BEETHOVEN, THE ROMANTIC

DECEMBER 2, 2013
CHRISTIAN GUTIERREZ
cagutier@uncc.edu
Beethovens Sixth Symphony is a poignant piece in the growth of the Romantic
symphony. Beethoven was seen to have explored a variety of ways in which instrumental music could
evoke images and ideas transcending the world of sound, (Bonds, 2001, p. 835). Through his own
personal reflection and experience, Beethoven composed his Fifth and Sixth Symphonies; both of which
used music in an innovative way. Beethoven did this through the utilization and manipulation of the
Classical form. The insertion of a fifth movement provided the Pastoral Symphony with more freedom to
portray the scenes of nature that Beethoven had found inspiration. This symphony also depicts
Beethovens struggle with understanding and accepting his deafness.
Ludwig van Beethoven was born on December 17
th
, 1770 in Bonn, Germany. Beethovens
family consisted of three generations of employed musicians at the court of the Electorate of Cologne,
(Burhnham, 2001, p. 73). Beethoven and his two brothers were three of seven children that survived
infancy. His father, Johann Beethoven, instructed Ludwig on keyboard and violin. It was immediately
apparent that his talent was unparalleled. His first public performance was on the piano at the age of
eight. In 1779, he began instruction with his first notable teacher, Christian Gottlob Neefe, an organist.
Beethoven did not continue with public schooling after this age as general education was not continued
beyond elementary school, (Burnham, 2001, p. 73). In 1792, at the age of 21, Beethoven traveled to
Vienna to study with Franz Joseph Haydn. It was in Vienna that Beethoven established himself as an
accomplished pianist and composer. While in Vienna, Beethoven finalized his Wind Octet Op. 103 and
records show that he continued to revise his sketches of his violin and oboe concerti. Over the next
decade, Beethoven continued composing and began to experience loss of hearing. He traveled to
Heiligenstadt in the summer of 1808 and began work on his Sixth Symphony, Sinfonia Pastorale. This
Symphony is said to consider the intersections of man and nature, (Allen, 2001, p. 835). It was during
his stay in Heiligenstadt that Beethoven began to cope with the onset of his deafness. Heiligenstadt
offered Beethoven a retreat where he found refuge to help him manage his depression through his
connection with nature. Traces of this connection are evident throughout his Sixth Symphony. An
example of this can be found in the second movement with the woodwinds closing the movement in a
cadenza of bird-like calls.
With the deviation from conventional formal construction of the Symphony, Beethovens Sixth
Symphony is a prime example of the development of Romanticism and a composers need to journey
away from Classical constraints. The most obvious change in the Sixth Symphony is the addition of
programmatic titles, as they were not present in previous Classical symphonies. Programmatic titles
were thought to point the way towards such extra musical interpretations, (Allen, 2001, p. 835). Each
movement is provided with a heading that illustrates a different scene based on Beethovens experience
in Heiigenstadt. These programmatic headings are indicated below:
1. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande : Awakening of cheerful
feelings upon arrival in the country
2. Scene am Bach : Scene at the brook
3.Lustiges Zusammensein der Landleute : Happy gathering of country folk
4.Gewitter, Sturm : Thunderstorm; Storm
5.Hirtengesang. Frohe und dankbare Gefhle nach dem Sturm : Shepherds' song; cheerful and
thankful feelings after the storm
The Symphony was first performed on December 22 of 1808 in a four hour concert, along with
his Fifth Symphony, Fourth Piano Concerto, and portions of his Mass in C. 1812 marked the most
profound turning point in Beethovens life. Along with dealing with his increasing deafness, Beethoven
accepted the fact that he would be unable to sustain a lasting relationship with a woman for the rest
of his life (Allen, 2001, p. 87). Evidence that he became severely depressed is found in the long period of
reduced creativity that followed this realization. From 1822-1824, Beethovens reputation as a
compositional genius was solidified by works such as his last two sonatas and his Ninth Symphony. 1824-
1827 marked the last years of his life. During these years, Beethoven committed his time to working on
string quartets, the last of which is his infamous String Quartet in C# minor. Beethoven died March 26
th
,
1827 in Vienna.
The second movement of the Sixth Symphony captures many different Romantic ideas.
Beethoven uses textural painting in collaboration with the programmatic heading of the movement. This
movement is entitled Scene am Bach : Scene at the brook. In this movement, Beethoven uses the
instruments in various ways to construct a scene. For example, the constant sixteenth note runs in the
strings mimic the sound of running water in a brook.

