The 9th renounces many conventions and maintains some elements of classical style, while also opening the way to the subsequent Romantic era. The “Ode”, which stretches for over 20 minutes, seems to resist categorization yet remains recognizable. As historian Harvey Sachs has written, with a surprisingly free spirit, the music comments on the text of the poem and fantasizes from it.
This fantasy is most similar to the musical form of theme and variation, i.e. the melody undergoes a series of stylistic transformations. In this case, the melody is the famous song we know as the “Ode.” After the initial presentation, Beethoven writes a jumbled and drunken version. Instead of one note per syllable, Now there are two of them, going up and down like a drunken singer singing. It can't keep itself stable. But when you mention God, it becomes music. Awe-inspiringly powerful and highly focused. It sounds like it's the end, but after a brief pause, the sound of the military band's instruments begins. Enter the Turkish March: It's probably an illogical story with kitschy or parodic elements.
Or it could be a prelude to war, because then the battle begins. It is one of the keys, and the spirit represented by the fugue. The shining key of D appears with its biggest treatment yet on the “Ode” melody. In the end, all that remained was to celebrate.
The tenor and bass, along with the low instruments of the orchestra, appear with the sound of sacred music and deliver the following passage: “Millions, embrace me!” In the next section, Beethoven includes the word “devout” in his instructions to the musicians, and the listener can hear Schiller's movement toward the divine “beyond the starry canopy” as he describes the realm of the “Creator.” The awe of the heavens gives way to a double fugue of divine majesty.
yet again, This work seems to have already come to a conclusion. But it continues. The vocal soloist enters and repeats the text from the beginning, returning to the phrase “All men are brothers” and the appropriate coda expands. Beethoven brings back the military instruments and the choir sings the first phrase of the “Ode” at full power: “Joy, beautiful spark of divinity.” You can almost imagine it as a warm-up for the new section, but The orchestra draws the curtain breathlessly, madly. As if to end a debate that would go on forever.
Historically, there has been a kind of debate going on. The political “Ode” has been adopted across ideologies, like a “coexistence” bumper sticker, by the theists who are not bound by any faith, and the vision of Elysium in music has changed depending on the eyes of each listener.