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The Ninth Symphony's finale |
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The Ninth Symphony's finale and it's perceived structure
The Ninth's finale
begins with a full tutti orchestra, of which Wagner
refers to as the fanfare of terror. Immediately after the fanfare is the
recitation of cellos and contrabasses. The fanfare
gives a dramatic contrast to the flow from the previous slow
movement.
The way Beethoven organises his musical thoughts in this finale
(i.e. the fanfare, the recitative, the reminiscing of themes from
previous movements between recitations in a dramatic way before
introducing the joy theme) and the fact that the movement's
structure does not match any standard representation format. These
factors stir diverse opinions about the Ninth symphony. We present some
of the views below:
Schenker (in 1910s) suggests a ternary form for the finale. Baensch (in 1930s)
suggests a different three section (Stollen, Stollen and double Abgesang).
Sanders (in 1960s) and Winter (in 1990s ) see the finale as still being
governed by the sonata principle. Rosen (in 1980s) suggests that the finale
is a four-movement work in miniature [see Levey (1995)]. The diagram below
summarises the structure viewed from these different view points. The
bar number are based on choralsym score version.
All of them are plausible interpretations. As a matter of fact, it is apparent
that the different interpretations emerge from different structural
groupings; the major landmarks are the same. However, so far, there is still
no one best complete interpretation of the work.
Burrows (1988) points out in the course materials that the structure of
the finale has many similarities to his early Choral fantasia. The
idea of seeing similarities between the Choral fantasia and the finale is well
grounded since Beethoven himself sees the similarities in them.
The other idea that we find very interesting is the fractal idea. The
fractal idea sees a bigger whole as forming from smaller similar
units. Tovey, Rosen and Levy share the view that there are similarities
between the structure of the finale and the structure of the whole
symphony.
Tovey remarks [see `The Beethoven Companion' by Arnold and Fortune(1971)][p:310-311]
:
`There is no part of Beethoven's Choral symphony which does not, become
clearer to us when we assume that the choral finale is right'.
According to Tovey, when one accepts the structure of the finale in its own
right, all the obscurities in the movements become clear.
Levy also explains the construction of the
finale based on the fractal idea which seeing a four-movement plan of
the whole work in the finale.
All in all, we are convinced that the finale, the choral fantasia and
the preceding three movements (of the Ninth symphony) share some
common composition
thoughts. We argue that the common features can be seen both with and without
extra musical associations.
A logical connection
There is evidence from Beethoven's sketches that the general concepts of
the Ninth symphony (i.e. movement planning, musical materials in each
movement) are conceived from an early stage of the composition process.
This suggests that the logical connections of the whole work are natural
and they are very likely to be from Beethoven's conscious intentions.
We discuss the music without resorting to extra-musical associations
by arguing that Beethoven creates the homogeneity from the similarities
of various musical concepts (e.g. tonalities, metrical structures,
themes). The discussion is based on the similarities between:
Structure of the Ninth symphony
To point out the similarities in them we briefly summarise the structure
of the four movements here.
The first movement is in the sonata form, it is opened with
an incomplete dominant chord (no third). This movement is distinct
for a number of features. Apart from the opening with an incomplete dominant
chord, the second key area is in Bb major which is not a common practice in
those days. The music in this movement is distinct for its flow of
energy (not a flow of melody but rather a flow of sound
mass). Burrows (1988) point out the tuneless
and the colourless of orchestration quality of the movement.
Cook (1993)[p:28] suggests that Beethoven create a continual motion
in this movement by repeated avoiding strong cadence and resolving the
harmonic resolution on the weak beats.
We will argue in later section that these characteristics and
deviations are intentionally devised to create a unity in the overall
picture.
The Scherzo--Trio is the second movement of the Ninth symphony. This is
not a common practice though it is not very unusual. However, this arrangement
is crucial for the fractal view since it provides a mapping between the
Scherzo-Trio to the section from bar 330-595 in the finale and subsequently
sees the similarities in the section from bar 595-655 in the finale with
the third movement. It is interesting to see that there is not much
tonal contrast between the first
and the second movement. There are two other interesting harmonic plans in
this movement. Firstly, the second key area is in an unusual flattened
seventh (C major) away from the home key (D minor). Secondly, the
development section employs progression by third to various tonalities
along the course from tonic to dominant.
The third movement is in a sonata rondo form. The exposition presents four
variations based on two themes (A,B,A',B'). The development and the
recapitulation sections are based on theme A.
The main tonality of this movement is in Bb major which is
the second key area in the first movement. For the first time, the music
expresses beauty in contrast to the forceful energy in the previous two
movements. Beethoven connects each
tonality region with sharp contrasts. The overall tonality progresses
mostly in third relationship: M3 up -- M3 down -- m3 down -- M3 down
-- m3 down -- M2 down -- P5 down -- P5 up -- m3 up -- m3 down.
The last movement is the most problematic one in term of its structure.
We adapt the diagram from unit 11-12 in the course materials. We
map the structure of the finale to two ideas (i.e. the double
variations and the fractal idea). In this diagram V1 means
Verse 1 and C1 means Chorus 1 with respect to the Schiller's
Ode to Joy.
In Beethoven's late works, music materials seem to grow out of the motive
seed; musical structure tends to be fused from many structural techniques.
Beethoven employs this tactics to create homogeneity out of heterogeneity.
In the Ninth symphony, the joy theme provides links in all movements; each
movement is thoughtfully constructed (i.e. the arrangement of themes,
tonality, metrical structure, tempo, mood) to allow a balance and
continuity as a whole.
