Beethovens Symphony No 6 - Case Study Example

Peace in the Midst of the Tempest: An Analysis Beethoven’s Symphony No. 6 “The Pastoral” Your Name Your Class Name Date you want on the Paper In pictures and portraits as well as in what is known of his life history, Beethoven can be accurately seen and described as a tempestuous person, more often than not tossed about and suffering on the stormy seas of life. Yet sitting quietly in the middle of his compositional opus is his sixth symphony, an expression of the peaceful center of his being, no doubt the place in his soul from which he drew the spiritual impetus that propelled his creativity and his genius. Beethoven himself said in the program notes for the first performance of this symphony that it was more an expression of feelings than a painting, (Newmarch, p.12) and indeed, this symphony is warm and enchanting from beginning to end. Containing by far some of the most beautiful melodies in all of Beethoven’s music, it wakens joy and wonder in the souls of listeners. One music critic and journalist accurately noted that Beethoven’s Sixth Symphony, the ‘Pastoral’ “has magic wherever you listen.” (Siepmann, Classics Explained, internet) That ‘magic’ for him was found in nature. Beethoven did not travel much in his lifetime. His world was limited to Vienna and the surrounding countryside, and he was known to take long walks in the country. Today there is a path known as “Beethovengang” (Beethoven’s path) in the valley of Wildgrube which leads to the Schreiberbach, said to be the “brook” of the Sixth Symphony. (Old and Sold Antiques Digest, Symphony No. 6 in F Major (Pastoral), internet) It was very likely here that some of the first brief sketches of the symphony were penned around 1802. (All About Beethoven, Internet) However, the symphony was composed in its present form from the spring through the fall of 1808 and debuted under the baton of Beethoven himself, and even after its debut concert, Beethoven made some final revisions. (Old Manuscripts and Incunabula, Symphony No. 6 in F Major (Pastoral), internet) Below is a photo of the original corrected manuscript as it looked when Beethoven sent it to be printed after the concert in 1808. The debut concert on December 22, 1808 was a lengthy premiere performance of several of his works including the Fifth Symphony as well as the Sixth, the Fourth Piano Concerto which he conducted from the keyboard, the Gloria and Sanctus of his Mass in C, the concert aria Ah, perfido; improvisations at the keyboard; and the Choral Fantasy. It was said that the performance was under-rehearsed and fell apart during the Choral Fantasy and that, of all the music presented, only the Fifth Symphony was fairly well- received in the concert. (Gibbs, Beethovens Symphony No. 6 in F Major, Op. 68, internet), an inauspicious beginning indeed for this unique and revealing “Pastoral” Symphony. And the “Pastoral” Symphony is unique and different in several important ways. Although it was not the first symphony to be given a name by Beethoven, it was one of only two to receive a name, the other being the “Eroica” (Heroic) Symphony No. 3. It was composed in five movements, rather than four. Beethoven took liberties with form, altering the sonata and scherzo forms of most of the movements and wrote the last three movements so they are one continuous stream of music. He introduced innovations in orchestration and instrumentation, particularly in his use of woodwinds and brass. The “storm” music in this symphony is considered as one of the most memorable and certainly the most influential in all of music composition, not just in Beethoven’s compositions but in all of music with Rossini, Wagner, and Berlioz among those who composed “storm music” patterned after the fourth movement of this symphony. (Stahl, Kerchelich, DeSola, page 1430) Although considered programmatic in style of composition, musicologists have long debated whether or not this symphony truly belongs in this category because in reality it is both descriptive and expressive, thus adding to its uniqueness, Its structure is the most distinctive difference. It was composed in five movements each with a descriptive title that hints at what is come in the music. They are as follows: Allegro ma non troppo – Awakening of Happy Feelings Upon Arriving in the Country Andante molto moto – By the Brook Allegro – Joyful Gathering of Country Folk Allegro – Thunderstorm Allegretto – Shepherd’s Hymn of Thanksgiving The last three are played without a pause as the joyful dance movement is interrupted by the thunderstorm which is brief and the “clouds part” for the sunlight of the fifth movement. These five movements need a time span of about 36 to 40 minutes depending on the conductor and whether or not all repeats within the movements are utilized in the performance. An example accounting for the time variation in the performance of this symphony was Herbert Von Karajan. His first performance of this symphony was near the end of World War II at a time of grief for him and the world. That has influenced his interpretation of this symphony as a hope of spring and joy after a time of death and grief so his renderings have been up tempo at a scant 36 minutes while other conductors have performed 40 minute versions. (Osborne, 179) The form of each of the movements also departs from the traditional. The first movement in the key of F major is in sonata form but does not really have an introductory section. It launches with the thematic statement and its exposition right from the very beginning and, through repetition of this theme in various rhythmic and melodic forms, follows the general sonata form of exposition, development, recapitulation and Coda. Keyed in Bb major, the second movement, too, appears to forego introductory material in favor of an immediate exposition of the beautiful theme shown below: but then follows sonata form perfectly, fully developing the theme in the woodwinds, recapitulating it in the strings once more and bringing both together in the final coda. The third movement is a scherzo in F major in ¾ time with some innovative variations. The scherzo form in music is binary rather than tertiary, stating the scherzo theme followed by a contrasting trio section and then restating the scherzo. Here is the thematic statement of the third movement scherzo: However, Beethoven made some innovative alterations to this form in this symphony. Below is a graph illustrating Beethoven’s altered scherzo form in this symphony: Scherzo | Trio | 2/4 section | Scherzo | Trio | 2/4 section | Scherzo. A section in 2/4 time was added, and the three sections are repeated twice. However, the final return of the scherzo is interrupted by the appearance of the storm ushering in the beginning of the fourth movement. The fourth movement does not have an identifiable form anymore than a storm would follow some identifiable form. It erupts in the midst of the music and patters off quietly with distant thunder and a few trailing drops of rain into the fifth movement which is in 6/8 time in the key of F major and has the following theme: which is developed in sonata rondo form having elements signifying that that this theme will return in the tonic key of F major at the beginning of the development, recapitulation and coda sections. Within this structure Beethoven makes creative and innovative use of harmony and orchestration in the expression of the music. The first two movements are orchestrated normally for the period with the usual complement of strings and woodwinds that include 2 each of flutes, oboes, bassoons, Bb clarinets and french horns with parts in F and Bb. In the third movement two trumpets with parts in C are added. In the fourth movement their pitch is changed to Eb, and piccolo, trombones and timpani are also added. In the final movement the timpani and piccolo are dropped, but the orchestration continues with the trombones adding depth and power to the final movement. Beethoven varies and develops his thematic material in this symphony through some remarkably creative orchestration. As one example (measure 72, mvmt,V) he utilizes pizzicato in the low strings, woodwinds pulsing the harmony being outlined by the first violins in sixteenth notes, while in a clever and surprising musical shift, the inner voices of the second violins and then the violas emerge with the theme in its first return in the fifth movement. (Brown, page 501) Another example occurs in the first movement in the simple repetition by, first the oboes and flutes, and then the clarinets of the theme initially introduced by the strings. This initial gesture in Beethoven’s orchestration of this piece reveals the importance of the woodwinds in the tonal and musical expression of this symphony. In fact the roles given to solo woodwinds in the symphony distinguish Beethoven as the composer who vastly expanded their role in symphonic music. (Stanley, page 171) And Beethoven’s use of the French horn in this piece opened the doors for its more prominent role in the music of Brahms, Wagner, and Mahler. (Robbins, Horn Excepts, Internet) The use of the dominant seventh chord as a connective harmony was used throughout the symphony, in the pattern of descending eighth notes throughout the first movement (see measures 67-70 as an example), in the transitions from one section to another of the second movement (see measure 28 as an example) and in the first variation of the thematic material in the fifth movement (see measures 41 and 42). (Brown, p. 502) Beethoven’s harmonies in this symphony provide a lustrous backdrop for some of the most beautiful melodies in all of his music. In the first movement the thematic statement is very brief but Beethoven uses subtle changes of melody and rhythm to develop its nuances into an enchanting array of melodic phrases. Here is one example of lengthening the note values and following it another example of changing the rhythmic emphasis: Another example can be found in the triplet figure which begins as a melodic detail and is developed until it becomes the main material of the final section as seen in this example played by the 1st clarinet. The