shouldnt have read comments

Good job you didn't play Bach - would have terrified the cat!

She didn't mind Bach. Early Van Halen terrified my cat...

Im sorry for your cat, and that’s a beautiful thing to do!

What a gentle, inspired gesture on your part. A thousand blessings on you and your cat.

The 4th movement is a bit weird, it has some problems. Too fragmented in my opinion. The best movement of the 9th symphony is the 2nd movement.

@@GeoStreber Dude took years to write it, it was meant to be fragmented. But whatever makes you happy

I started to listen to this movement as a 12 year old boy and from the very beginning it was my favorite movement of "The Ninth". And after over 40 years of listening to it many hundreds of times I can still discover something new in it; it still moves me to tears; it never grows old or becomes plain. The two main themes are so seemingly simple, yet so profound and transcedental; ( the meandering first , adagio molto e cantabile, with its theme-stretching, echoing woodwindparts; and then the andante moderato-theme, with its key- ( d-major) and rhythm change, even more beautifful. And just listen to the difficult overlapping transgressions between the two themes with the sublime slight tempo changes and the perfect morendo of the woodwinds ending their last echo of the first theme to get an idea how perfect this interpretation and performance of Daniel Barenboim and the young musicians of his West-Eastern-Divan-orchestra are indeed. The tempi, the phrasing, the dynamics, the ritardandi..., everthing is perfectly chosen and fits the movement best. ) The variations of the two themes are so sublime and complex ( at least the ones for the first theme), although they remain mainly figural variations, the two trumpet signals before the expanded coda so majestic ..., It's such a heavenly piece, words just fail to sufficiently describe this absolute musical miracle ! No wonder Beethoven had to start the last movement with the dissonant chords in forte of the "Terror-Fanfare", as Wagner called it, in order to bring the listeners " back to earth" again for the finale.

@@gunterangel Ole!!

@@jesusmejiaher Muchas gracias !

Agree. Why do you think it takes so long for some to discover . I'm 38 years old, and only now am I able to feel music like this... and it tugs and tears me this way and that, in slow, sweeping pulls.. I just don't know why it took so long, given the hold it has on me now

@Daniel C, the way this music is to you, is poetry. Thank you for sharing

+Daniel -- That is enviable. Most people have pleasant memories that do not come close to that. You = lucky guy.

They played it when the Berlin Wall fell.

@@shoop06 Same, it took me years to connect with this piece. It is so humble it can be unnoticed for most listeners.

Barenboim Beethoven together x

Another unconceivable beauty is Mahler's adagietto

the first few of the second movement will give it a run for its money

Vivaldis four seasons.

@Mark Smith. I absolutely agree with you. Also, consider that Beethoven was almost completely deaf when he composed this.

YES!!

I couldn’t agree more….and when you like at the bombastic 1st and incredulous 4th….what makes this stand out? I don’t know, but its wonderful.

I started to listen to this movement as a 12 year old boy and from the very beginning it was my favorite movement of "The Ninth". And after over 40 years of listening to it many hundreds of times I can still discover something new in it; it still moves me to tears; it never grows old or becomes plain. The two main themes are so seemingly simple, yet so profound and transcedental; ( the meandering first , adagio molto e cantabile, with its theme-stretching, echoing woodwindparts; and then the andante moderato-theme, with its key- ( d-major) and rhythm change, even more beautifful. And just listen to the difficult overlapping transgressions between the two themes with these sublime slight tempo change and the perfect morendo of the woodwinds ending their last echo of the first theme to get an idea, how perfect this interpretation and the performance of Daniel Barenboim and the young musicians of his West-Eastern-Divan-orchestra are indeed. The tempi, the phrasing, the dynamics, the ritardandi..., everthing is perfectly chosen and fits the movement best. ) The variations of the two themes are so sublime and complex ( at least the ones for the first theme), although they remain mainly figural variations, the two trumpet signals before the expanded coda so majestic ..., It's such a heavenly piece, words just fail to sufficiently describe this absolute musical miracle ! No wonder Beethoven had to start the last movement with the dissonant chords in forte of the "Terror-Fanfare", as Wagner called it, in order to bring the listeners " back to earth" again for the finale.

No more classic radio anymore in Chile? What the hell. Thanks to KZfaq you can hear wat you want. Greetings from Holland

@@1Didgeridoo aunque lo puedas escuchar en otras plataformas es triste pensar que cada vez menos personas se benefician de esta medicina auditiva.

Minus all the coughing, hopefully

this is merely the music of gods creations. God can make music even better.

@@chrisbennapiano3968 true

@Marisa Schini Marching band? To this? Hard to imagine -- this is such a slow pace.

I had the same reaction many times. One time I literally cried !

Je suis d'accord with you ❤️❤️❤️

I started to listen to this movement as a 12 year old boy and from the very beginning it was my favorite movement of "The Ninth". And after over 40 years of listening to it many hundreds of times I can still discover something new in it; it still moves me to tears; it never grows old or becomes plain. The two main themes are so seemingly simple, yet so profound and transcedental; ( the meandering first , adagio molto e cantabile, with its theme-stretching, echoing woodwindparts; and then the andante moderato-theme, with its key- ( to d-major) and rhythm changes, even more beautifful. And just listen to the difficult overlapping transgressions between the two themes with the sublime slight tempo changes and the perfect morendo of the woodwinds ending their last echo of the first theme to get an idea, how perfect this interpretation and the performance of Daniel Barenboim and the young musicians of his West-Eastern-Divan-orchestra are indeed. The tempi, the phrasing, the dynamics, the ritardandi..., everthing is perfectly chosen and fits the movement best. ) The variations of the two themes are so sublime and complex ( at least the ones for the first theme), although they remain mainly figural variations, the two trumpet signals before the expanded coda so majestic ..., It's such a heavenly piece, words just fail to sufficiently describe this absolute musical miracle ! No wonder Beethoven had to start the last movement with the dissonant chords in forte of the "Terror-Fanfare", as Wagner called it, in order to bring the listeners " back to earth" again for the finale.

Agreed

And a friendly grin, following 10:02

I started to listen to this movement as a 12 year old boy and from the very beginning it was my favorite movement of "The Ninth". And after over 40 years of listening to it many hundreds of times I can still discover something new in it; it still moves me to tears; it never grows old or becomes plain. The two main themes are so seemingly simple, yet so profound and transcedental; ( the meandering first , adagio molto e cantabile, with its theme-stretching, echoing woodwindparts; and then the andante moderato-theme, with its key- ( d-major) and rhythm changes, even more beautifful. And just listen to the difficult overlapping transgressions between the two themes with these sublime slight tempo changes and the perfect morendo of the woodwinds ending their last echo of the first theme to get an idea how perfect this interpretation and the performance of Daniel Barenboim and the young musicians of his West-Eastern-Divan-orchestra are indeed. The tempi, the phrasing, the dynamics, the ritardandi..., everthing is perfectly chosen and fits the movement best. ) The variations of the two themes are so sublime and complex ( at least the ones for the first theme), although they remain mainly figural variations, the two trumpet signals before the expanded coda so majestic ..., It's such a heavenly piece, words just fail to sufficiently describe this absolute musical miracle ! No wonder Beethoven had to start the last movement with the dissonant chords in forte of the "Terror-Fanfare", as Wagner called it, in order to bring the listeners " back to earth" again for the finale.

@@fotodesign-wolf As you and I know, Eine andere Welt ist möglich. We are the ones who will see that day.

This magnificent work has no relation to the geo-political utility of a health crisis.

@@HiVizCamo It would be more accurate to say that with our current situation (crisis without a clear end) we can turn to music such as this movement from the Ninth Symphony to find solace and to be inspired to direct our lives to things that truly matter. I did not mean to suggest that there was a direct connection. The transcendent quality of this, and much of Beethoven's music, is our re-link to timeless issues of human existence that can be brought into any and all situations to restore perspective for our ultimate benefit.

Beautiful words Mr. Berengena. Today I saw the movie The Soloist (Aug.12, 20). At the end the movie ends with this beautiful piece of music. I'd been listening to Beethoven's music for 40 years. But today I felt the music was talking to my soul and I ended in tears. Then I remember the words from Beethoven: -"Music is the most sublime of forms of communication".

@@tonynikon It's interesting how certain things align and we find ourselves responding to music, art or even words in a profound way. I'm like that too. Sometimes the impact overrides everything happening around us and we rise to a part of ourselves that we forget we have within us. The question that sometimes comes to me is whether that is intrinsic to us all, or are some of us more receptive due to innate constitution or previous experience(s)? What I know: I fail at times to share what I feel with some people -- like talking to a wall. Goethe once said, "The soul that sees beauty sometimes walks alone."

Sem dúvida. Uma valsa maravilhosa.

Try the 3rd movement of Beethoven's Op.132.

I wholeheartly agree with your comment what the sheer beauty of this movement is concerned. 👍 But that's not the first theme ( adagio molto e cantabile) anymore at 3:59, but here starts the second theme ( andante moderato) with its key ( D-major) and rhythm change and - as you said it- it is really captivating and utterly beautiful, even more beautiful than the first adagio-theme imho. At 5:20 the first adagio-theme returns, this time with figurations by the first violins. It returns again, this time with even more complex figurations by the first violins at 10:20. Listen very closely and you can still hear the pure theme in the oboe and flute voices. This movement is basically a variation-movement with TWO themes; the first theme ( adagio) gets two full variations as mentioned above. the second theme ( andante), that you had so rightly described as utterly beautiful, gets only one, very moderate variation ( mostly in orchestration and key change from its original D-major to G-major ) at 7:30. The first and main theme also gets partially quoted after the variation of the andante-theme and where after the first notes it develops freely into a lengthy intermezzo in form of a dialoque between the woodwinds and the french horn ( at 8:50), before it returns in totality and heavily figurated by the first violins as mentioned at 10:20. The first trumpet fanfare at 12:30 then leads into the expanded and fractioned Coda.

it is not only violins but also violas, which make the sound richer, saygılarla :)

For me, is it 13:04 which just tugs at me so much, but it's the intense period on and just after 12:32 that enables 13:04 to be so beautifully tender

I started to listen to this movement as a 12 year old boy and from the very beginning it was my favorite movement of "The Ninth". And after over 40 years of listening to it many hundreds of times I can still discover something new in it; it still moves me to tears; it never grows old or becomes plain. The two main themes are so seemingly simple, yet so profound and transcedental; ( the meandering first , adagio molto e cantabile, with its theme-stretching, echoing woodwindparts; and then the andante moderato-theme, with its key- ( d-major) and rhythm changes, even more beautifful. And just listen to the difficult overlapping transgressions between the two themes with these sublime slight tempo changes and the perfect morendo of the woodwinds ending their last echo of the first theme to get an idea, how perfect this interpretation and performance of Daniel Barenboim and the young musicians of his West-Eastern-Divan-orchestra are indeed. The tempi, the phrasing, the dynamics, the ritardandi..., everthing is perfectly chosen and fits the movement best. ) The variations of the two themes are so sublime and complex ( at least the ones for the first theme), although they remain mainly figural variations, the two trumpet signals before the expanded coda so majestic ..., It's such a heavenly piece, words just fail to sufficiently describe this absolute musical miracle ! No wonder Beethoven had to start the last movement with the dissonant chords in forte of the "Terror-Fanfare", as Wagner called it, in order to bring the listeners " back to earth" again for the finale.

Maravilloso...cada vez que la oigo me emociona hasta las lágrimas..

Gilberto Tavares Essa sinfonia é um milagre.

Absolutamente arrebatadora divina.🙏🙏🙏

⚘❤👏🏼👏🏼👏🏼

I agree (I wasn't expecting such greatness).

