The whole character and design of the Ode to Joy will be better apprehended when it is stated that it is in reality an Ode to Freedom.  With its revolutionary spirit Beethoven was entirely in accord.  Already in his twenty-third year he contemplated setting it to music.  Later, in the note-book of 1812, the first line of the poem appears, in connection with a scheme for an overture.  It is worthy of remark that the Symphony was well under way before he decided on incorporating the Ode in it.

The Ninth Symphony was first performed in this country in 1846 in Castle Garden, by the New York Philharmonic Society, which had been organized four years previously.  George Loder conducted it.  When we consider the herculean efforts Wagner was obliged to make to get permission to perform it in Dresden in this selfsame year, it speaks well for “North America.”  Subsequent performances of it in New York by this Society are as follows: 

PERFORMANCE CONDUCTOR

Second April 28, 1860 Theo.  Eisfeld. 
Third April 29, 1865 " "
Fourth February 1, 1868 C. Bergmann. 
Fifth April 28, 1877 Dr. L. Damrosch. 
Sixth February 12, 1881 Theo.  Thomas. 
Seventh April 10, 1886 " "
Eighth April 12, 1890 " "
Ninth April 23, 1892 Anton Seidl. 
Tenth April 11, 1896 " "
Eleventh April 2, 1898 Vander Stucken. 
Twelfth April 7, 1900 E. Paur. 
Thirteenth April 4, 1902 " "

It was not performed in New York during the years 1903 and 1904.

Beethoven’s correspondence with Count Bruehl of the Berlin Theatre in the matter of an opera for that city, led him, owing to the apathy of the Vienna public at this time toward his works, to offer the new Symphony and the Mass for a first hearing in Berlin.  At this time, and for some years previously, Rossini’s music had captured the Vienna public so completely that no other was desired.  That this light evanescent work should be preferred to his own, was resented by the master.  He decided to offer the new works to Count Bruehl, the Italian craze not having yet penetrated Berlin.  As soon as this became known however, a reaction followed, and a memorial was addressed to Beethoven by his friends, begging him to reconsider the matter, and produce the new works in Vienna, as well as write a new opera for them.  The appeal was signed by thirty of the most prominent men of affairs in the city.  The list of names is a noble one, each being prominently connected in some way with music.  Among composers and performers may be mentioned Czerny and the Abbe Stadler.  Artario & Co., Diabelli and Leidersdorf, were music publishers.  Count Palfy and Sonnleithner were operatic managers, while