Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder Was die Mode streng geteilt*; Alle Menschen werden Brüder* Wo dein sanfter Flügel weilt.
Wem der große Wurf gelungen Eines Freundes Freund zu sein; Wer ein holdes Weib errungen Mische seinen Jubel ein! Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund! Und wer’s nie gekonnt, der stehle Weinend sich aus diesem Bund!
Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur. Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben und der Cherub steht vor Gott.
Froh, wie seine Sonnen fliegen Durch des Himmels prächt’gen Plan Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum siegen.
Seid umschlungen, Millionen! Diesen Kuß der ganzen Welt! Brüder, über’m Sternenzelt Muß ein lieber Vater wohnen. Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt? Such’ ihn über’m Sternenzelt! Über Sternen muß er wohnen.
Joy, beautiful spark of Divinity [or: of gods], Daughter of Elysium, We enter, drunk with fire, Heavenly One, thy sanctuary! Your magic binds again What custom strictly divided;* All people become brothers,* Where your gentle wing abides.
Who has succeeded in the great attempt, To be a friend’s friend, Whoever has won a lovely woman, Add his to the jubilation! Indeed, who even just has one soul To call his own in this world! And who never managed it should slink Weeping from this union!
All creatures drink of joy At nature’s breasts. All the Just, all the Evil Follow her trail of roses. Kisses she gave us and grapevines, A friend, proven in death. Salaciousness was given to the worm And the cherub stands before God.
Gladly, as His suns fly through the heavens’ grand plan Go on, brothers, your way, Joyful, like a hero to victory.
Be embraced, Millions! This kiss to all the world! Brothers, above the starry canopy There must dwell a loving Father. Are you collapsing, millions? Do you sense the creator, world? Seek him above the starry canopy! Above stars must He dwell.
Its most famous setting:
This video shows some of the text and translation, along with the vocal passages to which each textual phrase is set.
The great African-American bass-baritone Paul Robeson (1898-1976) sings it in English translation in the 1930s (it’s worth noting that Robeson was an outspoken supporter of communism and the Soviet Union).
If you look on Youtube, you will find numerous versions of Beethoven’s setting, including many updating it to contemporary genres. Here’s a performance on Coke bottles:
Schubert’s setting of “Ode to Joy,” from 1815 (nine years before Beethoven’s):
The earliest known setting is by the dedicatee of Schiller’s poem, Christian Gottfried Körner, from 1786. You can hear Körner’s complete list on the playlist “An die Freude” on NAXOS.
An 1800 collection of fourteen settings of Schiller’s ode by the important Austrian and German composers of the day. The volume was published by Jacob Böhme of Hamburg, who would become one of the most important music publishers of the nineteenth century. Most of these are as yet unrecorded.
A purple glow shines from afar, Golden now the bright day sinks, One by one the silver stars Awaken in the skies. And the Queen of the Day Bows her head and goes to sleep; One more greeting, now goodbye! No farewell! No departure!
Shadows cover the broad earth, Night lies on the meadows. Pray be still now, poor heart, That the day has wearied so! O appear, gently, mildly, Sweet image in my dreams. One more greeting, now goodbye! No farewell! No departure!
Ah, hot tears run down my cheeks; Now a feeling of bliss, Now a painful, fearful longing Is set to break my heart. Only dreams can restore That happiness too quickly vanished. One more greeting, now goodbye! No farewell! No departure!
When I gaze into the dusk, And the sun sets, I think of all the pain That I have endured. Ah, perhaps the morrow Will banish all cares. So be of good cheer! Goodbye! No farewell! No departure!
What Romantic themes can you identify in the text and in the music?
The fourth movement of Beethoven’s Ninth Symphony, the “Ode to Joy,” was adopted as the anthem of the European Union in 1985, no doubt as much for the utopian vision of universal brotherhood presented in the text of the poem by Friedrich Schiller as for its rousing tune:
Joy, beautiful spark of God, Daughter of Elysium, We enter, fire-drunk, Heavenly, your holy sanctuary. Your magics bind again What custom has strictly parted. All men become brothers Where your tender wing lingers.
Nevertheless, at the opening of the EU Parliament in July 2019, the Brexit contingent from Great Britain turned their backs when it was played:
Brexiteer Nigel Farage defended the actions of his bloc against charges of “un-English” behavior. Do you think his justification is convincing? Why or why not?
Perhaps when he hears “Ode to Joy,” Farage is really hearing this version, sung by English comedian Rowan Atkinson.
