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The Choral Fantasy theme is itself taken from an earlier work by Beethoven: it is a slightly modified version of the composer's "Seufzer eines Ungeliebten – Gegenliebe,” a lied for high voice and piano written c. 1794–1795. [9]
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Going further back, an earlier version of the Choral Fantasy theme is found in the song "Gegenliebe" ("Returned Love") for piano and high voice, which dates from before 1795. [10] According to Robert W. Gutman, Mozart's Offertory in D minor, "Misericordias Domini", K. 222, written in 1775, contains a melody that foreshadows "Ode to Joy". [11]
Only slightly altered (with masculine rather than feminine endings), the theme appears in Beethoven's Choral Fantasy opus 80 for piano, chorus and orchestra, from 1808. The Choral Fantasy version is in turn widely viewed as a foreshadowing of the "Ode to Joy" melody employed in the final movement of the Ninth Symphony (1824). [2]
Printable version; In other projects ... (Beethoven) Cello Sonata No. 3 (Ries) Choral Fantasy (Beethoven) ... Text is available under the Creative Commons Attribution ...
According to Sutton, the improvised piano fantasia is the work that was later written out and published as the Fantasia in G minor [fr; scores], Beethoven's Op. 77 (1809). [8] The Choral Fantasy was the last of the works to be composed; it was barely finished in time for the concert, leaving insufficient opportunity for rehearsal.
Fantasy in C minor for Piano, Soloists and Orchestra, Op. 80, by Ludwig van Beethoven (1808) (not a symphony, but one of only two major concerted works to involve a chorus - see also Busoni (below)) Symphony No. 9, Op. 125, by Ludwig van Beethoven (1824), the "Choral Symphony" Roméo et Juliette, Op. 17, by Hector Berlioz (1839)
Beethoven – Choral Fantasy (Beethoven) Brahms – Academic Festival Overture; Dvořák – String Quartet No. 8; Elgar – The Spirit of England; Fauré – Pelléas et Mélisande; Mendelssohn – String Quartet No. 6; Prokofiev – Violin Sonata No. 1; Reger – Zwölf Stücke, Op. 80; Schumann – Piano Trio No. 2