I started to listen to this movement as a 12 year old boy and from the very beginning it was my favorite movement of "The Ninth". And after over 40 years of listening to it many hundreds of times I can still discover something new in it; it still moves me to tears; it never grows old or becomes plain. The two main themes are so seemingly simple, yet so profound and transcedental; ( the meandering first , adagio molto e cantabile, with its theme-stretching, echoing woodwindparts; and then the andante moderato-theme, with its key- ( d-major) and rhythm changes, even more beautifful. And just listen to the difficult overlapping transgressions between the two themes with these sublime slight tempo changes and the perfect morendo of the woodwinds ending their last echo of the first theme to get an idea, how perfect this interpretation and the performance of Daniel Barenboim and the young musicians of his West-Eastern-Divan-orchestra are indeed. The tempi, the phrasing, the dynamics, the ritardandi..., everthing is perfectly chosen and fits the movement best. ) The variations of the two themes are so sublime and complex ( at least the ones for the first theme), although they remain mainly figural variations, the two trumpet signals before the expanded coda so majestic ..., It's such a heavenly piece, words just fail to sufficiently describe this absolute musical miracle ! No wonder Beethoven had to start the last movement with the dissonant chords in forte of the "Terror-Fanfare", as Wagner called it, in order to bring the listeners " back to earth" again for the finale.

We have no idea what Beethoven was feeling when he wrote this. At least that I know of.

That's why Mr Bee is the best ever. All his music is filled with love, optimism and faith in humanity

@@davidscott7063 I think the point was that Beethoven was feeling a whole lot of something when we wrote this. One can only guess as to what that was.

@@ftwftn I don‘t really agree. I think Beethoven was a very lonely and sad person, desperate about his health and deafness. He took so much effort to travel around to the best doctors

@@mathildewesendonck7225 And maybe his music reflects how he wish he could feel?

I started to listen to this movement as a 12 year old boy and from the very beginning it was my favorite movement of "The Ninth". And after over 40 years of listening to it many hundreds of times I can still discover something new in it; it still moves me to tears; it never grows old or becomes plain. The two main themes are so seemingly simple, yet so profound and transcedental; ( the meandering first , adagio molto e cantabile, with its theme-stretching, echoing woodwindparts; and then the andante moderato-theme, with its key- ( d-major) and rhythm changes, even more beautifful. And just listen to the difficult overlapping transgressions between the two themes with these sublime slight tempo changes and the perfect morendo of the woodwinds ending their last echo of the first theme to get an idea how perfect this interpretation and the performance of Daniel Barenboim and the young musicians of his West-Eastern-Divan-orchestra are indeed. The tempi, the phrasing, the dynamics, the ritardandi..., everthing is perfectly chosen and fits the movement best. ) The variations of the two themes are so sublime and complex ( at least the ones for the first theme), although they remain mainly figural variations, the two trumpet signals before the expanded coda so majestic ..., It's such a heavenly piece, words just fail to sufficiently describe this absolute musical miracle ! No wonder Beethoven had to start the last movement with the dissonant chords in forte of the "Terror-Fanfare", as Wagner called it, in order to bring the listeners" back to earth" again for the finale.

So true ! 👍

He is definitely treading up there with the gods on this one. His larghetto lifts me up every time. Sometimes high enough that I don't hear those people in the audience coughing. NOTE: For those of us who first knew this movement from a vinyl disc, it would break at the end of Side One. (continued on Side Two after flipping record)

cjh68 feijnjn

Un saludo desde Castílla La Mancha.No perdamos la esperanza.Salud ,cuidesé

Had the good fortune in about 1980 to see this as my first classical music concert, at the Kennedy Center in Washington, DC. It was conducted by the great Rostropovich who was like eight feet in front of me. I sat in seat A-1. It was fabulous. Another great one to see live is Carmina Burana. Hope you get your wish to see it sometime!

EVERYONE needs to hear this symphony LIVE at least once. No one is ever the same.

I have been there in the Roal Albert Hall. Handel with the Messiah. Greetings from Holland