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The premier of Beethoven’s Ninth Symphony in Vienna on May 7, 1824, was the most significant artistic event of the year—and the work remains one of the most precedent-shattering and influential compositions in the history of music. Described in vibrant detail by eminent musicologist Harvey Sachs, this symbol of freedom and joy was so unorthodox that it amazed and confused listeners at its unveiling—yet it became a standard for subsequent generations of creative artists, and its composer came to embody the Romantic cult of genius. In this unconventional, provocative book, Beethoven’s masterwork becomes a prism through which we may view the politics, aesthetics, and overall climate of the era. Part biography, part history, part memoir, The Ninth brilliantly explores the intricacies of Beethoven’s last symphony—how it brought forth the power of the individual while celebrating the collective spirit of humanity.
The premier of Beethoven’s Ninth Symphony in Vienna on May 7, 1824, was the most significant artistic event of the year—and the work remains one of the most precedent-shattering and influential compositions in the history of music. Described in vibrant detail by eminent musicologist Harvey Sachs, this symbol of freedom and joy was so unorthodox that it amazed and confused listeners at its unveiling—yet it became a standard for subsequent generations of creative artists, and its composer came to embody the Romantic cult of genius. In this unconventional, provocative book, Beethoven’s masterwork becomes a prism through which we may view the politics, aesthetics, and overall climate of the era. Part biography, part history, part memoir, The Ninth brilliantly explores the intricacies of Beethoven’s last symphony—how it brought forth the power of the individual while celebrating the collective spirit of humanity.
Due to publisher restrictions the library cannot purchase additional copies of this title, and we apologize if there is a long waiting list. Be sure to check for other copies, because there may be other editions available.
Due to publisher restrictions the library cannot purchase additional copies of this title, and we apologize if there is a long waiting list. Be sure to check for other copies, because there may be other editions available.
Excerpts-
From the book
The latest news in Vienna”
Reeking, rotting garbage, overflowing from bins: That is what I found when, in November 2004, I pushed open the main door of a massive but anonymous gray stone apartment building in Vienna’s third Bezirk (district) and made my way through a hallway to an internal courtyard. The rectangular four-story building’s façade bears a commemorative plaque put up by the Vienna Schubert Society on May 7, 1924—the hundredth anniversary of the premiere of Beethoven’s Ninth Symphony—as well as another, more recent plaque bedecked with banners dirtied by automobile exhaust, which proclaims that the symphony’s “Ode to Joy” theme has been the European anthem since 1972, when the Council of Ministers in Strasbourg officially adopted it as such. There is no museum in the building at Ungargasse 5, on the northwest corner of a busy intersection; in fact, by going through the entrance door I was trespassing on private property.
In the composer’s day the address was Landstrasse 323, and the building was called the house Zur schönen Sklavin (By the Beautiful Slave Girl); Beethoven lived in it throughout the final months of the symphony’s creation and until shortly after its first performance. His apartment was situated on the top floor—the cheapest one, in pre-elevator days—but he usually received friends and acquaintances at a nearby, no longer extant coffeehouse, Zur goldenen Birne (By the Golden Pear), where he spent many an afternoon. As one contemporary writer put it, “If you have something important1 to tell a Viennese man, you can go ten times to his apartment without finding him in, but if you know which coffeehouse he frequents you’ll meet him there for sure.”
Occasionally, however, people would visit Beethoven at home. Once, during the composition of the Ninth, he invited the poet Franz Grillparzer to the Landstrasse apartment to discuss an opera project; Grillparzer found Beethoven, who was ill at the time, The opera project never came to fruition, and we don’t know what happened to the butter and eggs.
lying on a disordered bed2 in dirty night attire, a book in his hand. At the head of the bed there was a small door which, as I discovered later, communicated with the larder and which Beethoven was, in a way, guarding. For when subsequently a maid emerged from it with butter and eggs he could not restrain himself, though in the middle of a spirited conversation, from casting an appraising glance at the quantity of the food that was being carried away—and this gave me a painful picture of his disordered household.
The composer Carl Maria von Weber visited Beethoven during the same period, and his son later recounted the father’s impressions of “the dreary,3 almost sordid room inhabited by the great Ludwig.” It was “in the greatest disorder: music, money, clothes, lay on the floor, linen in a heap on the unclean bed, the open grand piano was covered in thick dust, and broken coffee-cups lay on the table.” Beethoven tossed all the music off the sofa “and then proceeded to dress for the street, not in the least embarrassed by the presence of his guests.” Another man present on that occasion described Beethoven’s appearance:
His hair dense, grey, standing up, quite white in places, forehead and skull extraordinarily wide and rounded, … the nose square, like a lion’s, the mouth nobly formed and soft, the chin broad and with those marvelous dimples which all his portraits show, formed by two...
