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Sauli Zinovjev: Un Grande Sospiro – Orchestre de Chambre de Lausanne, Klaus Mäkelä (HD 1080p)

By Music Archive at 04:33 Klaus Mäkelä, Kymi Sinfonietta, Orchestre de Chambre de Lausanne, Sauli Zinovjev, Tapiola Sinfonietta No comments

Under the baton of the young Finnish conductor and cellist Klaus Mäkelä, the Orchestre de Chambre de Lausanne with the Tapiola Sinfonietta and Kymi Sinfonietta perform Sauli Zinovjev's Un Grande Sospiro. Recorded at Salle Métropole, Lausanne, Switzerland, on December 11, 2019.

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A composition at its best has everything. The entire life in a single moment. This is how composer Sauli Zinovjev sees it.

Since graduating from the Sibelius-Academy he has been focusing mainly on orchestral music with commissions and performances by distinguished orchestras such as the Finnish and Swedish Radio Symphony Orchestras, Orchestra de Chambre de Lausanne and most important Finnish orchestras in collaboration with some of the frontline conductors and soloists such as Klaus Mäkelä and Pekka Kuusisto. Zinovjev's most recent works include a Piano Concerto for pianist Vikingur Olafsson commissioned by Finnish and Swedish Radio Symphony Orchestras to be premiered in 2020 and currently Zinovjev is composing a new orchestral piece to be premiered in the season 2020-2021.

Zinovjev composes music that conveys vast emotions. The kind of music which also made him a composer. Until the age of sixteen, he played the guitar in a rock band and skateboarded. Then he saw a clip online with György Cziffra performing Liszt.

"It was as if wallpaper had been torn off the wall revealing a window to an open landscape. The euphoria and the virtuoso performance left a fanatic impression on me. To have the ability to inject so much art into a single moment. The entire spectrum of life."

Zinovjev uses classical music to make his view of the world intelligible. To convey it – life – to others.

Source: Anna-Kaari Hakkarainen (saulizinovjev.com)

Sauli Zinovjev (b. 1988)

♪ Un Grande Sospiro (2018)

Tapiola Sinfonietta
Kymi Sinfonietta

Orchestre de Chambre de Lausanne
Conductor: Klaus Mäkelä

Salle Métropole, Lausanne, Switzerland, December 11, 2019

(HD 1080p)

Photo by Otto Virtanen

Sauli Zinovjev (born 1988, Lahti) is a Finnish composer. Zinovjev studied composition in Sibelius Academy (2010-2015) and in HfM-Karlsruhe (2013-2014) under guidance of Tapio Nevanlinna and prof. Wolfgang Rihm.

Zinovjev's focus has been on orchestral music and his works have been performed by for example Swedish Radio Symphony Orchestra, Finnish Radio Symphony Orchestra, Lahti Symphony Orchestra, Tampere Philharmonic Orchestra, Turku Philharmonic Orchestra and Oulu Symphony Orchestra in collaboration with musicians such as Pekka Kuusisto, Klaus Mäkelä, André de Ridder and Okko Kamu. In 2019 Zinovjev was appointed as the Composer-in-Residence of the 60th Turku music festival.

On the concert season 2019-2020 Zinovjev's music will debut with the Bamberg Symphony, Orchestre de Chambre de Lausanne and National Arts Centre Orchestra. In the spring 2020 pianist Víkingur Ólafsson will premiere a new Piano concerto by Sauli Zinovjev with the Finnish Radio Symphony Orchestra.

In 2014 Zinovjev's composition "Gryf" was awarded the 3rd prize in the 3rd International Uuno Klami Composition Competition.

Source: en.wikipedia.org

Klaus Mäkelä (b. 1996, Helsinki) has established a strong international presence through his instant musical connection with orchestras around the world. Mäkelä is Chief Conductor and Artistic Advisor Designate of the Oslo Philharmonic Orchestra and will assume the position at the beginning of the 2020-2021 season. He is also Principal Guest Conductor of the Swedish Radio Symphony Orchestra, Artist in Association with Tapiola Sinfonietta, and Artistic Director of the Turku Music Festival.

