Beethoven Pastoral Symphony Essay

van van van van van van van Beethoven was unrivalled of the pivotal composers that helped music evolve from the Classical period into the mount of Romanticism. When discussing Beethovens success in classical compositions, his symphonies ar at the forefront of most if not e rattling conversation. However, even within the topic of his symphonies, some are of course high blanked more than early(a)s. For practice session, one could regorge the melody from each the opening movement of the Fifth or the finale of the Ninth and a mass of people would be able to recognize them. composition these two whole kit were revolutionary in the procession of symphonic music, they were not the only ones to imbibe played important eccentrics in this sense. Beethovens eclogue symphonic music is a pivotal work in the expansion of music with programmatic characteristics. However, this symphony is one that sways mingled with the realms of lordly and program music, for it fucking be ident ified with both(prenominal) categories of symphonic music. part it is highly marvellous that Beethoven viewed this composition as a sincerely yours programmatic instal, the Sixth Symphony has played an important role in the development of the symphony as a genre and influenced future composers of program music as well.In outrank to discuss the significance of the arcadian Symphony, one must first shed light on the difference of program music from that of secure music. Author R. W. S. Mendl calculates absolute music as be that which gives us pleasure by the sheer delight in sound patterns without having any emotional, pictorial, or literary references and claims that music with programmatic content attempts to represent scenes, objects, or events which exist apart from music. It is hard to gauge the amount of programmatic works previous to the Pastoral Symphony, simply due to the fact that the term program music was not utilise as a defining category of music at the time of their release. An estimated eighth of each(prenominal) symphonic works that were presented in front Beethovens Sixth Symphony were composed with the intent of conveying special(a) images or scenes. It would seem that with such a small percentage of varying works that were composed to comport programmatic reports, labeling these works with a universal genre proved to be somewhat difficult.With the expansion of this style of writing, naturally the encompassing term program music would become associated with such speckles. Around the time of Beethovens composing, music was undergoing a shift from the Classical period into an age of Romanticism. Compositions were expanding in numerous ways regarding form, orchestration, and harmonies that were being implemented. Beethoven has been called the innovator who broke finished the limitations of Classicism without abandoning them. This is truly evident through his symphonic writing. While on the cusp of the Romantic era, it became evident to him that the stature of absolute music was on the rise. Lewis Lockwood states that from a compositional aspect, Beethoven looked down upon program music for its seemingly shallow representation of actual sounds and lack of originality. In response to this rising style of music, he composed the Pastoral Symphony with the intent of merging informatory ideas of programmatic music with the structure of absolute music.Beethoven successfully achieved a blend of programmatic and absolute ideas with this symphony, in order to create an overall noncurrentoral feeling of nature quite than depict any specific image. While the symphony and its five movements are labeled with designations that were created by Beethoven himself, he believed that the overall plain idea of this work could be perceived by the audience without a description that would usually be inevitable with a complete program tack on. It is this idea that helped Beethoven create the title as it can be viewed on early sketches, Pastoral Symphony or Memories of Country Life More the Expression of feeling than Tone-Painting. It would appear that Beethoven intended to create a ordinary mood that expresses the idea of nature rather than rely on specific images or one dead story to achieve this. Despite Beethovens general feelings towards program music and his conscious efforts to claim that the Sixth Symphony was more a collection of overall feelings rather than an attempt at creating one specific image, this second is neither absolute or programmatic music but a blend of the two styles.The first point in this assembly line would be the fact that Beethoven attached titles to each of the five movements within this symphony that depict certain(a) scenes associated with pastoral ideas. The headings for the movements are as follow Pleasant feelings which are awakened in mankind on arrival in the awkward, icon by the brook, Joyful fellowship of country fellowship, Thunder and Storm, and Ben eficent feeling after the storm joined with thanks to the deity. The guileless fact that this symphony is the only one of his nine to contract subtitles attached to each movement that describe a scene of nature favors the thought of the symphony being more programmatic than absolute. However, if one were to look past the movement headings and take into consideration the content of the music, one would observe that the first two movements contain very little defined imagery. From an analytical perspective of the form, the first half of the symphony is rather conventional and resembles the absolute approach to music.These movements hold true to the subheading for the symphony in regards to creating overall feelings rather than one precise painting or story. While there are compositional devices used to help convey the pastoral feeling within the first half of the symphony, it is not until the end of the second movement that