# Beethoven (Rolland)/The Symphonies

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The Nine Symphonies
Symphony No. i in C major, Opus 21.
Dedicated to the Baron van Swieten.
Adagio molto—Allegro con brio—Andante cantabile con moto—Minuetto e Trio—Finale.
Although this Symphony was originally performed at the first of the composer's personally-arranged concerts in Vienna, on April 2nd, 1800, the sketches for it extend over the preceding five years. Though the symphony is in the composer's first period style, it does not rank amongst the very finest works of this period. The slow introduction starts on a dominant seventh out of the key.
The musical quotations are taken from E. Pauer's excellent piano solo arrangements of the Symphonies (Augener Ltd.).
​The first movement proper is orthodox in form, and only once or twice do we catch a glimpse of the Beethoven to be, notably in the muttering bass passages near the end of the exposition. The Andante which is also in Sonata-form proper and opens fugally, contains some original drum-work. The Minuet, purely Haydnesque, shows a certain delight in orchestral colour.
In the trio the first chord is struck no less than nine times, as though the young composer was entirely occupied with the charm of his orchestral colouring. The Finale is not highly individual. The work is scored for strings, wood-wind, two horns, two trumpets and two drums.
2nd Symphony in D, Opus 36.
Dedicated to Prince Carl Lichnovsky.
Adagio molto—Allegro con brio—Larghetto—Scherzo and Trio—Allegro molto.
In the Second Symphony, which is a great advance on the first, the composer's hold of his ​subject is much firmer and the subjects themselves are more striking .
The Larghetto is full of lovely curves,
and there is some charming conversational work between the wood-wind instruments . The horn passage is the precursor of many fine symphony subjects of a martial nature for the horns.
Whilst the chromatic harmony is purely Mozartian , the Scherzo is a genuine Beethovenian outburst, full of verve and piquant in touch.
There is a feeling of broadness about the brilli ant and energetic Finale which is absent from the Finale of the First Symphony.
3rd Symphony Opus 36, "Eroica" in E flat.
Dedicated to Prince Lobkovitz.
Allegro con brio—Marcia funèbre—Scherzo and Trio—Finale.
This Symphony was completed in August, 1804, and first performed on April 7th, 1805 The French Ambassador at Vienna had suggested that Beethoven should write a work on the grand scale based on his admiration for Napoleon as the saviour of France from the horrors of the Revolution; and it is a fact that Beethoven actually dedicated this Symphony to Napoleon, but when the news came that the First Consul had declared himself Emperor, Beethoven tore up the title page in a rage and added the following superscription:—
Sinfonia Eroica, composta per festeggiare il
Souvenire di un grand' Uomo,
E dedicata A Sua Altezza Serenissima
Il Principe di Lobkovitz da Luigi van Beethoven,
Op. 55 No. III. delle Sinfonie.
This is one of the grandest and most powerful of the works in the Second Period style. It is note-worthy that all the principal themes are based on the intervals of the common chord, or on the little pendant of the diminished third which forms the tail of the first subject.
​The work opens in medias res with two strong chords, the chief subject entering on the cellos.
There is some lovely responsive work between the wood-wind and the string bands for the second subject. The development is masterly and embraces a wonderful new subject, first entering on the oboes in the strange key of E minor. The recapitulation is approached in a marvellous way—the climax of the development being reached with a chord in C flat, the echoing reflections of which gradually die away until they reach a mere shimmering of violins, into which is suddenly thrown an unexpected entrance of the horn with the chief theme in the tonic key. Was it a slip? Of course not. Rather a stroke of genius. The movement has an immense coda, which with Beethoven at this period amounts to a second development.
The Funeral March is one of the grandest things in music. It is a pageant of a great world tribulation rather than an elegy for Napoleon, who was certainly not dead at that time. More probably Beethoven's mind was occupied with the ​misery and wretchedness caused by war than with the single hero of that period who reaped both glory and dishonour at one blow. The oboe subject in the Trio portion is only one of many wonderful passages in this piece. The speaking bass melodies, the majestic second subject on the strings almost bursting with eloquence, and the wonderful coda, not broken-hearted but buoyed up by the rhythm of things viewed broadly. Any attempt to connect the Scherzo and Finale with Napoleon must fail ludicrously. The Scherzo is simply one of Beethoven's finest productions in one of his bubbling, vivacious mood. The three horns have a subject which appears to be a genuine hunting call.
It is a seven-bar phrase, the echoes to which are enchantingly coloured. The common chordal formation of the duple time interjection near the end suggests something more massive, and the little coda figure, E flat, E natural, F, comes from the opening theme of the Symphony. The Finale is an amazing set of variations, the bass of the eight-bar theme being displayed and varied many times before the melody itself enters at the eightieth bar; and even then we continually hark back to the ​bass. It is not until the close, after the melody has been given at a slow rate on the wood-wind in its proper setting, that it is taken up triumphantly and carried victoriously into the coda. Beethoven used this particular theme four times—in a Contretanz, in his Finale to the Men of Prometheus, as the theme for his set of variations for piano, Opus 35 and in this Symphony. This curious method of writing a set of variations recurs 20 years later in the Ninth Symphony. A somewhat similar process has been adopted by Elgar in his Enigma Variations, as the theme used there is said to be the counter-subject of a concealed melody.
4th Symphony in B flat, Opus 60..
Dedicated to Count Oppensdorf.
Adagio—Allegro vivace—Adagio—Menuetto—Finale.
This happy and serene work has been undeservedly overshadowed by its two towering neighbours. Schumann has called it a slender Greek maiden between two Norse giants. The opening Adagio sounds the only dark mood in the Symphony
The flute, oboe and bassoon converse sportively over the second subject. A strange sequential passage in unison upon the strings in three-bar phrases following a happy little canon on the wood-wind instruments and some powerful syncopations lead in to the development. An atmosphere of humour and good feeling permeates the movement.
The lovely melody which forms the chief theme of the Adagio is given to the violins. It is accompanied by a strong persistent rhythmic figure, which is transferred later on to the drums with great effect. The wood-wind work and the horn passages are exquisite.
The third movement Allegro vivace is full of fun, lively syncopations and duple time effects giving it more of the nature of a Scherzo.
​It has a charmingly tender trio and a coda of exquisite poetry ending with Schumann's "Just one more question for the horn to put" before the final crash. This is one of the longest movements which Beethoven has written in this form. The bright, sunny mood of the opening movements increases in the radiant Finale. There the modulations are surprising and the touches of humour delightful. The little skirmish on the part of the bassoon just before the return, the whimsical little notes on the flutes and violins, the augmentation of the subject as it fades away into the stealthy questionings between the violins and bassoons near the end, are but a few of the many little quips and sallies.
5th Symphony in C minor, Opus 67.
Dedicated to the Prince von Lobkovits and the Count von Rasumovsky.
Allegro con brio—Andante con moto—Scherzo and Trio—Finale Allegro.
This famous Symphony with its rugged first movement, its lovely Andante, its mysterious Scherzo and its proud, fiery Finale, was first performed together with the so-called Sixth Symphony on December 22nd, 1808. The Pastoral Symphony No. 6 was probably written before the 5th.
​The first movement opens without introduction with the famous phrase of four unison notes which Beethoven once explained as "Thus fate knocks at the door."
From this tiny germ the whole of this fierce stormy movement is evolved. Not even the beautiful tender second subject, nor the lovely little unbarred oboe cadenza can win it away from this rugged fierce mood. When this second subject appears in the recapitulation, still in the minor, the atoning major outburst which immediately follows is quickly brushed aside by the impatience of the reinstated first theme. Even the limitations of the old-fashioned horns and trumpets in those days seemed to be turned to advantage in the colossal bare thirds and fourths of the "Fate" notes.
The chief theme of the Andante, wonderfully sad, yet wonderfully beautiful,
The Scherzo has some eloquent bass passages,
and its rhythmic horn figures are full of veiled mystery and heavy with some dark foreboding. The trio is a fiery Fugato with strange outbursts on the basses. The curious hesitations on its reappearance and the weird bridge passages at the end, with the long sustained chord on the strings and the mysterious drum tapping, cause the movement to veer gradually round to the fiery march- like coda, with its light, graceful, contrasted episodes. The Scherzo theme insinuates itself into the Finale near the coda, which is of amazing brilliancy, ending with a Presto which fairly sweeps the hearer away with it.
The orchestra is the largest the composer has used so far. It includes three trombones, double bassoon, and piccolo, which, however, are only used for the brilliant Finale.
6th Symphony (Pastoral) in F, Opus 68.
Dedicated to Prince von Lobkovitz and Count von Rasumovsky.
Pastoral Symphony, or a recollection of country life. More an expression of feeling than a painting.
Allegro ma non troppo—Andante molto moto—Allegro—Allegretto.
This Symphony, often slighted on account of its so-called realisms and its classification amongst "programme music," is, nevertheless, one of the finest pieces in the whole range of absolute music. The labelling of the various movements by Beethoven—" Joyous sensations roused by arrival in the country," "Scene by the brook," "Merry gathering of country peasants," "Thunderstorm," "Glad and grateful feeling after the storm "—is quite superfluous. How artistically Beethoven has introduced the bird calls the quail, the nightingale, and the cuckoo-into just the right place—the coda of the Andante. And the thunderstorm. What a magnificent introduction to the Finale it makes! Beethoven has never once transgressed the great principles of form and balance in this Symphony.
The opening movement is a true country picture, ​full of the tonics and dominants of summer happiness.
Bird-like twitterings and horn calls come from all directions, yet how perfectly balanced it all is and what a marvel of development! The scene by the brook with its drowsy re iterated figure on the under-current of divided strings is the very Bourdon ever sounding in Nature herself.