In the 2019-2020 season, Mäkelä makes his first appearances with the NDR Elbphilharmonie, Münchner Philharmoniker, Bamberg Symphony Orchestra, Nederlands Radio Filharmonisch Orkest, Orchestre Philharmonique de Radio France, Orquesta Nacional de España, London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, The Hallé and Scottish Chamber Orchestra. He returns to the Oslo Philharmonic Orchestra, MDR Leipzig, Frankfurt Radio Symphony Orchestra, The Minnesota Orchestra, NAC Ottawa, Gothenburg and Tokyo Metropolitan symphony orchestras, and Orchestre de Chambre de Lausanne. Mäkelä also continues his tenures with the Swedish Radio Symphony Orchestra, and Tapiola Sinfonietta where he has embarked on a Beethoven Cycle which will continue over the next two seasons. This seasons' concert programmes also include masterworks by Bruckner, Rachmaninov, Shostakovich, and Debussy, Ravel and Berlioz.

Highlights from last season include appearances with Orchestre de Paris, Orchestre National de Lyon, Frankfurt Radio, Antwerp, Bern, and Malmö symphony orchestras, Bergen Philharmonic, Iceland Symphony Orchestra and Orchestre National du Capitole de Toulouse which have led to immediate and consistent re-invitations.

Also working in opera, Mäkelä made his operatic debut in with the Finnish National Opera conducting The Magic Flute and a concertante performance of Erkki Melartin’s Aino.

Mäkelä studied conducting at the Sibelius Academy with Jorma Panula and cello with Marko Ylönen, Timo Hanhinen and Hannu Kiiski. As a soloist, he has performed with Finnish orchestras such as the Lahti Symphony, Kuopio Symphony and Jyväskylä Sinfonia as well as appearing at many Finnish festivals including the Kuhmo Chamber Music and Naantali Music Festival. He plays a Giovanni Grancino cello from 1698, kindly made available to him by the OP Art Foundation.

Source: klausmakela.com

More photos

See also

Dmitri Shostakovich: Symphony No.7 in C major "Leningrad" – hr-Sinfonieorchester, Klaus Mäkelä (HD 1080p)

Robert Schumann: Piano Concerto in A minor – Martin Helmchen, hr-Sinfonieorchester, Klaus Mäkelä (HD 1080p)

Ludwig van Beethoven: Symphony No.9 in D minor "Choral" – Lauren Fagan, Hanna Hipp, Tuomas Katajala, Shenyang, Oslo Philharmonic Choir & Orcestra, Klaus Mäkelä (4K Ultra High Definition)

Dmitri Shostakovich: Symphony No.7 in C major "Leningrad" – hr-Sinfonieorchester, Klaus Mäkelä (HD 1080p)

By Music Archive at 11:40 Dmitri Shostakovich, hr-Sinfonieorchester, Klaus Mäkelä No comments

Under the baton of the young Finnish conductor and cellist Klaus Mäkelä, the hr-Sinfonieorchester performs Dmitri Shostakovich's Symphony No.7 in C major, Op.60 "Leningrad". Recorded at Alte Oper Frankfurt, on November 1, 2019.

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The Symphony No.7 in C major, Op.60, by Dmitry Shostakovich, known as "Leningrad", premiered informally on March 5, 1942, at a rural retreat by the Volga, where the composer and many of his colleagues were seeking refuge from World War II. Five months later, it would be given in the city whose name it bore under highly dramatic circumstances; the work would come to stand for Russian courage in the face of crisis and still is imagined to represent survival against difficult odds.

Few important compositions ever been performed under quite so trying circumstances as Dmitri Shostakovich's Symphony No.7. It was August 9, 1942. Not only was Europe at war, but the German army stood at the gates of Leningrad. So long had the city been under siege that several orchestra members had succumbed to famine during the rehearsal period, and the ensemble, finding itself short of players, put out a call for help. The Russian military officer in command of defense forces released any soldier who could play an orchestral instrument reasonably well long enough for the performance, which was transmitted by loudspeakers around the perimeter of the city, both to hearten the Russian people and to make the point to the Germans that surrender was not at hand. During the concert, empty chairs were placed in the orchestra to represent musicians who had perished before the performance could be given.

That Leningrad performance had not been the Symphony's first hearing. Although he had begun the work in Leningrad the previous summer, that winter, Shostakovich and other prominent cultural resources of the nation had been forcibly evacuated for their own protection, sent to Kuybyshev in the Volga. The Symphony was finished there and premiered with a gathering of the composer’s colleagues on March 5, 1942. Then in a burst of foresight, Shostakovich arranged for the score to be microfilmed. In this form, it was then smuggled to Iran, driven to Egypt, and flown via South America to the U.S., where Toscanini and the NBC Symphony gave it an American premiere on July 19, 1942. So the Leningrad performance was its third hearing, though the first in the city for which it was named.

As for the composer himself, he was unable to attend the American performance in person, but was there in spirit, on the cover of Time magazine, with a photograph of him in fire-fighting gear. Given both his international fame and his near-sightedness, the Russian army had declined to give Shostakovich a front-line post and instead assigned him to a domestic fire-fighting team, quietly informing his colleagues that it was their responsibility to keep him out of harm's way.

Soviet authorities were quick to declare the Symphony a musical depiction of heroic military actions, though Shostakovich himself asserted that it was more emotional than pictorial. From either perspective, it is not exactly an optimistic work. The opening Allegretto movement sets powerful themes in contrast to gentler ones, the latter particularly for flute. A distant march develops, complete with snare drum, and growing gradually more fearsome. The procession, more sardonic than grim, is interrupted at times by outbursts of brass. Setting the march energy aside temporarily, Shostakovich brings in mournful themes for strings and an extended solo for bassoon, before closing the movement with a distant recollection of the martial theme.

The second movement, Moderato (poco allegretto), begins with the second violins, whose theme gradually reappears elsewhere in the orchestra in layers of counterpoint. A short spotlight for oboe adds further color to the textures, which until that point had largely been focused upon strings. The generally flowing spirit of the opening pages yields to increasing restlessness and anxiety, verging on desperation. As the close of the movement approaches, Shostakovich gives a prolonged solo to the oft-neglected bass clarinet, its low and somber voice contrasting nicely with the bassoon, which had been featured late in the first movement.

He does not label the third movement, Adagio, a "funeral march", but it is essentially that, with grim opening chords, despairing string lines, and a distant march beat developing. A melancholy theme heard first in the flute grows and evolves as it moves to other instruments. Brass and percussion bring a measure of even greater anguish as the movement progresses, though it will close with a return to the weary sorrows with which it had begun.

The last movement, Allegro non troppo, may be a vision of ultimate victory. Opening in a subdued fashion, it gradually builds in determination with a renewed march mood. It is not the despairing march of the Adagio, but rather one of firm resolution, as if to remind listeners of the forces lurking outside the city gates. Poignant passages appear, suggestive of remembered losses, though the last few minutes – built upon a repeating rhythmic fragment in the strings – brings back the firm energy of earlier pages. It is still not quite music of victory, but at least of survival.

Shostakovich's Symphony No.7, is indeed a work of heroic scope, roughly an hour in length and with an orchestra well supplied with additional winds and percussion. Although it set out to reflect a particular time and place, one can also perceive it in broader terms. Imagine it as a symphony reflecting any people persevering in the face of adversity, and it becomes a work with universal appeal.