The melody is recurring throughout the movement. It begins in the first violins and is echoed in
the woodwinds. This creates the contemplative mood of the movement.
Finally, the aforementioned bird-like calls in the woodwinds close the movement. Beethoven
indicates in the score that each section is to portray a different bird. For example, the flute emulates the
Nachtigall (nightingale), the oboe the Wachtel (quail), and the clarinet the Kukuk (cuckoo). These
birds were specifically chosen for their symbolism. The nightingale is surrounded by a whole aura of
symbolism, including love and sweetness of tone. The cuckoo, likewise, is renowned as the harbinger of
summer, while the quail has religious overtones of divine providence, (Cooper, 2000, p. 177).
The second movement (Adante molto moto) follows the sonata form with the exception of the
bird calls at the end. Beethoven uses this form to express the thoughts and ideas that he gained over
his time spent in Heiligenstadt . The first or A theme in the exposition begins with the first violins in
the fifth measure. The melody then transitions to the bassoon and clarinet in measure eleven. This call
and response motive continues until the B theme begins in measure thirty two. The melody continues
in the bassoon for two measures, then is joined by cellos and violas in unison. Later, the texture thickens
with the flute and clarinet entering in contrary motion, followed by ascending trills in the first violins.
This dense texture continues until measure thirty eight, when the tension begins to dissipate. Beethoven
does this again in measure forty two using arpeggiations in the woodwinds and the first violin to build

tension that leads into the development. The exposition begins with a serene mood and escalates with
tumultuous moments of rigidity. Rhythmic push and pull combined with extreme dynamic motion
represents Beethovens emotional reflection of his life and ends with the B theme decaying to the
dominant. Beethoven then moves into the development, cycling through various keys. It begins with a
flute and oboe duet accompanied by minimal strings, thinning the texture. He phases between moments
of tranquility in solo voices:



and hectic rhythms across the entire orchestra:
The recapitulation marks the return of the melody in measure one hundred in the bassoon. The
sixteenth notes resurface in the first violins, then spread throughout the strings. This continues until
measure one hundred and twenty five, where the flute begins the bird calls. A trio of flute, oboe, and
clarinet ends the movement in a series of bird calls with pizzicato in the strings.










The Classical symphony was based on structure and harmony. Symphonies of this era began as a
three movement work but adopted the Minuet and the Scherzo as the third movement. This addition to
the symphony laid the foundation of the four movement symphony synonymous with today. As
Beethovens symphonies reached completion, the importance and outlook of the genre had begun to
change. The idea that symphonies were strictly for entertainment faded with the growth of complexity
in the music. In reviews dating from 1809 and 1810, E. T. A. Hoffmann declared the symphony to be the
opera of instruments and likened it to the drama. Marks Bonds goes on to say , Such assertions
reflect not only the symphonys implicitly dramatic qualities, but also its aesthetic status and its ability to
incorporate broader ideas beyond the purely musical, (Bonds, 2001, p. 835). Beethoven led the way in
revolutionizing the symphony. Beethoven did this through the preservation of Classical form, harmony,
and structure, but adapting those methods to the growing need of the aspiring artist. The Romantic
symphony finally became a tool of expression. The symphony continued to use sonata form. Composers
no longer needed structure. In Beethovens Sixth Symphony, the first two movements are written in
sonata form. The symphony still contains qualities of the classical symphony that preceded it. For
example, Beethovens ability to stay relatively close to the harmonic pallet the Classical era used. The
relationship of the movements became a closer unit. The idea that all movements were related to each
other by key, melodic idea, or emotional content. This can be found in the third movement, which ends
on an imperfect cadence that leads straight into the fourth movement. The fourth movement (the
storm) then leads straight into the fifth (shepherds song) without a break. More clear in the transition
from the fourth movement to the fifth is the story line that continues to go on throughout the
symphony.
Beethoven and Strauss
We can compare Beethovens Sixth Symphony to other works of the Romantic era. The first of
which is Strauss Second Symphony. The first immediate difference is the order and amount of
movements in the symphony. Strauss keeps with the Classical style of four movements but changes the
standard form of Allegro, Adante, Scherzo/Minuet, Allegro. He breaks the form by moving the Scherzo
to the second movement and the Largo to the third. Even with the added fifth movement to the Sixth
Symphony, Beethoven maintained the Allegro, Adante, Allegro (still in triple meter), Allegro, Allegretto
that was customary of symphonies.

Despite the differences in form, Strauss and Beethoven established common ground in their
uncanny ability to layer certain instrumental voices together to provide a unique effect. For example, in
the first movement of both symphonies, Beethoven and Strauss double the melodic line in both the
bassoon and clarinet.


