Beethoven 6. sinfonie analyse

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Many des Beethoven"s works are titled, yet many of these names come from friends or from those zu whom the pieces were dedicated. Die Sixth Symphony, however, zu sein one von only 2 symphonies Beethoven intentionally named. Beethoven"s full title was "Pastoral Symphony, or Recollections des Country Life." back it was composed bei the very same time period and dedicated to die same civilization as die Fifth, die works have many differences. Ns "Pastoral" ist known together a "characteristic" symphony and closely resembles "Le musical juni la nature" by Rheinish composer Justin heinrich Knecht. Beethoven publicly declared die piece"s "extramusical" purpose: an expression von nature. His affinity zum nature and his love weil das walks through the country outside Vienna to be captured an the Sixth, too as in the note scribbled top top sketches von the symphony.

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Notes top top Beethoven"s sixth Symphony


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June 10, 20065:05 PM et
Christopher H. Gibbs


Most of the familiar titles attached to Beethoven"s functions were put there über someone various other than ns composer. Critics, friends, und publishers invented the labels "Moonlight," "Tempest," and "Appassionata" zum popular piano sonatas. Highlights patrons" names—Archduke Rudolph, count Razumovsky, counting Waldstein—became wedded zu compositions lock either commissioned or that are dedicated to them, in order to winning a sort of immortality zum those that supported die composer.

Beethoven self crossed out die heading "Bonaparte" from the title page von the third Symphony, but letztere wrote an "Sinfonia eroica" (Heroic Symphony), and it is his only symphony besides ns Sixth zu bear an authentic title. Zu be sure, stories about "fate knocking at the door" in the Fifth and the choral finale of die Ninth have encouraged programmatic associations zum those works, beginning in Beethoven"s own time. But, in the end, it zu sein the 6th Symphony, ns "Pastoral," the stands many apart from his others, und indeed from virtually all des Beethoven"s instrumental and keyboard music, in its intentional, publicly declared, and often fairly audible extramusical content. Beethoven"s complete title is: "Pastoral Symphony, or Recollections of Country Life."

"More an Expression des Feeling than Painting"

And yet the Sixth Symphony does notfall aspire to the level von musical realism found in a arbeit like Berlioz"s Symphonie fantastique or bei Richard Strauss"s later tone poems. Bei the program weil das its premiere, Beethoven famously listed that ns "Pastoral" consisted of "more in expression des feeling 보다 painting." he had previously objected zu some des the music illustration an Haydn"s oratorios die Creation (1798) und The seasons (1801), through their imitations of storms, frogs, and other phenomena. He most likely would not have cared much weil das what the "New German School" des Berlioz, Liszt, und Wagner would later advocate und create.

Beethoven’s "Pastoral" Symphony belongs zu a tradition, going rückseitig to the previous century, von "characteristic" symphonies. Indeed, the titles weil das the activities that Beethoven noted closely resemble those of "Le Portrait musical dach la nature," written virtually 25 years earlier von the Rheinish composer Justin heinrich Knecht. (It is doubtful Beethoven knew ns music des the piece, but he walk know ns titles.) Scattered comments the Beethoven made bei his sketches zum the Symphony space revealing: "The hearers should be allowed to discover ns situations / Sinfonia caracteristica—or recollection des country life / every painting bei instrumental music is lost if it ist pushed auch far / Sinfonia pastorella. Anyone that has in idea von country life kann make out zum himself ns intentions des the composer without many titles / also without titles die whole möchte be recognized as a matt more des feeling than von painting in sounds."

Regardless des the musical und aesthetic ramifications that die "Pastoral" Symphony raises through respect to the program music—a an essential issue for debate over the rest des the century—it unquestionably provides eloquent testimony to the importance and power von nature in Beethoven"s life. Die composer reveled an walking bei the environs des Vienna und spent virtually every summer in the country. When Napoleon’s 2nd occupation des the city in 1809 intended that he could not leave, that wrote zu his publisher: "I blieb cannot enjoy life in the country, i m sorry is deswegen indispensable zu me." Indeed, Beethoven"s letters room filled with declarations of the importance von nature an his life, such as one indigenous 1810: "How delighted ich will be to ramble zum awhile through the bushes, woods, under trees, with grass, und around rocks. No one kann love die country as much as i do. Zum surely woods, trees, und rocks produce ns echo that einer desires zu hear."

Companion Symphonies

Beethoven wrote ns "Pastoral" generally during ns spring and fall von 1808, although part sketches date zurück years earlier. Its composition overlapped in part with that von the 5th Symphony, which could be taken into consideration its non-identical twin. Notfall only did both schutz the same period of genesis und the same dedicatees (Count Razumovsky und Prince Lobkowitz), but they were deshalb published in ~ weeks von one another bei the spring von 1809 und premiered with each other (in turning back order und with their numbers switched).

The occasion was Beethoven"s famous marathon concert of December 22, 1808, at ns Theater in der Wien, und was ns only time that premiered 2 symphonies together. Moreover, die program also included the first public performance von the 4th Piano Concerto, two motions from ns Mass in C, die concert aria Ah! perfido, und the "Choral" Fantasy. Reports suggest that all did notfall go well, as musicians playing after limited rehearsal struggled their way through this demanding neu music, und things dropped apart during ns "Choral" Fantasy. Although the Fifth and Sixth symphonies room extremely different from one another bei overall mood, over there are significant points of convergence, such as the innovations in instrumentation (the delayed und dramatic introduction of piccolo und trombones in the 4th movements) und the splicing together of the final movements.

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A Closer Look

Beethoven"s descriptive movement titles zum the "Pastoral" were made publicly to ns audience before the premiere. The erste movement, "Awakening von cheerful feelings upon arriving in the country," engages v a long musical brauchtums of pastoral music. From ns opening drone of bei open fifth bei the lower strings to ns jovial coda, die leisurely und often recurring pace von the movement is far from the intensity von the 5th Symphony. The second movement, "Scene von the brook," includes the famous birdcalls: flute for the nightingale, oboe for the quail, and two clarinets for the cuckoo (Berlioz copied ns effect zum two des the birds an the pastoral der dritte tag movement des his Symphonie fantastique).

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This is Beethoven"s only symphony with five movements and the last three command one into ns next. Ns third zu sein entitled "Merry gathering des peasants" and suggests a town band of minimal ability playing sprung music. The dance is interrupted by a "Tempest, storm" that viewpoints from afar together ominous rumblings give way to the full fury von thunder and lightning. The storm zu sein far more intense 보다 other well-known storms—such as von Vivaldi and Haydn—and presages letztere ones by Berlioz und Wagner. Nur as ns storm had actually approached gradually, deswegen it passes, leaving some scattered moments des disruption before the "Shepherds’ hymn—Happy and thankful feelings after ns storm" brings ns work kommen sie its close. Regardless des Beethoven"s declared intentions, this music seems kommen sie function ~ above both descriptive und expressive levels, therein fueling debates about die issue ever because his time.