Source: Betsy Schwarm, 2017 (britannica.com)

Dmitri Shostakovich (1906-1975)

♪ Symphony No.7 in C major, Op.60 "Leningrad" (1939-1940)

i. Allegretto
ii. Moderato (poco allegretto)
iii. Adagio
iv. Allegro non troppo

hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra)
Conductor: Klaus Mäkelä

Alte Oper Frankfurt, November 1, 2019

(HD 1080p)

More photos

See also

Sauli Zinovjev: Un Grande Sospiro – Orchestre de Chambre de Lausanne, Klaus Mäkelä (HD 1080p)

Robert Schumann: Piano Concerto in A minor – Martin Helmchen, hr-Sinfonieorchester, Klaus Mäkelä (HD 1080p)

Ludwig van Beethoven: Symphony No.9 in D minor "Choral" – Lauren Fagan, Hanna Hipp, Tuomas Katajala, Shenyang, Oslo Philharmonic Choir & Orcestra, Klaus Mäkelä (4K Ultra High Definition)

Dmitri Shostakovich – All the posts

Robert Schumann: Piano Concerto in A minor – Martin Helmchen, hr-Sinfonieorchester, Klaus Mäkelä (HD 1080p)

By Music Archive at 06:41 hr-Sinfonieorchester, Klaus Mäkelä, Martin Helmchen, Robert Schumann No comments

Accompanied the hr-Sinfonieorchester under the baton of the young Finnish conductor and cellist Klaus Mäkelä, the rising German pianist Martin Helmchen plays Robert Schumann's Piano Concerto in A minor, Op.54. The concert was recorded at Alte Oper Frankfurt, on November 1, 2019.

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In September 1840 Clara and Robert finally married. After years of producing one masterpiece for solo piano after another (his first twenty-three opus numbers are solo piano works) he turned gloriously to song, and in the space of a single year wrote something like 168 of them. Alongside his composing, he was editor of the Neue Zeitschrift für Musik. This didn't bring in much income, and he knew the time had come to prove himself with a big symphonic work. His first success in that field came with his "Spring" Symphony, sketched in just four days and premiered at the Gewandhaus on 31 March 1841 with Mendelssohn conducting.

Just over a month later, he began work on a Phantasy for piano and orchestra, again working with great speed and completing it in ten days. The following week he orchestrated it, and a few months later made some revisions. It was first played through during a rehearsal for his "Spring" Symphony at the Gewandhaus on 13 August 1841. The orchestra's concertmaster, Ferdinand David, conducted, and Clara, two weeks away from giving birth to their first child, was of course at the piano. In her diary she wrote: "I also played the Fantasie in A minor; unfortunately, the performer herself had little pleasure (in the empty auditorium, that is), she heard neither herself nor the orchestra. But I played it twice and found it wonderful! When properly rehearsed, it is certain to give audiences the greatest pleasure. The piano is superbly woven together with the orchestra – you cannot conceive of one without the other".

It seems, however, that nobody much wanted a one-movement work. Despite many attempts, a publisher could not be found and the work was put aside. Another four years passed before Schumann worked on it again. He generally immsersed himself in one genre at a time, and 1842 was his year for chamber music. His Piano Quintet Op.44, with its virtuoso piano part, served as a pseudo-concerto for Clara, still awaiting the real thing. In 1843 Schumann devoted himself to large-scale choral works, and the following year Robert and Clara undertook a five-month tour of Russia. Robert was seriously ill for some time after his return from Russia, and at the end of 1844 they moved to Dresden in order to find more peace and quiet to work.

When Schumann did finally turn his attention to his piano concerto once more, he started by composing the third movement finale, calling it a Rondo. Only after completing that did he write the Intermezzo that connects this with the original first movement (which he then revised). It also seems that the bridge passage connecting the Intermezzo with the Rondo gave him particular trouble (there exist seven different versions). We are all so familiar with this music now that it seems so evident, but it wasn't arrived at easily.

