Beethoven’s Symphony No. 9 (D minor, Op.125) is one of the world’s most frequently performed symphonies. Often, it’s referred to as Ode to Joy due to the inclusion in the final movement of Fredrich Schiller’s ode penned in 1785.
Beethoven broke new ground. This was the first example of a renowned composer scoring vocal parts within a symphony. The result was spectacular. This choral work is globally regarded by musicologists and critics as a masterpiece of Western classical music.
Profoundly deaf when it premiered in Vienna in the Spring of 1824, the esteemed composer had earnestly aimed for the four-movement symphony to premiere in Berlin. The ode is in German and at that time, the Italian operatic composers were on the rise in popularity.
Despite the omission of the tuba, many percussionists, and minimal use of the trombonists, the work is a massive instrumental undertaking. At its Viennese premiere, Beethoven expanded the Karntnertor House Orchestra to nearly twice its size by including additional musicians.
I attended Queensland Symphony Orchestra’s matinee performance on 30 November. My vantage point: front row, centre of the main balcony was magnificent.
Under the baton of Umberto Clerici, the orchestra launched into the four movements. Dominated by strings and led by the principal flautist, (Alison Mitchell) the first movement is alert and dramatic. With long draws of the bows, the music intensifies as the sense of drama increases.
There’s more drama in the second movement with its somewhat startling beginning. Woodwinds and strings own the searching melody with its dashing, racing tempo, with some rich trombone involvement. The timpani set played by Tim Corkeron exerts it’s own constant authority throughout this movement. Eventually, the pace slows and softens as auditory respite is found.
Under the calm control of Clerici’s conducting, equilibrium continues into the third movement. It’s not long however, before he’s again stirring his orchestra into swelling, voluminous sound. Parts of this movement are reminiscent of Bach’s, Jesu, Joy of Man’s Desiring.
The symphonic fourth movement is famed for its song, Ode to Joy. Beethoven added extra text to Schiller’s verse. The choral section commences with the rich solo sound of baritone, Samuel Duncan’s voice. Other soloists (Andrew Goodwin, Eleanor Lions and Ashlyn Timms) join him for some strong vocal harmonies.
When the seated choir (Brisbane Chamber Choir Collective) rose to their feet, we were in for a surprise. Unexpectedly, around the concert hall – in the stalls and side balconies – other choir members also stood with opened books. Undercover, plain-clothes, choral operatives had been inserted into the midst of the unsuspecting audience.
As the instrumental and vocal volume swells, Clerici is conducting a 360-degree enterprise. The sound is heavenly, harmonious. Beethoven has played his trump card. The pitch rises as the beautiful voice of the soprano soloist soars above the music and the choir.
The performance earns the orchestra and conductor a standing ovation. Orchestral sections are individually applauded. Clerici shakes hands warmly with the concertmaster, Natsuko Yoshimoto. As the soloists exit, Umberto bows graciously to the two women before giving the baritone a hearty high-five. A tremendous performance by our state orchestra and a triumphant conclusion to the 2024 season.
Back to the original composer- it took a petition signed by prominent Viennese patrons and performers before Beethoven agreed to premiere his ninth symphony in Vienna. It received five standing ovations. Knowing that Beethoven was deaf, ladies waved hankies while men waved top hats so Beethoven could witness their delight and his own success.
Beethoven’s Ode to Joy
Concert Hall – QPAC, Cultural Precinct, Corner Grey and Melbourne Streets, South Bank
Performance: Saturday 30 November 2024
Information: www.qso.com.au
Image: Chief Conductor Umberto Clerici (supplied)
Review: Michele-Rose Boylan