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6010 Beethoven Ninth (LYRCD 6010) BEETHOVEN SYMPHONY No. 9 in D Minor, Op. 125 Ama Deus Ensemble Valentin Radu, Conductor Tatyana Galitskaya, Soprano Tatyana Rashkovsky, Mezzo-Soprano Kenneth Garner, Tenor Ed Bara, Bass I. Allegro ma non troppo, un poco maestoso II. Molto vivace (Scherzo) III. Adagio molto e cantabile IV. Presto: O Freunde, nicht diese Töne! Allegro assai: Freude, schöner Götterfunken, Tochter aus Elysium (from Schiller’s Ode to Joy) PROGRAM NOTE The Symphony No. 9 in D minor, Op. 125 “Choral” is the last complete symphony composed by Ludwig van Beethoven. Completed in 1824, the Ninth Symphony is one of the best-known works of the Western repertoire, considered both an icon and a forefather of Romantic music, and one of Beethoven’s greatest masterpieces. The 1 composer struggled for more than ten years before completing the work, and turned to the mighty Missa Solemnis while he considered his final symphony. Using voices in an orchestral symphony had never been attempted before. Beethoven finally decided to incorporate part of the Ode an die Freude (“Ode to Joy”), a poem by Friedrich Schiller, with text sung by soloists and a chorus in the new symphony’s last movement. It is, indeed, the first example of a major composer using the human voice on the same level with instruments in a symphony, creating a work of a grand scope that sets the tone for the Romantic symphonic form. Ludwig van Beethoven (1770-1827) TRACKS AND TIMINGS: CD ONE (61:55) Symphony No. 9 (“Choral”) in D Minor, Op. 125 1 I. Allegro ma non troppo (13:19) 2 II. Molto vivace (Scherzo) (12:45) 3 III. Adagio molto e cantabile (13:19) 4 IV. Presto (5:54) 5 Recitative: “O Freunde” (9:58) 6 “Freude, schöner” (6:35) CD TWO (36:10) Die Ruinen von Athen The Ruins of Athens Op. 113 1 Overture (4:43) 2 Chorus: “Tochter des mächtigen Zeus” (3:01) 3 Duet: “Ohne Verschulden” (4:15) 4 Chorus: “Du hast in deines Ärmels” (2:22) 5 Turkish March (2:05) 6 Scene Music (1:53) 7 March/Chorus: “Schmu.ckt die Altäre” (6:07) 8 Recitative: “Mir reger Freude” (1:46) 9 Chorus: “Wir tragen” (2:24) 10 Aria/Chorus: “Will unser Genius “/”Er ist’s” (3:52) 11 Chorus: “Heil unserm König” (3:39) 2 WORDS IN ENGLISH: ODE TO JOY O friends, no more these sounds! Let us sing more cheerful songs, more full of joy! Joy, bright spark of divinity, Daughter of Elysium, Fire-inspired we tread Thy sanctuary. Thy magic power re-unites All that custom has divided, All men become brothers Under the sway of thy gentle wings. Whoever has created an abiding friendship, Or has won a true and loving wife, All who can call at least one soul theirs, Join in our song of praise; But any who cannot Must creep tearfully Away from our circle. All creatures drink of joy At nature’s breast. Just and unjust alike taste of her gift; She gave us kisses and the fruit of the vine, A tried friend to the end. Even the worm can feel contentment, And the cherub stands before God! Gladly, like the heavenly bodies Which he set on their courses Through the splendour of the firmament; Thus, brothers, you should run your race, As a hero going to conquest. You millions, I embrace you. This kiss is for all the world! Brothers, above the starry canopy There must dwell a loving Father. Do you fall in worship, you millions? World, do you know your Creator? Seek Him in the heavens; Above the stars must He dwell. WORDS IN GERMAN ODE: “AN DIE FREUDE” O Freunde, nicht diese töne! Sondern laßt uns angenehmere anstimmen und freudenvollere! Freude, schöner Götterfunken, 3 Tochter aus Elysium, Wir betreten feuertrunken,Himmlische, dein Heiligtum! Deine Zauber binden wieder, Was die Mode streng geteilt; Alle Menschen werden Bru.der, Wo dein sanfter Flu.gel weilt. 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. Freude trinken alle Wesen An den Brusten der Natur; Alle Guten, alle Bösen folgen ihrer Rosenspur. Kusse gab sie uns und Reben, Einen Freund, gepruft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott! Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan, Laufet, Bruder, eure Bahn, Freudig, wie ein Held zum Siegen. Seid umschlungen, Millionen. Diesen Kuß der ganzen Welt! Bru.der! Über’m Sternenzelt Muß ein lieber Vater wohnen. Ihr sturzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such’ ihn uber’m Sternenzelt! Über Sternen muß er wohnen. RUINEN VON ATHEN/THE RUINS OF ATHENS PROGRAM NOTE In 1811, Beethoven was commissioned to write music to inaugurate a theatre in the city of Pest—two brief masques, with texts by German poet August von Kotzebue. The principal work was Die Ruinen von Athen, based on the poet’s fanciful notion of Greek gods revisiting that city thousands of years after its classical heyday, only to discover the glorious temples in ruins, thanks to Roman and Turkish invasions. Minerva is joined by Mercury, who assures her that the modern city of Pest—appropriate for the occasion— has replaced ruined Athens as a center of high art and culture. 4 Die Ruinen von Athen has really only been known for its delightful overture and, of course, the brief Turkish March. Typical of the Singspiel and Nachspiel of the early 19th century, the work is a series of short musical selections interspersed with spoken dialogue— mostly long laments by the goddess and contrived arguments of Mercury. It is Beethoven’s music which reveals the work as the gem that it is. Following the Overture (TRACK 1), an unseen chorus awakens Minerva, hailing her as the “Daughter of Mighty Zeus” (TRACK 2). She is transported to Athens, and encounters a Greek man and woman who lament their fate as slaves of the Turks, and the state to which their masters have reduced their once proud land (TRACK 3). This is interrupted by the approach of Turkish Dervishes (TRACK 4). Next, menacing Turkish troops march across the stage to the best-known tune in the score. Beethoven had used his “Turkish March” (TRACK 5) two years earlier in a set of piano variations. Mercury tells the distraught Minerva that learning and culture blossom only in the German woods and on the shores of the Danube. He transports them to a town square in Pest, where they meet a citizen who describes the good fortune of his people—peaceful life and the blessings of nature and art under their enlightened ruler. Maidens and priests enter to the strains of a cheerful march, “Schmu.ckt die Altäre” (TRACK 7). A high priest sings of the noble aims of the spiritual life, leading to a chorus of dedication (TRACKS 8-10). The final number is an energetic chorus “Heil, unserm König!” saluting the Emperor (TRACK 11). DIE RUINEN VON ATHEN, OP. 113 (The Ruins of Athens) WORDS IN GERMAN CHORUS Die Ruinen von Athen Tochter des mächtigen Zeus! erwache! Sein Ruf ertönt! Geschwunden sind die Jahre der Rache! Er ist versöhnt! SOPRANO/BASS DUET Ohne Verschulden Knechtschaft dulden, harte Noth! Alle Tage neue Plage um das bischen liebe Brot! Von den Zweigen winkt der Feigen su.sse Frucht, Nicht dem Knechte der sie pflegte, Nur dem Herren, dem er flucht! Hingegeben wilden Horden, Tiefgebeugt in ihre Hand, ach! Was ist aus die geworden, Armes, armes Vaterland! 5 CHORUS Du hast in deines Ärmels Falten Den Mond getragen, ihn gespalten. Kaaba! Mahomet! Du hast den strahlenden Borak bestiegen Zum siebenten Himmel aufzufliegen, Großer Prophet! Kaaba! CHORUS Schmuckt die Altäre!— Sie sind geschmu.ckt. Streuet Weihrauch!— Er ist gestreut. Pflu.cket Rosen!— Sie sind gepflu.ckt. Harret der Kommenden!— Wir harren der Kommenden. Seid bereit!— Wir sind bereit. BASS SOLO (High Priest) Mit reger Freude, die nie erkaltet, empfangt das holde Schwesterpaar, Denn wo mit hohem Ernst die Muse sittlich waltet, Da opfert auch der Weise gem auf ihrem Altar. Was, mit dem Schicksal kämpfend, Grosse Seelen litten, Das hat Melpomene uns warnend aufgestellt, Indess Thalia, wachend u.ber die Sitten, Zu ernsten Lehren muntern Spott gesellt. Wohlthätig wirkt der Musen geistig Spiel, Der Sterblichen Veredlung ist ihr Ziel. CHORUS Wir tragen empfängliche Herzen im Busen, Wir geben uns willig der Täuschung hin! Drum weilet gern, ihr holden Musen, Bei einem Volke mit offenem Sinn. BASS SOLO (High Priest) Will unser Genius noch einen Wunsch gewähren, Durch eines Volkes fromme Bitten bewegt, O so erhebe zwischen diesen Altären Sich noch ein dritter, der sein Bildnis trägt! Es steh’ in seiner Kinder Mitte, Erblicke sich geliebt, geehrt! BASS SOLO AND CHORUS Er ist’s! Wir sind erhört. O Vater Zeus! Gewährt ist uns’re Bitte! 6 Heil unserm König! Heil! Vernimm uns Gott! Dankend schwören wir auf’s Neue Alte ungarische Treue bis in den Tod! WORDS IN ENGLISH CHORUS Daughter of Mighty Zeus! Awake! Her name resounds! The years of wrath are past! We are reconciled! SOPRANO/BASS DUET To suffer slavery, though guiltless, is misery! Every day new sorrow to get our scrap of bread! On its branch shines the fig tree’s sweet fruit, not for the slave that tended it but for the cursed master! The people oppressed, bent low by his hand, ah — what has befallen you, my poor fatherland! CHORUS In the folds of your sleeves you have carried the moon and shattered it.
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