贝多芬第六号交响曲 第6号，"牧歌"，与上帝和自然和谐相处 https://referencerecordings.com/recording/beethoven-symphony-no-6-stucky-silent-spring/
路德维希-凡-贝多芬在24年的时间里写了九部交响曲。从1800年左右到1824年。值得注意的是，前六部交响曲，即第一至第六交响曲，创作于这段时间的前三分之一时间（1800- 1808年），而最后三部，即第七至第九交响曲，则是在这一时期其余三分之二的时间里完成的。第六交响曲，从这个角度来看，可以看作多产的第一阶段的结束。正如著名的贝多芬 传记作者安东-辛德勒所报告的那样，第六交响曲是在纽斯堡和Grinzing郊区创作的，施莱伯巴赫河就流经这两个地方。正如贝多芬自己说，"我在这里写下了 在这里，我写下了小河边的场景，以及上面的黄蜂 在那里，鹌鹑、夜莺和 布谷鸟也在这里创作"。 有趣的是，第六交响曲 "田园"，贝多芬也称之为 "Erinnerung an das Landleben"（"对乡村生活的回忆"），与标志性的第五交响曲同时创作。贝多芬甚至在很长一段时间里把第六交响曲算作第五交响曲，而且这两部作品在1808年12月22日在维也纳剧院举行的著名的长达四小时的学院音乐会上一起首演，由贝多芬亲自指挥。作为一对姐妹花，这两部交响曲构成了一个非常丰硕的时期的最高总结。虽然这两部作品在许多方面是对立的，但它们也是相互补充的，非常漂亮。第五交响曲和第六交响曲都有一个共同点，那就是使用类似的乐器，包括使用在当时相当不寻常的乐器：长号、短笛和单簧管（只在第五交响曲中使用）。虽然 "牧歌 "的前两个乐章包括木管乐器和喇叭，但小号直到第三乐章才出现，即使在这里，它们的使用也是相当少的。定音鼓和短笛首次出现在第四乐章，而长号（只有两个）则在第四和第五乐章中使用。第五交响曲遵循传统的四乐章交响乐结构，而第六交响曲包括五个乐章。在这里，前两个乐章是独立的，而接下来的三个乐章则是无缝衔接，互不干扰。Per aspera ad astra"（"通过艰难困苦走向星空"）这一原则在第五和第六交响曲中都发挥了作用，尽管方式不同。它在第五交响曲的大部分内容中占主导地位，而在第六交响曲中，这一思想只在外围得到反映。黑暗在《牧歌》中实际上并不存在，除了对雷雨情节的公开描述。相反，第六交响曲的大部分内容都沐浴在光明、安宁和幸福之中。有趣的是，我发现第五交响曲和第六交响曲都有一个朝向结尾的方向。正是在这两个终曲中（第五交响曲的第四乐章和第六交响曲的第五乐章，直接在雷雨之后），黑暗被超越了。在第五交响曲中，贝多芬最终庆祝了英雄的胜利，而在第六交响曲中，最后一个乐章带来了和平和对上帝的狂热感激。这两部交响曲还以独特的方式反映了贝多芬的个性；我发现整个作品存在着某种二元性。一方面，我们看到一个急躁的、追求真理的贝多芬的精神，他激烈地站在人类的权利和自由的立场上。另一方面，我们也发现贝多芬散发着真诚的爱和对自然的极大敬畏，这无疑表明了他对上帝的深刻和持久的信仰。 关于第六交响曲 在贝多芬的时代，在音乐中加入对自然的描述是相当普遍的，贝多芬无疑受到了他的同事们的主要作品的启发，包括安东尼奥-维瓦尔第、J.S.巴赫，以及最引人注目的弗朗茨-约瑟夫-海顿。海顿的清唱剧《创造》（1798）和《四季》（1801）在维也纳首演。此外，贝多芬很可能知道贾斯汀-海因里希-克内希特的管弦乐作品《大自然的音乐肖像》（1784年），该作品在许多方面都预示着《田园诗》的节目。贝多芬不仅欣赏大自然，而且把它的和平与宁静看作是远离城市喧嚣的避难所和喘息之所。在大自然中，他从他的疾病中寻求身体上的休息（他的听力疾病明显地困扰着他），同时也借助于沉默来激发新的艺术创造力和内在力量。我们知道，他经常在阅读克里斯托夫-克里斯蒂安-斯特姆的《自然界中的上帝之国的沉思》（Betrachtungen im Reiche Gottes in der Natur）时说："在这里，我将欣赏上帝....，找到天堂的预感。" 贝多芬还对英国竖琴制造商J.A. Stumpff说："当我在傍晚惊奇地看着天空时......，我的精神就会在星星上摇摆，找到最初的源头，所有被创造的东西都来自于此......。是的，它必须来自上面"。他于1815年在维也纳森林中写下的文字进一步强调了这种情感。"森林中的全能者，我在森林中得到了祝福，得到了快乐：每棵树都通过你说话--哦，上帝，多么荣耀！"。在这样的森林地区，在高处，有和平，和平地服务于他"。贝多芬与上帝的深厚和活生生的关系通过他对自然的崇拜清楚地表现出来。关于贝多芬自己在乐谱中指出的一句话，"Mehr Ausdruck der Empfindung als Malerei"（"比绘画更有感觉"），以及这部交响曲是否应被视为程序性音乐或绝对音乐，已经有很多讨论。对我来说，答案完全在于定义。在许多方面，每个作曲家都为他们的音乐制定了一个程序，无论它是音乐性的还是非音乐性的，以及公开的还是不公开的。从这个角度看，作品中的每一个音符都是程序的一部分，贝多芬的情况也是如此。但在第六交响曲中，贝多芬在这里清楚地描述了鸟鸣、雷声、闪电、雨声和杂音，以及其他许多与自然有关的感情和形象。在第二乐章中，他甚至明确说出了木管乐器所描绘的三种鸟的名字。自始至终，我认为重要的是要考虑到，贝多芬并没有准确地描述这些图像。回想一下 "Mehr Ausdruck der Empfindung als Malerei "这句话，他并没有排除绘画，而是将音乐转移到感情的领域。对贝多芬来说，我相信这绝对是一个比例问题，他在素描本上的评论进一步呼应了这一观点："每一个'Malerei'，在器乐中被推得太远之后，就会失去。" 最后，我再次回到了贝多芬自己的话。"人们把它留给听众，让他们自己去发现这些情况。谁要是对乡村生活有了哪怕是一个概念，就可以不用很多标题就能自己想到作者想要什么。" 第一乐章 第一乐章的标题是 "抵达乡村后的愉快心情的唤醒"。这些话立即表明了某种宁静，与城市的起点形成鲜明对比。自始至终，这个乐章都是对纯粹的快乐和解放的表达。贝多芬在这里所指的人当然是贝多芬本人，他在前往乡村，抛开繁华的城市，以及他个人的郁闷时，总能找到幸福感。"风不能把我留在维也纳，因为它是我的敌人...... "所以相反，贝多芬去了一个 "圣地"（他在信中提到的 "神圣，神圣"）。甚至选择F大调，典型的Pastorella（一部具有田园风格的作品），也有助于营造愉快和宁静的气氛。顺便说一句，F大调是贝多芬在许多涉及自然的作品中使用的调式，其中小提琴和钢琴的 "春天奏鸣曲 "就是一个重要例子。开头的小节奠定了基调，形成了进一步发展的核心。它们是流动的、渴望的，但又是和蔼的、充满期待的，因此与第五交响曲开篇的惊人的、戏剧性的开场白形成了完全的对比。在这两部交响曲中，值得注意的是，贝多芬在最初的几个乐段中都加入了费马塔斯。而在第六交响曲中，唤起乡村的元素几乎从一开始就被纳入音乐中。在第42小节（00:43），人们已经可以听到长笛中的鸟鸣声，尽管由于周围的纹理，这往往很难被带出来。因此，我在这句话中加入了短笛，放大了长笛的声音。贝多芬还在巴松管中模仿了两次布谷鸟的声音，每次都是与第一小提琴对话（187节或05:23和233节或06:07）。在木管乐器中听到的民谣式的数字（第115节或01:56）是非常刻意地使用的，唤起了传统的阿尔卑斯山精神。因此，我要求木管乐器遵循我们现在所知道的典型的yodel乐句，并在第六个音程处有一个高潮，从而促进了整个欢快的气氛。从一开始，贝多芬就通过个别动机的重复创造了明显的运动性驱动。这不仅可以从第16小节（00:18）开始的短小的八小节乐句中清楚地看到，也可以从第151小节（04:49）和197小节（05:33）开始的很长的重复链中看到（每一个都是36小节的长度）。总共72小节，交响曲第二小节中的动机被不断重复，而且现在还在低弦的三连音模式下进行。这不禁让人联想到贝多芬在乡间旅行时听到的马车车轮的嘎嘎声。但在这里，它又不是对纺车的完全模仿，而是对这种感觉的印象。我觉得特别美妙的一个时刻是，贝多芬通过单一的和声变化，成功地提高了已经令人愉快的情绪。贝多芬从柔和的降B大调，迁移到略微明亮的D大调（第163节或05:44）。因此，与惯例相反，我要求两个小提琴组（在这次演出中，他们相对而坐），有表现力地演奏长长的持续的音符，并带有渐强性（音量逐渐增大）。总的来说，我发现这个第一乐章在和声上是相当简单的。没有令人震惊或不安的元素，此外，贝多芬很少使用重音，而重音无疑是第五交响曲的一个标志。除了尾声，我们只在发展的第二部分发现了sforzati（一种表示强烈初始攻击的衔接方式）。从第243小节（06:18）开始，开头的四小节动机（第9-12小节或00:11）现在经历了几种表达方式的变化。贝多芬从第255小节（06:29）开始，增加了sfp或sforzando钢琴标记（一种指示音符应特别强调，然后突然降低音量的方向），进一步提高了情绪，现在每隔一小节就会出现。因此，我要求将sfp以一种特有的民间风格演奏出来，这立即使舞蹈般的特征变得生动。乐章在到达尾声前继续进行，尾声在短暂的时间内引入了某种巴洛克式的肃穆（第422小节或09:15），不过这马上就消失了，又回到了民间的氛围中（第428小节或09:21）。贝多芬接下来建立了一个美丽的高潮，在第458小节（09:52）达到高潮，我要求一个非常广泛和慷慨的连音，在接下来的小节中消散。(有趣的是，这一段与上一乐章的尾声[227节或08:08]大致相符）。在一段抒情而宁静的单簧管独奏（标记为dolce（甜美而柔和））和一个短暂的升华后，我要求在最后一个小节中出现一个非常宽泛的连音,在接下来的小节中消散。(有趣的是，这一段与上一乐章的尾声[227节或08:08]大致对应）。在一段抒情而宁静的单簧管独奏，标记为dolce（甜美而柔和）和短暂上升到forte（响亮）之后，该乐章以两个简单而安静的和弦结束。 第二乐章 虽然第一乐章（我认为几乎是序曲）表达了对乡村的渴望、期待和即将到来，但第二乐章显然已经来到了乡村。在这里，人居住在大自然中，被声音所吸引。贝多芬将这一乐章命名为 "小河边的风景"，因此，第一乐章中的驱动性运动元素现在消失也就不足为奇了。相反，我们经历了一个田园诗般的场景。 我们知道，贝多芬似乎在这一乐章的节奏指示上纠结了很久。在一些著作中，它被注释为 "安达特准快板"（暗示比安达特快），但最后，它实际上被标记为 "安达特慢板"（表示步行速度，但有动作）。1817年，贝多芬甚至在节拍器上输入了点四分音符等于50的标记，这似乎表明节奏应该更快，尽管这与今天的做法相悖。不过我觉得这种速度标记很好理解，因为开篇描绘了一条流动的小溪，贝多芬在1803年的素描本中已经提到了这一点（"小溪的淙淙声"）。这个乐章的一个特别的和巧妙的因素是，沉思和放松的情绪实际上是通过某种有规律的运动来创造的。此外，开篇要求弦乐演奏con sordino（使用静音），因此声音在某种程度上是克制和不显眼的，以支持这种情绪。与第一乐章类似，本乐章中没有任何一个时刻的情绪被打乱或扰乱。贝多芬的乐谱通常充满了不寻常的节奏、特定的动态和衔接标记，而整个乐章中只有四个sf或sforzati指示，此外还有几个fp或forte钢琴（forte重音紧随钢琴）标记（第45和49节，然后在重述的第117和121节中并行）。然而，也有一些典型的贝多芬切分音（正常重音的转移，通常是通过强调通常没有重音的节拍）和半音（一种音乐数字，其中两组三拍被三组两拍取代，产生三拍和二拍之间的转换效果）。但在这里，它们被漂亮地嵌入到该乐章的安静特性中。在这一乐章中，人们必须意识到，运动中的统一性可能会带来静态感觉的风险。