Page 298 - Beethoven, Ludwig van. Simfonija v F-duru, opus 68: »ljubljanski prepis« - Symphony in F major, opus 68: ‘Ljubljana transcript’. Uredil/Edited by Jonatan Vinkler. Koper, Ljubljana: Akademija za glasbo Univerze v Ljubljani, Narodna in univerzitetna knjižnica, Založba Univerze na Primorskem, 2019.
P. 298
uting to the pastoral atmosphere are perfect fifths, reminiscent of bag- These five quasi-bucolic pictures were actually joined by the com-
pipe fifths, ostinatos, use of ‘rustic’ instruments, represented for example poser into three movements since the third, fourth, and fifth are per-
symphony in f major, opus 68: ‘ljubljana transcript’ by the oboe in the third movement, characteristic repeating thirds etc.14 formed without breaks.
Once again, it is necessary to emphasise that the idyllic world of nature
carries foremost a symbolic meaning in Beethoven’s pastoral context. The first movement (Allegro ma non troppo) is written in sona-
Therefore, despite numerous associations with concrete sounds from na- ta form with an extended coda. The introductory theme itself contains
ture, unmistakable images of bird song or storms, in its essence, the Sixth three elements for further development. This light thought, in a kind of
does not signify ‘painting’, but is above all an ‘expression of feelings’, ex- quasi-monothematic sense, marks the entire movement, since the rest of
pression of romantic longing for pastoral harmony.15 motivic-thematic material only non-compellingly completes it. In this
way, the mood is thoroughly calm and pleasant.
With five movements, the Pastoral is the most unusual of all Bee-
thoven’s symphonies. At first glance, it seems to be an unconvention- The second movement (Andante molto mosso) with its fluently ethe-
al number, defying the then prevailing four-movement standardisation real quality takes us to the scene by the brook. It is written in sonata
of the symphony in favour of the genius of the rising Romanticism, yet form with two themes that do not contrast with each other explicitly.
still, the true background of the five movements is hiding in the compos- It is concluded with the notable imitation of birds singing, in which we
er’s cyclical understanding of the symphony. To understand this claim, hear the ‘singing’ of the nightingale (flute), sounding of the quail (oboe),
somewhat more detailed insight into the structural laws of the Pastoral and cuckoo (clarinet). In 1823, during a walk in the forest near Heili-
Symphony is required. genstadt, the already completely deaf composer is said to have told his
friend Anton Schindler:
Prior to publishing the score, Beethoven had been contemplating
for several years how to title individual movements. Eventually, he de- This is the spot on which I wrote the scene at the brook, with yel-
cided upon the following: low-hammers calling over my head, and quails, nightingales, and
cuckoos. Helping me all round. (Hier habe ich die Szene am Bach
1. Awakening of cheerful feelings on arrival in the countryside (Erwa- geschrieben, und die Goldammern da oben, die Wachteln, Nach-
chen heiterer Empfindungen bei der Ankunft tigallen und Kuckucke ringsum haben mitkomponiert.)16
auf dem Lande); However, it seems that it is not so much an actual description, but
yet another in a line of idealisations of the later Romantic imagination.
2. Scene by the brook (Szene am Bach); The third movement (Allegro) is a witty, somewhat grotesque farm-
3. Merry gathering of countryfolk (Lustiges Zusammensein ers’ dance in which two related themes exchange above the pedal tone.
Perhaps the composer deemed that best suited for this was scherzo form,
der Landleute); to which Beethoven was able to give a characteristic feature with vari-
4. Thunder – Storm (Gewitter – Sturm) and ous tiny imitations of country musicianship. Thus typical of the move-
5. Shepherd’s song. Cheerful and thankful feelings after the storm ment is a ‘dilettantish’ accompaniment with tonic and dominant; and a
(Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm). 16 George Grove, Beethoven und seine neun Symphonien; Deutsche Bearbeitung
von Max Hehemann (London: Novello, 1906), 196.
14 Ibid., 19.
15 Ibid.
pipe fifths, ostinatos, use of ‘rustic’ instruments, represented for example poser into three movements since the third, fourth, and fifth are per-
symphony in f major, opus 68: ‘ljubljana transcript’ by the oboe in the third movement, characteristic repeating thirds etc.14 formed without breaks.
Once again, it is necessary to emphasise that the idyllic world of nature
carries foremost a symbolic meaning in Beethoven’s pastoral context. The first movement (Allegro ma non troppo) is written in sona-
Therefore, despite numerous associations with concrete sounds from na- ta form with an extended coda. The introductory theme itself contains
ture, unmistakable images of bird song or storms, in its essence, the Sixth three elements for further development. This light thought, in a kind of
does not signify ‘painting’, but is above all an ‘expression of feelings’, ex- quasi-monothematic sense, marks the entire movement, since the rest of
pression of romantic longing for pastoral harmony.15 motivic-thematic material only non-compellingly completes it. In this
way, the mood is thoroughly calm and pleasant.
With five movements, the Pastoral is the most unusual of all Bee-
thoven’s symphonies. At first glance, it seems to be an unconvention- The second movement (Andante molto mosso) with its fluently ethe-
al number, defying the then prevailing four-movement standardisation real quality takes us to the scene by the brook. It is written in sonata
of the symphony in favour of the genius of the rising Romanticism, yet form with two themes that do not contrast with each other explicitly.
still, the true background of the five movements is hiding in the compos- It is concluded with the notable imitation of birds singing, in which we
er’s cyclical understanding of the symphony. To understand this claim, hear the ‘singing’ of the nightingale (flute), sounding of the quail (oboe),
somewhat more detailed insight into the structural laws of the Pastoral and cuckoo (clarinet). In 1823, during a walk in the forest near Heili-
Symphony is required. genstadt, the already completely deaf composer is said to have told his
friend Anton Schindler:
Prior to publishing the score, Beethoven had been contemplating
for several years how to title individual movements. Eventually, he de- This is the spot on which I wrote the scene at the brook, with yel-
cided upon the following: low-hammers calling over my head, and quails, nightingales, and
cuckoos. Helping me all round. (Hier habe ich die Szene am Bach
1. Awakening of cheerful feelings on arrival in the countryside (Erwa- geschrieben, und die Goldammern da oben, die Wachteln, Nach-
chen heiterer Empfindungen bei der Ankunft tigallen und Kuckucke ringsum haben mitkomponiert.)16
auf dem Lande); However, it seems that it is not so much an actual description, but
yet another in a line of idealisations of the later Romantic imagination.
2. Scene by the brook (Szene am Bach); The third movement (Allegro) is a witty, somewhat grotesque farm-
3. Merry gathering of countryfolk (Lustiges Zusammensein ers’ dance in which two related themes exchange above the pedal tone.
Perhaps the composer deemed that best suited for this was scherzo form,
der Landleute); to which Beethoven was able to give a characteristic feature with vari-
4. Thunder – Storm (Gewitter – Sturm) and ous tiny imitations of country musicianship. Thus typical of the move-
5. Shepherd’s song. Cheerful and thankful feelings after the storm ment is a ‘dilettantish’ accompaniment with tonic and dominant; and a
(Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm). 16 George Grove, Beethoven und seine neun Symphonien; Deutsche Bearbeitung
von Max Hehemann (London: Novello, 1906), 196.
14 Ibid., 19.
15 Ibid.
