Editing Symphony No. 9 (Beethoven) (section)

==Form==
The symphony is in four [[movement (music)|movements]]. The structure of each movement is as follows:{{sfn|IMSLP score}}

{{Listen
| type         = music
| filename     = 01 Horenstein 9. Beethoven Pantheon XP 2250 - 1. Satz.flac
| title        = I. Allegro ma non troppo, un poco maestoso
| alt          =
| description  =
| filename2    = 02 Horenstein 9. Beethoven Pantheon XP 2250 - 2. Satz.flac
| title2       = II. Molto vivace
| alt2         =
| description2 =
| filename3    = 03 Horenstein 9. Beethoven Pantheon XP 2250 - 3. Satz.flac
| title3       = III. Adagio molto e cantabile
| alt3         =
| description3 =
| filename4    = 04 Horenstein 9. Beethoven Pantheon XP 2550 - 4. satz.flac
| title4       = IV. Finale
| alt4         =
| description4 =
}}

:{| class="wikitable"
! style="background: Silver" |Tempo marking
! style="background: Silver" |Meter
! style="background: Silver" |Key
|-
! colspan="3" style="text-align:center" |Movement I
|-
|[[Allegro (music)|Allegro]] ma non troppo, un poco [[maestoso]] {{music|quarter}} = 88
| style="text-align:center" | {{music|time|2|4}}
| style="text-align:center" | d
|-
! colspan="3" style="text-align:center" |Movement II
|-
|Molto [[Tempo#Basic tempo markings|vivace]] {{music|half}}{{music|dot}} = 116
| style="text-align:center" | {{music|time|3|4}}
| style="text-align:center" | d
|-
|Tempo#Basic_tempo_markings|Presto {{music|whole}} = 116
| style="text-align:center" | {{music|time|2|2}}
| style="text-align:center" | D
|-
|Molto vivace
| style="text-align:center" | {{music|time|3|4}}
| style="text-align:center" | d
|-
|Presto
| style="text-align:center" | {{music|time|2|2}}
| style="text-align:center" | D
|-
! colspan="3" style="text-align:center" |Movement III
|-
|Tempo#Basic_tempo_markings|Adagio molto e [[cantabile]] {{music|quarter}} = 60
| style="text-align:center" | {{music|time|4|4}}
| style="text-align:center" | B{{music|flat}}
|-
|Tempo#Basic_tempo_markings|Andante moderato {{music|quarter}} = 63
| style="text-align:center" | {{music|time|3|4}}
| style="text-align:center" | D
|-
|[[Tempo primo|Tempo I]]
| style="text-align:center" | {{music|time|4|4}}
| style="text-align:center" | B{{music|flat}}
|-
|Andante moderato
| style="text-align:center" | {{music|time|3|4}}
| style="text-align:center" | G
|-
|Adagio
| style="text-align:center" | {{music|time|4|4}}
| style="text-align:center" | E{{music|flat}}-e{{music|flat}}-B
|-
|[[Lo stesso tempo]]
| style="text-align:center" | {{music|time|12|8}}
| style="text-align:center" | B{{music|flat}}
|-
! colspan="3" style="text-align:center" |Movement IV
|-
|Presto {{music|half}}{{music|dot}} = 96{{sfn|Noorduin|2021}}
| style="text-align:center" | {{music|time|3|4}}
| style="text-align:center" | d
|-
|Allegro assai {{music|half}} = 80
| style="text-align:center" | {{music|time|4|4}}
| style="text-align:center" | D
|-
|Presto ("O Freunde")
| style="text-align:center" | {{music|time|3|4}}
| style="text-align:center" | d
|-
|Allegro assai ("Freude, schöner Götterfunken")
| style="text-align:center" | {{music|time|4|4}}
| style="text-align:center" | D
|-
|Alla [[March (music)|marcia]]; Allegro assai vivace {{music|half}}{{music|dot}} = 84 ("Froh, wie seine Sonnen")
| style="text-align:center" | {{music|time|6|8}}
| style="text-align:center" | B{{music|flat}}
|-
|Andante maestoso {{music|half}} = 72 ("Seid umschlungen, Millionen!")
| style="text-align:center" | {{music|time|3|2}}
| style="text-align:center" | G
|-
|Allegro energico, sempre ben [[marcato]] {{music|half}}{{music|dot}} = 84<br />("Freude, schöner Götterfunken" – "Seid umschlungen, Millionen!")
| style="text-align:center" | {{music|time|6|4}}
| style="text-align:center" | D
|-
|Allegro [[ma non tanto]] {{music|half}} = 120 ("Freude, Tochter aus Elysium!")
| style="text-align:center" | {{music|time|2|2}}
| style="text-align:center" | D
|-
|Tempo#Basic_tempo_markings|Prestissimo {{music|half}} = 132 ("Seid umschlungen, Millionen!")
| style="text-align:center" | {{music|time|2|2}}
| style="text-align:center" | D
|-
|}

