Beethoven's "O Freunde, nicht diese Töne!" was a (possibly deliberate) mistake. All the discovery of joy in the 9th Symphony occurs in the 3rd movement, the conclusion is just a lot of vulgar shouting about it, and thus a sure sign that the point has been passed over without one's realising it. Even the emergence of the 'Ode to Joy' theme is suggestive of the inane ear-worm that it is. So, what is it that happens in the Adagio molto e cantabile? It begins with a motif, earnest, questioning, not exactly solemn but without expectations. After it is repeated it returns again, not in a variation so much as an extension, as if a thought process that had been stuck suddenly discovers an open door which it goes through without even realising it. A freedom is discovered but without being quite conscious of the change and the tenor changes with no effort. The solution to the problem arises so effortlessly that you barely even notice it. The extended theme now discovers its lightness, it can dance, it swirls up in the most delicate joyousness imaginable. There is nothing more moving than to witness this self-discovery. In the remainder of the movement it tests itself against doubts, the theme is dismantled and the parts laid out, the forward motion is temporarily suspended and it proves robust, is realised as an inalienable possession. Only in a reflection does it now seem to be something to sing about, but in the singing about it it is also misrecognised. True joy is silent realisation but the mind cannot hold onto this, and so it is fitting that it is concealed behind the mask of a narrative. The proof of this is that the third movement is the only one in which something actually happens, rather than just being the statement of an idea. But what happens is so infinitely light that it appears like nothing at all. A theme is repeated and without any doing at all everything is transformed.