second movement begins with perhaps the sweetest melody in the piece and one of Beethoven’s most beautiful: Beneath and around this melody are woven the sounds of nature as the sounds of a flowing brook and singing birds are captured in the sounds of the music. Beethoven develops this one by a very subtle change of key changing the Eb to E natural and thus giving an F major tone to the melody as it is developed into a coda that features woodwinds in cadenzas that clearly describe in the music the sounds of birds, of the quail in the oboe, the nightingale in the flute and the cuckoo in the clarinet. The third movement is a dance, characteristic of country folk of the period. The theme is as follows: Orchestration is the tool Beethoven uses in this movement to develop this melody. For example, the above theme is played first by the violins then the flute and oboe each play it and then the oboe introduces another lovely turn of this melody: Then Beethoven develops this in the ambiance of an Austrian country band, conveying the idea of being slightly off key and perhaps a bit affected by the consumption of a large quantity of beer and ale. (Knight, page 75) The solo clarinet provides an excellent example of Beethoven’s presentation of this slightly off-key and tipsy dynamic in measures 122 – 132: When the original theme returns it is interrupted by the distant rumbling of the approaching storm with soft rumbling tremolos in the low strings and pattering of sprinkles of oncoming rain in the violins. (Wilson, page 71) When the storm fully strikes in C minor it is preceded by a pattering of notes in the inner voices of the strings and the elongated triplet figure in quarter notes of the first violins. Then with a bang in measure 21 the timpani and trombones enter and the storm has fully enveloped the music. The pattering continues in the strings and the shrill scream of the piccolo is introduced in measure 82, adding tension and drama to the storm’s musical fury. Long pedal tones in the low strings usher in the dissipation of the storm. Then out of the drone of the dissipating storm an oboe invites the parting of the clouds with a lovely phrase picked up by the rising flute scale to herald the beginning of the final movement. The fifth movement begins with another incredibly lovely melody which begins in fragments played by the clarinet and then the french horn as shepherds’ pipes: and then fully played by the violins. This movement contains a surprising and unique coda section. Under the woodwinds sustained high notes and the violins playing sixteenth note triplets at the top of their range, the melody sings with passion in the low strings. Then in measure 237 all are silent except the strings in “sotto voce” singing a final “prayer” (Schindler, p. 141) At the end a French horn again echoes its beginning phrase and two full symphonic chords bring this symphony rather quietly and unobtrusively to its conclusion. (see the partial score fragment to the right). Quiet and unobtrusive though the ending may be, this symphony will never sit quietly and unobtrusively in the annals of history. For the ongoing discussion of its descriptive nature as “program music” or as a “characteristic” symphony of the classical period of Haydn (Clark, Staines, p. 41) still continues today. Neither the eighteenth century’s focus on characteristic music nor the nineteenth’s on program music nor the move into the twentieth with tone poems is adequate to interpret this symphony because they leave out the expression of emotion; they ignore the co-existence of meaning and structure that is Beethoven’s signature presence in music. (Will and Will, page 20) In its use of harmony as connective tissue such as the dominant seventh chord, in its repetition of motifs such as triplet figures, in its varied and creative orchestrations, Symphony No. 6 bears the clear stamp of Beethoven’s identity. In its increasing prominence of the woodwinds in all movements, its unique presentation of five movements, and the increasing beauty of its melodies, this symphony reveals the evolving spiritual side of Beethoven that would one day culminate in his most powerful and deeply moving work, the eternally great Ninth Symphony. The “Pastoral” Symphony rests in the midst, just as majestic, through its simplicity, as the “Eroica” Symphony No. 3, just as sincere and profound as the great Fifth Symphony and just as joyful and spiritually significant in a “quiet, unobtrusive way” as the Ninth Symphony. In the midst of his turbulent life, this Symphony emerged as Beethoven’s spiritual center, a place from which the rest of his work began to draw a new and profound kind of quality of longing and joy. It is his invitation to the listener to discover his or her spiritual significance and relationships, the peaceful center of his or her own soul in the midst of life’s turbulent circumstances. Works Cited All About Beethoven. Symphony No. 6. The Pastoral Symphony. (2006) (Internet) Available from: All About Beethoven, Beethoven Symphonies < http://www.all-about-beethoven.com/symphony6.html> (Accessed 