John Worthen in his excellent biography of Schumann notes how ironic it was that Schumann finally gave Clara "her" concerto at a time in her life when she could hardly practise. By now she had three children and knew a fourth was on its way (she was pregnant ten times in fourteen years), and because Robert needed silence to compose she could only practise when he took his afternoon walk. Often she was too exhausted by that time to get much work done, and her performances were not frequent. But finally she had her concerto, and the first performance was given in the Hôtel de Saxe in Dresden on 4 December 1845. Ferdinand Hiller, to whom the concerto is dedicated, conducted the orchestra of the subscription concerts.

The Concerto was a success, as was confirmed by the review in the Allgemeine Musikalische Zeitung: "We all have reason to hold this composition in very high esteem and place it among the best by this composer, primarily because the usual monotony of the genre is happily avoided and the entirely obbligato orchestra part, fashioned with great love and care, is given its full due without leaving the impression of impairing the piano's achievements, and both parts keep up their independence in a beautiful alliance". The second performance (although it is often referred to mistakenly as the premiere) was given in the Leipzig Gewandhaus on New Year's Day 1846. There seems to be some confusion over who conducted: some sources say Mendelssohn, others say Niels Wilhelm Gade, who shared the conductor's duties at the time with his illustrious colleague.

Few pieces attract the attention of the audience so quickly as this Concerto. As Michael Steinberg so vividly writes: "The orchestra fires the starting gun, a single eighth-note [quaver] E, and the piano moves out of the blocks with a powerful cascade of fully voiced chords". The soloist, in fact, hardly stops playing during the entire concerto. The winds are given the initial statement of the opening melody, one in which the "Clara" motif of descending notes – abundantly used throughout Schumann's piano works – is fully apparent. There is no change of tempo marking here, even if the "tradition" is to slow down. The subsequent piano entry of the theme is powerfully expressive but intimate at the same time. The dialogue between piano and orchestra is constant, each taking their turn to be soloist and accompanist. This is most striking in the slower passage, marked Andante espressivo, in the middle of the first movement – a magical moment of repose, where the clarinet and piano are the featured soloists. It is interesting to compare the piano part in the central Più animato with what remains of that early Phantasy in A minor, where the writing is a lot more difficult in the later version. Perhaps Clara complained that it wasn't showy enough? The written-out cadenza is perfectly paced, and gave Clara the chance to shine. It begins with counterpoint, goes through some recitative-like passages, gains huge momentum with a brilliant outburst of chords over descending octaves, and returns passionately to the opening theme. From there the cadenza dissolves into a trill, but ends not with the standard cadence but rather leads directly into the re-entry of the orchestra, now giving us the theme much faster but in hushed tones. The crescendo to the final, uncompromising chords is dramatic to say the least.

Having written the last movement next, it is understandable that Schumann didn't want anything too "meaty" for the "slow" movement, when he finally got round to composing it. After the drama and shifting moods of the first movement, a short Intermezzo seems just the thing. Here, the notes of the first movement's descending motif are turned upside down and now go upwards, but the chamber-music feeling continues and is even amplified. The clarinet again features strongly, but so does the cello section, called upon to give us a "big tune". So often this central section can become distorted, wallowing in sentiment rather than retaining its confidentiality.

The bridge that Schumann finally settled on to link the Intermezzo with the finale returns to the "Clara" motif, first in the major, then in the minor, before bursting into the theme of the Allegro vivace. Here the ascending notes create a sense of unbounded joy. All the passagework in the piano part must sing and be heard. All that scurrying about in different keys during the most difficult moment of the Concerto – where Schumann inserts a prime example of his beloved rhythmic games, terrifying every conductor, even Mendelssohn himself it seems – must sound easy and coherent. And danceable. But what an exhilarating piece of music it is. Clara waited a long time for it, but it was worth it in the end.