This was hardly the first time Beethoven’s music has been harnessed in the cause of politics. In 1989, just weeks after the fall of the Berlin Wall, Leonard Bernstein conducted a massive performance of the Ninth with musicians from both East and West Germany; the chorus changed the word “Freude” — Joy — to “Freiheit” — Freedom.
Hitler was a great fan of the Ninth Symphony; here is the great and controversial German conductor Wilhelm Furtwängler leading the end of the Ninth Symphony in a stunning performance celebrating Hitler’s birthday in 1942 (starting at 1:59, following remarks by Joseph Goebbels, the propaganda minister of the Third Reich):
What in this music would have appealed, do you think, to Nazi ideology?
It was also adapted by the brutal British colonial governor, Ian Smith, as the national anthem of Rhodesia (now Zimbabwe):
Beethoven’s Ninth Symphony has also been invested with meaning in other, less-political realms. Alex, the sociopathic antihero of Anthony Burgess’s dystopian 1962 novel A Clockwork Orange, has a particular fondness for Beethoven, whom he calls “the lovely Ludwig van.” In his 1971 film adaptation of the novel, Stanley Kubrick uses the Ninth Symphony as a soundtrack for the “ultraviolence” committed by Alex and his crew (WARNING: disturbing imagery):
The piece is also associated with the on-screen appearances of bad guy Hans Gruber (played by the late, lamented Alan Rickman) in Die Hard:
In 2000, the Ninth Symphony was performed at the site of Mathausen, an Austrian concentration camp where more than 100,000 Jews, gays, and Communists were put to death during World War II. The concert caused some controversy, because it was performed by the great Vienna Philharmonic, which had dismissed all its Jewish musicians in 1938; by the end of the war, half of the orchestra’s players were members of the Nazi party. The organizers, however, believed that the Ninth paid tribute to the musicians who had been victims of the Nazi regime. As one of them explained:
We wished to think of those members of the [Vienna] Philharmonic who were victims of the Nazis . . . They were our predecessors, royal and imperial court musicians, highly decorated professors and teachers at the academy, highly respected artists who were humiliated, driven to death or murdered. We want to pay our respects to them by performing a work that they often performed under the leading conductors of their times.
What is it about Beethoven’s work that makes it so appealing to proponents of such diverse viewpoints?
Put another way: What does Beethoven’s music mean?
Do you think that this meaning is intrinsic to the piece itself, or is it extrinsic, something with which various individuals and movements have chosen to invest it? What use would you use this music for?
In 2018, in response to pushback against her longtime claims of Native American ancestry (including from President Trump, who refers to her mockingly as “Pocahontas”), Democratic Senator and presidential candidate Elizabeth Warren had her DNA tested, and made the results public. The test indicated that Warren had a Native American ancestor between six and ten generations ago.
However, according to Chuck Hoskin (above), the Secretary of State of the Cherokee Nation (like other Native tribes, a sovereign nation within U.S. territory), this does not make Elizabeth Warren an Indian:
What does this argument have to do with our understanding of music — of American music in particular?
In 1892, famed Czech composer Antonín Dvořák came to America at the invitation of the wealthy arts patroness Jeannette Thurber (above) — who, by the way, was born not far from here, in Delhi, New York — to lead the new National Conservatory of Music in New York City. It was hoped that he would train young American composers to develop a national style of music. Soon after he arrived, Dvořák told the New YorkHerald newspaper:
In the Negro melodies of America I discover all that is needed for a great and noble school of music. They are pathetic, tender, passionate, melancholy, solemn, religious, bold, merry, gay or what you will. It is music that suits itself to any mood or purpose. There is nothing in the whole range of composition that cannot be supplied with themes from this source. The American musician understands these tunes and they move sentiment in him.
In another unprecedented move, Dvořák welcomed black and female composition students into his classes at the conservatory. Among his students were violinist and composer Will Marion Cook, who had studied with Brahms’s great friend Joseph Joachim in Berlin, and singer and composer Harry T. Burleigh.
“A Negro Sermon,” an art song by Cook.
“Lovely Dark and Lonely One,” an art song by Burleigh.
Harry T. Burleigh’s song “The Young Warrior,” a setting of a poem by James Weldon Johnson, was translated into Italian and sung by the Italian army as they marched into battle During World War I.
Mother, shed no mournful tears,
But gird me on my sword;
And give no utterance to thy fears,
But bless me with thy word.
The lines are drawn! The fight is on!
A cause is to be won!
Mother, look not so white and wan;
Give Godspeed to thy son.
