Beethoven was born in Bonn, Germany, on December 16, 1770. His grandfather was an elector's court singer and head musician in Cologne, and his father was also an elector's court singer. Beethoven's father tried hard
to raise him to be a Mozartian prodigy, so he forced him to study the violin and piano at the age of four and to perform publicly at the age of eight. Under the tutelage of organist C.G. Nefer
Beethoven began to study the works of Bach and other German masters, which led him to a true understanding of German folk music, which gradually developed into his own style.
After the death of his loving mother in 1787, Beethoven entered the household of the prestigious Mrs. F.V. Browning in Bonn as a music teacher. There he became acquainted with many progressive-minded and learned
professors, literary artists and enlightened men in the government. They talked about art, philosophy, and politics, and the young Beethoven began to be influenced by progressive thinking and developed an outlook on art as a service to goodness, justice, and humanism. At the age of nineteen, he was allowed to attend the University of Bonn, where he studied Kant's philosophical treatises and ancient Greek
Lebanon literature, and where he came into contact with the Enlightenment ideas of the French bourgeoisie revolution, which had a great impact on his world view and artistic outlook. 1792, Beethoven left his hometown and settled in Vienna, where he studied composition with Haydn, and began to publish his works in 1795. In 1800, Beethoven composed his First Symphony,
which was one of Beethoven's idiomatic compositions and the most classical of his nine symphonies. 1802, Beethoven composed his Second Symphony, from which I
can see that Beethoven was trying to form a creative tendency that combined his own creation with the pursuit of his lofty ideals. The symphony is a great example of a symphony that was written by Beethoven.
The completion of the Third Symphony (Hero) marked a new stage in Beethoven's creative work, which was composed in 1804, free from the influence of Haydn and Mozart
and was a great leap forward in both thought and art. This work draws on the tones of French revolutionary music, which blends with the feelings of the revolutionary era, and lays the foundation for Beethoven's heroic, mass style of music creation and the basic idea of "victory through struggle".
Between 1802 and 1815, although Beethoven suffered from a variety of mental blows, including ear infections, he still created a large number of musical works: Symphony No. 3 to Symphony No. 8
Symphonies, Violin Concerto, Piano Concerto and Overture, Sonata and so on, which had a profound impact on the development of the future of European music.
After 1815, Beethoven became completely deaf, and he became withdrawn and irritable, but he did not lose his confidence, and his music at this time took on a thoughtful nature. The completion of the great
"Symphony No. 9" marks a new peak in Beethoven's creativity, showing that Beethoven's artistic thinking is more profound, more detailed and more mature.
This work embodies Beethoven's ideals of "liberty, equality, fraternity" and "the people of the world embrace in unity, like brothers, and only through hard struggle can they obtain
real joy.
On March 26, 1827, Beethoven died in Vienna after a long illness. On the day of his burial, all schools were closed in mourning, and 20,000 people attended the funeral. His tombstone bears the inscription of the Austrian
poet Glienbach, "...... When you stand before his casket, it is not disillusionment that envelops you, but rather a sublime feeling; We
Only to a man like him can we say: he has accomplished great things. ......"
Beethoven's music, which occupies a special place, is his symphonies. From these symphonies, we can understand the symphony from Haydn, Mozart, Beethoven transition to
Schubert, Mendelssohn's development of the various periods of the overview, but also to understand the basic thinking and spirit of Beethoven's creation. Beethoven's symphonies, comprehensively inherited
German music's excellent tradition, absorbing the various achievements of the music of the French Revolution and rich in heroic tones, so his music has a distinctive sense of the times, at the same
time, he drew on the essence of the German and Austrian national music, and his works have a more obvious national nature.
Beethoven's symphonies are centered on the heroes of the revolutionary struggle, and he puts the theme of the heroes at the forefront of his symphonic compositions. From Beethoven's Symphony No. 3
, Symphony No. 5, Symphony No. 6, Symphony No. 7, Symphony No. 9, we can see that these works depict the hero's activities and thoughts, the hero and the revolutionary struggle, the hero and nature, the hero and the people, the hero and the victory, the hero and his inner world, etc., from all different
sides.
These heroic tones shape the hero in the midst of the people and show them fighting to realize a just cause, even sacrificing themselves, until they win the struggle
.