Source: Angela Hewitt, 2012 (hyperion-records.co.uk)

Robert Schumann (1810-1856)

♪ Piano Concerto in A minor, Op.54 (1841-1845)

i. Allegro affetuoso
ii. Intermezzo: Andantino grazioso
iii. Allegro vivace

Martin Helmchen, piano

hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra)
Conductor: Klaus Mäkelä

Alte Oper Frankfurt, November 1, 2019

(HD 1080p)

“Nothing disconcerts the glorious, unshowy Martin Helmchen – the kind of performer who lifts his audiences up to heaven just by penetrating inside his music with nimble fingers, questing intelligence and a beating heart.” — The Times

Martin Helmchen has established himself as one of the prominent exceptional pianists of the younger generation. He performs with such orchestras as Berliner Philharmoniker under Herbert Blomstedt, Wiener Philharmoniker under Valery Gergiev, London Philharmonic Orchestra under Vladimir Jurowski, City of Birmigham Symphony Orchestra and Boston Symphony under Andris Nelsons and New York Philharmonic under Christoph von Dohnányi.

He also enjoys collaborations with conductors such as David Afkham, Marc Albrecht, Sir Mark Elder, Edward Gardner, Philippe Herreweghe, Manfred Honeck, Paavo Järvi, Emmanuel Krivine, Andrés Orozco-Estrada, Christoph Poppen, Michael Sanderling and David Zinman.

His quest for exploring all facets of music-making is born in his passion for chamber music – which was largely ignited in early collaborations with the late cellist Boris Pergamenschikow. Helmchen's chamber music partners have included Juliane Banse, Matthias Goerne, Veronika Eberle, Marie-Elisabeth Hecker, Christian Tetzlaff, Antje Weithaas, Carolin Widmann and Frank Peter Zimmermann. He is a regular guest to London's Wigmore Hall.

Scandinavia is a focus of his 2018-2019 season, which includes his debut with Oslo Philharmonic, plus returns to the Danish National Symphony Orchestra and the Royal Stockholm Philharmonic Orchestra. Elsewhere, he debuts with the Orchestre Symphonique de Montréal, the Orchestra Sinfonica Nazionale della Rai / Italy and the Orchestre Philharmonique du Luxembourg. Helmchen continues his close cooperation with the Deutsches Symphonie Orchester Berlin under Andrew Manze, and also returns to the Boston Symphony Orchestra.

He furthermore embarks on his Beethoven Cycle project with Frank Peter Zimmermann, which will span into 2019-2020, and features the duo in London, Berlin, Dresden, Freiburg, Warsaw, Madrid and Bilbao. To round off the season, he will additionally tour with Sabine Meyer and wind ensemble.

Martin Helmchen is an exclusive artist of Alpha Classics. Last year he released a solo CD of Beethoven's Diabelli Variations, a CD of Schumann's chamber music featuring Marie-Elisabeth Hecker and Antje Weithaas, and a Duo CD of Brahms featuring Marie-Elisabeth Hecker. He has recorded numerous CDs for Pentatone Classics, which include piano concertos by Mozart, Schumann and Mendelssohn, as well as chamber music by Schubert, Schumann and Brahms.

Born in Berlin in 1982 and a former student of Galina Iwanzowa in Berlin, Helmchen continued his studies with Arie Vardie at the Hochschule für Musik Hannover. His other mentors include William Grant Naboré and Alfred Brendel. In 2001 he won the "Concours Clara Haskil" and in 2006 he was awarded the "Credit Suisse Young Artist Award". Since 2010, Martin Helmchen has been an Associate Professor of chamber music at the Kronberg Academy.