About the Author-
Harvey Sachs is a writer and music historian and the author or co-author of eight previous books, of which there have been more than fifty editions in fifteen languages. He has written for The New Yorker and many other publications, has been a Guggenheim Fellow and a Fellow of the New York Public Library’s Cullman Center for Scholars and Writers, and is currently on the faculty of the Curtis Institute of Music in Philadelphia. He lives in New York City.
Reviews-
Starred review from February 15, 2010 Beethoven wasn't always a cultural icon. At least one critic attending the 1824 premiere of his Symphony No. 9 in D Minor likened what he heard to a “hideously writhing wounded dragon.” Just why the composer and his works endure is the question behind this absorbing book by music historian Sachs (Toscanini ). Through detailed musical analysis and condensed readings of cultural politics and 19th-century history, Sachs ponders “what role so-called high culture played, plays, and ought to play in civilization.” Using the year 1824 and the premiere of the Ninth as ground zero, Sachs reviews the literary, artistic, and social movements of the time, noting how Beethoven's innovative symphony (the first with a vocal score) and its themes of equality and redemption no doubt challenged the resurgent conservatism among Europe's monarchies. Sachs places Beethoven alongside Pushkin, Byron, and other prominent romantics, whose talents he finds linked to a common quest for freedoms—political, artistic, and “above all of the mind and spirit.” After first presenting the Ninth as a Viennese social event and then as emblematic of Beethoven's artistic process, Sachs shines with a close reading of the Ninth's musical score, interpreting its techniques and emotive narrative. Readers will want a recording nearby. In the book's last chapter, Sachs deals with the impact and legacy of Beethoven's masterwork and explains what makes his music universal.
January 15, 2010 By concentrating on the year Beethoven debuted his most famous work, Sachs ("Rubinstein: A Life") sets the symphony in its historical context, as the composer, along with fellow revolutionaries elsewhere in Europe (e.g., Lord Byron, Alexander Pushkin, Eug]ne Delacroix, Stendhal, Heinrich Heine), championed equality in the face of widespread political oppression. Sachs draws together the major influences in the political and artistic worlds of the early 19th century as a way of highlighting the importance of Beethoven's monumental work. His discussion ranges from large historical concepts to detailed analyses of specific works of art, politics, and musical compositions, which serves to paint a vivid picture of the intense artistic life of the period. VERDICT There is a bit of technical discussion that requires music theory background, but the bulk of the narrative is eminently readable, insightful, and often very personal. A thought-provoking, broadly based, well-informed discussion that should appeal to well-educated general readers as well as music specialists.Timothy J. McGee, Trent Univ., Peterborough, Ont.
Copyright 2010 Library Journal, LLC Used with permission.
February 15, 2010 On May 7, 1824, the premier of Beethovens ninth and last symphony pushed symphonic music into Romanticism. Napoleon had been overthrown. Byron, Pushkin, and Stendhal had advanced poetry and prose fiction; Delacroix, painting. Maturing as such political and artistic ferment mounted, Beethoven had discovered the Ode to Joy of Romantic literary forefather Friedrich Schiller 30 years earlier and employed it to sum up his art. Sachs discusses each movement of the Ninth in detail, from the terror and despair of the first to the anger and acceptance in the second to the peace of the third. The fourth begins with quotations from the its predecessors. Then, the bass vocal soloist interrupts to launch the movement into joy and hope. The Ninth influenced all subsequent nineteenth-century composers, who from Berlioz to Meyerbeer to Wagner built upon the foundations laid by Beethoven. This discussion of the cornerstone of Romantic music, whose influence extended deep into the twentieth century, is concise, thorough, and written from the heart of a great biographer, musicologist, and lover of fine music.(Reprinted with permission of Booklist, copyright 2010, American Library Association.)
András Schiff
"Harvey Sachs has written excellent books about music and musicians. Here he turns his--and our--attention to one of the great monuments of music. We think we know this symphony quite well. How wrong we are! This book will help us to understand it better."
David Dubal, professor, The Julliard School, and author of Evenings with Horowitz
"Harvey Sachs is a superb writer, a fine musical mind, scholar, and an astute cultural historian. His new book on Beethoven's Ninth, written within the world of 1824, is a dazzling display of erudition--and high entertainment!"
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