31 August 2008) Barfoot, Terry. Symphony No.6 in F major, Op. 68 (Pastoral) (2008) (Internet) Available from: The BBC Radio3, The Beethoven Experience, < http://www.bbc.co.uk/radio3/beethoven/symphony6.shtml> (Accessed 31 August 20 2008) Beethoven, Ludwig Van. 1998. Symphony No.6 in F Major, Op. 68 “Pastoral”. Mineola, NY, Dover Publications. Beethoven, Ludwig Van. Beethoven Symphony No. 6, Op. 68 “Sinfonia Pastorale.” Made available by Beethoven-Haus Bonn. (2000) (Internet) Available from: OMI: Old Manuscripts and Incunabula, New York at < http://www.omifacsimiles.com/brochures/bee6.html> (Accessed on 1 September 2008) Brown, Peter A. 2002. The Symphonic Repertoire. Bloomington, IN, Indiana University Press. Clark, Duncan and Staines, Joe. 2001. Classical Music: The Rough Guide. London, Rough Guides Ltd. Donelan, James H. 2008. Poetry and the Romanic Music Aesthetic. New York, Cambridge Cambridge University Press. Gibbs, Christopher, H. Beethovens Symphony No. 6 in F Major, Op. 68 (2006) (Internet) Available from: NPR.org, Beethoven Philly Style < http://www.npr.org/templates/story/story.php?storyId=5478661> (Accessed 31 August 2008) Grove, George. 1962. Beethoven and His Nine Symphonies. Mineola, NY, Dover Publications Huscher, Phillip. Symphony No. 6 in F Major, Op. 68 (Pastoral) (2006) (Internet) Available from: Chicago Symphony Orchestra Association, Program Notes, < http://www.cso.org/main.taf?p=5,5,5,3> (Accessed 31 August 2008) Karajan, Herbert Von Karajan - Beethoven Symphony No. 6 in F Major Pastoral. Recorded With the Berlin Philharmonic by Deutsche Grammophon. Released on DVD, 2005. [Online Music Video] Available from: [Accessed on 31 August 2008] Kinscella, Hazel Gertrude. 2005. Music and Romance: A Course Study in Music Appreciation. Kila, MT, Kessinger Publishers. Knapp, Raymond. 2003. Symphonic Metamorphoses. Middletown, CT, Wesleyan University Press. Knight, David B. 2006. Landscapes in Music: Space, Place, and Time in the Worlds Great Music. Lanham, MD, Rowman & Littlefield Publishers. Moses, Don V., Demaree, Robert W., and Ohmes, Allen F. 2004. Face to Face with Orchestra and Chorus. Bloomington, IN, Indiana University Press. Newmarch, Rosa, and Newmarch, Rosa Harriet Jeaffreson. 1971. The Concert-Goers Library of Descriptive Notes. Stratford, NH, Ayer Company Publishers. Robbins, Daren. Beethoven – Symphony No. 6, op. 68: Horn Excepts. (Internet) Available from: < http://www.hornexcerpts.org/excerpt_pages/beethS6/beethS6_1.html> (Accessed on 1 September 2008) Old and Sold Antiques Digest. Ludwig Van Beethoven Symphony No. 6 in F Major (Pastoral) (2008) (Internet) Available from: Old and Sold: Antiques Auction and Marketplace, The Antiques Digest (Accessed 31 August 2008) Osborne, Richard. 2000. Herbert Von Karajan: A Life in Music. Boston, Northeastern University Press. Sadie, Stanley and Latham, Alison. 1990. The Cambridge Music Guide. Cambridge, UK, Cambridge University Press. Schindler, Anton Felix and Macardle, Donald W. 1996. Beethoven as I knew him. Translated by Constance S. Jolly. Third Edition in English. Mineola, NY, Dover Publications. Schneider, Joanne. 2007. The Age of Romanticism. Westport, CT, Greenwood Press. Siepmann, Jeremy. Classics Explained: Beethoven - Symphony No. 6, Pastoral (2008) (Internet) Available from: Naxos Digital Services, Naxos Classical Archives, (Accessed 31 August 2008) Spaeth, Sigmund Gottfried. 1960. At Home With Music. Stratford, NH, Ayer Company Publishers. Stahl, Dean Kerchelich Karen, and De Sola, Ralph. 2001. Abbreviations Dictionary. Boca Raton, FL, CRC Press LLC Stanley, Glenn. 2000. The Cambridge Companion to Beethoven. Cambridge UK, Cambridge University Press. Steinberg, Michael. 1995. The Symphony. New York, Oxford University Press. Talbot, Michael. 2001. The Finale in Western Instrumental Music. Oxford, UK, Oxford Oxford University Press. Wikipedia: The Free Encyclopedia. Symphony No. 6 (Beethoven) (2008) (Internet) Available from: Wikipedia Foundation Inc., < http://en.wikipedia.org/wiki/Symphony_No._6_(Beethoven)> (Accessed 31 August 2008) Will, Richard James and Will Richard. 2002. The Characteristic Symphony in the Age of Haydn and Beethoven. New York, Cambridge University Press Wilson, Conrad. 2005. Notes on Beethoven. Grand Rapids, MI, William B. Eerdmans Pub. Co. Paper Outline I. Introduction A. Thematic Statement Buried in the Midst of his Nine Symphonies, the Sixth Symphony is a revelation of a peaceful center in the midst of the tumultuous soul of Beethoven. II. History A. This symphony in Beethoven’s life of composition frequent walks in the country, In the valley of Wildgrube is the path known today as the "Beethovengang" (Beethoven path), which leads to the brook of the "Pastoral" symphony, "the placid and shady Schreiberbach." first sketches 1802, written together with the fifth In a curious way the autograph documents the last decisive steps in the compositional process as the work took its final definitive form. Beethoven carefully revised the score, which had been written with quick and energetic strokes, and introduced in many places significant