Source: martin-helmchen.de

More photos

See also

Sauli Zinovjev: Un Grande Sospiro – Orchestre de Chambre de Lausanne, Klaus Mäkelä (HD 1080p)

Dmitri Shostakovich: Symphony No.7 in C major "Leningrad" – hr-Sinfonieorchester, Klaus Mäkelä (HD 1080p)

Ludwig van Beethoven: Symphony No.9 in D minor "Choral" – Lauren Fagan, Hanna Hipp, Tuomas Katajala, Shenyang, Oslo Philharmonic Choir & Orcestra, Klaus Mäkelä (4K Ultra High Definition)

Robert Schumann: Piano Concerto in A minor – Hélène Grimaud, NDR Elbphilharmonie Orchester, Thomas Hengelbrock

Robert Schumann: Piano Concerto in A minor – Jan Lisiecki, Orchestra dell'Accademia Nazionale di Santa Cecilia, Antonio Pappano

Robert Schumann: Piano Concerto in A minor – Nelson Freire, Rotterdam Philharmonic Orchestra, Claus Peter Flor

Ludwig van Beethoven: Symphony No.9 in D minor "Choral" – Lauren Fagan, Hanna Hipp, Tuomas Katajala, Shenyang, Oslo Philharmonic Choir & Orcestra, Klaus Mäkelä (4K Ultra High Definition)

By Music Archive at 13:31 Hanna Hipp, Klaus Mäkelä, Lauren Fagan, Ludwig van Beethoven, Oslo Philharmonic Choir, Oslo Philharmonic Orcestra, Shenyang, Tuomas Katajala No comments

Under the baton of the young Finnish conductor and cellist Klaus Mäkelä, the Oslo Philharmonic Choir and Orcestra, and the soloists Lauren Fagan (soprano), Hanna Hipp (mezzo-soprano), Tuomas Katajala (tenor) and Shenyang (bass-baritone) perform Ludwig van Beethoven's Symphony No.9 in D minor, Op.125. Recorded at Oslo konserthus, on January 4, 2019.

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Symphony No.9 in D minor, Op.125, byname the Choral Symphony, orchestral work in four movements by Ludwig van Beethoven, remarkable in its day not only for its grandness of scale but especially for its final movement, which includes a full chorus and vocal soloists who sing a setting of Friedrich Schiller's poem "An die Freude" ("Ode to Joy"). The work was Beethoven's final complete symphony, and it represents an important stylistic bridge between the Classical and Romantic periods of Western music history. Symphony No.9 premiered on May 7, 1824, in Vienna, to an overwhelmingly enthusiastic audience, and it is widely viewed as Beethoven's greatest composition.

Beethoven's Symphony No.9 was ultimately more than three decades in the making. Schiller's popular "Ode to Joy" was published in 1785, and it is possible that Beethoven made his first of multiple attempts to set it to music in the early 1790s. He clearly revisited the poem in 1808 and 1811, as his notebooks include numerous remarks regarding possible settings. In 1812 Beethoven determined to place his setting of "Ode to Joy" within a grand symphony.

Ten more years passed before that symphony's completion, and during that time Beethoven agonized over the composition's every note. His notebooks indicate that he considered and rejected more than 200 different versions of the "Ode to Joy" theme alone. When he finally finished the work, he offered to the public a radically new creation that was part symphony and part oratorio – a hybrid that proved puzzling to less-adventuresome listeners. Some knowledgeable contemporaries declared that Beethoven had no understanding of how to write for voices; others wondered why there were voices in a symphony at all.

The story of the premiere of Symphony No.9 is widely told and disputed. Beethoven had steadily lost his hearing during the course of the symphony's composition, and by the time of its premiere he was profoundly deaf. Although he appeared onstage as the general director of the performance, kapellmeister Michael Umlauf actually led the orchestra with the conductor's baton, taking tempo cues from Beethoven. According to one account of the event, the audience applauded thunderously at the conclusion of the performance, but Beethoven, unable to hear the response, continued to face the chorus and orchestra; a singer finally turned him around so that he could see evidence of the affirmation that resounded throughout the hall. Other accounts maintain that the dramatic incident occurred at the end of the second movement scherzo. (At the time, it was common for audiences to applaud between movements.) Whenever the applause occurred, that it passed unnoticed by Beethoven makes clear that he never heard a note of his magnificent composition outside his own imagination.