Beethoven's symphonies are mostly composed in the form of expanded sonatas, and his creations are broad and grandiose in conception, profound in thought, contrasting and rich in diverse images, and in the treatment of the form
have achieved a high degree of unity of the work as a whole, and in the creation of the original symphony, the third movement of the Minuet was changed into a Harmony, and the drama of the opera was changed into a Harmony, and the conflict in the world was changed into a Harmony, and the drama of the conflict was changed into a Harmony. In the symphony, he changed the third movement of the minuet into a harmonic, and applied the dramatic expression of the conflict in the opera to the symphony, and even added a chorus in the Ninth Symphony, which enlarged the symphony's ability to express itself and its atmosphere. In addition, in the composition of symphonies, Beethoven made bold innovations in orchestration, established the position of clarinet in the orchestra, used four trombones in the Ninth Symphony, and so on, which formed a novel style and started a new field, fully expressing his inner
world with this innovative form of music, reflecting the progressive trend of the society at that time, and developing European classical music to a new level. The music of the European classical school developed to the highest peak, creating the precedent of 19th century European Romantic music.
Appreciation of Beethoven's works
1, "Symphony No. 5 in C Minor" (Destiny) (op. 67)
"Symphony No. 5" is one of Beethoven's symphonies that is most rich in philosophical and dramatic works. As early as 1804, when "Symphony No. 3" came out of the draft, Beethoven
had already conceived of the composition, only that he had changed his plan to complete "Symphony No. 4" first. In 1807, the Fifth Symphony was published in its entirety, and the Fifth and Sixth Symphonies were performed for the first time on December 22, 1808, at the Royal Theatre in Vienna
conducted by Beethoven.
The Fifth Symphony is a heroic, epic work after the Third Symphony. Beethoven called the theme of the first movement "Fate is knocking at the door", which is why it has been called the Symphony of Fate. The theme of "fate" refers to the stifling feudal society of Germany at the time, and Beethoven's revelation of "victory through struggle" refers to the transition from darkness to light, from struggling against the bitter "fate" to fighting against the feudalism. "struggle and struggle against feudal forces, rising to joy and victory.
The Fifth Symphony is a representative work of Beethoven's artistic style, with its rigorous and complete structure, concise and lucid approach, compact and balanced development, and bright and vivid thematic images
. As a heroic symphony, its conflicts, emotional antagonisms and tense dramaturgy are more concentrated, more unified and more acute than in previous works
. The close intrinsic connection between the movements makes the whole piece emotionally stirring, with a strong artistic infectivity. This majestic spirit of unity represents Beethoven's artistic
style. Someone once said, "Beethoven is in this symphony to become a giant."
The Fifth Symphony*** is divided into four movements.
The first movement A passionate Allegro, in 2/4 time and sonata form.
This movement presents a scene of struggle, with the music symbolizing the power of the people as a torrent that pushes against the forces of darkness with overwhelming force.
The powerful, dynamic four-note pattern at the beginning of the piece, which Beethoven called the "knock of fate," is the main theme.
This theme is the musical image of forward motion, which drives the piece forward and continues to appear and develop in subsequent movements.
This theme is a powerful theme, with
a kind of courageous, indomitable momentum, showing the thrilling scenes of the struggle, expressed Beethoven's heart full of indignation and challenge to the feudal forces of the strong intention
.
After the various instruments had imitated each other in turn, creating one tense wave after another, the horns played a variant of the fateful motive, which expressed a kind of confidence in the certainty of victory
.
This is a linking phrase, which leads from the preceding tense, majestic musical scene to the richly sung second theme, a lyrical melody, gentle and beautiful,
bright tone contrasting with the preceding, which expresses the emotion of the people's longing for and pursuit of a happy life.
Here the grim fate motif recedes into the bass voice and appears as an accompaniment, giving the gentle music a disturbing undertone that drives it on. The piece
finally ends with a decisive, enthusiastic acoustic presentation in a bright atmosphere.
After an expressive two-bar pause, the music returns to an uneasy tone as the fateful motif emerges into the development section, and the hard, fierce struggle begins again
. At this point the first theme is very active, it is endlessly repeated, the tonality is constantly shifting, the intensity is constantly increasing, and then there is a sharp and powerful horn-like second theme
. These two themes are developed alternately with various techniques, such as contrasting polyphony, frequent transpositions, etc., which add to the instability of the music and make it more
rich. Finally, the fateful motif breaks in again and is repeated over and over again in the strongest possible sound, creating a dramatic climax to the development section, and the music moves directly into the reproduction section.