要提到的一个例子是第45节（03:36）和第118节（09:04）的sforzati，它启动了一系列的三和弦，如果以恒定的节奏演奏，可能会显得有些停顿和僵硬。在我看来，在这里，人们应该想到一朵浪花或一块小石头，当它开始缓慢滚动时，就会挣脱出来，获得动力。同样，长笛和双簧管的华丽的鸟类二重奏（第62节或04:56）导致了一种微妙的加速。几乎就像这两只鸟在翱翔（第65节或05:10）。在整个过程中，人经历了这些奇妙的事件，因此，他也欣然加入到歌声中来，这并不奇怪。一个美丽的例子是第33至36节（02:38-02:53）的歌唱性、表现性短语，它被重复了三次。安东-辛德勒报告说，1823年4月一起散步时，贝多芬实际上向他展示了他在小河边写下这一幕的地方。也是在那次散步中，贝多芬谈到了 "与他一起创作 "的布谷鸟（单簧管）、夜莺（长笛）和鹌鹑（双簧管）。这些参考资料在乐谱中被特别指定，可以在第二乐章的结尾处找到，我喜欢把它看作几乎是鸟类的快板（第129节或10:37）。由于今天的技术，我们有机会听到这些真正的鸟儿 "现场唱歌"，就像贝多芬在散步时听到的那样。因此，我要求我们的音乐家们通过YouTube聆听这些鸟鸣。例如，人们可以在 "Coturnix - Codorniz común - Galeperra "听到鹌鹑的歌声。我发现几乎不可能准确地注意到这种节奏，但相信它提供了有用的线索，说明应以何种精神演奏这段音乐。通常，布谷鸟在音乐中是通过使用第四音程或小三度来模仿的。然而，在这里，贝多芬把它记为大三度。对我来说，这些不一致是可以理解的，因为布谷鸟的音高是变化的，不可能总是被准确捕捉。然而，在 "普通布谷鸟的叫声--Cuculus canorus--Kuckuck "的例子中，也可以在YouTube上找到，它显然是大三度的音程，就像贝多芬记下的那样。我认为该乐章的结尾处的两个和弦也是杜鹃鸟的叫声。 第三乐章 如果说前两个乐章唤起了与自然的联系以及自然对人的影响，那么现在第三乐章则带来了与生活在那里的人的第一次见面机会。贝多芬将这一乐章命名为 "乡下人的快乐集会"，它的灵感无疑来自于贝多芬在他最喜欢的乡村旅馆参加的无数节日，他喜欢观察那里的乐师乐队。通常情况下，他们会演奏德国舞蹈，在那个时代，这些舞蹈大多是由社会下层阶级跳的。但贝多芬肯定会注意到，喇叭是如何煽动起热烈的舞蹈的（第75节或00:42），以及偶尔，器乐手可能会演奏 "错误 "的条目，在这个乐章中，双簧管在第91节（00:51）和295节（03:03）反映了这一点。一个特别滑稽的地方是第二巴松管的独奏段落，他天真地重复了三个下降的音符（第95节或00:53）。据辛德勒说，这是在模仿一个疲惫的乡村巴松管演奏家，他从沉睡中被零星地唤醒。不过，当音乐突然加速并切换到2/4拍子时，它变得越来越有趣。在这里，贝多芬实际上在每个第一小节单元上写了一个sf，连续16个小节。对我来说，我相信这代表了农民们穿着木鞋跳舞和踩踏的情景。这对贝多芬来说，一定会产生多么大的声音冲击啊 在准备这次演出时，我要求我们的乐手在这些重复的sforzati上准确地用脚踩踏，目的是在声学上模仿农民的狂热。我的愿望是把木鞋的粗糙和坚硬的声音准确地传到乐器上。从第165节（01:34）开始，我们可以听到这个结果。接下来在第173节（01:41），贝多芬再次在长笛中加入了鸟叫声。但就像第一乐章的情况一样，在这个音区几乎不可能听到它们的声音，所以我又擅自加入了高音调的短笛。现在，鸟儿们的舞姿变得清晰可闻了。另外值得一提的是，本乐章中首次使用了小号。跺脚的舞蹈部分结束时，第一支小号保持着一个fermata音符，也许是为了唤起对跳舞的士兵的类似号角的呼唤（第203节或02:06）。贝多芬以一个精力充沛的Presto（快速）翻腾（439节或04:41）来结束这个乐章，它是沸腾的、狂野的和旺盛的，然后它突然停止。 第四乐章 第四乐章名为 "雷雨"，是在F小调的黑暗威胁下进行的。它只有155小节，是交响曲中最短的乐章。许多音乐学家正确地认为，它的灵感直接来自于保罗-弗拉尼茨基的交响曲 "La tempesta"，以及贾斯汀-海因里希-克内希特的《Le portrait musical de la nature》。我发现这个乐章的构思很巧妙，它将各种主题串起来，旨在唤起人们对雷雨的印象。它没有真正的秩序，而是通过极端的动态对比、和声的不和谐（例如，使用七和弦）和快速的颤音（通过快速重复音符产生的音乐音调的摇摆效果）来实现不稳定和躁动的方向。这些颤音从该乐章一开始就被唤起，立即让人联想到隆隆的雷声。在这里，在整个乐章中，首次使用了扩大的乐器，现在包括定音鼓和短笛（这两种乐器仅在此乐章中独有），以及两个长号。贝多芬通过巧妙地使用某些技巧来加强不安的情绪，例如，同时为三连音和十六分音符打分，甚至在大提琴和低音提琴中使用四连音和五连音（第68节或01:26）。对我来说，用清晰的乐句来支持这种不安分的情绪是很重要的。例如，我要求在第7和第8小节（00:08）中快速减弱，在第64小节或（01:20）中增加蓬蒂切罗（一种用弓子非常靠近琴桥演奏弦乐器的技巧），并强调重音和切分音，例如在第71小节（01:30）。 正如人们经常提到的关于这个乐章，整体印象不仅仅是雷雨，而是雷雨对人的影响。当然，为了达到这个目的，雷雨在现实中必须像真正的雷雨一样--完全真实和无情--否则，整体的影响就会丧失。在这一乐章中，我的目标是将这一现象栩栩如生地表现出来，尤其是定音鼓的第一次登场，我要求它尽可能地发挥出无情的力量。在这里，我们用木槌来加强效果（第21节或00:26）。从第78小节（01:38）开始，人们可以开始感受到在短笛第一次登场（第82小节或01:43）之前，水团是如何积累起来的，这里用极高的音域谱写，增加了风在耳边呼啸的冰冷感。弦乐在第四拍反复演奏sforzati，而管乐的重点在第二拍，再次促成了整体的不稳定感。在第95小节（02:00），人们可以听到汹涌的水团，它们像瀑布一样越来越快地往下流。