The Ninth Symphony - the Great Discord

[nickelljromjue]

To Rod Corkin

(I emphasize that I am not a musician or music scholar). My theory as to the meaning of the great discord as entertained by the story's young composer figure, Starry:

In all the light that flowed upon the world, there was music. Its surprise came to him out of the light. He knew that, like spirit, music was this: it was attention to the light. Alone in his quiet rooms, Starry listened to the music that no one had yet heard.

The light flowed upon the plane of order and disorder that was the plane of every man's soul. The musician's soul rose to the beauty and the power of the light, which it could not encompass but only approach.

In the great discord opening the Finale of the Ninth Symphony, Beethoven had arrived at the portal of that utter beauty and power. It was denied him to look beyond the portal, and he accepted this. The great discord was his recognition of the limit of the soul's vision short of infinite beauty and infinite power. The discord was not rage, it was recognition.

[Rod]

Originally posted by nickelljromjue:
To Rod Corkin

(I emphasize that I am not a musician or music scholar). My theory as to the meaning of the great discord as entertained by the story's young composer figure, Starry:

In all the light that flowed upon the world, there was music. Its surprise came to him out of the light. He knew that, like spirit, music was this: it was attention to the light. Alone in his quiet rooms, Starry listened to the music that no one had yet heard.

The light flowed upon the plane of order and disorder that was the plane of every man's soul. The musician's soul rose to the beauty and the power of the light, which it could not encompass but only approach.

In the great discord opening the Finale of the Ninth Symphony, Beethoven had arrived at the portal of that utter beauty and power. It was denied him to look beyond the portal, and he accepted this. The great discord was his recognition of the limit of the soul's vision short of infinite beauty and infinite power. The discord was not rage, it was recognition.

Well, I must emphasise that I am no music scholar either, though I could dare to call myself a musicican..of sorts..

Your story is interesting, though not the sort of thing I would go for myself, in that I agree the discord is not one of simple rage (or at least this is not the latent impression I get from hearing it). There is perhaps something fearful here, but more on an elemental level, not tyranny - of something beyond our control or understanding, or as you say, vision. I won't attempt to be more specific than this! I get this strong elemental flavour from the whole of the 9th. But you could say this about most of Beethoven's music. It makes you feel aware of being alive, or it does on the rare occasion it's performed correctly!


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"If I were but of noble birth..." - Rod Corkin



[This message has been edited by Rod (edited October 18, 2002).]

[Sorrano]

Originally posted by Rod:
Well, I must emphasise that I am no music scholar either, though I could dare to call myself a musicican..of sorts..

Your story is interesting, though not the sort of thing I would go for myself, in that I agree the discord is not one of simple rage (or at least this is not the latent impression I get from hearing it). There is perhaps something fearful here, but more on an elemental level, not tyranny - of something beyond our control, or as you say, vision. I won't attempt to be more specific than this! I get this strong elemental flavour from the whole of the 9th. But you could say this about most of Beethoven's music - it makes you feel alive, or it does on the rare occasion it's performed correctly!

With Beethoven things are rarely a matter of simple black and white. Aggression, destruction, beauty and serenity are often all side by side, as can be seen in all nature, without any apparent rhyme or reason. I think Beethoven was all too aware of this perhaps awful truth, and somehow accepted it.

And of coure, the finale of the 9th Symphony is not alone in Beethoven's works. Take the finale of the Eroica. Not only does it open in the wrong key but it is wild and vigorous; it grabs our attention and holds it. Even the opening of the 1st Symphony, though it is not loud, grabs the immediate attention--it proclaims that which is to follow demands undivided attention. The overtures, too, make these demands and call our attention in a similar manner. I see a pattern here.

[Rod]

Originally posted by Sorrano:

And of coure, the finale of the 9th Symphony is not alone in Beethoven's works. Take the finale of the Eroica. Not only does it open in the wrong key but it is wild and vigorous; it grabs our attention and holds it. Even the opening of the 1st Symphony, though it is not loud, grabs the immediate attention--it proclaims that which is to follow demands undivided attention. The overtures, too, make these demands and call our attention in a similar manner. I see a pattern here.

It's a pity you responded as I was deleting the last paragraph of my previous remark and making various other ammendments. I deleted it because I could not explain myself as I wished, nor was I sure of what I was saying regardless!

In these circumstances it's best not to let words get in the way of music, so I practiced what I preach and deleted it.

But there is no doubt this multi-dimentional element to Beethoven's music. Like the man himself, all the elements are forever present!

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"If I were but of noble birth..." - Rod Corkin




[This message has been edited by Rod (edited October 18, 2002).]