In a mixture of cantata and concert piece, Beethoven set a hymn to art in his Choral Fantasy. The work, about 20 minutes in length, is often seen as a precursor to the Ode to Joy in the 9th Symphony. After a piano introduction, a dialog between piano and orchestra develops in the space of just 400 measures, before the soloists and chorus enter for the last 200 measures. (If necessary, the solo parts can be sung by members of the chorus or a semi-chorus.)
In the main section, headed "Finale" (beginning with the double basses and celli), the theme from Beethoven’s early song Gegenliebe (WoO 118, also used in the Ode to Joy) is presented, varied and finally used in the "March" in F major.
The main source of the Choral Fantasy for the edition is the first edition of the parts, published in 1811 and corrected by Beethoven; alongside this an English edition of the parts published by Clementi (1810) has been consulted for comparison. The edition contains an English singing version in a translation by Natalia Macfarren from the 19th century.
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text (without music) for download, html file, Singing text, english translationhtml file, Singing text, english translation (Sample)Soft and sweet thro' ether winging,
sound the harmonies of life,
their immortal flowers springing
where the soul is free from strife.Peace and joy are sweetly blended
like the waves' alternate play;
what for masterly contended
learns to yield and to obey.When on music's mighty pinion
souls of men to heaven rise,
then doth vanish earth's dominion,
man is native to the skies,calm without, and joy within us
is the bliss for which we long.
If of art the magic win us,
joy and calm are turn'd to song.With its tide of joy unbroken,
music's flood our life surrounds,
what a mastermind hath spoken
thro' eternity resounds.Oh receive, ye joy invited,
all its blessings without guile,
when to love is pow'r united,
then the Gods approving smile.English version by Natalia Macfarren
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)
Schmeichelnd hold und lieblich klingen
unsers Lebens Harmonien,
und dem Schönheitssinn entschwingen
Blumen sich, die ewig blühn,Fried und Freude gleiten freundlich
wie der Wellen Wechselspiel.
Was sich drängte rauh und feindlich,
ordnet sich zu Hochgefühl.Wenn der Töne Zauber walten
und des Wortes Weihe spricht,
muss sich Herrliches gestalten,
Nacht und Stürme werden Licht,äußre Ruhe, inn’re Wonne,
herrschen für den Glücklichen.
Doch der Künste Frühlingssonne
lässt aus Leiden Licht entsteh’n.Großes, das ins Herz gedrungen,
blüht dann neu und schön empor,
hat ein Geist sich aufgeschwungen,
hallt ihm stets ein Geisterchor.Nehmt denn hin, ihr schönen Seelen,
froh die Gaben schöner Kunst.
Wenn sich Lieb und Kraft vermählen,
lohnt dem Menschen Göttergunst.... -
text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)
Foreword of the Edition Carus 10.394
Ulrich Leisinger
Translation: Gudrun and David Kosviner
The Fantasie für das Pianoforte mit Begleitung des ganzen Orchesters und Chor [Fantasy for the Pianoforte with the Accompaniment of full Orchestra and Choir], as the German first edition of Ludwig van Beethoven’s op. 80 of 1811 is called, leads a peculiar shadowy existence that neither does justice to its musical quality nor to its significance in music history. Undoubtedly, the very title of the work is a paradox, for a fantasy for ensemble contradicts the idea of an entity shaped by improvisation. In a way, “Introduction and Theme with Variations for Piano, Orchestra, Soloists and Choir” would probably be the more accurate title. At first glance, the combination of orchestra, piano and singing voices also seems unusual. But around 1800, Wolfgang Amadé Mozart’s Scena and Rondo Ch’io mi scordi di te – Non temer amato bene K. 505 from 1786, for example, was an extraordinarily popular concert piece. The by now predominantly negative evaluation of the lyrics, which “only” came from an amateur poet, as well as some misleading statements by Beethoven about the work and its premiere have contributed to the
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)
Vorwort der Ausgabe Carus 10.394
Ulrich Leisinger
Die Fantasie für das Pianoforte mit Begleitung des ganzen Orchesters und Chor, wie die deutsche Erstausgabe von Ludwig van Beethovens op. 80 aus dem Jahre 1811 betitelt ist, führt ein eigenartiges Schattendasein, das weder ihrer musikalischen Qualität noch ihrer musikhistorischen Bedeutung gerecht wird. Zweifellos ist schon der Titel des Werks ein Paradoxon, denn eine Fantasie für Ensemble widerspricht der Idee eines von Improvisation geprägten Gebildes. In gewisser Weise wäre „Introduktion und Thema mit Variationen für Klavier, Orchester, Soli und Chor“ wohl der korrektere Titel. Auch die Kombination von Orchester, Klavier und Singstimmen wirkt auf den ersten Blick ungewöhnlich. Um 1800 war aber z.B. Wolfgang Amadé Mozarts Scena und Rondo Ch’io mi scordi di te – Non temer amato bene KV 505 aus dem Jahre 1786 ein außerordentlich beliebtes Konzertstück. Die inzwischen überwiegend negative Bewertung des Vokaltextes, der „nur“ von einem Gelegenheitsdichter stammte, und einige missverständliche Äußerungen Beethovens über das Werk und seine Uraufführung haben ein Übriges dazu beigetragen, dass die Chorfantasie heute meist nur als misslungenes
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Composer
Ludwig van Beethoven
| 1770-1827Ludwig van Beethoven was without doubt one of the most influential composers in the history of music. His works formed the culmination of many genres – particularly instrumental – of Viennese classicism, and laid the foundation for the following decades. But Beethoven’s vocal works set standards too: the late Missa Solemnis is one of the most impressive choral works of its time; but his earlier Mass in C also opens up new worlds of expression for the liturgical text, and set the benchmark for the further development in the composition of the mass. And with the final chorus of the Ninth Symphony, the setting of Schiller’s Ode to Joy, Beethoven created one of the most frequently-performed and best known choral pieces of all, writing a timeless musical memorial to himself. Personal details
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Editor
Ulrich Leisinger
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Songwriter / Librettist
Christoph Kuffner
| 1780-1846
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Vocal score arranger
Claus-Dieter Ludwig
| 1952
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Vocal score arranger
Xaver Scharwenka
| 1850-1924
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Translator
Natalia MacFarren
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