The Pre-History of the Ninth Symphony

Beethoven's large-scale composite concerts of 1813–1814 at the grand hall of the University of Vienna and the Grosser Redoutensaal (Large Imperial Ballroom) had included the premieres of his Symphonies Nos. 7 and 82 but also several occasional compositions that proved to be models for later works. Wellington's Victory added contrabassoons to the antiphonal approaching military bands and juxtaposed sections of the larger orchestra in different keys.

The cantata Der glorreiche Augenblick, some months later, gave him experience in setting an awkward text that he would use in the Missa solemnis. It would also include an extensive solo for concertmaster Ignaz Schuppanzigh that would foreshadow the violin solo in the Benedictus of that Mass. A swift and energetic chorus on the word “Vienna” would find echo in “Die Nebel zerreissen” (The Fog Parts) in Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage), Op. 112, the next year. And Der glorreiche Augenblick's final chorus with Turkish instruments would prove the model for the final chorus in the Ninth Symphony.

On May 23, 1814, the final version of Fidelio premiered at the Kärntnertor Theater under Michael Umlauf (1781–1842). Not ready until a few days later was its new Overture, with a horn solo for low hornist Friedrich Hradetzky (ca. 1766/1769–1846), who had played Beethoven's Horn Sonata, Op. 17, in 1809.

After Fidelio, Vienna's orchestral personnel—the musicians for whom Beethoven had written repeatedly in Symphonies No. 2 through 8—began to change markedly. The violoncellist Nikolaus Kraft (1778–1853) left for Stuttgart in mid-1814; then violinist Ignaz Schuppanzigh departed for Germany and Russia in ca. February, 1816. Timpanist Ignaz Manker died on December 4, 1817. Moreover, concertmaster Anton Wranitzky and violoncello virtuoso Anton Kraft (both formerly in the Lobkowitz employ, and for whom Beethoven had composed the Triple Concerto in 1804) died on August 6 and August 28, 1820, respectively. The Kärntnertor Theater's principal oboist, Joseph Czerwenka, was forcibly retired in June, 1822. The Theater an der Wien's Zauberflötist, Anton Dreyssig, had essentially retired in ca. 1813; but in any case, he died on June 20, 1820. Its principal oboist, Anton Stadler, had retired in ca. 1817,6 and its second, Stephan Fichtner, died on December 10, 1820.