A poem called Ode to Joy

Ode to Joy (German means An die Freude), also known as Ode to Joy, is a poem written by German poet Schiller in 1785. Beethoven composed ode to joy and chorus symphony for it.

1793 65438+ 10, a friend of German poet Schiller and a law professor at Bonn University wrote to Schiller's wife Charlotte, saying: "There is a young man ... with great and lofty aspirations, who wants to set Schiller's Ode to Joy to music paragraph by paragraph." This young man is Beethoven, who lived in Bonn at that time and was only 23 years old. Beethoven contributed the music of Ode to Joy in 1798 and 18 12. The theme of Ode to Joy, written in 18 12, was later used in 18 14 to complete the prelude to the named day festival in C major (Op. 1 15). Beethoven's song "Love each other" written for Bigger poems around 1795 is closely related to the theme of Ode to Joy in the last movement of the chorus symphony, which can be said to be the predecessor of the theme of Ode to Joy. Later, Beethoven used this tune as the theme in Fantasia for Piano Chorus in C Minor (op. 80)65438-0808, and sang Kuffner's poem praising the charm of music. The chorus part of piano chorus fantasia is an attempt at the finale of chorus symphony. 1in March, 824, Beethoven wrote to probst: "The finale of the chorus symphony was written in the style of piano chorus fantasia, but on a much larger scale." It can be seen that Beethoven's intention to compose "Ode to Joy" began at 1793, and it took 30 years to finish in the Chorus Symphony. The chorus symphony was completed in the reactionary period when all free thoughts and democratic movements were brutally suppressed after the Carlsbad resolution. 1824 During the first performance of Lentner Thor Theatre in Vienna in May, the audience's enthusiasm was unprecedented. The audience applauded and cheered five times when Beethoven appeared, so that the police had to intervene. But Beethoven, who stood in the band with his back to the audience, couldn't hear anything. Fortunately, contralto singer Hong Re turned around holding his hand and "saw" the cheers of the audience. From the unusual emotions caused by the first performance, we can see how profound the practical significance of singing, that is, the freedom of singing, was at that time.