高潮是随着长号的首次使用而达到的（第106节或02:15），这里是在奇数第四拍上的强音（非常响亮）进入，我要求它要持续，并且没有减弱（动态降低）。在更多的雷声之后，水团开始消散（第119节或02:31），直接对应贝多芬1803年的草图记录："水越多，音越低"。在这里，大提琴和低音提琴起了带头作用，在这部分结束时，我给两个乐器组都增加了动态膨胀，努力继续带出不安的情绪（第130节或02:47），即使它消失了。接下来的合唱特别漂亮，在经历了暴风雨的威胁后，成为一丝真正的希望和宣泄的机会。它似乎已经预示了最后一个乐章的精神，"风暴过后对神灵的感恩之情"。我还看到这首合唱与弗里德里希-西尔舍（Friedrich Silcher）后来在1843年创作的美丽而流行的教堂赞美诗有关，而这首赞美诗可能是受这首感恩的旋律启发。该乐章以长笛中的Dolce运行为桥梁进入最后一个乐章，就像一束阳光和天空的开放。 第五乐章 最后一个乐章是一个回旋曲（一种有反复出现的主旋律的音乐形式），其中的主旋律每次都略有不同。它的标题是 "牧羊人之歌"，前面提到的附加描述是 "暴风雨后对神灵的感激之情"。在这里，贝多芬指明了 "快板 "的速度标记，但与第二乐章类似，这个速度特征标记在不同的版本中存在差异。例如，在一个版本中，贝多芬在 "快板 "标记旁边手写了 "准快板"，这也许是一个信号，他认为他的慢动作可能被演奏得太慢。就像第一乐章一样，最后一个乐章又是F大调的田园风格，充满爱意地唱出了人与自然之美的关系。在开头几小节，贝多芬就在中提琴（C和G）和后来的大提琴（F和C）的开五度音符上进行创作。我们还再次听到第一乐章中的高山旋律（第115节或01:56），其特有的六度跃进，现在在单簧管中，唤起了 "牧人"。这首 "歌 "从第9小节（00:19）开始，我要求这首曲子的感觉和演奏几乎像唱歌一样，这样它就成了真正的 "牧羊人之歌"。与第五交响曲的情况一样，这最后一个乐章以 "per aspera ad astra "的意义呈现。但在第五交响曲中，这是一个胜利的、政治性的宣言，而在第六交响曲中，它现在是个人的、人类的和深深的亲密的。牧歌主题现在经历了几个变化。一个特别美丽的例子开始于第117节（04:13），贝多芬在第二小提琴上为主要动机的一个缩短版本打分，这次是用拨弦法（拨动琴弦）。然后发展成第一小提琴和中提琴之间的精彩对话（第125小节或04:30），最后呈现在喇叭中的forte动态中（第133小节或04:46），充分体现了强大的阿尔卑斯山精神。我发现这个乐章的最后一节非常重要。它是贝多芬对更高力量的感激和幸福的盛情表达，这里显然是指上帝。因此，我要求从第225小节（08:04）开始出现一个宏伟的高潮。我把接下来的渐弱解释为缓慢的屈膝动作，就像一个人在跪着祈祷一样。在渐弱的底部，贝多芬在乐谱中加入了一个重要的指示（第237小节或08:33），即声部下的声音。我认为这一特殊时刻真正唤起了贝多芬对造物主的巨大敬畏。它是一个无声的祈祷，充满了感谢。我相信，这些最后的时刻也是在向土地告别。在这里，感激和告别的极端感情交织在一起。我们现在再次看到弦乐中的声部方向（第248节或09:06），而两小节后木管乐器中同样的旋律被标记为多声部。也许第一个声部版本是 "再见"（"auf Wiedersehen"），而接下来的多声部版本是 "谢谢"（"ich danke dir"）。低沉的独奏号角进一步表明了持续的消逝。这几乎就像贝多芬已经告别了这个国家，已经回到了前往维也纳的马车上。交响曲的最后两个和弦，现在是突如其来的强音，实际上让人想起了第二乐章的内容。同样，它是大三度的音程。这是布谷鸟的遗言吗？或者也许是告别？无论如何，通过这最后两个和弦，我们看到了贝多芬交响曲中最短的结尾。在这里，第六交响曲与第五交响曲的最后时刻的无数个强音形成了完全的对比。最重要的是，在最后，我们看到的贝多芬不仅仅是一个光芒四射的英雄，而是一个不得不在与自然和上帝的纯粹和完全和谐中表达深刻谢意的人。 BEETHOVEN SYMPHONY NO. 6, “PASTORAL” IN HARMONY WITH GOD AND NATURE Ludwig van Beethoven wrote his nine symphonies over the span of 24 years, from around 1800 to 1824. It is worth noting that the first six of the symphonies, namely Symphonies 1 through 6, were composed in just the first third of this extraordinarily creative time (1800- 1808), while the last three, Symphonies 7 through 9, were divided over the course of the remaining two-thirds of this period. The Sixth Symphony, in this light, can be seen as the conclusion of the intensely prolific first phase. As was reported by noted Beethoven biographer Anton Schindler, the Sixth Symphony was composed in the Nussdorf and Grinzing suburbs of Vienna, between which the Schreiberbach River flows. As Beethoven himself said, “Here