Now let thine eyes my way pursue
Where’er my footsteps fare;
And when they lead beyond thy view,
Send after me a prayer.
But pray not to defend from harm,
Nor danger to dispel;
Pray, rather, that with steadfast arm
I fight the battle well.
Pray, mother of mine, that I always keep
My heart and purpose strong,
My sword unsullied and ready to leap
Unsheathed against the wrong.
While Dvořák’s Symphony no. 9 in in E minor, “From the New World” (written in New York City in 1893) was not actually based on spirituals, the famous second movement largo sounded like a spiritual, and later “became” a sort of spiritual, migrating from the concert hall to public (and private) spaces less formally rigid.
Dvořák’s great success in America inspired other composers to take note of, and advantage of, “Negro melodies.” In the early years of the twentieth century, white American and European composers came out with pieces with such titles as “Negro Folk Symphony” (William Dawson), “Rapsodie nègre” (French composer Francis Poulenc), and “Negro Suite” (Danish composer Thorvald Otterstrom).
The question one might ask about these composers and their work is one that will come up for us again and again in this class: were they writing these pieces in a spirit of fellowship with African-Americans? or in a spirit of opportunism, even of exploitation?
One of the strangest and most egregious examples of a white composer writing in the black style is John Powell’s “Rhapsodie Nègre.”
John Powell was a Virginia-born, Vienna-trained pianist and composer who promoted American folk music. In 1931, he founded a short-lived but influential Appalachian music festival in Virginia called the White Top Festival. First Lady Eleanor Roosevelt (standing, fourth from right) visited the festival in 1933.
John Powell was also an avowed white supremacist, and helped to draft Virginia’s “Racial Integrity Act” of 1924, also known as the “one-drop rule.” This law legally classified anyone who had any amount of African ancestry (even “one drop”) as black, and hence subject to segregation under Jim Crow.
In spite of the fact that Powell had drawn upon African-American folk music themes in his “Rhapsodie Nègre,” he sought to promote the idea that American folk music derived exclusively from “Anglo-Saxon” sources, an idea that was disputed even in his own time. The White Top Festival was a public attempt to showcase this controversial idea: in other words, he harnessed folk music in the service of his social-political agenda.
Can you think of other historical examples of the co-opting of culture in the service of politics?
Powell was by no means an outlier in his attempts to whitewash the African roots of traditional American music. Around the same time that he was giving lectures on the “Anglo-Saxon” derivation of Appalachian music, Henry Ford (yes, that Henry Ford), a virulent racist and anti-Semite, was spearheading a square dance revival, in the hopes of counteracting the pernicious influence of jazz. What Ford neglected, probably out of ignorance, was the fact that square dancing, like Appalachian music, has deep roots in African-American culture.
(Howard University students square dancing in 1949.)
When we think of American folk music, especially fiddle-and-banjo music from the region of Appalachia, we tend to think of it as white people’s music, as in this famous scene from the 1972 film Deliverance.
She is an artist of color who plays and records what she describes as “black non-black music” for mainly white audiences . . . a concert for the prisoners at Sing Sing . . . was the first time she’d played for a majority-black crowd . . . Giddens [says], “. .. I would like to see more people from my . . . community at the shows and in the know” . . . The prospect of gaining a wider, and blacker, audience is, one imagines, always an option for Giddens . . . But she has been unwilling to compromise her quest . . . to remind people that the music she plays is black music.
Black music like this:
And like this:
And all of this:
Rhiannon Giddens is not the only young black musician to focus on the traditions of American folk music.
Here is the multi-instrumentalist native of Los Angeles, Jerron “Blind Boy” Paxton, who plays both country blues and Appalachian music, and even sometimes performs in the dress of a black Southern field hand.
Valerie June draws on Appalachian, bluegrass, and blues traditions in her music:
The New York City-based old-time string band The Ebony Hillbillies:
Toronto-born Kaia Kater:
As we think about and explore ideas of authenticity in American music, we would do well to remember that the DNA of American music in all of its genres has a great deal more than one drop of African ancestry.
Appendix: Read this article and watch this brief video documentary about the residents of an Appalachian town who identify as black, although they appear white.
