Works based on passages from Beethoven 9

[Maestro267]

Two works that I'm aware of based on passages from the finale of Beethoven 9:

- The first movement of Ginastera's Piano Concerto No. 2, 32 variations on the chord that builds up near the end of the "slow" section (before the choral "fugue")

- Meditation No. 2 from Bernstein's Mass, based on a passage immediately after the fugue.

Are there any other works based on a part of Beethoven 9?

[Baron Scarpia]

Don't know of any. But every time I listen to Mozart's Hegelstadt trio (?) I hear a distinctive melodic line which seems identical to one in the 9th.

[mc ukrneal]

How about Beethoven's precursor to the symphony - the choral fantasy? Does that count?

Bartok used a bit of it in his Four Orchestral Pieces.

[Mahlerian]

Two works that I'm aware of based on passages from the finale of Beethoven 9:

- The first movement of Ginastera's Piano Concerto No. 2, 32 variations on the chord that builds up near the end of the "slow" section (before the choral "fugue")

- Meditation No. 2 from Bernstein's Mass, based on a passage immediately after the fugue.

Are there any other works based on a part of Beethoven 9?

If we move away from explicit quotation, there are LOTS of works that imitate the work in one way or another, starting with the finale of Brahms's First Symphony...

[Karl Henning]

This is possibly not the sort of thing you had in mind:

http://www.youtube.com/v/3Oz5PbcpghY

[Maestro267]

I am not after works that are inspired by it or that directly quote it before moving on. I'm more after works that expand on a passage from the symphony and take that passage in a new direction, like the ones I quoted. And they don't have to just be orchestral works.

[ComposerOfAvantGarde]

Perhaps Asbsolute Jest by John Adams?

[amw]

Tippett's Symphony No.3 quotes and develops the "horror fanfares" as well as having broader and more abstract links to Beethoven 9 (Tippett's text being in some ways a critical response to the "Ode to Joy" etc). I'm not sure that's what you were after.

[some guy]

Kancheli, Vom Winde beweint.

The part that's perfect for your request is the second movement, but the whole piece is worthwhile.

(I was on a huge Kancheli kick a number of years ago. Vom Winde beweint is the only one I listen to, any more.)

[listener]

There's a quote of the 9th in the middle of the last movement of the Schubert 9th ("Great" C major).
Wilfred Josephs Variations on a Theme by Beethoven dates from 1969 and is based on the Minuet of Beethoven's Piano Sonata Opus 49/2, music previously used in the Septet, Opus 20     Same melody is used in Michael Colgrass' as quiet as . . .   We heard both of these several years ago in Vancouver.

[Brian]

There's a quote of the 9th in the middle of the last movement of the Schubert 9th ("Great" C major).

Really?! I've heard it a billion times and never noticed. What should we be listening for?

[vandermolen]

I think that Vaughan Williams said that he 'cribbed' a bit of his Fourth Symphony from Beethoven's 9th but I'm not sure which part.

[Biffo]

I think that Vaughan Williams said that he 'cribbed' a bit of his Fourth Symphony from Beethoven's 9th but I'm not sure which part.

RVW said he 'cribbed' the theme of Satan's Dance of Triumph in Job from the Scherzo of Beethoven's Op 135 String Quartet.

Discussing the 4th Symphony in the The Symphony (Pelican) David Cox says 'This leads to a condensed reprise of the scherzo, and a long crescendo, over a pedal note, leading directly into the three emphatic chords at the beginning of the finale.(No doubt the composer would have self-disparagingly called this a cribbing from Beethoven's Fifth!).' I don't have a direct quote from the composer regarding any other 'cribbing' from Beethoven in the 4th.

At the start of the Finale of 'Harold in Italy' Berlioz copies Beethoven 9 by recalling in turn, then dismissing forcefully,  the themes of the first three movements.

[Mahlerian]

At the start of the Finale of 'Harold in Italy' Berlioz copies Beethoven 9 by recalling in turn, then dismissing forcefully,  the themes of the first three movements.

Bruckner does this in his Second, Third (original version), and Fifth symphonies as well, with the passage in the Fifth's finale modeled most closely on Beethoven's, merely replacing the cellos and basses with the clarinet.

[kyjo]

The first solo cello entrance in the first movement of Lalo's Cello Concerto is inspired by the "recitative" passage for cellos and basses in the finale of the Beethoven. I know there's another example or two out there that hasn't yet been mentioned, but I can't put my finger on it at the moment.

[Maestro267]

Bruckner does this in his Second, Third (original version), and Fifth symphonies as well, with the passage in the Fifth's finale modeled most closely on Beethoven's, merely replacing the cellos and basses with the clarinet.

I was aware of this in the Fifth, but I didn't know he did in in the Second and Third Symphonies as well. Then again, I haven't listened to them anywhere near as much as the Fifth.

[Mahlerian]

I was aware of this in the Fifth, but I didn't know he did in in the Second and Third Symphonies as well. Then again, I haven't listened to them anywhere near as much as the Fifth.

In the Third, it's near the end of the finale in the original version, right before the final peroration.  These reminiscences were cut in revisions.  The Second is similar, if I recall correctly, but I'm not nearly as familiar with that one.

[arpeggio]

Timothy Mahr composed a band work based on the finale of Beethoven's Ninth: The Fantasia in G.

Link to a performance of the composer conducting:

https://www.youtube.com/watch?v=I4YaDWX41ek