I wrote the scene at the brook, and the yellowhammers up there, the quails, nightingales and cuckoos all around have also composed.” It is interesting to consider that Symphony No. 6, “Pastoral,” which Beethoven also called “Erinnerung an das Landleben” (“Recollections of Country Life”), was written at the same time as the iconic Fifth Symphony. Beethoven even counted the Sixth as the Fifth Symphony for a long time and both were premiered together in the famous four-hour-long Academy concert on December 22, 1808 at the Theater an der Wien with Beethoven himself conducting. As a pair of sisters, the two symphonies form a crowning conclusion to a very fruitful period. And while the two works are opposites in many ways, they also complement each other beautifully. Both the Fifth and Sixth Symphonies share, among other things, a similar instrumentation which includes the use of instruments rather unusual for the time: trombones, piccolo and contrabassoon (only utilized in the Fifth Symphony). While the first two movements of the “Pastoral” include the woodwinds and horns, the trumpets do not enter until the third movement, and even here, they are used rather sparingly. The timpani and piccolo first appear in the fourth movement, while the trombones (only two in number), are used in both the fourth and fifth movements. While the Fifth Symphony follows the traditional four movement symphonic structure, the Sixth includes five movements. Here, the first two movements stand alone, while the following three movements flow seamlessly into each other without interruption. The principle “Per aspera ad astra” (“Through hardships to the stars”) plays a role in both the Fifth and Sixth Symphonies, though in different ways. Whereas it dominates much of the Fifth Symphony, in the Sixth this idea is reflected only peripherally. Darkness does not actually exist much in the “Pastoral,” other than in the overt depiction of the thunderstorm episode. Instead, most of the Sixth Symphony is bathed in light, serenity and well-being. Interestingly, I find that both the Fifth and Sixth Symphonies share an orientation toward the finale. It is here in both final movements (the fourth movement of the Fifth Symphony and the fifth movement of the Sixth Symphony, directly following the thunderstorm) that darkness is transcended. In the Fifth, Beethoven at long last celebrates the triumph of the hero, whereas in the Sixth, the final movement brings peace and fervent gratitude to God. Both symphonies also reflect Beethoven’s personality in distinctive ways; I find that a certain duality exists throughout. On one hand, we see the spirit of an impetuous, truth-seeking Beethoven who vehemently stands up for the rights and freedoms of mankind. On the other hand, we also find a Beethoven emanating sincere love and great reverence for nature, no doubt indicative of his deep and abiding faith in God. ABOUT THE SIXTH SYMPHONY It was rather common in Beethoven’s time to incorporate depictions of nature in music, and Beethoven was, no doubt, inspired by key works from his colleagues including Antonio Vivaldi, J.S. Bach, and, most notably, Franz Joseph Haydn. Haydn’s oratorios The Creation (1798) and The Seasons (1801) were premiered in Vienna. In addition, it is likely that Beethoven would have known Justin Heinrich Knecht’s orchestral work, Le portrait musical de la nature (1784), that in many ways anticipates the “Pastoral’s” program. Beethoven not only admired nature, but viewed its peace and quiet as a sanctuary and respite from the noise of the city. While in nature, he sought physical rest from his ailments (his hearing maladies visibly plagued him) and also drew on the silence to inspire new artistic creativity and inner strength. We know that he often read Christoph Christian Sturm’s “Betrachtungen im Reiche Gottes in der Natur” (“Contemplations in the Kingdom of God in Nature”) with the sentence, “Here I will admire God....find a foretaste of heaven.” Beethoven also remarked to the English harpmaker J.A. Stumpff, “When I look at the sky in the evening in amazement ..., then my spirit swings itself over the stars to the original source, from which all created things flow ... Yes, it must come from above.” His writing from the Vienna forest in 1815 further underscores this sentiment: “Almighty in the forest, I am blessed, happy in the forest: every tree speaks through you - Oh, God, what glory! In such a forest area, in the heights, there is peace, peace to serve him.” Beethoven’s deep and living relationship with God is clearly evident through his worship of nature. Much has been discussed regarding Beethoven’s own remark indicated in the score, “Mehr Ausdruck der Empfindung als Malerei,” (“More sensation than painting”) and whether this Symphony should be considered as program or absolute music. For me, the answer lies entirely in the definition. In many ways, every composer develops a program for their music, whether