Thoughts on Listening to the Fourth Movement of Beethoven's Ninth Symphony

The Ninth Symphony is the pinnacle of Beethoven's later years. Until today, whenever we listen to the familiar fourth movement (Ode to Joy), we are still deeply moved by the magnificent music, and at the same time we surrender to the master's moral concept of advocating human freedom revealed in the music.

Beethoven lived in the 17th-18th century, which was the seesaw era of European bourgeois revolution and counter-revolutionary restoration. The ideal of heroism and the moral standard of pursuing freedom and liberation run through the master and most of his symphony works. Among them, the Third Symphony vividly expresses the master's infinite admiration for heroes; The Fifth Symphony is an indomitable narrative of the master's struggle against fate. The Ninth Symphony vividly depicts the master's beautiful vision of freedom.

Today, let's admire the fourth movement (Ode to Joy) of the ninth symphony by the master again.

In the first three movements of the Ninth Symphony, the master expressed a more complicated emotional and psychological struggle process than that of the Fifth Symphony by highlighting the technique that major is superior to minor (human nature is suppressed and people strongly demand freedom and liberation). In the fourth movement, the master turned the symphony into a philosophical code and personal expression (Schiller's Ode to Joy almost represents Beethoven's own moral view), and then sublimated from the idealized self-level to embrace all mankind.

Ode to Joy is preceded by a dramatic recitation, in which the important themes of the first three movements are called one by one, and then a new theme is presented, first played by cello and double bass, and then announced by the whole orchestra. Suddenly the baritone soloist loudly exhorted, "Oh, friends, don't make such a noise!" " It seems to claim that although the orchestral interpretation of this theme is beautiful, it is still not enough. He began to sing Schiller's words in a new melody, and the chorus joined in.

This famous theme, with a very ordinary rhythm, is a tune that is well known to all women and children. Perhaps this is the master's hint that the noblest and most beautiful things often appear in the most ordinary places (which is why future generations can't surpass the Ninth Symphony).

In Beethoven's mind, universal humanity is the most important; The highest moral truth-the joy of embracing brotherhood and the awe of the creator-is meaningful only if it is based on universal human nature. For this reason, the master deliberately arranged a tenor solo March here, accompanied by Turkish musical instruments, and performed a heroic and fearless heroism for the ideal.

What is most worth mentioning is that in the joyful finale of Ode to Joy, the master mixed all the instruments and voices in the orchestra together, turning it into a cry of praise for the freedom and liberation of human nature and universal love, pushing the whole fourth movement, even the Ninth Symphony, to the extreme and the ocean of joy!

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It is well written.