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Schmeichelnd hold und lieblich klingen
unsres Lebens Harmonien,
und dem Schönheitssinn entschwingen
Blumen sich, die ewig blühn.
Fried und Freude gleiten freundlich
wie der Wellen Wechselspiel.
Was sich drängte rauh und feindlich,
ordnet sich zu Hochgefühl.
Wenn der Töne Zauber walten
und des Wortes Weihe spricht,
muss sich Herrliches gestalten,
Nacht und Stürme werden Licht.
Äuss’re Ruhe, inn’re Wonne
herrschen für den Glücklichen.
Doch der Künste Frühlingssonne
lässt aus beiden Licht entstehn.
Großes, das ins Herz gedrungen,
blüht dann neu und schön empor.
Hat ein Geist sich aufgeschwungen,
hallt ihm stets ein Geisterchor.
Nehmt denn hin, ihr schönen Seelen,
froh die Gaben schöner Kunst:
Wenn sich Lieb und Kraft vermählen,
lohnt den Menschen Göttergunst.
With grace, charm and sweet sounds
The harmonies of our life,
And the sense of beauty engenders
The flowers which eternally bloom.
Peace and joy advancing in perfect accord,
Like the alternating play of the waves;
All harsh and hostile elements
Render to a sublime sentiment.
When the magic sounds reign
And the sacred word is spoken,
That strongly engender the wonderful,
The night and the tempest divert light,
Calm without, profound joy within,
Awaiting the great hour.
Meanwhile, the spring sun and art
Bathe in the light.
Something great, into the heart
Blooms anew when in all its beauty,
Which spirit taken flight,
And all a choir of spirits resounds in response.
Accept then, oh you beautiful spirits
Joyously of the gifts of art.
When love and strength are united,
The favour of God rewards Man.
–Christoph Kuffner, Choral Fantasy (written on commission for Ludwig van Beethoven, 1808)
Moritz von Schwind’s painting, The Symphony, is generally reckoned to be a depiction of a performance of Beethoven’s Choral Fantasy, in which the audience and performers have joined in singing the final bars (“Hat ein Geist sich aufgeschwungen,/
hallt ihm stets ein Geisterchor.”) The boundary between audience and performers is suspended as the magic of the music unites all.
Listen to Beethoven’s Choral Fantasy, op. 80 (1808), in a New Year’s performance in Beijing from 2008. Seiji Ozawa conducts, Lang Lang performs on the piano. Think of this as a test run for the great final movement of the choral symphony.
More from Scott Horton:
Six Questions — October 18, 2014, 8:00 pm
Nathaniel Raymond on CIA interrogation techniques.
I recently spent a semester teaching writing at an elite liberal-arts college. At strategic points around the campus, in shades of yellow and green, banners displayed the following pair of texts. The first was attributed to the college’s founder, which dates it to the 1920s. The second was extracted from the latest version of the institution’s mission statement:
The paramount obligation of a college is to develop in its students the ability to think clearly and independently, and the ability to live confidently, courageously, and hopefully.
Let us take a moment to compare these texts. The first thing to observe about the older one is that it is a sentence. It expresses an idea by placing concepts in relation to one another within the kind of structure that we call a syntax. It is, moreover, highly wrought: a parallel structure underscored by repetition, five adverbs balanced two against three.
Percentage of Britons who cannot name the city that provides the setting for the musical Chicago:
An Australian entrepreneur was selling oysters raised in tanks laced with Viagra.
A naked man believed to be under the influence of LSD rammed his pickup truck into two police cars.
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“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”