Choral Fantasy (Beethoven)

The Fantasy in C minor for Piano, Chorus, and Orchestra, op. 80, was composed in 1808 by Ludwig van Beethoven.

Background, composition, and reception

First performed at the famous “Akademie” (benefit concert) of 22 December 1808, which also saw the premières of the Fifth and Sixth Symphonies as well as a performance of portion of the C major Mass, the Fantasia op.80 (or “Choral Fantasy”, as it has to be known) shows a different kind of concentration of those works. Its delightful cool innocence conveys a different a spirit not unlike that found in Mozart's The Magic Flute. The opening piano solo, one the finest extant examples of what Beethoven's improvisation must have been like – at the première he did, in fact, improvise this section – is followed, after an orchestral link, by a set of variations on a child like theme foreshadowing the “Joy” theme in Ninth Symphony.

To conclude the memorable concert program, Beethoven wanted a “brilliant Finale” which should unite in a single piece the different musical elements highlighted in the concert night: piano solo, choral and orchestra. The Fantasia op.80 written a few days before plays that role. Beethoven asked to the poet Christoph Kuffner to write the text with his indications. The developed theme - universal fraternity with the meetings of arts - is like Schiller's Ode to Joy that Beethoven wanted to make a musical arrangement since his early years which took the definite form in the 9th Symphony. Similar traits - the choral treatment introduced by the instrumental variations based on a simple musical theme, and the obvious connection of the theme with the Ode to Joy's theme - link the Fantasia op.80 to the 9th Symphony, in such a level that one can see the outline of the second into the first.

• Choral Fantasy:
• Ninth Symphony:

Within an original scheme of key-relationships, the variation display both disarming simplicity and consummate subtlety. (This part of the work is also intimately connected with two pieces for solo piano, the Variations in op.34, and the remarkable Fantasia op.77.) When the voices enter, intoning a poem in praise of song, the listener realizes that the music has entered a coda – albeit considerably extended – where all is gaiety and freshness. Nevertheless, in marking Beethoven's first complete attempt to marry instrumental with choral music, the Fantasy became an early precursor to his revolutionary Ninth Symphony, which he would complete sixteen years later in 1824.

The formal freedom of the Fantasia genre permits Beethoven to unify in a short length piece the intimate aspect of piano and chamber music, and the grandiose aspect of symphonic music with choral. The Fantasia is build on two uneven parts (see below in the following section).

In the 22th December 1808 concert that Beethoven wanted to present his various aspects of his talents, no other work could ever be a better use as a conclusion than this “Choral Fantasy” knowing that the maestro played successively the role as a virtuoso with the initial cadenza, as a simple piano accompanist in the variations with the flute and oboe, and as a piano soloist in the concertante dialogue with the orchestra and the choral; after this Fantasia dedicated to King Maximilien 1st Joseph of Bavaria, Beethoven returned only once to the concertante piano, only a few months after, with the composition of the 5th Concerto “Emperor” which curiously, starts with an improvised type cadenza as well.

Form

The Choral Fantasy, which in most performances lasts about twenty minutes, is on two uneven length parts:

• Adagio – a 26 bars lengthy piano solo composed after the concert, Beethoven, at that day, probably went to an improvisation –,
• a lengthy Finale of nearly 600 bars long which is divided in several section of different tempi,

• Allegro (Instrumental Variations),
• Allegro molto with a concertante piano,
• Adagio ma non troppo, a long dream like melody reminding slow movement of certain Piano Sonatas,
• Assai vivace with a rythm of a Marcia recalling the Turk March of the 9th Symphony,
• finally, Allegretto, ma non troppo and a
• Presto with the participation of the Choral.

The Fantasy opens with a slow but virtuosic 26-bar piano introduction, modulating from C minor to C major and back again. The main part of the piece, marked "Finale", begins with an Allegro theme played by the cellos and basses. Next, the solo piano introduces the choral theme in an ornamented version. Variations on the theme are then played by the flutes, oboes, clarinets, and string soloists, respectively. A full orchestral version of the theme, played at a forte dynamic leads into a more lyrical piano line.

The orchestra accompanies an eighth-note heavy piano part as the piece modulates from C minor to C major. A calm, flowing A-major section, ending with a call-and-response section between double reeds, horn, and piano, leads into the Marcia, an F-major variation on the main theme in march style. A reprise of the instrumental theme from the first Allegro transitions into the choral entrance.

The chorus enters with the sopranos and altos singing the main theme, harmonized in triads. The tenors and basses then sing the theme, after which the entire chorus is joined by the orchestra in a tutti rendition. A presto coda with orchestra, chorus, and piano brings the piece to a close.

Text

The work's text is as follows:

German text	English translation
Schmeichelnd hold und lieblich klingen	Graceful, charming and sweet is the sound
unseres Lebens Harmonien,	Of our life’s harmonies,
und dem Schönheitssinn entschwingen	And the sense of beauty engenders
Blumen sich, die ewig blühn.	Flowers which eternally bloom.
Fried und Freude gleiten freundlich	Peace and joy advance in perfect concord,
wie der Wellen Wechselspiel.	Like the rhythm of the waves;
Was sich drängte rauh und feindlich,	All harsh and hostile elements
ordnet sich zu Hochgefühl.	Are vanquished by the sublime delight.
Wenn der Töne Zauber walten	When the magic sounds reign
und des Wortes Weihe spricht,	And the sacred word is spoken,
muss sich Herrliches gestalten,	Magnificence takes form,
Nacht und Stürme werden Licht.	The night and the tempest turns to light:
Äuss're Ruhe, inn're Wonne	In outward peace and inward bliss
herrschen für den Glücklichen.	Reign the fortunate ones.
Doch der Künste Frühlingssonne	Meanwhile art, and the spring sun,
lässt aus beiden Licht entstehn.	Floods all with light.
Großes, das ins Herz gedrungen,	Something great in the heart
blüht dann neu und schön empor.	Then blooms anew in all its beauty.
Hat ein Geist sich aufgeschwungen,	As the spirit is taking flight,
hallt ihm stets ein Geisterchor.	A choir of spirits resounds in response.
Nehmt denn hin, ihr schönen Seelen,	Accept then, O you beautiful spirits,
froh die Gaben schöner Kunst	Joyously the gifts of high Art.
Wenn sich Lieb und Kraft vermählen,	When love and strength are united,
lohnt den Menschen Göttergunst.	God’s grace is bestowed upon Man.

References

• Lühning, Helga (1990) Beethoven: Lieder und Gesänge, Band II. Munich: G. Henle.

External links

• Piece details from the Los Angeles Philharmonic
• YouTube video of the Fantasy in C minor played by Daniel Barenboim, the Berliner Philharmoniker, and the Deutschen Staatsopern Chorus.
• Free scores by Choral Fantasy at the International Music Score Library Project (IMSLP)