Beethoven’s Ninth Symphony. Confronting the “Ugly Sounds” of Corrupt Politicians

Ludwig van Beethoven’s Ninth Symphony’s first performance was in Vienna in May 1824 at the Kaiserliches Hoftheater am Kärntnertor.

The Ninth Symphony is considered as a powerful symbol of solidarity, social equality, peace and human values. 

But there is something else, which has been ignored by musicologists and historians of music:

Beethoven added three extra verses –coupled with corresponding musical pitches– which were not contained in Friedrich von Schiller’s original “Ode to Joy”: 

Oh friends, not these sounds!
O Freunde, nicht diese Töne!

But let us sing more pleasantly
Sondern lasst uns angenehmere anstimmen

And more joyful ones!
Und freudenvollere!

These three verses were sung right at the beginning, they were followed by

Freude!

Freude!

Freude schoener Goetterfunken

Tochter aus Elysium

…

Schiller first composed the Ode in 1785, six years after the French Revolution of 1789. The text of Schiller’s Ode was revised several times. Originally Schiller composed an “Ode to Freedom” that he subsequently changed to “Ode to Joy”. This change “did not appear in print until 1849“.

“[It was the revised version of 1803] which Beethoven used to erect the impressive musical-textual monument of the fourth movement of his last symphony.

He also modified Schiller’s text quite drastically in places, adding, by way of an introduction, a whole strophe of his own. 

In Beethoven’s eyes, adding a few lines of his own did not mean interfering with the text  but establishing a transition between worldly desire – leading to chaos, as expressed in the introductory [three verses] of the fourth movement – and the will of Man to free himself, as evoked by the poet. (Maximiano Cobra, emphasis added)

Were these “three verses” at the beginning of the Ode to Joy inserted by Beethoven intent upon downplaying both the religious overtones as well as the “idealism” pertaining to peace, brotherhood and solidarity as contained in Schiller’s poem? I should mention that the Ode also contained “masonic elements.”

“we must bear in mind that the message conveyed by the Ode echoed and reflected its whole historical environment. Around 1810, in the streets of Bonn,  vitalized by revolutionary echoes from across the Rhine, students sang the Ode to the music of the Marseillaise” (Maximiano Cobra).

The poem was alive with the French revolution’s ethos. “All humans become brethren where joy touches the heart,” wrote Schiller.

Dear readers, we suggest you listen carefully to the 4th movement.

Three verses were inserted (in musical phrases) at the outset of the 4th movement (O Freunde, nicht diese Töne!). What was Beethoven’s message to humanity?

O Freunde, nicht diese Töne! Oh friends, not these sounds! Sondern lasst uns angenehmere anstimmen, But let us  sing more pleasantly.

which in substance means:  Friends, get rid of all those “ugly sounds.” 

Was Beethoven expressing in the lyrics and melodies of the 4th Movement, the true nature of these “ugly sounds” which in Vienna in the year 1824 characterized the derogation of peace, brotherhood and fundamental human rights at the height of the Austrian Empire under Kaiser Franz I (1804-1834)?

This was during the “Metternich Period”, which was marked by social repression and “empire building”.

Was this a call by Beethoven “to tone down the revolutionary spirit”? 

Or was it a subtle message within Beethoven’s musical brilliance to the socially repressive regime of the Austrian Empire which at the time was under the helm of State Chancellor (Prince) Klemens von Metternich?

While Friedrich Schiller’s Ode to Joy is today considered worldwide as a message to all mankind: “living in peace and harmony together”: 

these three verses added by Beethoven should be remembered as a “Symbol of Resistance” to totalitarian rule. O Freunde, nicht diese Töne! 

As long as “totalitarian rule” which is predicated on the suppression of “real democracy” prevails, in the 19th Century or Today, the “Ode to Joy” or the “Ode to Freedom” cannot become a reality. 

There are (unconfirmed) reports that Metternich and Beethoven had met. Metternich was present at Beethoven’s funeral three years later in 1827. I should mention that Beethoven was not overtly against the aristocracy. He dedicated the Ninth Symphony to Koenig Friedrich Wilhelm III of Prussia. 

The Choral starts at about 6.00 with the first three verses (which are indicated in German on the screen of the first video).

The second video featuring the 9th Symphony was recorded in Berlin.

The full lyrics in German and English are indicated below at the foot of the article.

Beautiful and Creative Production of Beethoven’s Ninth Symphony (1.11) (Ode to Joy, Chorale at about 45’00)

Flash Forward to the 21st Century

Today, at the outset of the 21st century, Europe’s “Classe politique” is once again committed to sustaining the “ugly sounds” of a social order marked by corruption, fraud and social divisiveness.

The music of Beethoven’s 4th Movement was embedded in the EU-Anthem. The poem by Friedrich von Schiller was not used.

Beethoven’s First Three Verses of the Ode to Joy. A Symbol of Resistance

Let us recognize Beethoven’s Ninth Symphony as a symbol of resistance, which in the contemporary context should be used to address the numerous “ugly sounds” of the World Economic Forum’s Great Reset, coupled with “Shock Treatment” and the Neoliberal agenda, which is endorsed by corrupt politicians, leading to the impoverishment of millions of people worldwide.  

Lyrics in English and German. Original in German.

Oh friends, not these sounds!
O Freunde, nicht diese Töne!

But let us sing more pleasantly
Sondern lasst uns angenehmere anstimmen

And more joyful ones!
Und freudenvollere!

joy (joy)
Freude (Freude)

joy (joy)
Freude (Freude)

Joy, beautiful spark of the gods
Freude, schöner Götterfunken

Daughter from Elysium
Tochter aus Elysium

We enter, drunk with fire
Wir betreten feuertrunken

Heavenly ones, your sanctuary!
Himmlische, dein Heiligtum!

Your spells bind again
Deine Zauber binden wieder

What fashion strictly divided
Was die Mode streng geteilt

all people become brothers
Alle Menschen werden Brüder

Where your gentle wing rests
Wo dein sanfter Flügel weilt

Who managed the big hit?
Wem der grosse Wurf gelungen

To be a friend’s friend
Eines Freundes Freund zu sein

Whoever has won a devoted wife
Wer ein holdes Weib errungen

Interfere with his cheers!
Mische seinen Jubel ein!

Yes, whoever has a soul
Ja, wer auch nur eine Seele

Being calls on the face of the earth!
Sein nennt auf dem Erdenrund!

And those who have never been able to do so, steal
Und wer’s nie gekonnt, der stehle

Crying out of this bond
Weinend sich aus diesem Bund

All beings drink joy
Freude trinken alle Wesen

At the breasts of nature
An den Brüsten der Natur

All good, all bad
Alle Guten, alle Bösen

Follow her trail of roses
Folgen ihrer Rosenspur

She gave us kisses and vines
Küsse gab sie uns und Reben

A friend tested in death
Einen Freund, geprüft im Tod

pleasure was given to the worm
Wollust ward dem Wurm gegeben

And the cherub stands before God!
Und der Cherub steht vor Gott!