|
|Introduction with instrumental recitative and review of movements 1–3
|-
|92
|92
| style="text-align:center" | D
|
|"Joy" theme
|-
|116
|116
|
|
|"Joy" variation 1
|-
|140
|140
|
|
|"Joy" variation 2
|-
|164
|164
|
|
|"Joy" variation 3, with extension
|- style="background: Gainsboro;"
| 208
| 1
| style="text-align:center" | d
|
|Introduction with vocal recitative
|- style="background: Gainsboro;"
|241
|4
| style="text-align:center" | D
| style="text-align:center" | V.1
|"Joy" variation 4
|- style="background: Gainsboro;"
|269
|33
|
| style="text-align:center" | V.2
|"Joy" variation 5
|- style="background: Gainsboro;"
|297
|61
|
| style="text-align:center" | V.3
|"Joy" variation 6, with extension providing transition to
|-
|331
|1
| style="text-align:center" | B{{music|flat}}
|
|Introduction to
|-
|343
|13
|
|
|"Joy" variation 7 ("[[Turkish music (style)|Turkish march]]")
|-
|375
|45
|
| style="text-align:center" | C.4
|"Joy" variation 8, with extension
|-
|431
|101
|
|
|[[Fugue|Fugato]] episode based on "Joy" theme
|-
|543
|213
| style="text-align:center" | D
| style="text-align:center" | V.1
|"Joy" variation 9
|- style="background: Gainsboro;"
|595
|1
| style="text-align:center" | G
| style="text-align:center" | C.1
|Episode: "Seid umschlungen"
|- style="background: Gainsboro;"
|627
|76
| style="text-align:center" | g
| style="text-align:center" | C.3
|Episode: "Ihr stürzt nieder"
|-
|655
|1
| style="text-align:center" | D
| style="text-align:center" | V.1, C.3
|[[Double fugue]] (based on "Joy" and "Seid umschlungen" themes)
|-
|730
|76
|
| style="text-align:center" | C.3
|Episode: "Ihr stürzt nieder"
|-
|745
|91
|
| style="text-align:center" | C.1
|
|- style="background: Gainsboro;"
|763
|1
| style="text-align:center" | D
| style="text-align:center" | V.1
|[[Coda (music)|Coda]] figure 1 (based on "Joy" theme)
|- style="background: Gainsboro;"
|832
|70
|
|
|[[Cadenza]]
|-
|851
|1
| style="text-align:center" | D
| style="text-align:center" | C.1
|Coda figure 2
|-
|904
|54
|
| style="text-align:center" | V.1
|
|-
|920
|70
|
|
|Coda figure 3 (based on "Joy" theme)
|}

In line with Cook's remarks, [[Charles Rosen]] characterizes the final movement as a symphony within a symphony, played without interruption.<ref name=Rosen>[[Charles Rosen|Rosen, Charles]]. ''[[The Classical Style|The Classical Style: Haydn, Mozart, Beethoven]]''. p. 440. New York: Norton, 1997.</ref> This "inner symphony" follows the same overall pattern as the Ninth Symphony as a whole, with four "movements":

# [[Theme and variations]] with slow introduction. The main theme, first in the cellos and basses, is later recapitulated by voices.
# [[Scherzo]] in a {{music|time|6|8}} military style. It begins at ''Alla marcia'' (bars 331–594) and concludes with a {{music|time|6|8}} variation of the main theme with [[Choir|chorus]].
# Slow section with a new theme on the text "Seid umschlungen, Millionen!" It begins at ''Andante maestoso'' (bars 595–654).
# [[fugue|Fugato]] finale on the themes of the first and third "movements". It begins at ''Allegro energico'' (bars 655–762), and two [[canon (music)|canons]] on main theme and "Seid unschlungen, Millionen!" respectively. It begins at ''Allegro ma non tanto'' (bars 763–940).

Rosen notes that the movement can also be analysed as a set of variations and simultaneously as a concerto sonata form with double exposition (with the fugato acting both as a development section and the second tutti of the concerto).<ref name=Rosen />

