Though Beethoven had long been fond of Schiller’s “Ode to Joy,” the Ninth symphony was not conceived at first as a celebration of joy. In 1818, he had the plan of introducing voices into a symphony “in the ancient modes,” but the text was to be relating to some Greek myth, or a pious song.
The symphony begins Allegro ma non troppo, D minor, 2-4; but the chief theme, though hinted at, does not appear until after sixteen measures. There is a continuous melodic development which may be divided into several distinct periods, but there is no marked contrast in character between what might be called eight separate themes.
The second movement, molto vivace, D minor, 3-4, is a scherzo, though it is not so called in the score. It is built on three leading themes. The peculiar rhythm of the dotted triplet is maintained either in the melody or in the accompaniment.
The third movement, adagio molto e cantabile, B flat major, 4-4, has been described as a double theme with variations.
The finale begins with several orchestral sections, the first presto, D minor, 3-4. There are recitatives for the lower strings. Finally, the baritone enters with this recitative:
O brothers, these sad tones no longer!
Rather raise we now together our voices,
And joyful be our song!
Allegro assai, D major, 4-5. The baritone “with the encouragement of the basses of the choruses at the beginning,” sings the first theme. Then follow passages for chorus, quartet, until the tempo changes to allegro assai vivace alla marcia, B flat major, 6-8. There are later changes in tempo until the final prestissimo, “in which the chorus goes stark mad with joy.”
The following translation of Schiller’s ode is by the late Henry G. Chapman: