Abstract
The paper reveals that what makes Beethoven's Ninth Symphony so remarkable is that its composer was deaf when he wrote and performed it. The paper discusses the hasty, ill-timed and imperfect execution of the symphony in Vienna and the critical audience responses to his final symphony. The paper also discusses how other critics, however, received the premiere of the Ninth Symphony favorably, demonstrating the deep respect for Beethoven by acknowledging the difficulties associated with staging a live concert while being unable to hear anything.

From the Paper
In spite of the optimism surrounding it, staging the premiere in Vienna turned out to be disappointing for the composer. For one, Beethoven could barely conduct his own symphony. His hearing loss was by 1824 so complete as to render his conducting practically useless. Beethoven still took to the stage and engaged in what have been called "over-the-top theatrical gesturing" while musicians paid attention to the timekeeping gestures of the concertmaster Michael Umlauf (Huscher, 2007). Umlauf did not steal the stage from the verable Ludwig von Beethoven, though.
"Ludwig von Beethoven's Ninth Symphony was his last, completed and performed in 1824 in Vienna. Incorporating a Friedrich Schiller poem "An die Freude," ("To Joy"), Beethoven set a theme for one of the most magnificent classical choral compositions. The integration of choral elements into a symphony was wholly unique: the first time a composer had ever undertaken a task so ambitious. The Philharmonic Society of London commissioned the symphony in 1817, and Beethoven took six years to compose it. The symphony undulates, proceeding through moments of restive peace and near-quietude to shockingly loud crescendos. However, what makes Beethoven's Ninth Symphony so remarkable is that its composer was deaf when he wrote and performed it. The composition and premiere of the masterpiece proved an enormous struggle for the hearing-impaired musician."

Tags:concert, vocals, musicians, An die Freude

Abstract
This paper reviews Beethoven's classical musical piece the "Ninth Symphony". The writer includes a review of places and events this music has been played, included at the Berlin Wall and in Kubrik's "A Clockwork Orange". The paper attempts to describe the musical piece in words and explain its meaning and background, from both a technical and an entertaining viewpoint. The writer believes that Beethoven's Ninth is possibly the best piece of music ever written.

From the Paper
"Today, we can only be grateful that Beethoven's music was spared the kind of criticism practised in the 21st century, "It would have been easy enough to detect revolutionary tendencies in the choral movement of the Ninth Symphony, or irreverence in the scherzos, just as Soviet critics have discovered traces of "bourgeois decadence" in the music of Rachmaninov." (Grove, Beethoven and His Nine Symphonies) Musical censorship in Beethoven's era seems liberal in comparison to today's standards or perhaps it is only that criticism was not so advanced in his time."

Tags:music, classical, composer, critique

Abstract
This six-page undergraduate paper offers a detailed analysis of Ludwig von Beethoven's Ninth Symphony in D Minor. An introduction and historical background to the work are included, and the symphony is placed within a broad cultural, philosophical, and historical framework. The paper concludes with a technical analysis, and some personal thoughts regarding the work. .

Abstract
This paper is account of Mahler's "Fourth Symphony" as a response and commentary to Beethoven's "Ninth Symphony". It looks at Mahler's adoption of the theme of joy in Beethoven's symphony and his grafting it on to a vocal arrangement.

From the Paper
"In the chapter titled Ambivalent, Elysium Bonds develops the idea that Mahler's Fourth Symphony is a response to and commentary on Beethoven's Ninth. Whereas Beethoven's Ninth is dense and complex Bondargues Mahler's Fourth is ostensibly spare from an ..."

Tags:Mahler, Beethoven

Abstract
This paper defines romanticism and romantic music, describes Beethoven's contribution to music and his innovations, and the ways in which his music linked with romanticism. Examples of some of his major works that depict romanticism are also discussed.

Contents
Romanticism
Beethoven and his Music
Early Music and Loss of Hearing
Early Influences
Different Phases of Beethoven's Music
The Eroica - Beethoven's Third Symphony
Beethoven's Sixth Symphony
The Ninth Symphony
Conclusion

From the Paper
"Romanticism was an artistic and intellectual movement that originated in the late 18th century as a revolt against "classicism" (and to a lesser extent against "rationalism".) It stressed strong emotion, feeling and imagination rather than correctness in form. Romanticism rejected order, calm, harmony, balance, idealization, and rationality that typified Classicism and the 18th century Neoclassicism. The movement took its inspiration in part from the libertarian and egalitarian ideals of the French Revolution. ("Romanticism"-Columbia Encyclopedia, 2000)
In Romantic Music emotion and expression of feelings is given more importance than formal balance and internal order. It became the dominant musical trend in classical music during the 19th century and period between 1800 and 1900 is often referred to as the Romantic Period. While Beethoven is thought to be the first romantic composer, other notable composers who used romanticism in their music include Chopin and Wagner."

Tags:classic, orchestra, ninth, fifth

Abstract
This paper compares the first movements of two symphonies from two classical Romantic composers, Ludwig van Beethoven (Fifth Symphony) and Franz Liszt (transcription of Beethoven's Ninth Symphony). The circumstances surrounding the compositions are also addressed.

From the Paper
"As surely as Ludwig van Beethoven was influenced by Haydn and Mozart, he also influenced his contemporaries like Franz Liszt. A student of Antonio Salieri, the Viennese Court composer who despised Beethoven, Liszt was introduced to Beethoven after his successful public debut in Vienna in ... Both classical Romantic composers, Hoffman called Beethoven's Fifth Symphony one of the most important works of the age. In contrast, Liszt wrote works for piano requiring formidable playing skill that are grouped into two categories. On the..."

Tags:Vienna, Salieri, piano, Haydn, Mozart, paino, coda, recapitulation, melody, harmony, rhythm

Abstract
This paper examines the great impact that Beethoven's Choral Symphony had on the genre of the classical symphony. The paper explains how, despite of all the criticisms of the Choral Symphony that continue to this day, in writing it Beethoven helped the genre of classical symphony evolve, translating it from the Classical to the Romantic.

From the Paper
"In addition, recent studies on the sketches have been difficult, as some sketches were lost, sold, or found to be out of their original order (Levy 19). It is evident from what has been found and deciphered that Beethoven's original intention was to write two separate symphonies, and the Ninth is what resulted from his simultaneous work on both. Evidently, he intended his two symphonies to consist of a London symphony, which would be instrumental; and a German symphony, setting Schiller's "An die Freude" to a different tune than the one he finally used in the Ninth (Cook 13-14)."

Tags:instrumental, movements, form, ludwig, voices, ninth, completion, writing, revising

Abstract
This paper explains that on the same program as the Brahms "Symphony No.1" were two other works by Spanish composers, Issac Albeniz and Joaquin Turina, which presented a deliberate counterpoint between Spanish and German music that reflects the guest conductor's dual heritage. The author points out that Johannes Brahms' (1833-1897) "Symphony No.1" reflects to an extraordinary degree the composer's personal relationship with the legacy of earlier giants such as Beethoven and Schubert. The paper relates that the "Symphony No.1" is comprised of four movements, which reflects Brahms' allegiance to classical forms; however, the intense unity of the overall work seems to be more of an expression of Brahms' personal technique. The author underscores that scholars argue that the dynamic optimism that is so characteristic of Beethoven's symphonies is revisited by Brahms in a far more melancholic, late nineteenth century manner

From the Paper
"The significance of the Spanish works to the Brahms' symphony, which was highlighted in the course of the intermission, was an interview-like session conducted in the lobby with two members of the TSO who talked about the program and about Frunbeck de Burgos' conducting of the works. These two TSO members - a violinist and a flautist (I believe) - noted that the Spanish pieces were carefully chosen as a counterpoint to the Brahms. Frunbeck de Burgos' work with the TSO in rehearsal, they noted, was very different with both of these pieces; one noting jokingly that de Burgos stood straighter and was more serious with Brahms than with the passionate Spanish works."

Tags:counterpoint, spanish, beethoven, technique, melancholic