====Text of the fourth movement====
[[File:Friedrich Schiller by Ludovike Simanowiz.jpg|thumb|Portrait of [[Friedrich Schiller]] by [[Ludovike Simanowiz]] (1794)]]
The text is largely taken from [[Friedrich Schiller]]'s "[[Ode to Joy]]", with a few additional introductory words written specifically by Beethoven (shown in italics).<ref>{{cite web|url=http://raptusassociation.org/ode1785.html|title=Beethoven Foundation – Schiller's "An die Freude" and Authoritative Translation|access-date=5 October 2008|archive-url=https://web.archive.org/web/20080923211420/http://www.raptusassociation.org/ode1785.html|archive-date=23 September 2008|url-status=dead}}</ref> The text, without repeats, is shown below, with a translation into English.<ref>The translation is taken from the [[BBC Proms]] 2013 programme, for a concert held at the [[Royal Albert Hall]] ([http://www.bbc.co.uk/proms/whats-on/2013/august-11/14710 Prom 38, 11 August 2013]). This concert was broadcast live on BBC Radio 3 and later on BBC4 television on 6 September 2013, where the same translation was used as subtitles.</ref> The score includes many repeats.
{|
|<poem style="margin-left: 2em;">''O Freunde, nicht diese Töne!''
''Sondern laßt uns angenehmere anstimmen,''
''und freudenvollere.''</poem>
|<poem style="margin-left: 2em;">''Oh friends, not these sounds!''
''Let us instead strike up more pleasing''
''and more joyful ones!''</poem>
|-
|<poem style="margin-left: 2em;">''Freude!''
''Freude!''</poem>
|<poem style="margin-left: 2em;">''Joy!''
''Joy!''</poem>
|-
|<poem style="margin-left: 2em;">Freude, schöner Götterfunken
Tochter aus Elysium,
Wir betreten feuertrunken,
Himmlische, dein Heiligtum!
Deine Zauber binden wieder
Was die Mode streng geteilt;
Alle Menschen werden Brüder,
Wo dein sanfter Flügel weilt.</poem>
|<poem style="margin-left: 2em;">Joy, beautiful spark of divinity,
Daughter from [[Elysium]],
We enter, burning with fervour,
heavenly being, your sanctuary!
Your magic brings together
what custom has sternly divided.
All men shall become brothers,
wherever your gentle wings hover.</poem>
|-
|<poem style="margin-left: 2em;">Wem der große Wurf gelungen,
Eines Freundes Freund zu sein;
Wer ein holdes Weib errungen,
Mische seinen Jubel ein!
Ja, wer auch nur eine Seele
Sein nennt auf dem Erdenrund!
Und wer's nie gekonnt, der stehle
Weinend sich aus diesem Bund!</poem>
|<poem style="margin-left: 2em;">Whoever has been lucky enough
to become a friend to a friend,
Whoever has found a beloved wife,
let him join our songs of praise!
Yes, and anyone who can call one soul
his own on this earth!
Any who cannot, let them slink away
from this gathering in tears!</poem>
|-
|<poem style="margin-left: 2em;">Freude trinken alle Wesen
An den Brüsten der Natur;
Alle Guten, alle Bösen
Folgen ihrer Rosenspur.
Küsse gab sie uns und Reben,
Einen Freund, geprüft im Tod;
Wollust ward dem Wurm gegeben,
Und der Cherub steht vor Gott.</poem>
|<poem style="margin-left: 2em;">Every creature drinks in joy
at nature's breast;
Good and Evil alike
follow her trail of roses.
She gives us kisses and wine,
a true friend, even in death;
Even the worm was given desire,
and the cherub stands before God.</poem>
|-
|<poem style="margin-left: 2em;">Froh, wie seine Sonnen fliegen
Durch des Himmels prächt'gen Plan,
Laufet, Brüder, eure Bahn,
Freudig, wie ein Held zum Siegen.</poem>
|<poem style="margin-left: 2em;">Gladly, just as His suns hurtle
through the glorious universe,
So you, brothers, should run your course,
joyfully, like a conquering hero.</poem>
|-
|<poem style="margin-left: 2em;">Seid umschlungen, Millionen!
Diesen Kuß der ganzen Welt!
Brüder, über'm Sternenzelt
Muß ein lieber Vater wohnen.

Ihr stürzt nieder, Millionen?
Ahnest du den Schöpfer, Welt?
Such' ihn über'm Sternenzelt!
Über Sternen muß er wohnen.</poem>
|<poem style="margin-left: 2em;">Be embraced, you millions!
This kiss is for the whole world!
Brothers, above the canopy of stars
must dwell a loving father.

Do you bow down before Him, you millions?
Do you sense your Creator, O world?
Seek Him above the canopy of stars!
He must dwell beyond the stars.</poem>
|}

In the last two sections of the text, Beethoven goes back to the [[medieval music|medieval]] [[sacred music]] tradition:{{sfn|Buch|2003|p={{page needed|date=December 2024}}}} the composer recalls a liturgical [[hymn]], more specifically a [[psalmody]], using the eighth [[church mode|mode]] of [[Gregorian chant]], the ''[[Mixolydian|Hypomixolydian]]''.{{sfn|Buch|2003|p={{page needed|date=December 2024}}}} The religious questions are musically characterized by archaistic moments, veritable "Gregorian fossils" inserted into a "quasi-liturgical" structure based on the sequence first versicle – response – second versicle – response – hymn.{{sfn|Buch|2003|p={{page needed|date=December 2024}}}} Beethoven's employment of this sacred music style has the effect of attenuating the interrogative nature of the text when is mentioned the prostration to the supreme being.{{sfn|Buch|2003|p={{page needed|date=December 2024}}}}

Towards the end of the movement, the choir sings the last four lines of the main theme, concluding with "Alle Menschen" before the soloists sing for one last time the song of joy at a slower tempo. The chorus repeats parts of "Seid umschlungen, Millionen!", then quietly sings, "Tochter aus Elysium", and finally, "Freude, schöner Götterfunken, Götterfunken!".<ref>{{Cite book|author=Ludwig van Beethoven|title=Symphony No. 9|publisher=Eulenburg|year=1938|editor=Max Unger|editor-link=Max Unger (musicologist)|pages=265ff}} [[:de:s:An die Freude (Beethoven)|Text transcription at German Wikisource]]</ref>