In the recapitulation section, scenes of struggle of the kind in the presentation section reappear. Between the first theme and the linking section, the oboe plays a slow, wailing tone, and the development of the first theme is
suddenly interrupted. However, the agitation resumes immediately, only to calm down a little when the second theme appears. The struggle between light and darkness does not
end, however, and grows more and more intense in the massive coda. At this point, the music develops sharply, with stark contrasts of intensity and tense harmonic development, forming the climax of the whole movement
. At the end of the movement, the strong sound of the motif of the first theme further portrays the heroic character of the courageous, showing the strong confidence of the people that they will definitely overcome the forces of darkness
.
The second movement: ba minor, slightly faster march, 3/8 time, double theme variation. This is a beautiful lyrical poem, grand and brilliant, contrasting
with the first movement. It embodies the emotional world of the people, where post-battle meditation and longing for better ideals are intertwined and finally transformed into firm resolve.
The piece begins with a first theme for viola and cello, accompanied by pizzicato strings on the bass, which is deep, peaceful and beautiful, and contains deep power and the desire for a better
life.
The clarinets and tubas followed with a second theme with a battle cry.
This theme is close in tone to the first theme and has tonal connections to songs from the French Revolution. It is a heroic theme in the style of a march, at first lyrical
and contemplative, and then, after moving to C major with full orchestra, it becomes a majestic triumphal march, full of fiery vigor, inspiring people to go on forever.
The subsequent development of the music is an alternation of these two themes in six different variations. In these six variations, Beethoven uses different rhythmic patterns, tonal shifts, and instrumental changes
to show the hero's contemplation after a fierce struggle and his firm belief in overcoming darkness, as well as his energized passion. The first variation, for example, makes the music undulating and agitated with the first theme
a succession of sixteenth notes.
The second variation, with its succession of thirty-two notes, enhances the dynamism and shows the hero's firm belief in overcoming the darkness.
The last variation, like a hero's triumphal song, is characterized by heroic grandeur and optimism, and the coda of this movement, which briefly unfolds the first theme, expresses
the strength gained from deep contemplation, and the confidence in the future victory.
Third movement: C minor, Allegro, 3/4 time, harmonic. Written in compound triadic form, this movement returns, tonally, to a mood of turmoil, as if the grueling
struggle were still going on, and it serves as a transition and transformation leading to the fourth movement. The main section consists of two contrasting themes, the first of which has two elements: the first is played by
cellos and double basses in a sharp upward melody, with a forward thrust but with some hesitation.
The other element is the responsorial phrase on which this is based, consisting of a series of chords that are subdued, restrained, and again revealing restlessness.
After this theme has been stated twice, the horns play a new, very active, horn-like theme, with a familiar rhythm that confirms at once that the theme of the first movement
appears here in a different guise, majestic, robust, and with the character of a march.
Two themes of different temperaments, sharply opposed to each other, appear in turn as scenes of turmoil and hard struggle, and each time they appear more and more acute and complex,
to dramatic effect.
The middle section, with a fervent German-Austrian folk dance as its central theme, shifts from C minor to the bright key of C major, and the music employs the contrasting techniques of polyphonic fugue and dominant harmony, with an ardent and optimistic mood
Played first by the cello and the bass violin, it contrasts with the preceding music, with a kind of unstoppable power that creates a rising tide of wind and clouds, and expresses
People's power rising higher and higher than ever, and the power of the people rising higher and higher than ever. The people's power is growing in waves and the belief in victory is getting stronger and stronger.
The third part is the dynamic reproduction part. Both themes of the first part are played in weak tones for reproduction and development. The basic motivic rhythmic pattern of timpani strikes foreshadows the continuation of the spear
shield conflict, which is building up in preparation for the final push. Then the first theme emerges softly as the music stretches freely upward, the orchestra's range expanding
with intensity from weak to strong and tonal colors darkening to bright, gradually developing into an unstoppable force, with resounding chordal tones leading into the glorious final movement.
Fourth movement: Allegro 4/4 time, sonata form. The grand scale of the fourth movement is full of light and overwhelming joy, a rapturous scene of cheering victory. The movement presents
The main theme of the section consists of two parts, the first of which begins with a majestic triumphal march, with powerful chords and a positive melody, played strongly by the full orchestra.
The second part of the music is consistent with the mood of the previous part, played by the horn and woodwinds, the tone is bright and soft, the rhythm of the march, the mood is joyful and rich in singing.
The secondary theme is played by the strings and is built in the key of G major. It is a joyful dance with a triplet rhythm, relaxed and with ups and downs.
A new melody linked to the presentation section appears in the closing section of the presentation section.