Symphony No.9 broke many patterns of the Classical style of Western music to foreshadow the monolithic works of Gustav Mahler, Richard Wagner, and other composers of the later Romantic era. Its orchestra was unusually large, and its length – more than an hour – was extraordinary. The inclusion of a chorus, moreover, in a genre that was understood to be exclusively instrumental, was thoroughly unorthodox. The formal structure of the movements, while generally adhering to Classical models, also charted new territory. For example, the first movement, although in Classical sonata form, confounds listeners first by rising to a fortissimo climax in the harmonically unstable exposition section and then by delaying a return to the home key. The scherzo, with all its propulsive energy, is placed as the second movement, rather than the customary third, and the third movement is a mostly restful, almost prayerful adagio. The last movement builds from a gentle beginning into a brazen finale, while recalling some of the themes from earlier movements; once the "Ode to Joy" theme arrives, the musical form essentially becomes that of variations within a broader sonata-form structure.

Despite some sharp initial critique of the work, Symphony No.9 has withstood the test of time and, indeed, has made its mark. In the world of popular culture, the symphony's menacing second movement in brisk waltz time provided a backdrop for some of the most tense and twisted moments in Stanley Kubrick's 1971 film adaptation of Anthony Burgess's psycho-thriller novel A Clockwork Orange (1962). The choral fourth movement accompanies a triumphant soccer (football) scene in Peter Weir's film Dead Poets Society (1989). In the realm of technology, the audio capacity of the compact disc was set at 74 minutes in the early 1980s, purportedly to accommodate a complete recording of Beethoven's Symphony No.9.

Symphony No.9 has also been used to mark monumental public events, among the most moving of which took place on Christmas Day 1989 in Berlin. There, in the first concert since the demolition of the Berlin Wall just a few weeks earlier, American conductor Leonard Bernstein led a group of musicians from both the eastern and western sides of the city in a performance of Beethoven's Symphony No.9 with a small but significant alteration: in the "Ode to Joy" the word Freude was replaced with Freiheit ("freedom"). A performance of the choral finale of the symphony – with simultaneous global participation via satellite – brought the opening ceremony of the 1998 Winter Olympics in Nagano, Japan, to a powerful close.

Source: Betsy Schwarm (britannica.com)

Ludwig van Beethoven (1770-1827)

♪ Symphony No.9 in D minor "Choral", Op.125 (1822-1824)

i. Allegro ma non troppo, un poco maestroso
ii. Scherzo: Molto vivace
iii. Adagio molto e cantabile
iv. Presto – Allegro ma non troppo – Vivace – Adagio cantabile

Lauren Fagan, soprano
Hanna Hipp, mezzo-soprano
Tuomas Katajala, tenor
Shenyang, bass-baritone

Oslo Philharmonic Choir (conductor: Øystein Fevang)

Oslo Philharmonic Orcestra

Conductor: Klaus Mäkelä

Sound production: NRK
Music Producer: Krzysztof Drab
Recording engineers: Elisabeth Sommernes and Marit Askeland
Video production: Trippel-M Levende Bilder
Director: Patrick Bakkland Gjerde

Oslo konserthus, January 4, 2019

(4K Ultra High Definition)

More photos

See also

Sauli Zinovjev: Un Grande Sospiro – Orchestre de Chambre de Lausanne, Klaus Mäkelä (HD 1080p)

Dmitri Shostakovich: Symphony No.7 in C major "Leningrad" – hr-Sinfonieorchester, Klaus Mäkelä (HD 1080p)

Robert Schumann: Piano Concerto in A minor – Martin Helmchen, hr-Sinfonieorchester, Klaus Mäkelä (HD 1080p)

Ludwig van Beethoven: Symphony No.9 in D minor "Choral" – Ricarda Merbeth, Sophie Koch, Robert Dean Smith, Samuel Youn, Choeur de Radio France, L'Orchestre Philharmonique de Radio France, Myung-Whun Chung (HD 1080p)

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