The Ninth Symphony,
a European Myth

Liberty and fellowship

“Alle Menschen werden Brüder” “All men become brothers” are words that encapsulate the universal spirit of the “Ode to Joy”, the centrepiece of the Ninth Symphony and one of the loftiest and most eloquent themes in all art. The noble idea inspiring harmony and peace, the humanity and majesty of the music that raises free peoples to the celestial heights of fellowship have elevated the Ninth Symphony to mythical status. The song has become the Anthem of Europe, and its notes are a source of creativity for many artists.

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LUDWIG VAN BEETHOVEN
IX Sinfonie mit Schluss-Chor über Schillers Ode: “An die Freude”, B. Schotts Söhnen, Antwerpen, bey A. Schott, 1826.
Original edition.

LUDWIG VAN BEETHOVEN
Die Neunte Symphonie, facsimile, Leipzig, Ristner & Siegel, 1924.
Full leather “A” edition, one of 150 copies for the centenary of the Ninth Symphony.

The Muse of Harmony is particularly favourable in this era (...). As soon as Mozart and Haydn had gone, Beethoven appeared (...). The originality of his harmonies and his delightful, charming melodies are unsurpassed, and are also the product of his rich genius. Our music bookshop is particularly pleased to be able to offer art lovers the opportunity to enjoy his finest compositions.

Intelligenzblatt zur Caecilia, 20 April 1825, invitation to subscribe to three new major works by Ludwig van Beethoven:
1. Missa Solemnis op. 123 
2. Grosse Ouvertüre op. 124 
3. Sinfonie mit Chören op. 125

Frederick William III, King of Prussia, to whom the Ninth Symphony was dedicated, *Potsdam, 3 August 1770 - †Berlin, 7 June 1840.  “Carte de visite, albumen silver print. Berlin, F. Sala & C., c. 1850.

HANS LANG, Austrian painter, *Landegg, 2 May 1898 - †Innsbruck, 16 December 1971.
Beethoven Haus in Baden – Wien, original pastel, c. 1927.

Baden bei Wien, “Neunte Haus”: the museum house in Baden at Rathausgasse 10, where Beethoven composed the Ninth Symphony, in a romantic view during snowfall. Curiously, the artist’s signature is on the doorbell.

K.K. Hoftheater, nächst dem Kärnthnerthore, original colour lithograph, Vienna, chez Artaria & Co., c. 1820.

The Ninth Symphony was first performed at this theatre (no longer in existence) on 7 May 1824. Programme: The Consecration of the House Overture, “Kyrie”, “Credo” and “Agnus Dei” from the Missa Solemnis, “Grand Symphony with solo and choral voices entering at the finale with Schiller’s “Ode to Joy”. As Beethoven, as planned, turned the pages of his score. It was a triumph... yet overall a disappointment.

ALOIS KOLB, Austrian painter and printmaker, *Vienna, 2 February 1875 - †Leipzig, 5 April 1942.  His drawings and engravings are on display in Europe’s pre-eminent museums.
Diesen Kuss der ganzen Welt (This kiss to the entire world), famous original etching with hexagonal outline, 1909.

A sensual, passionate kiss between two lovers nestled in an ideal embrace upon Beethoven’s thick pillow of hair. The woman’s hair merge wonderfully into the composer’s, evoking the flames of passion. The lovers’ legs are a superb decorative element that balances the entire piece. The compelling and daring work caused a great scandal.

The inspiration for Beethoven’s face was clearly the life mask by Franz Klein. The eyes are closed and his intense, pained expression suggest he is concentrating on listening to his inner music.

ARTHUR PAUNZEN, Austrian painter and printmaker, *Vienna, 1890 - †Douglas, Isle of Man, 1940. An artist who employed an extraordinary engraving technique to create allegorical figures inspired by music, especially Beethoven’s.
Brüder – überm Sternenzelt muß ein lieber Vater wohne… (Brothers, above the starry vault must dwell a loving Father...), original etching inspired by the “Ode to Joy” from the Ninth Symphony. It is part of a collection of six engravings dedicated to Beethoven’s Symphonies, produced in Vienna in 1918.

United in universal fellowship, stripped of all social (and religious) differences, humanity stands on ledges carved into a rocky peak, arms aloft to the sky, in praise of the Loving Father. The sun rises above the sea, its rays sketched finely. It symbolises Good, Light, Knowledge: a poetic vision of the great ideals set forth in the “Ode to Joy”.

KARL RIEBER, German sculptor, *1888 - †1957.  Bronze medal produced for the 150th anniversary of Beethoven’s birth, 1920.

It is a very unusual, intensely expressionist medal. The reverse takes up the theme of the Ninth Symphony “Über Sternen Muss er Wohnen” (Above the stars must he dwell), with a virtually naked man rising above the confines of the earth towards the sun, the moon and the stars, in search of the “Loving Father” above the sky.

ERHARD AMADEUS DIER, Austrian painter, printmaker and composer, *Vienna, 8 February 1893-† Klosterneuburg, 23 September 1969.
Original etching, 1920s. Next to it is the original matrix incised into silver-plated copper plate.

On the right is Beethoven’s face from F. Klein’s life mask. The expression is one of inspired contemplation, the eyes are half closed and the hair is bristly. In the background appears a grand harp, the instrument of celestial music, with an angelic female figure. In the lower field, a host of naked human figures, sorrowful and giving glory as they reach towards the Light.