The unfolding section is based on the wide-ranging and vibrant development of the second theme, with ever-higher music, like a boundless crowd, merging into a sea of joy. Toward the climax, the "destiny" pattern interjects, but it is no longer strong and resolute, rather a reminiscence of past struggles, echoing the first movement. The recapitulation is essentially a repetition of the presentation, with a slight addition of new forces.
This new theme flows like a huge wave from the heart of the hero, confident, bold and courageous. The huge finale resounds with a glorious triumphal march in C major,
which has a mountainous momentum and expresses the immense joy of the people who have finally won the victory after their struggle.
The Fifth Symphony is one of the most representative works in Beethoven's symphonic composition, and Engels said, "If you haven't heard this magnificent work, then
you can say that you haven't heard anything in your life."
2. Symphony No. 6 in F major (Field) (op. 68)
Beethoven's Symphony No. 6 was composed in 1807 - 1808, premiered in Vienna on December 22, 1808, at the same time as Symphony No. 5, and published in 1809. Title
Title symphonies are characteristic of Beethoven's compositions; his Third and Fifth Symphonies are title symphonies, and the most prominent is the Sixth Symphony (Field). Beethoven added sub-titles to each
movement, and also noted on the title page of the general score: "Primarily an expression of feeling, not a sound picture." This is particularly important to one's understanding of the work.
Beethoven loved nature, and it was an important part of his life.
Between 1802 and 1808, Beethoven, who suffered from a serious ear disease, often lived in seclusion in the suburbs of Vienna. He sometimes lay on the grass in the forest, sometimes strolled beside the murmuring brook, contemplated the essence of all life, and scrutinized the mysteries of nature. From his hometown on the Rhine to the outskirts of Vienna, Beethoven was inspired by nature, and gained spiritual comfort.
The Sixth Symphony is a reflection of the sublime spiritual world of man and the greatness of nature and life through the depiction of nature and rural life.
This symphony **** five movements, the last three of which are played without interruption.
The first movement: "A Pleasant Mood When First Arriving in the Countryside", not overly fast, sonata style. The music throughout the movement is pleasant, bright, simple and harmonious. The movement opens
begins with the violin playing the main theme, which is full of vitality and energy, a strong rural flavor that immerses one in the spring wilderness, and gentle singing that renders
infinite joy.
After the main theme is the connecting part of the presentation, a continuous triplet pattern played by the winds, which is played in a light and weak manner, like the sound of running water in a brook, giving people a refreshing
feeling.
The sub-theme is a continuation of the main theme image, which is built on the key of C major, giving a fresher and more joyful feeling. The melody is smooth and serene, filled with the harmonious atmosphere of man and nature
.
Then comes the second part of the sub-theme played successively by strings and woodwinds, as if a question and a reply, forming a picture of natural harmony.
In the unfolding section, Beethoven used only a few patterns from the main theme as material for development, and with his mastery of technique, he creatively used the tonal color and strength of the
contrast and other techniques to depict a vast, boundless, full of life in the fields, swirling with the joy of rural life.
The recapitulation is not much different from the presentation, but the use of woodwind instruments is more skillful, adding to the idyllic flavor.
The coda enhances the mood by making the second half of the closing theme a triplet progression.
The second movement, "Scene by the Stream," is a slightly faster movement in sonata form. The strings play a slightly undulating babbling water pattern at the beginning of the presentation section. Against this backdrop, the first violin plays a soft, melodic main theme.
The secondary theme was first played by the tubas, then joined by the violas and cellos. This smooth theme is like the sound of a shepherd's flute and the singing of the townspeople in a beautiful streamside scene, showing
a fresh and lyrical atmosphere.
The development section begins with a strong dissonant chord, focusing on the development of the main theme, with changes in tonality and colors of the various instruments, allowing the main material to be fully
expanded.
In the recapitulation, the main theme is enlivened by the addition of broken chords from the tuba and clarinet, and triplets from the oboe, depicting the gurgling water more vividly.
The famous coda, in which Beethoven imitates the "nightingale" on the flute, the "quail" on the oboe, and the "cuckoo" on the clarinet, paints a picture of a sunny day and a sunny night.
Sunshine, birdsong and flowers, full of poetry.
The third movement: "The Joyous Gathering of the Villagers", Allegro, Harmonica. The music in this movement is joyful and danceable, showing a vivid image of a customary townspeople's gathering
Joyful scene. The first part begins with a three-measure dance piece in a brisk, rapid-fire tune.
This theme develops repeatedly and intensifies in intensity, and after a strong full cadenza, the oboe plays a pastoral, beautifully songful and life-like second part of the theme.
