Jon Batiste - Facile-Batiste (Audio) Black Mozart 22MAI26

Jon Batiste - Facile-Batiste (Audio)

 

The 'Ode To Joy' As A Call To Action & Beethoven Ninth (9th) Film; Following The Ninth & Beethoven's Famous 4 Notes: Truly Revolutionary Music 14JAN14&19NOV12

 
THIS is one piece of music that at times will make me stop in my tracks and other times make me want to dance like nobody is watching and other times lift my spirit and make me cry. In these dark times for some nations around the world, I think of Ukraine, of the Syrian rebels and refugees, of the families of MH370, 'Ode To Joy' once in a while is just what their souls need to hear. And especially for Ukraine, with Russian troops occupying Ukrainian Crimea, massed on their border and Russian provocateurs provoking and promoting violent clashes between the Ukrainian people across the nation, imagine the inspiration if Ukraine adopted 'Ode To Joy' as their national anthem. Just watch this video, and click the link for more, beautiful people and their versions of this timeless classic. And be sure to click the first link to hear and feel this story from NPR's 'All Things Considered'.....

http://youtu.be/I90_deaEFus

 

The 'Ode To Joy' As A Call To Action

by NPR Staff

January 14, 2014 3:49 PM

8 min 59 sec

http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=262481960&m=262503865

A Chinese student at the 1989 Tiananmen Square protests, where speakers playing Beethoven's Ninth Symphony were rigged up to drown out government broadcasts.

Battle Hymns Productions

Kerry Candaele says he remembers exactly where he was when he first heard 's Ninth Symphony. He was in his 20s at the time, in the 1970s, driving up the California coast in a car he'd borrowed from a friend. He popped in a cassette he found, and what he heard both shocked him and transported him.
Now, Candaele has turned his obsession with Beethoven's Ninth into a documentary film: . He follows the Ninth around the world, to Chile and China, where it became an empowering anthem of solidarity, and to Japan, where performances of daiku — the Great Nine — are a cherished annual tradition.

YouTube

"The Japanese identified with Beethoven," Candaele says. "You know, the quintessential romantic figure of Beethoven as this man who is tortured and struggles and overcomes and finally reaches this pinnacle of artistic creation with the Ninth Symphony — his final symphony — three years before he dies. "It became this yearly event where sometimes 5,000 people, sometimes 10,000 people, who have practiced singing in German for six months, stand together in December and sing the 'Ode to Joy.'"
Candaele, who also co-wrote a book on the topic with Greg Mitchell, recently spoke with NPR's Melissa Block about the winding journey of Beethoven's Ninth. Candaele recounts the Ninth's history — from its use by Tiananmen Square protesters to drown out government broadcasts to its appropriation by the Third Reich as a triumphalist German anthem — as well as his own thoughts on Beethoven's intentions for the music. Hear more of their conversation at the audio link (above).

Beethoven's Famous 4 Notes: Truly Revolutionary Music

by NPR Staff

November 19, 2012 5:11 PM

12 min 58 sec

http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=165495617&m=165507944 

An autographed portrait of Ludwig van Beethoven.

Hulton Archive/Getty Images

A new book, a new recording and some old instruments, all addressing the most memorable phrase in music: the opening of 's Fifth Symphony.
Matthew Guerrieri has written a book about this symphony, called The First Four Notes: Beethoven's Fifth and the Human Imagination. Guerrieri writes about how Beethoven's piece resonated with everyone from revolutionaries to Romantics, and German nationalists to anti-German resistance fighters.
So many people have found so much meaning in just those first four notes. But Guerrieri says that we really don't know all that much of what Beethoven meant by them.
"The most common story that is told is that Beethoven allegedly said that the opening of the symphony was supposedly symbolizing fate knocking at the door. And this is probably an invention of his biographer, although we can't really tell," Guerrieri tells NPR's Robert Siegel. "The other story going around at the time that Beethoven wrote it was that he had gotten the opening motif from the song of a bird. And that story just sort of fell away as the fate symbolism took over. But in Beethoven's time, and to Beethoven, that actually would have been a fairly noble way of getting a musical idea."
A Romantic 'Bombshell,' Delivered By Beethoven's Fifth
In his book, Guerrieri writes:

"The Romantic era [of the early 19th century] never really ended ... Every time a singer-songwriter is praised for projecting autobiographical authenticity, every time a movie star expresses the desire for a project that is 'more personal,' every time a flop is subsequently recategorized as a before-its-time masterpiece, all these are reverberations of the bombshell of Romanticism. And one of its pre-eminent delivery systems was Beethoven's Fifth."

Beethoven's Fifth And The Human Imagination

Hardcover, 304 pages

The author adds: "I think that the Romantic era is another thing that we just sort of take for granted, because they've kind of always been there for us. But it's amazing how many of these ideas were new around the time that Beethoven was writing music. The whole idea that music picks up where language leaves off — which is pretty much a cliche nowadays — that was a very specific Romantic idea, and it's one that lasted. Also, the idea that the artist is somehow more privileged in accessing these things beyond language, in accessing the sublime, in accessing glimpses of the divine, however you want to characterize it. A lot of the ideas we use to talk about music are these ideas."
And how to play those four notes? "The two things that have been argued about more than any other technical aspect of the opening are the tempo and the fermata that Beethoven stuck in the opening," says Guerrieri. "A fermata is an indefinite hold — the conductor can hold onto a note as long as he wants."
Holding On And Letting Fly: The Tempo
The question of tempo relates back to an interesting story Guerrieri tells in his book. The metronome was an invention of Beethoven's day; he didn't have access to it when he was writing his early symphonies. But later, he came into contact with it and loved the device. "He immediately buys one and sits down and starts going back over all his old scores and putting in metronome markings," Guerrieri says. "And he picked a tempo for the Fifth Symphony that even today sounds really, astonishingly fast."
The setting he chose was 108 beats per minute — so fast, so hard to play, Guerrieri says, that people have been theorizing for centuries about why Beethoven might have mismarked his own symphony. A broken metronome? Advancing deafness? Nobody knows.
Dah-Dah-Dah-Duh For 'Victory'
Here's one other story Guerrieri writes about those first four notes: In World War II, the anti-German resistance in occupied Belgium needed a simple graffiti symbol. A Belgian came up with the letter "V." It stood equally for victoire — "victory" in French — and Vrijheid, or "freedom," in Flemish. "Once that 'V' idea got back to the BBC and they wanted to start using it in their overseas broadcasts," says Guerrieri, "it was at the BBC that they had the idea of combining it with the Morse code for 'V': three short and one long. Somebody at the BBC realized that matches Beethoven's Fifth. So they could start using that as a little tag to symbolize that [something] was going to be a pro-Ally, propaganda broadcast from the BBC."
A Less Homogenized Fifth

There's a new recording available of Beethoven's Symphony No. 5 by John Eliot Gardiner's Orchestre Revolutionnaire et Romantique — the Revolutionary and Romantic Orchestra, or the ORR. They play what Gardiner calls "transitional" instruments: They're not baroque, but not modern. The strings are gut; the bows curve inward. "The primary expression comes from the bow — with the right hand, not with the left hand," the conductor explains. The horns are valveless: "It's got a much rawer and a much more mellow sound than the modern horn, I think," he adds. The woodwinds "have a specific timbre which distinguishes one instrument — a flute from a clarinet, and an oboe from a bassoon — more differentiated than you'll find in a modern symphony orchestra." The timpani are played with hard wooden sticks on calfskin heads, "so there's a much more percussive edge than the plump, plusher sounds of the symphony timpani."
The result is an orchestra that sounds less homogenized, with less of a velvet texture, than an orchestra of modern instruments. "I call it much more multistranded, multicolored," says Gardiner. "It's like looking at the weave of a carpet when you can see all the different strands, the different colors, woven one upon the other, rather than meshed and blurred."
All Things Considered's Robert Siegel says that he was particularly struck by Gardiner's new recording, since he has for many years associated original instruments with — "Vegetarianism?" Gardiner interjects playfully.
"Well, kind of a softer, not quite so robust sound," Siegel responds.
A Fifth With A More "Human" Sound
"That's a misunderstanding," Gardiner says, "not on your part, but on the way that so often these instruments are played in a bland, precious way. And it's the opposite. To me, they're much more visceral, much more emphatic, and kind of much more human, in a way, than the much more sophisticated mechanisms of modern orchestras."
Gardiner says emphatically that using period instruments isn't the goal in itself. "I've never treated these instruments as though it's a kind of antiquarian stunt," he says. "To me, they're a point of entry into a different sound world from the one that we hear all the time."
As for Gardiner's tempo, his first movement of the Fifth Symphony runs just 6 minutes and 39 seconds. The famously fast conductor Arturo Toscanini took 7 minutes and 13 seconds for one recording. At the other end of the scale: In 1970, and the New Philharmonia Orchestra played the opening movement of the Fifth in 9 minutes and 14 seconds; so Gardiner and the ORR are speedsters.
Can an orchestra actually play the opening movement at Beethoven's marked tempo of 108 beats per minute? "With difficulty," Gardiner laughs. "It will tend to come through as a mishmash. But it suggests urgency, doesn't it?"
A Revolutionary Spirit
"The way I approach the Fifth Symphony's opening movement," Gardiner says, "is via the French Revolution, which Beethoven was very caught up in at the time, and the music associated with the French Revolution, and that particular hymn [of Claude Joseph] Rouget de Lisle," who wrote La Marseillaise: "I will die, sword in hand, for the rights of man and for the glory of the revolution and the Republic.
"If it is in some sense a coded message of music without words," Gardiner says, "then you've got an entry point to the Fifth Symphony. It doesn't have to be fate knocking at the door. It gives a rhetoric and excitement which I'm sure is implicit in Beethoven's notation."

 http://www.npr.org/blogs/deceptivecadence/2014/01/14/262481960/the-ode-to-joy-as-a-call-to-action

http://www.npr.org/blogs/deceptivecadence/2012/11/19/165495617/beethovens-famous-4-notes-truly-revolutionary-music 

Helen Keller's Experience of Beethoven's Ninth 25MAR14

This is just a beautiful story about Helen Keller. Enjoy, and for more of the joy the Ninth brings see The 'Ode To Joy' As A Call To Action & Beethoven Ninth (9th) Film; Following The Ninth & Beethoven's Famous 4 Notes: Truly Revolutionary Music 14JAN14&19NOV12 http://bucknacktssordidtawdryblog.blogspot.com/2014/03/the-ode-to-joy-as-call-to-action.html

By Janos Gereben

Helen Keller at the radio

In March of 1924 Helen Keller wrote the following letter to the New York Symphony Orchestra describing how she listened to Beethoven's Ninth Symphony over the radio. The source is The Auricle, Vol. II, No. 6, March 1924. American Foundation for the Blind, Helen Keller Archives.

Dear Friends: I have the joy of being able to tell you that, though deaf and blind, I spent a glorious hour last night listening over the radio to Beethoven's Ninth Symphony. I do not mean to say that I heard the music in the sense that other people heard it; and I do not know whether I can make you understand how it was possible for me to derive pleasure from the symphony.
It was a great surprise to myself. I had been reading in my magazine for the blind of the happiness that the radio was bringing to the sightless everywhere. I was delighted to know that the blind had gained a new source of enjoyment; but I did not dream that I could have any part in their joy.
Last night, when the family was listening to your wonderful rendering of the immortal symphony someone suggested that I put my hand on the receiver and see if I could get any of the vibrations. He unscrewed the cap, and I lightly touched the sensitive diaphragm.
What was my amazement to discover that I could feel, not only the vibration, but also the impassioned rhythm, the throb and the urge of the music! The intertwined and intermingling vibrations from different instruments enchanted me. I could actually distinguish the cornets, the roil of the drums, deep-toned violas and violins singing in exquisite unison. How the lovely speech of the violins flowed and plowed over the deepest tones of the other instruments! When the human voices leaped up thrilling from the surge of harmony, I recognized them instantly as voices more ecstatic, upcurving swift and flame-like, until my heart almost stood still.
The women's voices seemed an embodiment of all the angelic voices rushing in a harmonious flood of beautiful and inspiring sound. The great chorus throbbed against my fingers with poignant pause and flow. Then all the instruments and voices together burst forth an ocean of heavenly vibration and died away like winds when the atom is spent, ending in a delicate shower of sweet notes.
Of course this was not hearing, but I do know that the tones and harmonies conveyed to me moods of great beauty and majesty. I also sense, or thought I did, the tender sounds of nature that sing into my hand-swaying reeds and winds and the murmur of streams. I have never been so enraptured before by a multitude of tone-vibrations.
As I listened, with darkness and melody, shadow and sound filling all the room, I could not help remembering that the great composer who poured forth such a flood of sweetness into the world was deaf like myself. I marveled at the power of his quenchless spirit by which out of his pain he wrought such joy for others and there I sat, feeling with my hand the magnificent symphony which broke like a sea upon the silent shores of his soul and mine.

Included in: Music News: March 25, 2014
Janos Gereben appreciates news tips, corrections, and words of encouragement at janosg@gmail.com.
https://www.sfcv.org/article/helen-kellers-experience-of-beethovens-ninth