ALOIS KOLB, Austrian painter and printmaker, *Vienna, 2 February 1875 - †Leipzig, 5 April 1942.  His drawings and etchings are on display in Europe’s pre-eminent museums.
Ninth Symphony, original etching from the Beethoven-Zyklus series, Vienna, 1921.

A visionary interpretation of the Ode to Joy:

As joyfully as His suns fly
Through heaven’s grand plan,
Follow your course, brothers,
As joyful as a hero to victory

LUDWIG HESSHAIMER, printmaker, engraver, teacher and captain in the Austro-Hungarian Royal and Imperial Army, *Kronstadt, 10 March 1872 - †Rio de Janeiro, 1956.
Freude, schöner Götterfunken (Joy, beautiful divine spark), bookplate for Fritzi Leonhard, original etching signed and dated in print and original in pencil, 1936.

A fine, very rare work that is rich in symbols. A delicate female figure, kneeling on a large book, soulfully playing an inlaid harp, the instrument of celestial music. In the lower left is the face of Aeolus, the man who became a god and unleashes and regulates the winds. He is bedecked with acanthus leaves, evoking ancient times and symbolising wealth and well-being.

Decorating the background are seven large daisies, feminine flowers that convey love and joy and symbolise the seven musical notes. In the upper field, a banner contains a line by Schiller from the Ninth Symphony “Freude, schöner Götterfunken”. Beneath it a scroll bears the name of the person to whom the bookplate is dedicated, Fritzi Leonhard.

KARL BLOSSFELD, German painter, printmaker and illustrator, *Bullenstedt, Bernburg, 6 November 1892, - †Hamburg, 16 February 1975.
Wem der grosse Wurf gelungen eines Freundes Freund zu sein... (The man who had the good fortune to be a friend of a friend...), bookplate for Gotti and Gustl Schöneck-Doman, original etching, 1948.

“Alle Menschen werden Brüder” which means "All men become brothers”. At the dawn of a new era of peace and hope, after the ravages of war, two men stand heroically in the nude on opposite sides of the world, firmly shaking hands. Beethoven’s face and the notes of the Ninth Symphony bear witness to and endorse their spirit of fellowship.

BRUNO EYERMANN, German medallist and sculptor. *Leipzig, 26 February 1888 - †Hanau, 30 December 1961.
Bronze medal produced for the 125th anniversary of Beethoven’s death, 1952.

Against a backdrop of stars, the World is encircled with a stave featuring the notes of the “Ode to Joy”, and a branch of laurel, a universal symbol of glory and peace. Around the edge are the words: “Über Sternen Muss er Wohnen - Seid Umschlungen Millionen”, “Above the Stars Must He Dwell – Be Embraced, Ye Millions".

HEDWIG PAUWELS, Belgian ex libris artist, *St. Niklaas, 8 August 1934, [living].
Bookplate for Anke Polenz, etching signed and numbered in pencil by the artist. Produced in Belgium for the fall of the Berlin Wall, 1989.

In the foreground is Joy, the divine spark and daughter of Elysium, in a thickly draped robe with her wings still unfurled. On the left, the choir is singing with their sheet music open. Below, in front of the Wall that is about to be torn down, stand three men and a woman, a quartet of soloists, each with an affectionate arm around another, singing with their backs to spectators. The last figure on the right is wearing a worker’s cap.

The flames in the background represent the power and might of this immortal work, but also the end of a dictatorship... In the top left-hand corner, the face of Beethoven, who was against all forms of oppression, is lit by the glow from the flames. His expression is grave and disapproving.

ANTONIO MUÑOZ, Italian painter, sculptor and architect, *Rome, 1884 - †Rome, 1960. A man of profound artistic and humanistic culture. He received an honorary degree from Prague Polytechnic.
“All’Agusteo”, a sonnet published in Cinquanta sonetti romaneschi, Rome, Staderini Editore, 1943. “Collana dei Romanisti”, page 25.

In 1908, the Anfiteatro Corea, which had operated since 1780, was renovated and renamed the Teatro All’Agusteo. Symphony concerts were held there until 1936, when it was demolished. With typically Roman irony, this sonnet describes the performance of the Ninth Symphony: “Sta zinfonia la chiameno la Nona / E dice ch'è la mejo che ce sia; / E l'artre otto l'orchestra nu' le sona, / Perché la gente ha prescia d'annà via” (They call this the Ninth Symphony / And say it’s the best, infinitely; / And they have no plans to play the other eight, / Because people don’t want to stay out too late).

NAVIGATION GUIDE

This section is a legacy of the online exhibition “The Man. The Genius. The Myth” presented in 2021, preserved here in its essential content. The narrative unfolds in three main themes:

THE MAN dedicated to the most important events and themes in the composer’s life;
THE GENIUS dedicated to his works and how they are interpreted in the figurative arts;
THE MYTH dedicated to the worldwide spread of the Beethoven Myth, the exploitation of the composer’s image for commercial and political purposes, his veneration and desecration.

Several sub-itineraries are proposed within each of the three.

For example:
when the “GENIUS” itinerary is selected, the “SIXTH SYMPHONY” sub-itinerary becomes available.
Each sub-itinerary consists of a Gallery of works and/or documents on the theme with a short introduction.
Each image is accompanied by a description and can be enlarged and viewed in a different resolution.
The “INTRO” feature is a short audiovisual introduction to the specific section.

CREDITS: all works and documents are from the Carrino Collection
© Collezione Carrino – Casa Museo Biblioteca Beethoveniana
Any use of these images is prohibited without the express permission of Casa Museo Biblioteca Beethoveniana.

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NAVIGATION GUIDE