The simple tones of the tubas accompany this melody as if it were a country folk band playing, and one of the old country farmers, with his old bagpipes, is there to help
But he can only play Fa, Do, Fa, and he has to stop when the orchestra switches to a different key, and then he rings again when the orchestra switches back to the original key. The middle section of the movement is a two-beat
dance of Austrian origin, which is rough and lively, with a strong rustic flavor, as if the arrival of peasants in wooden shoes.
The third part is a reprise of the first, with the music returning to the three-beat dance music, but more lively, enthusiastic and boisterous than before. When the dance is at its most enthusiastic, suddenly
thunder rumbles in the distance, the ecstatic assembly is interrupted and the people disperse, and then the fourth movement ensues.
The fourth movement: "The Tempest," Allegro, free form. In this movement, Beethoven uses dissonant chords, frequent modulations, colorful orchestration, and figurative melodies
to create a vivid scene of thunder and lightning, rain and wind. The rapid bowing of the strings is like the roaring of a gale with raindrops, the chaotic wailing of the basses is like the dark clouds covering the earth, and the shrill wailing of the piccolo adds to the horror of the atmosphere, a horrifying storm has arrived. Then a chromatic scale with dissonant chords bursts out from the highest point, and the trombones and timpani thunder in a powerful outburst of sound that shows the immense power of nature.
The music then calmed down as a storm passed. The woodwinds played a gentle melody, like the sound of a lilting pastoral flute again in the distance.
Movement 5: "Pastoral, a mood of joy and gratitude after the storm", Scherzo Rondo. This movement follows the fourth movement in succession. After the rain, the earth
restored tranquility, the sky set up a rainbow, everywhere is a fresh scenery, birds singing in the branches, the shepherd again play the melodious pastoral flute. The oboe and flute set off
a pastoral introduction played by the clarinet and horn.
After this pastoral introduction, the first violin plays the main theme, a melody in the style of an Alpine pastoral, which expresses the happy, joyful life of the townspeople and their hopes for a better future.
This theme, after two simple variations, leads to the theme of the first interlude.
This cheerful thematic motif forms an unfolding passage that quickly returns to the main theme. The second interlude is played by clarinet and tuba.
The dancing of the townspeople grows in fervor and intensity, like a festive celebration. The third appearance of the main theme is very smooth and fully expresses the joyful mood of the townspeople.
Then
after a slightly more exciting first interlude and then back to the end of the main theme.
The coda of this movement is 100 bars long and quite independent, it further repeats, changes and develops the main theme, expressing the happy heart of the people after the storm and their longing for a happy life in a very real and moving way.
3, "Symphony No. 9 in D minor" (chorus) Fourth movement (op. 125)
Beethoven's Symphony No. 9 was conceived in 1814, completed in 1823, and premiered in Vienna on May 7, 1824, a period of ten years. This work is
Beethoven's summary of the achievements of musical art creation, it focuses on Beethoven's state of mind, passion for life and artistic attainments, and it is his artistic creation in the primary
Position of the work. As Wagner said, "The Ninth Symphony is Beethoven's crowning work." This four-movement work develops from a tragic struggle scene through cumulative
extreme action and philosophical meditative reflection into a joyful ode to the triumph of all mankind, embodying Beethoven's lofty ideals of freedom and joy through struggle.
Writing Schiller's poem "Ode to Joy" into a symphony with human voices to express the ideals of peace, liberty, equality and fraternity for mankind was one of Beethoven's great life-long wishes. In order to
realize this grandiose idea, after a long time of brewing, he finally creatively wrote the "Ode to Joy" in choral form into the fourth movement of the Ninth Symphony
. This is the most brilliant part of the symphony, and the pinnacle of Beethoven's symphonic development.
The fourth movement: (Chorale), a mixed free form of sharps, variations and refrains. After the buildup of the first three movements, it enters the fourth movement of the sharp movement ---- The joy that people are looking forward to is about to arrive after
hard struggles and deep reflections.
This movement can be divided into two main parts: the first is the instrumental part, including the prelude, the declamatory tone, the recollection of the previous three movements and the emergence of the theme of joy; the second is the vocal part
Part, a cyclorama variations written with a huge chorus of human voices. This movement is the conclusion of the whole symphony, i.e., the first three movements are "the search for freedom and joy through struggle and contemplation", and this movement is the conclusion that "the struggle has triumphed, and joy has triumphed over suffering", which is also the conclusion of the author's life. The author's life is summarized.
The central idea of the movement is "hundreds of millions of people united".