Beethoven changes the usual pattern of [[Classical music era|Classical]] symphonies in placing the [[scherzo]] movement before the slow movement (in symphonies, slow movements are usually placed before scherzi).<ref>Jackson 1999, 26;{{incomplete short citation|date=January 2021}} Stein 1979, 106{{incomplete short citation|date=January 2021}}</ref> This was the first time he did this in a symphony, although he had done so in some previous works, including the [[String Quartet No. 5 (Beethoven)|String Quartet Op. 18 no. 5]], the [[Piano Trio, Op. 97 (Beethoven)|"Archduke" piano trio Op. 97]], the [[Piano Sonata No. 29 (Beethoven)|''Hammerklavier'' piano sonata Op. 106]]. And [[Joseph Haydn|Haydn]], too, had used this arrangement in a number of his own works such as the [[String Quartets, Op. 33 (Haydn)#Opus 33 No. 2|String Quartet No. 30 in E{{music|flat}} major]], as did [[Wolfgang Amadeus Mozart|Mozart]] in three of the [[Haydn Quartets (Mozart)|Haydn Quartets]] and the [[String Quintet No. 4 (Mozart)|G minor String Quintet]].

=== I. Allegro ma non troppo, un poco maestoso ===
The first movement is in [[sonata form]] without an [[Exposition (music)|exposition]] [[Repeat sign|repeat]]. It begins with [[open fifth]]s (A and E) played ''[[Dynamics (music)#Dynamic markings|pianissimo]]'' by [[tremolo]] strings. The opening, with its perfect fifth quietly emerging, resembles the sound of an orchestra [[Musical tuning|tuning up]],<ref>{{Cite book |last=Young |first=John Bell |url=https://archive.org/details/beethovenssympho0000youn |title=Beethoven's Symphonies: A Guided Tour |publisher=Amadeus Press |year=2008 |isbn=978-1574671698 |location=New York |oclc=180757068 |url-access=registration}}</ref> steadily building up until the first main theme in [[D minor]] at [[bar (music)|bar]] 17.<ref>{{harvnb|Cook|1993b|p=28}}</ref>
{{block indent|<score sound="1">
    \relative c''' {
        \set Staff.midiInstrument = #"violin"
        \set Score.tempoHideNote = ##t \tempo 4 = 88
        \key d \minor
        \time 2/4
        \set Score.currentBarNumber = #17

        \partial 32 d32\ff^\markup "First theme"
        a4~ a8.. f32
        d8.. a32 f8. a32( f)
        d4~ d16 f'-. e-. d-.
        a'8-. g-. e-. a-.
        d,8.\sf
    }
</score>}}

Before the development enters, the tremolous introduction returns. The development can be divided into four subdivisions, with adheres strictly to the order of themes. The first and second subdivisions are the development of bars 1–2 of the first theme (bars 17–18 of the first movement) .{{sfn|Schenker|1992|p=89}} The third subdivision develops bars 3–4 of the first theme (bars 19–20 of the first movement).{{sfn|Schenker|1992|p=93}} The fourth subdivision that follows develops bars 1–4 of the second theme (bars 80–83 of the first movement) for three times: first in A minor, then to F major twice.{{sfn|Schenker|1992|p=97}}

At the outset of the [[Recapitulation (music)|recapitulation]] (which repeats the main melodic themes) in bar 301, the theme returns, this time played ''fortissimo'' and in D {{em|major}}, rather than D {{em|minor}}. The movement ends with a massive [[Coda (music)|coda]] that takes up nearly a quarter of the movement, as in Beethoven's [[Symphony No. 3 (Beethoven)|Third]] and [[Symphony No. 5 (Beethoven)|Fifth Symphonies]].<ref>{{harvnb|Cook|1993b|p=30}}</ref>

A performance of the first movement typically lasts about 15 minutes.

