Beethoven: the ninth symphony
Among the orchestral excerpts in which the piccolo is used as a military band instrument, we find the difficulties of the solo from Beethoven’s Ninth Symphony really interesting.
Thanks to Beethoven and this composition, use of the piccolo entered the great Middle-European symphonic tradition. The first documented references to the piccolo, from the Renaissance, describe it as a military instrument. This tradition continues with Beethoven because he utilized not only the piccolo, but band-style music for the first time in a symphonic composition.
Beethoven actually used the piccolo in three other symphonic compositions as well, the Egmont Overture, the finale of the Fifth Symphony, and in the storm movement of the Sixth Symphony.
In his last symphony, the quotation of a military band is quiet evident. A small nucleus of woodwinds and percussion plays a variation on the Ode to Joy in 6/8 rhythm.
After an introduction played by percussion and low woodwinds (bassoons and horns), the piccolo enters with the clarinets. Later, the piccolo also plays the melody with oboes (example 1).
Let’s start with rhythm. This solo presents dynamics and intonation difficulties, but many piccolo players fall short in the area of rhythm during auditions.
Remember, we are not in 2/4 and the rhythmic pattern is not dotted-eighths plus sixteenths. The rhythm is 6/8 and the relationship between eighth and dottted quarter has to be perfect, especially when we are also paying great attention to the pianissimo dynamics and intonation.
Play the passage as in example 2. The dynamics start from pianissimo and go to to fortissimo. It’s a military band passing by!
Beethoven’s intention in having the piccolo play pianissimo in the first 32 bars is to create a sense of distance. I recommend that you:
- work on the low section separately from the high section at first;
- start practice of the passage with an open sound, completely legato;
- play at a soft mezzoforte, reducing it progressively to a piano;
- pay attention to the softness and flexibility of the sound.
We cannot isolate the study of the dynamics from the study of intonation. In the low section, we find notes with a long air column, D1, Eb1, F1) and notes with a short one (C1,Bb1).
Find a blowing pressure together with a good embouchure opening which allows you to play everything pianissimo, without large embouchure changes. At auditions however, make subtle dynamic changes to demonstrate your musicianship and bring the music to life when you are playing alone.
Some embouchure motion will be necessary, for example we need to lower the D2, which is a sharp note.
Change registers with great care. In the ascending octave skip in the ninth measure,
Don’t let your embouchure become rigid.
Don’t close your throat.
Diminish the embouchure hole by pushing your lips forwards and increasing the air pressure.
Try the following exercises (3 and 4) applied to number 14 (page 14) of De la Sonorite (ex 3,4).
Remember that only the piccolo changes octave, the oboes remain in the low octave.
Do not allow your pitch to drop when playing large intervals,only the first one between the two D can be flat.
You could be asked to play with a slight pause before the dotted quarter, so practice both possibilities.
Proceed by increasing the dynamic level. Finish the passage with a full, rich sound, without forcing but play the scale at measure 24 with only a small crescendo!
At the same time, control the pitch so that you do not go sharp.
The ability to do all this depends upon:
Suppleness and strength of the embouchure - playing long tones will give you consistent pitch.
The flexibility and mobility of the jaw
General relaxation.
Remember, we do this work as our responsibility to serve great music and bring it to life, so work well and have fun, so the audience will too!
