It is important to remember, as M. Romain Rolland has reminded us, that this is not a Choral Symphony in the strict sense of the term, but a "Symphony with a Final Chorus." The choral Finale was written by Beethoven in a separate MS., and, as with most of his other final movements, he seems to have expected no closer connection with the preceding three movements than that of general suitability. His original idea for a last movement to this Symphony was the Finale of the String Quartet in A minor, Opus 132, but for some reason or other his sketches for voices on Schiller's Ode were taken up again and worked into a Finale for this Symphony. Ten years had elapsed between the completion of the Eighth Symphony and the consummation of the Ninth, the colossal first three movements of which are on the highest plane of all music. As to the complete success of the choral numbers, opinions differ widely. The first movement, colossal in conception and dignified in tone, has moods of great passion and wonderful tenderness. The opening theme is mighty in aspiration, rugged in power.
The second movement is the Scherzo, one of Beethoven's longest, and perhaps his very finest. It is all brought about by the little germ theme of three notes, which, amongst other things, suggests an unusual tuning of the drums in octaves. A fugato follows, after which the second subject enters in the unorthodox key of C major. It is here that many conductors take upon themselves to thicken Beethoven's wood-wind melody, with the brass instruments. The Trio is built up on a delightful double theme ushered in by the very first entry of the bass trombone.
The Adagio opens with a melody of the utmost nobility, perfect in curve, and of a marvellous serenity.
A sudden modulation brings us to a new subject in D major in 3/4 time.