\n1824 \u2013 2024: 200th anniversary of the first performance of
\nBeethoven’s Ninth Symphony<\/font><\/strong><\/center>
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![\"\"](\"https:\/\/www.motivgruppe-musik.com\/wp-content\/uploads\/2024\/04\/200-Jahre-Neunte-1.jpg\")
\nUruguay 27.10.2020: K\u00e4rntnertortheater in Vienna
\nand excerpt from the autograph for the 4th movement.<\/strong><\/center>
\nOn May 7, 2024 we will celebrate the 200th anniversary of the first performance of Beethoven’s Ninth Symphony in the K\u00e4rntnertortheater in Vienna.
\nAs early as mid-1792, shortly before his departure for Vienna, Beethoven confided to the Bonn university professor Fistenich that he wanted to set Schiller’s poem \u201cAn die Freude\u201d to music. But it was not until 1815\/1816 that the first sketches of the 9th Symphony were created. During the summer months of 1821, 1822 and 1823, Beethoven worked on the composition in the health resort of Baden near Vienna. Although the intention of setting Schiller’s hymn to music accompanied Beethoven throughout most of his life, it was not until 1822 that he decided to use the verses in the
finale of the 9th Symphony. In the late summer and autumn of 1823, the composer worked on the draft of the fourth and final movement of the symphony, the \u201cOde to Joy\u201d. Beethoven completed the composition of the symphony in the winter of 1823\/1824 in his apartment on Ungargasse in Vienna.
\nThe premiere of the 9th Symphony took place on May 7, 1824 at a concert that Beethoven organized in the K\u00e4rntnertortheater in Vienna. The conductor Michael Runde conducts with the deaf Beethoven. The soloists are Henriette Sontag (soprano), Caroline Unger (alto), Anton Haizinger (tenor) and Joseph Seipelt (baritone). <\/div><\/div>![\"\"](\"https:\/\/www.motivgruppe-musik.com\/wp-content\/uploads\/2024\/04\/200-Jahre-Neunte-3.jpg\")
\nJersey 26.3.2020: Score from the first movement<\/strong><\/center><\/div><\/div><\/div>
\n![\"\"](\"https:\/\/www.motivgruppe-musik.com\/wp-content\/uploads\/2024\/04\/200-Jahre-Neunte-2.jpg\")
\nMonaco 15.10.1970: “Ode to Joy” Baritone voice notes<\/strong><\/center><\/div><\/div>
\nThat evening, Beethoven experienced one of the greatest triumphs of his career. After the second movement, the Scherzo, a storm of applause broke out. The composer, who is extremely focused and of course has his back to the audience, doesn’t notice anything because of his deafness until Caroline Unger makes him turn around. The concert continues, and the third movement and the exceptionally long finale also impress the listeners. The big final crescendo sends both performers and listeners into ecstasy. Then the room seems to explode. The audience goes wild with enthusiasm. Because they know, of course, that Beethoven is insensitive to even very loud statements, people wave hats and white handkerchiefs. Beethoven, who is called forward five times – even the imperial family is usually only called three times – stoically accepts the frenetic applause.<\/div><\/div><\/div>On January 19, 1972, the Council of Europe adopted the melody of \u201cOde to Joy\u201d as its own anthem and commissioned the conductor Herbert von Karajan to arrange three versions: for piano, for wind instruments and for orchestra. In 1985, the instrumental version was adopted by the heads of state and government of the European Communities as the official anthem of the European Union.<\/font>
\nDidier Lachnitt (Quellen: Jan Caeyer \u201eBeethoven, Der einsame Revolution\u00e4r\u201c; Internet Recherche
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\nThe premiere of the 9th Symphony took place on May 7, 1824 at a concert that Beethoven organized in the K\u00e4rntnertortheater in Vienna. The conductor Michael Runde conducts with the deaf Beethoven. The soloists are Henriette Sontag (soprano), Caroline Unger (alto), Anton Haizinger (tenor) and Joseph Seipelt (baritone). <\/div><\/div>
\nJersey 26.3.2020: Score from the first movement<\/strong><\/center><\/div><\/div><\/div>
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\nMonaco 15.10.1970: “Ode to Joy” Baritone voice notes<\/strong><\/center><\/div><\/div>
\nThat evening, Beethoven experienced one of the greatest triumphs of his career. After the second movement, the Scherzo, a storm of applause broke out. The composer, who is extremely focused and of course has his back to the audience, doesn’t notice anything because of his deafness until Caroline Unger makes him turn around. The concert continues, and the third movement and the exceptionally long finale also impress the listeners. The big final crescendo sends both performers and listeners into ecstasy. Then the room seems to explode. The audience goes wild with enthusiasm. Because they know, of course, that Beethoven is insensitive to even very loud statements, people wave hats and white handkerchiefs. Beethoven, who is called forward five times – even the imperial family is usually only called three times – stoically accepts the frenetic applause.<\/div><\/div><\/div>On January 19, 1972, the Council of Europe adopted the melody of \u201cOde to Joy\u201d as its own anthem and commissioned the conductor Herbert von Karajan to arrange three versions: for piano, for wind instruments and for orchestra. In 1985, the instrumental version was adopted by the heads of state and government of the European Communities as the official anthem of the European Union.<\/font>
\nDidier Lachnitt (Quellen: Jan Caeyer \u201eBeethoven, Der einsame Revolution\u00e4r\u201c; Internet Recherche
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