We believe that Beethoven makes deviations in each movement from the norm
(e.g. Bb major as the second key area in the first movement; Scherzo as the
second movement) in aiming for the continuity in the bigger scope.
Connections without extra musical associations
In 1801, Beethoven expressed his unsatisfactory with the works he had
so far accomplished;
he announced ``from this day on, I shall take a new path''. He
continuously seeks new ways to express his musical thoughts for all his life.
Hopkins (1981)[p:245] points out that in Beethoven late piano sonatas
(i.e. Bb major--op 106; E major--op 109; Ab major--op 110), Beethoven
exploits the idiom by, for example, fluctuating the tempo, beginning the
movement with a recitative, etc.
These features are also observed in the Ninth's finale. We argue that
in the Ninth symphony, Beethoven has successfully developed a
satisfactory form to handle his extensive expressions.
One possible structure that Beethoven has in mind when composing the
Ninth's finale could be the double variation form which combines both
instruments and vocals together.
There are striking similarities between the finale and the choral
fantasia. Both works incorporate instruments and voices and aiming
to highlight the vocal section. We see the following similarities in the
top level form:
Creating a coherent whole by employing similar structure in
the construction is an effective strategy. From the thematic material point of
view, we see the existent of the joy theme in all movements. This gives
a coherent in terms of the melodic idea. Beethoven extends the same concept
to other musical building blocks. In the Ninth symphony, each movement is
skillfully constructed to allow the balance and continuity as a whole
in various perspectives.
It is convincing to see the finale as constructed from mini four-movements
which match very well with the previous three movements. We can see that the
Bb major area in the finale (Turkish music section) shares a close
association to the second movement in terms of metrical structure, tempo and
mood. The section between bar 595-655 in the finale bears a close relationship
to the slow third movement.
The above is not the only similarity seen in the fractal view. We can also
see similarities in the harmonic plan of the first movement and the
finale.
Connections with extra musical associations
The start of the finale reminds us of scenes from the past. The
scenes are revealed one by one, just like the flash back technique used in
movies. At the surface level, we can see the agreement between Schiller's
verse and the mood of music.
The verse and chorus in the Ode to Joy are rearranged by Beethoven.
There are nine verse---chorus pairs in the poem; only verse 1, verse 2,
verse 3, chorus 1, chorus 3 and chorus 4 are set with the music.
It seems that verse 1 and chorus 1 are the main ideas he wants to
convey.
The associations between music, texts and emotional contents are
culturally apparent. Levy suggests the close associations among
the Turkish music, the Heroic idea and the text
`Froh, wie seine Sonen fliegen...'. It is also apparent that
chorus 1 and chorus 3 are set with a solemn music. kinderman
points out the use of Eb chord as the representation for the presence
of deity in the Credo of the Missa solemnis and in the
Ninth finale (bar 643-646). The associations at this level are very
convincing.
However, if Beethoven intends to arrange the music in a narrative way is not
easy to illustrate.
There are collective agreements (for the western ears) that the first movement
possesses a triumphant quality. The second and third movement are
generally perceived as two different types
of joy. Cook (1993) [p:66] makes clear that our
interpretations are conditioned by our experience; Grove hears the
first movement as an accomplished triumph while Tovey hears it as a
threatening triumph. This alarms us that this type of interpretation
could be very personal.
The fact that the finale starts with the fanfare,
the recitative and the reminiscing of themes from the three preceding
movements. The finale favours the hermeneutic view in many points, by
attaching meaning to the first three movements (according to the emotional
expressions); it is not hard to come to the conclusion that Beethoven
composed the work with extra hidden narration.
Hopkins (1981)[p:272] pictures `Beethoven talking to himself on paper'
in searching for the right tune for the finale. We believe his
narration owes a lot to the opening text (i.e. O Freunde, nicht diese
Töne...).
Perhaps, the first narrative given to the Ninth symphony is by Marx.
In 1826, Marx put a narrative over the whole symphony, he says
`we must recognise that it is something other than a vocal composition'
[quote from Cook (1993)][p:67-80]. Marx's narrative is about `man's triumph
over nature'. There are also other narrative versions.
Fröhlich's version is about `The power of joy to overcome sorrow'.
Wagner's version is also about `the quest for joy'.
It is not a surprise to see that the Ninth symphony also fit a revolutionary
narration, or even Buddhism's `four noble truths'. The interpretation
merely acts as a surface representation of the music.
Conclusion
Beethoven's organic style becomes very distinct during his last period.
We can see the existence of the joy theme in all movements.
He also exploits the structural idiom extensively.
The expansion of the traditional symphonic form is observed as early
as the 1810s (e.g. in the Eroica symphony).
The second movement in the Eroica is expanded with an inserted
fugal episode between the funeral March. We also see fugal sections in
the first, the second and the last movements in the Ninth symphony.
Various late works also employ devices like tempo fluctuation, theme
reminiscing.
Basil Deane also points out the similarities in the tonality plan between
the Fifth symphony and the Ninth symphony [see Arnold and Fortune(1971)] [p:307-308].
This favours the argument that the deviation from the norm is purely for
musical purposes. There is a complete scene in music without resorting to
an extra-musical interpretation.
However, extra-musical association approach could provide a useful
contribution to the understanding of the work, but at the same time it
could be extremely harmful as it may lead to an absolute misleading
concept (if it is abused).
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Somnuk Phon_Amnuaisuk References
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