Susan McClary infamously claimed that, in the first movement of this piece, a frustrated cadence "[dams] up energy which finally explodes in the throttling (*) murderous rage of a rapist incapable of attaining release."
Richard Taruskin claimed that this piece was trivialized by the otherwise "inspired literalism" of Roger Norrington, in an essay titled for "Resisting" this piece. Tovey's essay on this piece and "its place in musical art" jokes that its opening might not have been written "if a great work of art could be made responsible for all subsequent failures to imitate it." Susan McClary infamously claimed that, in the first movement of this piece, a frustrated cadence "[dams] up energy which finally explodes in the throttling (*) murderous rage of a rapist incapable of attaining release." This piece's last movement innovatively has the celli and basses play recitatives between reprises of the main themes of the previous three movements, which it "tries out" before settling on a new theme that serves as the basis for a "symphony-within-a-symphony." It displays its composer's pantheistic ideas in a Gregorian-chant style passage that declares "Be embraced, Millions! This kiss is for the whole world!" For 10 points, name this symphony that exploded the genre by including a choral version of Schiller's "Ode to Joy."
Richard Taruskin claimed that this piece was trivialized by the otherwise "inspired literalism" of Roger Norrington, in an essay titled for "Resisting" this piece.
Beethoven's Ninth Symphony [accept equivalents that involve BOTH Ludwig van Beethoven AND Symphony No. 9, Opus 125 (either number) OR the nickname "Choral"; accept "Resisting the Ninth"] 