The movement begins with a stormy blast of horns, which is the introduction, loud and majestic, like a tidal wave of fury, which Wagner called "the horror of the horns".
But it is immediately dismissed by the declamatory tones of the cellos and basses: "No, it reminds us of past sufferings; this is a day of triumph, and it should be celebrated with song and dance. Originally, Beethoven's idea was to add vocals where this declamatory section is concerned, but then he felt it wasn't the right time, so he pushed the sung section back.
But these sung phrases that remain from the original manuscript help us understand Beethoven's conception.
Then, one by one, the themes of the previous three movements reappear, beaten up one by one by a section of declamation. After the first movement's introductory theme appeared, the basses replied:
"Oh no, not this one, I want something more pleasant"; then the winds blew the second movement's harmonic theme, which was immediately rejected again:
"Not this one either, it's only
a parody, want something better, nobler"; so the winds played the slow theme of the third movement, and the reply was still unsatisfactory: "This is the same as always, too delicate,
something powerful must be found. I think it would be better for me to sing it to you. But to ask you to respond to me." At last, the woodwinds vaguely flashed a fragment of the theme from the Ode to Joy
before finally affirming, "That's it, at last," the state Beethoven had spent his life seeking. At this point, from the depths of the orchestra, as if from
a distance, slowly came a pure melody chanted by the cellos and basses, and the main part of the movement began.
This is a full presentation of the theme of the Ode to Joy, first shown unaccompanied, then gradually joined by violas and violins. This theme of joy is repeated again and again,
and the sound gradually builds up, becoming louder and louder until it develops into a crescendo for the full orchestra. Suddenly, the "horrible horns" intruded again, and it was the human voice that answered. First the solo baritone opened the vocal program, singing the words of Beethoven's own declamatory tune: "Ah, my friend, don't play the same old tune, but let us
sing something more melodious and joyful!" This was followed by a baritone solo, "Ode to Joy".
In the later development, the verses of Schiller's "Ode to Joy" were sung in solo, repetitive and choral forms, with the musical theme changing image each time it appeared,
from the majestic march style, to the heroic battle-song-like tenor solo, to the solemn, solemn melody of the sacred chant ...... Then, moving into a fast march, this is a lively and enthusiastic march evolving from the
joyful theme. The increasingly enthusiastic march brings the piece to another climax. A huge duo choral
fugue follows, with an interlude on the theme of "Hundreds of millions of people unite.
This theme is first played by the trombones, followed by a chorus, and then a duo fugue with the theme of joy. The movement ends with a strong, jubilant coda, bringing the movement to a climax
The whole piece.
Ode to Joy
Poem by Schiller Translated by Deng Yingyi
Ah! My friend, we don't want that sound.
Sing, let us sing more cheerfully,
more joyfully.
Joy, joy,
Goddess of joy, holy and beautiful,
Splendid light upon the earth.
We come to your sanctuary with enthusiasm in our hearts;
Your power makes people remove all differences.
Beneath your light,
people are united as brothers.
Who can be a faithful friend and
offer noble friendship.
Whoever gets happy love,
comes to rejoice with all!
Sincerely and sincerely, respecting and loving each other,
To `find a confidant,
If one does not use this kind of heart,
Only let him go and weep.
On this beautiful earth all beings **** joy,
All people, good or bad, are blessed by nature,
which gives us the wine of love,
good friends who live and die together!
It gives us all ****ing joy,
and the angels sing with a loud voice.
Joy, like the sun,
runs in the sky,
Joy, like the sun,
runs in the magnificent sky,
Friends, move forward with courage!
Forward as if heroes on the battlefield,
Friends, forward on the battlefield,
Joy forward,
As if heroes on the battlefield.
Goddess of Joy,
Holy and beautiful,
Splendid light shines on the earth,
We are full of enthusiasm in our hearts,
Come to your sanctuary,
Your power can make people remove all differences,
Unite them into brothers under the radiance of your light.
Billions of people are united,
we all love each other and love each other,
friends!
In that hall the loving God favors us,
Billions of people worship with devotion,
Worship the loving God,
Ah, God is in that hall.
Joy, brilliant light shines on the earth,
Goddess, brilliant light shines on the earth!
Your power unites people again,
Your power can bring people back together,
Everyone, billions of people united!
Everyone loves each other and loves each other!
Friends! In that heavenly hall,
there is a loving God for all eternity,
billions of people united!
Everyone loves each other and loves each other!
Joy,
Goddess of Joy,
Splendid light shines on the earth!