=== II. Molto vivace ===
The second movement is a [[scherzo|scherzo and trio]]. Like the first movement, the scherzo is in D minor, with the introduction bearing a passing resemblance to the opening theme of the first movement, a pattern also found in the [[Piano Sonata No. 29 (Beethoven)|''Hammerklavier'' piano sonata]], written a few years earlier. At times during the piece, Beethoven specifies one downbeat every three bars—perhaps because of the fast tempo—with the direction ''ritmo di tre battute'' (rhythm of three beats) and one beat every four bars with the direction ''ritmo di quattro battute'' (rhythm of four beats). Normally, a scherzo is in [[Triple metre|triple time]]. Beethoven wrote this piece in triple time but [[Hypermetre|punctuated]] it in a way that, when coupled with the tempo, makes it sound as if it is in [[Duple and quadruple metre|quadruple time]].<ref name=":0">{{cite journal |last1=Cohn |first1=Richard L. |title=The Dramatization of Hypermetric Conflicts in the Scherzo of Beethoven's Ninth Symphony |journal=[[19th-Century Music]]|date=1992 |volume=15 |issue=3 |pages=188–206 |doi=10.2307/746424 |jstor=746424|issn=0148-2076}}</ref>

While adhering to the standard [[Ternary form#Compound ternary or trio form|compound ternary design]] (three-part structure) of a dance movement (scherzo-trio-scherzo or minuet-trio-minuet), the scherzo section has an elaborate internal structure; it is a complete sonata form. Within this sonata form, the first group of the exposition (the statement of the main melodic themes) starts out with a [[fugue]] in D minor on the subject below.<ref name=":0" />
{{Block indent|<score sound="1">
    \relative c''' {
        \set Staff.midiInstrument = #"violin"
        \set Score.tempoHideNote = ##t \tempo 2. = 116
        \key d \minor
        \time 3/4
        \set Score.currentBarNumber = #9
        \bar ""

        a4.\pp^\markup "First theme" a,8 a4
        d4-. e-. f-.
        e-. f-. g-.
        f-. e-. d-.
        f e d
        c b a
        gis a b
        a gis a
    }
</score>}}

For the second subject, it modulates to the unusual key of [[C major]]. The exposition then repeats before a short [[development section]], where Beethoven explores other ideas. The recapitulation (repeating of the melodic themes heard in the opening of the movement) further develops the exposition's themes, also containing timpani solos. A new development section leads to the repeat of the recapitulation, and the scherzo concludes with a brief [[Coda (music)#Codetta|codetta]].<ref name=":0" />

The contrasting trio section is in [[D major]] and in duple time. The trio is the first time the trombones play. Following the trio, the second occurrence of the scherzo, unlike the first, plays through without any repetition, after which there is a brief reprise of the trio, and the movement ends with an abrupt coda.<ref name=":0" />

The duration of the complete second movement is about 14 minutes when two frequently omitted repeats are played.

=== III. Adagio molto e cantabile ===
The third movement is a lyrical, slow movement in [[B-flat major|B{{music|flat}} major]]—the [[subdominant]] of D minor's relative major key, [[F major]]. It is in a [[Double variation|double variation form]],<ref>{{cite book |title=Beethoven Forum |date=1994 |publisher=University of Nebraska Press |isbn=978-0-8032-4246-3 |url=https://books.google.com/books?id=uBoqUJ2Xcj8C&q=double+variation+ninth+symphony&pg=PA69 |access-date=6 October 2021 |page=69 |language=en}}</ref> with each pair of variations progressively elaborating the rhythm and melodic ideas. The first variation, like the theme, is in {{music|time|4|4}} time, the second in {{music|time|12|8}}. The variations are separated by passages in {{music|time|3|4}}, the first in D major, the second in [[G major]], the third in [[E-flat major|E{{music|flat}} major]], and the fourth in [[B major]]. The final variation is twice interrupted by episodes in which loud [[fanfare]]s from the full orchestra are answered by octaves by the first violins. A prominent French horn solo is assigned to the fourth player.<ref>{{Cite web|last=Ericson|first=John|date=2010-04-10|title=The Natural Horn and the Beethoven 9 "Controversy"|url=https://www.hornmatters.com/2010/04/the-beethoven-9-controversy/|access-date=2021-10-06|website=Horn Matters {{!}} A French Horn and Brass Site and Resource {{!}} John Ericson and Bruce Hembd|language=en-US}}</ref>

A typical performance of the third movement lasts around 15 minutes.

===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>
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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>