Wagner has not forgotten this in his Woodland Murmurs. The dance of the villagers, founded on the old country dances, is full of humorous touches, the drowsy bassoon notes, the romp round, and into this almost without warning, breaks the storm. A remarkably controlled storm ​it is, too, free from any vulgarity. A lovely bit of blue sky showing at the end, leads straight into the shepherd's song of thankfulness, which although containing several interesting points, the triple pedal at the opening with its horn yodel, etc., is somewhat lengthy and not very interesting. Beethoven had once intended to introduce words and chorus here, "Lord, we thank Thee," and it seems a pity that this idea was not carried out.
7th Symphony in A major, Opus 92. Dedicated to Count Moritz von Fries.
Poco sostenuto—Vivace—Allegretto—Scherzo— Finale.
This Symphony was completed in May, 1812, but was not performed until December, 1813, at a Concert undertaken by Maelzel for the benefit of the wounded soldiers at the Battle of Hanau, October 30th, which Concert also contained Beethoven's Battle Symphony. In form, the Symphony contains nothing unusual. In subject, it is full of romance and colour from beginning to end.
Opening with a long introduction, which is almost a movement in itself, this contains a strong marching figure, and runs into the Vivace by the means of a half cadence. The Vivace, a rhythmical ​movement in 6-8 time, is full of a verve and vitality which seems to reach its fullest power on the horns and wind instruments with their tucketting rhythms.
The Coda amounts to a second development, and the whole movement goes with a splendid swing from beginning to end.
making it a kind of Rondo—A, B, A, B, A—to say nothing of the humorous juxta-position of the two subjects near the end.
The Finale is also planned on the big scale, colossal in force and mighty in stride. There is a curious perversity of scale in the First Subject as though Beethoven was no longer satisfied with the ordinary major. The marvellous stride of the Bass at the end is not the least amazing of the features in this wonderful movement. Perhaps, this symphony holds together as one complete whole more than any other. It gives one the impression of having been written uninterruptedly from the first movement to last.
8th Symphony, in F major, Opus 93.
Allegro vivace e con brio—Allegretto—Presto—Allegro vivace.
"The little one," as Beethoven affectionately called this symphony, was written during four ​months of the summer and early autumn of 1812. It is smaller in scale, slighter in texture, than the other symphonies. Erroneously regarded as a return to an earlier style, and labouring for some time under the absurd title of "Ballet-Symphony," it has been somewhat neglected in the past. Without the grandeur of the Fifth or the romance of the Seventh, it contains a lasting, if less easy, charm, perfect finish, and a rich fund of good humour. Only a small orchestra is used, but it is handled in a masterly way, as the octave drums in the masterly finale, the charming staccato chords for wood-wind with boisterous interjections from the full orchestra, the running conversations between the violins and the basses, fully testify.
The first movement is in the usual development form.
A sprightly Allegretto takes the place of the slow movement. The third movement goes back to the early minuet, instead of the Scherzo.
​The final movement is a masterpiece of construction and development which its astounding interruptions so amply justifies finally.
9th Symphony, in D minor,
With Final Chorus on Schiller's "Ode to Joy." (Op. 125).
Allegro ma non troppo un poco maestoso—Molto vivace—Adagio molto e cantabile—Choral Finale
It is important to remember, as M. Romain Rolland has reminded us, that this is not a Choral Symphony in the strict sense of the term, but a Symphony with a Final Chorus." The choral Finale was written by Beethoven in a separate MS., and, as with most of his other final movements, he seems to have expected no closer connection with the preceding three movements than that of general suitability. His original idea for a last movement to this Symphony was the Finale of the String Quartet in A minor, Opus 132, but for some reason or other his sketches for voices on Schiller's Ode ​were taken up again and worked into a Finale for this Symphony. Ten years had elapsed between the completion of the Eighth Symphony and the consummation of the Ninth, the colossal first three movements of which are on the highest plane of all music. As to the complete success of the choral numbers, opinions differ widely. The first movement, colossal in conception and dignified in tone, has moods of great passion and wonderful tenderness. The opening theme is mighty in aspiration, rugged in power.
The second movement is the Scherzo, one of Beethoven's longest, and perhaps his very finest. It is all brought about by the little germ theme of three notes, which, amongst other things, sug-
The Adagio opens with a melody of the utmost nobility, perfect in curve, and of a marvellous serenity.
A sudden modulation brings us to a new subject in D major in 3—4 time.
Immediately a huge hubbub breaks out from the whole of the wood-wind instruments. A short hasty review of a few bars from each of the first three movements follows, and after the bass instruments had commented rather brusquely on these appearances, the famous tune in D major
breaks in on the cellos and basses alone. The melody gradually unfolds itself but finally is suddenly broken off by the discordant hubbub again, and the solo baritone voice enters with the words, "O brothers, not these tones."
The opening quartet and chorus is based entirely on the famous tune. The following number is a tenor solo and chorus to the accompaniment of a military band with all the appurtenances thereof—big drum, triangle and cymbals. A broad chorus follows, Andante maestoso, a capella in style; and as movement after movement enters, the ​devout feeling of mysticism and awe increases, until the final chorus
Chant one greeting, myriads countless
caps with warm dazzling sunlight one of the highest peaks in all music.