Note 87 — THIRD PERIOD. PART III. [FROM 1824 till Beethoven's Death in 1827.]

There is no doubt that the vocal parts of Beethoven's works frequently lie very high, especially in places where words are to be pronounced. This is the case with his ninth Symphony with Soli and Chorus. The 1st recitative for the bass voice is in some parts uncomfortably high; and the composer himself permits the singer, in its opening notes, to sing . He would certainly have given similar licences in several other parts of this recitative, if it had not been against his plan of unity in this musical poem, as the same notes of the recitative are performed by the double-bass in the foregoing instrumental movement. When I prepared, for the first time, to conduct this Symphony, on the occasion of its revival by the Philharmonic Society (April 17th, 1837), I found similar difficulties in other parts of the vocal movement. An imperfect execution of these was to be apprehended, derogatory to the general effect. I considered it a bold undertaking to attempt any alteration, since every work which comes from such a master-genius should be reverentially handled: I nevertheless ventured to facilitate the execution of the passages in question. The full amount of changes made by me is acknowledged in the following illustration:—in so doing I hope to prove the truth of the saying, "that he who accuses himself has the best chance of finding mercy at the hands of critical judges."—ED.