Beethoven truly utilizes extra musical comedy associations to convey imagery. This andante movement entitled Scene by the brook ends with the flute, oboe, and clarinet sedulous in a coda succession imitating birdcalls. The composer himself labeled these three woodwind voices as a nightingale, a quail, and a cuckoo, respectively. These birdcalls have led to some(prenominal) debates, discussions, and even complete articles that attempt to analyze the true inwardness of their existence in the piece. No matter how they are interpreted, one fact remains still.The birdcalls act as segues from the symphonic first half to the more programmatic portion of the piece. The second half of the Sixth Symphony ventures onward from conventional symphonic composing techniques found in the first two movements and includes more programmatic material. A rigid indication of programmatic material resides within the later half of the symphony, where Beethoven includes several pastoral elements to enhance the musical imagery. The one-third movement consists of excited melodies in a compound-meter stylized scherzo representing country-dances. There are several points within this movement that have a drone in the bass that has been viewed as a depiction of bagpipes, an promoter that was frequently associated with the representation of pastoral ideas.This jovial dance-like movement transitions into the fourth movement, which resembles a storm. The storm is clearly an subject of tone-painting with its explosive minor chords that represent thunder and lightning and the constant patter of rain in the strings lines. other significant feature added to the symphony that aids the pastoral image is the use of a ranz des vaches in the final movement. The ranz des vaches was an alpine horn call that herdsmen used to summon cattle. Author, David Wyn Jones notes in his book that jet features of ranz des vaches melodies are triadic motion, dotted 6/8 meterfrequent use of grace notes, all harmonized mainly by the tonic triad. While looking at the horn call that Beethoven uses within his symphony, one would notice that it meets all of the criteria that Jones listed.The imagery associated with the Pastoral Symphony depicts scenes from nature, which was a subject mop up to Beethovens heart. Through journal entries and letters, one can deduce Beethovens love life for nature. The following is a letter to Austrian musician and friend, Therese Malfatti in 1810 that depicts his feelings about the outdoors How fortunate you are to have been able to go to the country so early in the year Not before the 8th shall I be able to enjoy this delight I look forward to it with immature anticipation. How glad I shall be to wander about amidst shrubs, forests, trees, herbs and rocks No man can love the country as I do. For it is forests, trees and rocks that provide men with the resonance they desire.Through this letter and several other primary records, one can clearly see Beethovens infatuation for the outdoors and the justifiable origin ator to compose a piece that commemorates this love. It makes sense that the first large-scale work that includes extensive amounts of imagery would recoil the thing that he admired most. Along with the simple beauty of nature, there were other factors that influenced Beethoven while writing his Sixth Symphony. The inclusion of nature and rustic ideas within music was not uncommon to composers prior to Beethoven. Pastoral subjects could be found in several theatrical presentations, operas, and intermezzo from the sixteenth through the eighteenth centuries. One notable work that inspired the development of the Pastoral Symphony was an oratorio written by Franz Joseph Haydn, his teacher and mentor early on in his composing career. Haydns oratorio, The Seasons, had an impact on Beethoven while he wrote his Sixth Symphony.Haydn incorporates arpeggiated horn calls in the aria Der muntre Hirt that begin a sequence of summer scenes that lead eventually lead to the storm later in the orat orio. Similarly, Beethoven opens the fifth and final movement of his symphony with an arpeggiated melody in the French horns that subsequently signify the end of the storm that took place in the previous movement. Another example of musical quotation that Beethoven purposely incorporated is an oboe melody that has long been understood as a quotation from Bachs chorale Birch an, o Schnes Morgenlicht, from the second part of the Christmas cantata It is worth mentioning that prior to Beethovens Pastoral Symphony, there had been other symphonic works to contain sections that resemble thunderstorms. Several commentaries on the Pastoral and its development discuss the 18th century German composer, Justin Heinrich Knecht and his piece entitled La Portrait musical de la nature.This work seems to contain similar programmatic ideas as that of Beethovens symphony, including a thunderstorm that interrupts the overall peaceful feeling of nature that resumes after the storm. In auxiliary to prec eding compositions that influenced Beethovens writings, there has been the suggestion for the possible influence from the literary writings of Scots poet James Thomson, mostly that of his well cognize poesys collectively titled The Seasons. While there is no concrete evidence that Beethoven took earnestness from this poem, some scholars feel that the poem possibly had an underlying effect on the outcome of the Pastoral Symphony. The text of the poem discusses nature, progressing through the four seasons starting with spring and ending with winter.The poem was translated to German in 1745 and served as a basis for Haydns oratorio that shares the same name. As discussed earlier, Beethoven drew inspiration from Haydns oratorio, so it would seem that he was indirectly influenced from the poetry of James Thomson for this moderateness even if he had no connection to the actual literature itself. So far there have been factors that support both sides of the argument in trying to defin e the Pastoral Symphony as either a work of absolute music, or one depicting tone painting. The simple fact that the piece contains an appropriate amount of material that justifies both categories, one should agree that this work could be viewed as the sodding(a) synthesis of the two sides of the symphonic spectrum.The next step in understanding the influence that the Pastoral Symphony had on future composers of both absolute and programmatic works would naturally be to look at the general reception of the premiere of this piece. The Sixth Symphony received its first public performance on declination 22nd, 1808 along with Beethovens Fifth Symphony. Beethoven worked on these two symphonies simultaneously in the years leading up to this concert. At this time however, the symphonies were labeled opposite of what they are viewed as today, which means that the Pastoral was written and performed as Beethovens fifth symphony, while the C-minor was viewed as his sixth. Over the course o f time it would seem as though the Fifth Symphony has overpowered the Pastoral in the opinions of audience members.While this whitethorn be true to some extent today, at the time, critics were singing praises to this wonderful portrayal of nature through melody and harmony. A review of the score in the musical journal of the time, Allgemeine musikalishce Zeitung, was typical in verbalise such things as this work of Beethoven, wonderful, original, and full of life, which can be placed without hesitation besides his other masterworks When comparing it to other compositions that focused on imagery of programmatic material, one critic claimed that none of the musical paintings known until now can withstand comparison Overall, the piece was welcomed positively and viewed as a representation for composers who desire to use programmatic features.Some of the compositional styles that would soon develop through the Romantic period can tincture influence from Beethovens Sixth Symphony. Wh en discussing compositions that drew inspiration from the Pastoral Symphony, one should mention ballyrag Berliozs programmatic work, Symphonie Fantastique. As a composer, Berlioz was an advocate for music with more programmatic tendencies and was viewed as a radical composer during his time. At one point in his career, Berlioz wrote critical reviews of Beethovens nine symphonies. When discussing the Sixth, he used descriptions such as, delightful phrases that greet you, like the perfumed morning breeze as well as swarms of chatter birds in flight With such joyous descriptions that Berlioz gave, it comes as no surprise that he would find inspiration from this piece for his own writing. Author, Owen Jander views the second movement in Beethovens symphony entitled Scene by the Brook as an obvious point of departure for the Scene in the Meadows in Berliozs Symphonie Fantastique.As mentioned earlier, Beethovens second movement has been the topic of several discussions concerning the Six th Symphony, specifically, the imitation of birdcalls that can be found at the close of the movement. Jander believes the calls to symbolize Beethovens acceptance of his growing hearing loss and his own fate. If one is to agree with this interpretation, then the connection to Berliozs Symphonie Fantastique becomes one that is easy to accept. Berliozs third movement, entitled Scene in the Meadows opens with the English horn and the oboe representing two shepherds that are calling to one another. At the end of the movement, one of the shepherds return once more but is not joined by the other, but is instead replaced by the distant roll of thunder heard in the timpani. Those familiar with the piece and its program know that the concluding two movements that follow represent a personal hell and eternal damnation for the protagonist. The connection between both that of Beethovens and Berliozs works would be the idea that both composers are aware of their own fate and accept it through t he illustration of music.Another composer that was potentially influenced by the Pastoral Symphony was that of the German opera composer, Richard Wagner. As just discussed, it would seem that the second movement of Beethovens work is to represent the realization of ones destiny through nature. In Wagners opera, Siegfried, there are scenes within the second act that take place in the forest. In which, the main character, Siegfried learns of his destiny from the ability to understand a forest bird. This situation is the exact opposite from that of Beethovens, where the composer realizes his destiny through the discovery that he can no longer hear. Two compositions that were separated by nearly one hundred years, both contain similar imagery that represents a persons realization and acceptance of their destiny through nature. The chances of this being a coincidence seem rather unlikely. To narrate that that Beethovens Pastoral inspired Wagners use of nature within this opera would be a fair conclusion.When discussing Beethoven, the Sixth Symphony may not be a piece that comes to mind right away one might rather recall themes from other symphonies by him. However, the importance of this piece in the evolution of the symphony as a genre is too important to go overlooked. The mere fact that out of the nine symphonies that Beethoven wrote, the Sixth was the only one to receive a programmatic title and descriptive scenes attached to the movements is an indication at the significance of this work. It may not have directly influenced several composers in the years that followed as far as content is concerned, but Beethovens ability to combine aspects of program music with the absoluteness of a symphony opened the door to possibilities for future composers on both sides of the spectrum.