Beethoven, 1
st
Movement Strauss, 1
st
Movement

Both composers stayed within relatively common harmonic plans. Any complexity in the
symphonies were due to textural or rhythmic construction. Strauss and Beethoven excelled in indicating
this through organic fashioning. Organic fashioning is the close relationship between themes that
develop slowly out of small motives. In Beethovens Sixth Symphony, the organic fashioning can be seen
in the recurring sixteenth note runs from the second movement (the brook), the wilting melody in the
violin, the repeated sixteenth note runs from the fourth movement (the storm); all which return in the
fifth movement. Beethoven then incorporates a new idea, ascending fifths above the returning material
(to symbolize the shepherds). Strauss utilizes the same compositional tool and returns the following
motive from the first movement, back to the fourth movement:

Beethoven and Mahler
Mahlers Fifth Symphony is made up of five movements. The order of the movements
are as follows: 1. Trauermarsch, 2. II. Strmisch bewegt, mit grter Vehemenz, 3. Scherzo, 4. Adagietto,
5. Rondo-Finale. In these five movements, Mahler incorporates programmatic headings to help illustrate
the music. Mahler then expands this concept by providing additional headings detailing specific
instructions on how the movement should be played. Below is the opening of the first movement of
Mahlers Fifth Symphony:

The heading translates to Step in measured. Strict. Like a funeral procession. Although
Beethoven used these headings to name the movements, the idea of using these headings to delineate
what the movement is about remains the same between the two composers. Both Mahler and
Beethoven transition each of the five movements into each other. This transitioning serves as a
Romantic tool to 1) continue the storyline and 2) continue the expressive quality of the music. However,
within each movement, Mahler differs from Beethoven in many ways. One of the ways in which Mahler
is different is the amount of tempo changes that are written in the music. Beethovens music follows a
sense of linearity, in which the movement is driven by a constant tempo. Mahler, with specific
instruction,

changes the tempo constantly, shifting in and out of colors of the moment. Mahler also stems away
from traditional harmonic plans. The first movement of Mahlers Symphony is filled with chromaticism.
This compositional device for added tension and release can be found in the opening fanfares in the
brass:

Beethoven and Mahler share their ability for colorful instrumental texturing. Beethoven focuses on
traditional pairing such as flute and upper strings, while Mahler experiments with foreign timbres
such as oboes in the low register and flutes in extreme high and low registers.
Mozarts Symphony No. 39 and Beethovens Sixth Symphonies share many similarities. Both of
the first movements of these symphonies are written in sonata form. Mozart amends the sonata form
with a brief Adagio introduction for twenty five measures. This quasi cadenza introduction then leads
straight into the allegro. The allegro does not contain any programmatic headings or any markings
indicative to the piece. The harmonic structure of the movement follows a tonic dominant relationship.
In this regard, the symphonies are the same. Mozarts Symphony begins in E-Flat Major then moves to
B-flat Major in the development. After cycling through different keys in the development, tonic is then
reintroduced in the recapitulation and concludes the movement in the tonic key of E-flat Major.
Beethovens Sixth Symphony moves from F Major in the exposition to the dominant key of C Major.
From there, the development cycles between closely related keys cadencing back in the original key of F
Major. Unlike Beethoven, the overall quality of texture is vastly thinner. The instrumentation required to
play Mozarts Symphony No. 39 includes a full string section, one flute, two clarinets, two bassoons, two
horns, two trumpets, and a timpani. The Pastoral Symphony calls for a full string section, two flutes, two
oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, and an alto trombone.
The larger-scale format of Mozarts Symphony follows the 1. Adagio; Allegro, 2. Andante con moto, 3.
Menuetto e Trio, 4. Allegro. Beethoven followed this model with a slight adjustment in the addition of a
fifth movement. Mozart and Beethoven also incorporated contrapuntal call and response techniques to
develop the melodic line. This can be found in the opening measures of the Allegro in the first
movement of Mozarts Symphony:

Beethoven utilized the call and response in the second movement, where the bassoon begins the
melody, then is joined by the remaining woodwinds in the following measures.
Deemed the earliest known founder of Romanticism, Beethovens life acted as the inspiration
for the Romantic era. The onset of emotional discovery prompted Beethoven to search for a new way to
voice himself through music. As clearly shown in the Pastoral Symphony, grief, happiness, confusion,
and struggle are depicted within each movement of the work. Beethoven even developed religious icons
to fully indicate the severity of his feelings.











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