changes before giving it to his copyist for the performance material and fair copy of the partitur. The copyist, although well versed in his profession, struggled with his assignment. During the proofreading of the copyists score and parts Beethoven made new revisions and during the rehearsal and after the premier of the work on December 22, 1808 he incorporated his final touches. " B. This symphony in performance Marathon concert December 22, 1808 with the fifth symphony Fourth Piano Concerto the (conducting from the keyboard), and rounded out the program with the Gloria and Sanctus from Mass in C; the concert aria Ah! perfido; improvisations at the keyboard; and the Choral Fantasy, written in great haste at the last moment as a grand finale, not well- received C. How it was different and original Five movements, programmatic style, innovations in instrumentation such as the delayed and dramatic introduction of piccolo and trombones in the fourth movements and the splicing together of the final movements. III. Form and Structure A. Stucture 1) Overall – five movements - the last three are played without pauses, while the fourth Really forms an introduction to the finale. 1. The awakening of happy feelings on arriving in the country Allegro ma non troppo 2. By the brook Andante molto moto 3. The joyful gathering of country folk Allegro 4. Thunderstorm Allegro 5. Shepherds thanksgiving after the storm Allegretto B. Form 1) By movement First Movement Allegro ma non troppo: Full Sonata Second Movement Andante Molto Motto: Full Sonata Third movement Allegro: Scherzo form with some variations | Trio | 2/4 section | Scherzo | Trio | 2/4 section | Scherzo (abbreviated) Fourth Movement: “extended” introduction to the final movement Fifth Movement: Sonata with rondo elements IV. Harmonic Characteristics A. Orchestration Addition of trumpets in last three movements and low brass in last two, timpani only in the fourth, use of solo woodwinds throughout; the symphony is scored for piccolo (fourth movement only), 2 flutes, 2 oboes, 2 clarinets in B flat, 2 bassoons, 2 horns in F and B flat, 2 trumpets in C and E flat (third, fourth, and fifth movements only), 2 trombones (alto and tenor, fourth and fifth movements only), timpani (fourth movement only), and strings. B. Specific harmonies of interest V. Thematic and “Motific” Presentation A. Thematic Presentation storm, bird-calls and country dance; 1) First Movement: opening phrase dominates the whole of the first movement continuous use of repetitive figures, employing subtle changes of melodic and rhythmic emphasis, while maintaining a clear unity of expression. For example, the triplet figure first heard as a mere detail within the texture builds increasingly in importance until it forms the main material of the principal climax. 2) Second Movement: Muted cellos present the image of the softly-flowing stream, as the gentle ornamentations form into a sustained melody, and there is a new theme whose F major tonality makes for a subtle link to the previous movement. These ideas all feature in the development, and when they return towards their original form they soon move through to a richly-textured climax. The coda is undeniably descriptive: a series of woodwind cadenzas which are labeled in the score as cuckoo , nightingale and quail 3) Third Movement: dance characteristics of a scherzo but without the structural regularity. The music abounds in wit, treating the imagery of the country band and the peasants merrymaking, though the sophisticated orchestration avoids mere roughness. The opening phrase is a case in point: a single line harmonically supported then solo entries which each make their mark. The trio, with its rustic drone accompaniment, has a particularly distinctive oboe melody, as well as some imaginative contributions from the bassoons. Then when the initial material returns, its progress is halted by the ominous rumbles of the approaching storm. 4) Fourth Movement: The rumbling soon unleashes a veritable fury, with winds and timpani to the fore. The climax brings the symphonys first contribution from the trombones, before the intensity relaxes and the storm subsides over a long pedal on the open C string of the cellos. An oboe phrase of radiant beauty and a rising flute scale herald the finale 5) Fifth Movement: clarinet and then horn play fragments of the theme of the Shepherds thanksgiving. Soon this wonderful tune is released in its full glory. There are various subsidiary ideas, but these serve to enhance the mood rather than to contradict it. Finally, a muted horn offers the phrase with which the movement had begun, and two full chords bring the symphony to its close.  B. Various musical motifs presented 1) Use of the triplet 2) Orchestration as motif a) storm – timpani and low brass b) shepherd’s “pipes” - clarinet and answering french horn c) bird sounds – flute: Nightingale; oboe: Quail; two clarinets: cuckoo VI. Conclusion An invitation for the listener to discover the peaceful center of his or her own soul in the midst of life’s turbulent circumstances Read More