The conflict between Brahms and his allies and the proponents of the New German School resulted in a “manifesto” written by Brahms and published in the Berliner Musik-Zeitung Echo in 1860:
The undersigned have long followed with regret the proceedings of a certain party whose organ is Brendel’s Zeitschrift für Musik. The said Zeitschrift unceasingly promulgates the theory that the most prominent striving musicians are in accord with the aims represented in its pages, that they recognise in the compositions of the leaders of the new school works of artistic value, and that the contention for and against the so-called Music of the Future has been finally fought out, especially in North Germany, and decided in its favour. The undersigned regard it as their duty to protest against such a distortion of fact, and declare, at least for their own part, that they do not acknowledge the principles avowed by the Zeitschrift, and that they can only lament and condemn the productions of the leaders and pupils of the so-called New-German school, which on the one hand apply those principles practically, and on the other necessitate the constant setting up of new and unheard-of theories which are contrary to the very nature of music.
A few days later, an answer appeared in the NeueZeitschrift:
Dread Mr. Editor,
All is out!——I learn that a political coup has been carried out, the entire new world rooted out stump and branch, and Weimar and Leipzig, especially, struck out of the musical map of the world. To compass this end, a widely outreaching letter was thought out and sent out to the chosen-out faithful of all lands, in which strongly outspoken protest was made against the increasing epidemic of the Music of the Future. Amongst the select of the out-worthies [paragons] are to be reckoned several outsiders whose names, however, the modern historian of art has not been able to find out. Nevertheless, should the avalanche of signatures widen out sufficiently, the storm will break out suddenly. Although the strictest secrecy has been enjoined upon the chosen-out by the hatchers-out of this musico-tragic out-and-outer, I have succeeded in obtaining sight of the original, and I am glad, dread Mr. Editor, to be able to communicate to you, in what follows, the contents of this aptly conceived state paper—I remain, yours most truly,
Office of the Music of the Future [Zukunftsmusik]
Brahms despised Liszt’s music, and was widely believed to hold the same low opinion of Wagner’s. Brahms and Wagner were each competing, as it were, to wear the mantle of Beethoven and carry the genius of Germanic music into a new era. However, Brahms quite clearly paid homage to Wagner in the second movement of his Symphony no. 1 in C minor, op. 68.
The symphony’s second movement contains several obvious allusions to Wagner’s groundbreaking “Tristan chord” (movement 2 starts at 12:52):
The Tristan chord occurs first in the prelude of Wagner’s 1865 opera Tristan und Isolde, and consists of F-B-D#-G#: an augmented fourth, sixth, and ninth. Any chord that contained these intervallic relationships became known as a Tristan chord.
More on the Tristan chord:
Brahms was a collector of manuscript scores, and had an autograph score of a scene from Wagner’s opera Tannhäuser. When Wagner found out, he demanded that Brahms return it to him. They exchanged frosty letters, which you can read here, and Brahms eventually did return the score. Wagner relented by sending him a first-edition of Das Rheingold.
Maestro Antonio Pappano and the cast of the Royal Opera production discuss the rehearsal process.
English National Opera presented Butterfly two years ago with a puppet as Trouble, Butterfly’s son.
Do you think it works?
A short animated film to Butterfly’s Act II aria “Un bel dì vedremo.”
Glyndebourne Opera updated the story to 1950s post-World War II Japan:
Punk rock producer Malcom McLaren’s take:
The Kazakh countertenor Erik Kurmangaliev singing Butterfly’s Act III aria in a Russian-language production of American playwright David Henry Hwang’s play M. Butterfly (which actually does not follow the plot of the opera at all, but concerns a relationship between a French diplomat and a Chinese opera singer
How did the poetry of Ossian (really, James MacPherson) influence Italian opera in the nineteenth century?
Why was Ossian — later acknowledged to be a fraud — so important to the Romantic generation in Italy?
Could it be because these supposedly ancient poems spoke to the longing for a unified culture and community, one based on spiritual aspirations rather than on the arbitrary borders set out by the various monarchies of Europe? In other words: because “Ossian,” as a Scottish poet, addressed issues of the time — including the longing for nationhood among diverse peoples — in a way that would surely have been censored or suppressed if the poems had been “modern”?
Ossianism, as a kind of cultural virus . . . spread quickly and widely. In Britain, which had recently suppressed a series of insurrections in Scotland and solidified its domain over the recently formed “United Kingdom,” these Ossianic characteristics . . . promoted Scottish nationalism and undermined English authority.
So, for all of his purported ancientness, Ossian is about resurgence, rebirth — risorgimento in Italian. The Italian Risorgimento was the political and artistic movement dedicated to Italian liberation and unification.
So we go from early Italian Romantic opera, like this:
to overtly nationalist and revolutionary Italian Romantic opera, like this: