INTERPRETACIÓN
The Hanover band
conducted by Roy Goodman
con instrumentos de la época de Beethoven
English Commentary by Sergio Cánovas
Beethoven’s Symphony No.4 was composed in the summer of 1806, being premiered in March 1807 at a private concert at the palace of Joseph Franz von Lobkowitz. The work was dedicated to Count Franz von Oppersdorff, a relative of Beethoven’s patron, Prince Lichnowsky. Oppwersdorff met Beethoven when he travelled to Lichnowsky’s summer home, where the composer was staying. Oppersdorff listened to Beethoven’s Symphony No.2, and liked it so much that he offered a large amount of money for Beethoven to compose a new symphony for him. Beethoven undertook the new work and completed it in roughly a month, while also working on the fifth symphony, the fourth piano concerto and revising his opera «Fidelio». After the revolutionary third symphony, the fourth returns to a more classical style in the vein of Haydn, with a lighter orchestration and less complex language that make it more akin to Beethoven’s first two symphonies. Its awkward position between two symphonic masterpieces such as the heroic third and the fateful fifth, has made this a slightly overlooked work. However, this is in no way a minor work, and it shows the growing strength of Beethoven as a composer.
The first movement is structured in sonata form. It opens with an extensive slow introduction, notable for it’s minor-key wanderings that show that Beethoven still couldn’t be chained by orthodoxy. Two sudden tuttis lead us to the main allegro. A rhythmic main theme of great energy and strength is presented. In great contrast, the second theme is lyrical and almost pastoral in character. Follows a complete reexposition of these themes, as it was usual at the time. During the development section Beethoven plays with the materials, combining modulations and dramatic gestures. The music suddenly drops to pianissimo, but a timpani rolls leads to an explosive climax, which begins the recapitulation of the themes. The movement ends with a vibrant coda based on the main theme.
The second movement is also structured in sonata form. After a brief opening, the strings present a lyrical main theme. The second theme, presented by the clarinet, is more delicate and angelic. The development is based mostly on the main theme, ornamenting and fleshing it out more. A dramatic tutti adds an expressive touch to the music. The second theme appears in pianissimo at the end, leading us to the recapitulation of the themes. The coda begins with the flute reminiscing on the main theme, concluding with two massive tuttis.
The third movement is a scherzo in an expanded ternary form (A-B-A’-B’-Coda). Sometimes it is called a menuetto, but the autograph score doesn’t contain that label, and the brisk rhythm of the music would make it very hard to be played like a usual menuetto. It opens with a rhythmic theme full of force and energy. The trio begins with a cantabile lyrical second theme presented by the woods, which rises in a brilliant climax. The scherzo theme is then recapitulated with slight variations. Follows the recapitulation of the trio. When it seems that the scherzo’s theme is going to be recapitulated, it is cut short and ends with a sudden coda.
The fourth movement is also structured in sonata form. It begins with a strongly rhythmic main theme, almost like a moto perpetuo. A more relaxed and melodic second theme is presented as a contrast. Follows a complete reexposition of the themes. The development section is abundant in modulation, with more dramatic gestures that add more expression to the music. A fast, humorous solo of the bassoon leads us directly to the recapitulation of the themes, with varied changes. An unusually extensive coda section, based on the main theme, brings the work to a brilliant conclusion. Musical analysis partially written by myself. Sources: https://bit.ly/3CKhOFI, https://bit.ly/3DHaM5Y and https://bit.ly/3r3khJ8 To check the score: https://bit.ly/3pUETBD