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nej Weiss doi: https://doi.org/10.26493/978-961-7055-54-2.293-308 293
Symphony no. 6 in F major, ‘Pastoral’,
by Ludwig van Beethoven, honorary member
of the Philharmonic Society in Ljubljana
Radical changes triggered by the French revolution and the ed to support the resistance against the Paris occupiers.2After the signifi-
socio-political events tied to it fundamentally altered the cant continental clashes of the 18th century, the mobilising power of mu-
previous power balance in Europe and gradually influ- sic had already been well tested in a time of wars between Napoleon and
enced far-reaching shifts in musical theory and practice. the coalitions of European forces.3
In 1805, for instance, Napoleon’s conquest of Vienna resulted in the first
version of Beethoven’s Fidelio being withdrawn from the programme af- The Habsburg monarchy, in particular, was becoming an ever more
ter only three performances. Befitting the new military situation, a cer- influential controller of musical events and was increasingly assum-
tain conformity of the audience’s musical taste may be perceived, best ing the leading position among European musical centres. The rich-
reflected in the attraction to many of the then highly popular marches, es and splendour of the Habsburgs attracted numerous musicians from
whose fame rapidly diminished soon after. These usually paint, in a most across Europe, among them Beethoven, who undoubtedly left the most
vivid fashion, victorious battles on land or at sea. Even Beethoven, for ground-breaking and far-reaching mark on symphonic creativity in the
example, in the composition Wellington’s Victory, or the Battle of Vitto- 19th century with his symphonies. As he began creating his first sym-
ria (Wellingtons Sieg, oder die Schlacht bei Vittoria, 1813), had succumbed phonic work in 1799, a century exceptionally productive for such cre-
to the temptation of satisfying the general taste of the public.1 Similarly, ation was coming to an end. Moreover, the symphonies or their indi-
also in the setting to music of the military song Österreich über alles by
Heinrich Joseph von Collin – its Slovenian arrangement with a changed 2 Ludwig van Beethoven, ‘Skizzenblatt zum Wehrmannslied “Österreich über
meaning (Estrajh za vse) was prepared by Valentin Vodnik – he attempt- alles” von Heinrich Joseph von Collin Unv 18, zu “Mignon” op. 75,’ Sammlung
H. C. Bodmer, HCB Mh 79, Beethoven-Haus Bonn, https://www.beetho-
1 Carl Dahlhaus, Die Musik des 19. Jahrhunderts: Neues Handbuch der Mu- ven.de/sixcms/detail.php?id=&template=dokseite_digitales_archiv_de&_
sikwissenschaft, no. 6 (Laaber: Laaber Verlag, 1996), 64. dokid=ha:wm225&_seite=1.
3 Igor Grdina, ‘Aktivizem, meditacija in kontemplacija: glasba in prva svetovna
vojna,’ Muzikološki zbornik 53, no. 2 (2017): 6.
Symphony no. 6 in F major, ‘Pastoral’,
by Ludwig van Beethoven, honorary member
of the Philharmonic Society in Ljubljana
Radical changes triggered by the French revolution and the ed to support the resistance against the Paris occupiers.2After the signifi-
socio-political events tied to it fundamentally altered the cant continental clashes of the 18th century, the mobilising power of mu-
previous power balance in Europe and gradually influ- sic had already been well tested in a time of wars between Napoleon and
enced far-reaching shifts in musical theory and practice. the coalitions of European forces.3
In 1805, for instance, Napoleon’s conquest of Vienna resulted in the first
version of Beethoven’s Fidelio being withdrawn from the programme af- The Habsburg monarchy, in particular, was becoming an ever more
ter only three performances. Befitting the new military situation, a cer- influential controller of musical events and was increasingly assum-
tain conformity of the audience’s musical taste may be perceived, best ing the leading position among European musical centres. The rich-
reflected in the attraction to many of the then highly popular marches, es and splendour of the Habsburgs attracted numerous musicians from
whose fame rapidly diminished soon after. These usually paint, in a most across Europe, among them Beethoven, who undoubtedly left the most
vivid fashion, victorious battles on land or at sea. Even Beethoven, for ground-breaking and far-reaching mark on symphonic creativity in the
example, in the composition Wellington’s Victory, or the Battle of Vitto- 19th century with his symphonies. As he began creating his first sym-
ria (Wellingtons Sieg, oder die Schlacht bei Vittoria, 1813), had succumbed phonic work in 1799, a century exceptionally productive for such cre-
to the temptation of satisfying the general taste of the public.1 Similarly, ation was coming to an end. Moreover, the symphonies or their indi-
also in the setting to music of the military song Österreich über alles by
Heinrich Joseph von Collin – its Slovenian arrangement with a changed 2 Ludwig van Beethoven, ‘Skizzenblatt zum Wehrmannslied “Österreich über
meaning (Estrajh za vse) was prepared by Valentin Vodnik – he attempt- alles” von Heinrich Joseph von Collin Unv 18, zu “Mignon” op. 75,’ Sammlung
H. C. Bodmer, HCB Mh 79, Beethoven-Haus Bonn, https://www.beetho-
1 Carl Dahlhaus, Die Musik des 19. Jahrhunderts: Neues Handbuch der Mu- ven.de/sixcms/detail.php?id=&template=dokseite_digitales_archiv_de&_
sikwissenschaft, no. 6 (Laaber: Laaber Verlag, 1996), 64. dokid=ha:wm225&_seite=1.
3 Igor Grdina, ‘Aktivizem, meditacija in kontemplacija: glasba in prva svetovna
vojna,’ Muzikološki zbornik 53, no. 2 (2017): 6.
