RICHARD WILL, THE CHARACTERISTIC SYMPHONY, 156-187

TIME, MORALITY, AND HUMANITY IN BEETHOVENS PASTORAL SYMPHONY

Transports listeners to a world protected of degradation and violence, a haven of calm – ‘brookside
idyll’ with also stormy scenes to allow for resolution

Symphony introduces passages calm to turmoil and back, or calm0 turmoil-celebration

Contains exaltation fit for oratorio- solo voice, chorus and orchestra based on scripture

Transitions frequently between paradise and trouble – passage between genres rather than style

Compared to Anton Wrantizkys Aphrodite – musical storms can be seen in both

FORM, GENRE AND TIME

Pastoral combines characteristic and symphonic practices – unusual movement form and runs
connecting passages in diff tempo

Compound movements - movts consisting of sections in different tempo

Beethoven does not re-order moevemnts, replace single tempo with compound movts or bring back
movts, he remains within convetional practice, except at junction between scherzo and finale.

Symphony in two halves – first symphonic section ( 1st and 2sn movements), and characteristic
section (scherzo, storm, and finale- links country dance, storm and thanksgiving after storm in one
narrative – successive scenes)

Scherzo anticipates storm with frantic pace deviates from formal convetion, Finale slows beginning
with three fold rep of the op theme- unhurried and major – signifying restoration of the sound world
of first two movements.

AN IDYLL REDEEMED

Storm interrupts the idyll, music disrupts the genre and departs from conventions that govern the
rest of the symphony

(Sublime notes, figuration and harmonies stimulate the imagination, which must exert itself and
expand beyond its normal bounds to grasp, integrate, and recall them). – MICHAELIS

(It appears that in works of taste, the term sublime is generally applied to whatever in its way is
much greater and more powerful than might have been expected – SULZER

Storm movt has unexpected form and irregular rhythm, phrases and unheard/rare harmonies –
minor tonalities and diminished 7ths are prominent – fuller score – piccolo trombone and timpani
enter to reinforce the fortissimos

Beethoven treats finale as sacred – principal theme treated as church hymn – occurs 2/3 times in
succession ( as if verses)and appears in passage near end in suggested chorale texture. Also he uses
arpeggiated horn calls for the principle theme – used in religious pastoral music.

Forst two movts – beautiful countryside with implicit evokations of religious thought

Scherzo populates countryside with frantic inhabitants dancing joyously and quickly without finishes
their dances and beginning more dances
Storm reminds inhabitants of Gods wrath and the Finale is their prayer and thanks to god for his
mercy

- Recalls humanities fall and return to grace, the Patoral finishes the story of creation, of
mankind, - through resolving the fall and transporting ‘pastoral innocents’ to a new paradise
rather than leave them as god did in the Creation story.
- A journey through tribulation to paradise
- The Pastroal suggests no individual – no heroic narrative, protagonist that one can identify
with only collections of characters and GOD who is no more individual
- Patroal is unrealistic and impersonal

SCOTT BURNHAM BEETHOVEN HERO

- Want music to go somewhere, complete process, use theme and form, subject object and
conclude – heroic style became a popular theme
- Compare opening themes of fifth and sixth movement – motivic dev and repitions used, both
start with memorable thematic ideas followed by FERMATA ON DOMINANT
- Fifth Movt exudes tension, a call to action, frequently interchanging tonic and dominant
poles – Sixth focuses on relaxation, an invitation to daydream, prolonged harmonies feel like
slow breathing ---- ( what about the storm movement)
- Rhythmic motive of Fifth symphony not employed melodically – motive is an electrifying
rhythmic event (reinforced rhythmic idea) unlike the sixth
- Bb. 1- 4 of Sixth symphony motif is developed over a calming sedating dribe – melodic
pocket that ‘ broadens to a yawn’
- Motivic repition in Sixth don’t build tension. Climaxes are large an abundant rather than
swells to a definitive peak. Entire movement is one of stylistic control

POLITICAL BEETHOVEN NICHOLAS MATHEW PG 91-101

Subtitle to Pastroral – more the expression of emotions than painting – debate about right and
wrongs of musical representation

Beethoven had intent to preface each movement with ‘ Scena’ ( scene in opera) but only the second
movt kept this ( Szene am Bach – scene by the brook). Patroal drew in ballet and pantomime

Scene by the brook is contemplative Augenblick – blink of an eye, the moment

BEETHOVENS NATURE AARON S. ALLEN