Reviewing the Premiere of Beethoven's Ninth Symphony

            The Ninth piece of music seems as the construction of mirrors that reproduces and refracts the values, wishes and the fears of those who have the wish of understanding it.  Since it was first performed, the music has stimulated completely as it continue conflicting explanations.  These explanations include the earlier listeners and the commentators who had a proof in that Beethoven had lost it.  As they talked about the piece of music that it had an impossible technical demand while all its illogically utopian humanist idealism in the setting of the vocal in its last movement led to insanity. This piece of music has been the music that has motivated the tactic of musical analysis.  Some people feel that Beethoven was too successful in writing the piece of music that would be sang by every human while its vision was much global that it would be politically dangerous.  The tune that Beethoven composed as the motto for the whole world to follow it and to become the national anthem of the people. How a person viewed the music was base on what kind idea they had on mind, this would be whether al people should become brothers or that all who did not become brothers should be eliminated (Sachs &Harvey, 76).  

            The symphony on the song is based on the political history as it has been the anthem of the European Union.  Given that the ninth symphony is for the whole universe, there are many different trials for it to show how the music ties the room and the audience together.  It should break its troubling discontinuities and the differences by hearing it as a steady revelation of the Ode to Joy theme.  This tune is constantly anticipated in the previous movements as someone can hear the climax as the local conclusion of the process.  Beethoven makes the travel so open at the start of the climax as the cellos and the basses resist the music from the previous movements.  The musical course is paralleled by the tale of the emotional piece of music which starts with the burial of the old heroic nature in the first movement.  Beethoven saves his final masterstroke which is a brief and a breathless coda with a theme that he leaves immature and authoritative in that he puts himself into a greater effort.  This means that the motivation he could make was a mere preparation of something which was greater but he was unable to provide. Therefore he leaves us suspended on a threshold for others to have and to enlarge (Buch & Esteban, 145). 

            Beethoven ends his great work of music not with a successful finale but with an open imaginative challenge. The depth of the challenge is extraordinary since no other piece of music has motivated such approving remarks from such a wide range of critics and epoch.  The most recurring and important themes is its sheer emotional extent and the outcome that no other music has ever harmonized. Thus it can be stated that Beethoven’s infinite has opened a new world for us as the music discloses some unknown secrets about the holy art. The effect of the Beethoven’s music on the other musical groups is possible but exceptional as it has increased the capacity of the piece of music in extent and the appearance. The music’s third movement presented the world in its expression as it was also firm to head and not viable to go after it in a recital. In its account, it can be said that it linked the previous break amid the voiced tune of the compositions and the only active melody. The music symbolizes the initial unregulated sudden occurrence of unpolluted feelings in art which was up to that time ruled by official control (Buch& Esteban, 151). 

            Not like any other musician, Beethoven was a beneficial person who altered the approach of the conception of art thus several other musicians who feel to do their personal piece, inherits his spirits from Beethoven.  This music has inspired many recorded descriptions.  As a way of making sure that his work is accurate, Beethoven respected the metronome.  As the attention of the audience focuses on the end of the choral, the work id much momentum for increasing the time scales of music. The whole first movement of the song is dramatic through the exhibition and the recapitulation of the developed work of art. Beethoven has the power of fulfillment of his dramatic, piece of music and the social vision that portrays many questions that remain unsolved after the performance.  Beethoven sets chiller’s loneliness as he depicts the lines based on the punishment in the center of the exposition of the Ode to Joy theme with a strange depiction which is sung by the soloist and this brings the audience to a moment of doubt among an increase of affirmation. The music’s irony is that Beethoven while dreaming of his music of the pleasurable and loving association with the other humans who he searched for; rarely found those partners in his own life and this made his music become what he could not.  In the music that seems shocking and disturbing and the triumphalism description of the Ode to Joy tune, Beethoven has trombones and male voices drone the starkest of clinches.  This is not about the spiritual or bodily console but something much stranger and deeper (Saloman &Ora, 200). 

            The section of the climax sounds out the personality fear at the coldness and immensity of the space, putting the listeners in touch with the small uselessness as persons and even as communal humanity faced with the depths of creation. What happens after Beethoven make a space sounds cloak on a vertiginously leading that sparkles with strange tremolos is that music rip back to earth for the start of the symphony’s surprising successful  policy and the Ode to Joy theme leaps around in a triple time blast. The climactic combination between the cosmos and the worldly celebration is only among the most fantastic contrast that define the finale in particular and the piece of music as a whole.  The increasing severe cuts as the piece of music continues can be well in the Beethoven’s service of the compositional credo that even when he was composing the music his cultural aim was to keep the whole in view.  The whole still remain puzzled with questions about who we are as a society and the purpose of our lives should be and what the limits of the piece of music might be.  The ninth piece of music is a realization of the limitless potential of the music to show that we are, that is the reason as to why Beethoven’s ninth piece of music is the central artwork of the music in western (Saloman &Ora, 215). 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Work cited

Buch, Esteban. "Beethoven's Ninth: A Political History." (2004). Print.

Sachs, Harvey. The Ninth: Beethoven and the World in 1824. New York: Faber and Faber, 2010. Internet resource.

Saloman, Ora F. Beethoven's Symphonies and J.s. Dwight: The Birth of American Music Criticism. Boston: Northeastern Univ. Press, 1995. Print.