it is musical or extra-musical, and overt or not. In this light, every single note in a piece is part of a program, and this is also the case with Beethoven. But here in the Sixth Symphony, Beethoven clearly describes birdsong, thunder, lightning, rain and murmurs, along with many other feelings and images linked to nature. In the second movement, he even explicitly names the three species of birds portrayed in the woodwinds. Throughout, I believe that it is important to consider that Beethoven did not describe these images exactly. Reflecting back on the remark, “Mehr Ausdruck der Empfindung als Malerei,” he does not exclude painting, but instead shifts the music into the realm of feelings. For Beethoven, I believe that it is absolutely a question of proportions, a sentiment further echoed in his sketchbook commentary, “Every ‘Malerei’, after being pushed too far in instrumental music, loses.” In the end, I turn again back to Beethoven’s own words: “One leaves it to the listener to find out the situations. Whoever gets even an idea of country life, can think for himself without many headings what the author wants.” FIRST MOVEMENT The first movement is titled “Awakening of cheerful feelings on arriving in the country.” Immediately, these words indicate a certain tranquility that stands in contrast to the starting point of the city. Throughout, this movement is an expression of pure joy and liberation. The man that Beethoven refers to here is, of course, Beethoven himself who always found bliss while heading to the countryside and leaving behind the bustling city, along with his personal depressions. “The wind cannot keep me in Vienna, since it is my enemy...” so instead, Beethoven goes to a “sanctuary” (“Holy, Holy” as he referenced in his letters). Even the choice of the key of F major, typical of a pastorella (a work with pastoral associations), contributes to the pleasant and serene mood. Incidentally, F major is the key that Beethoven utilized for many works referring to nature, of which the “Spring Sonata” for violin and piano is an important example. The opening bars set the tone and form the nucleus for further development. They are flowing and yearning, yet amiable and filled with expectation, thus standing in full contrast to the beginning of the Fifth Symphony with its arresting and dramatic opening lines. In both symphonies, it is interesting to note that Beethoven has added fermatas within the first few measures. And here in the