Why People Find Beethoven's Symphony No. 9 in D Minor Choral Less Appealing
As I re-listened to Symphony No. 9 in D Minor, Op. 125 and revisited my experience from singing it as a bass, my appreciation for the piece is balanced with a grounded critique. Despite acknowledging the brilliance of the first three movements, I must admit that the fourth and choral movement leaves a mixed impression. This article delves into why the choral section of Beethoven's Ninth Symphony might be less appealing to listeners and performers alike.
Setting the Tone with Giuseppe Verdi's Reflection
Verdi's insight into the choral part of Beethoven's Ninth Symphony “No one will ever approach the sublimity of the first movement, but it will be an easy task to write as badly for voices as in the last movement.” perfectly encapsulates the sentiment of many musicians and listeners. This observation reflects on the challenges and limitations imposed by Beethoven's approach to vocal writing in this symphony.
Choral Section and Vocal Idiomaticity
The choral part of the final movement, while a monumental achievement, is also notable for its unidiomatic writing for the voices. Unfortunately, this period of vocal music by Beethoven often lacks idiomaticity—meaning the music does not suitably reflect the natural capabilities and expressiveness of the human voice.
Melodic and Harmonic Challenges
Beethoven's choir seizes the melodic lines, which are marked by awkward shifts and stubborn jumps, such as the high Bs for sopranos placed in difficult spots and high Fs for basses. These passages often mimic string lines without considering the vocal range and expressiveness, making the music more challenging and potentially less harmonious for the performers. The repetitive and abrupt parts, like the blatantly copied string lines, strain the voices without providing effective support, leading to a sense of discomfort or emotional distance from the narrative.
Overreaching and Excessive Rocks in the Choral Movement
Despite the genius of the instrumental sections, the choral movement ventures so far into the realm of vocal limitations that it becomes difficult to enjoy. Beethoven pushes the vocal limit too early in the fourth movement, with the high Bs appearing as early as the third verse. This premature taxing of the choir leaves little room for the harmonious growth and development of the piece. The music, while undeniably ambitious, becomes overstretched and loses its graceful flow, turning into an overwhelming and less aesthetically pleasing experience.
Listening Experience and Audience Reception
For individuals like myself who have performed the symphony, the experience is particularly taxing. Singing in the choral section of the Ninth is an arduous task, and the overall sound is more akin to a scream rather than a melodic and beautiful performance. The choral guise of the fourth movement is 15 minutes of relentless vocal exertion, devoid of emotional and artistic resonance. While the first three movements bear the weight of sublime and impeccable music, the choral section struggles to match its neighbor's brilliance.
Conclusion
In summary, Beethoven's Ninth Symphony is a masterpiece of late Romantic-era composition, but the choral section of the final movement is a notable exception. The perceived inelegant and exceeded vocal requirements make the section less enjoyable for many listeners and performers. Despite this, it is essential to recognize the genius of the other movements and the overall impact of the symphony on classical music history.