Beethoven’s Ninth was hotly debated amongst listeners and music critics at first. But his setting of Schiller’s Ode to Joy in the final movement is now sung by classical music fans and many others as a matter of course. However, the catchy theme is deceptive, and the choral writing is in fact much more difficult than it looks. Dizzy heights and frequent contrasting tempo changes demand absolutely everything from the choral singer: here, every detail has to work, for this movement is ultimately the crowning conclusion of the 70-minute symphony.
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Performers: Renate Behle (soprano), Yvonne Naef (mezzo-soprano), Glenn Winslade (tenore), Hanno Müller-Brachmann (basso) – Rundfunkchor Berlin, SWR Sinfonieorchester Baden-Baden und Freiburg – Michael Gielen
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Composer
Ludwig van Beethoven
| 1770-1827Ludwig van Beethoven was without doubt one of the most influential composers in the history of music. His works formed the culmination of many genres – particularly instrumental – of Viennese classicism, and laid the foundation for the following decades. But Beethoven’s vocal works set standards too: the late Missa Solemnis is one of the most impressive choral works of its time; but his earlier Mass in C also opens up new worlds of expression for the liturgical text, and set the benchmark for the further development in the composition of the mass. And with the final chorus of the Ninth Symphony, the setting of Schiller’s Ode to Joy, Beethoven created one of the most frequently-performed and best known choral pieces of all, writing a timeless musical memorial to himself. Personal details
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Songwriter / Librettist
Friedrich Schiller
| 1759-1805
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Choir
Rundfunkchor Berlin
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Ensemble
SWR Sinfonieorchester Baden-Baden und FreiburgBaden-Baden und Freiburg
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Conductor
Michael Gielen
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Soloist - soprano
Renate Behle
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Soloist - alto
Yvonne Naef
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Soloist - tenor
Glenn Winslade
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Soloist - bass
Hanno Müller-Brachmann