Sixth, elements evoking the countryside are incorporated musically from nearly the start. Already in measure 42 (00:43), one can hear birdsong in the flutes, though this can often be difficult to bring out on account of the surrounding textures. I have therefore amplified the flutes by adding the piccolo to this line. Beethoven also imitates the cuckoo twice in the bassoon, each time in dialogue with the first violins (measure 187 or 05:23 and measure 233 or 06:07). The folk-like figure heard in the woodwinds (measure 115 or 01:56) is used quite deliberately and evokes the traditional alpine spirit. I have therefore asked the woodwinds to follow the typical phrasing of what we now know as a yodel, with a crescendo to the sixth interval, thus contributing to the overall cheerful mood. From the outset, Beethoven creates a noticeable motoric drive through the repetition of individual motives. This can clearly be seen not only in the short, eight-bar phrase beginning in measure 16 (00:18), but also in the very long chain of repetitions (each one 36 bars in length), starting in measures 151 (04:49) and 197 (05:33) respectively. In total, this makes an extraordinary 72 measures combined in which the motive taken from the second measure of the Symphony is repeated over and over, and now also underlaid with a triplet pattern in the lower strings. One cannot help but think of the rattling of the carriage wheels that Beethoven would have heard as part of his journeys to the countryside. But here again, it is not an exact imitation of the spinning wheels, but rather, an impression of the feeling. One moment that I find particularly beautiful is the way that Beethoven succeeds in heightening the already pleasant mood by a single change of harmony. From the soft key of B-flat major, Beethoven migrates to the somewhat brighter key of D major (measure 163 or 05:44). Thus, contrary to custom, I have asked the two violin groups (in this performance, sitting opposite each other), to play the long, sustained notes expressively and with crescendoes (a gradual increase in volume). Overall, I find this first movement to be harmonically rather simple. There are no shocking or disturbing elements and, additionally, Beethoven makes little use of accents which, no doubt, are a hallmark of the Fifth Symphony. Apart from the coda, we only find sforzati (an articulation indicating a strong initial attack) in the second part of the development. Beginning in measure 243 (06:18), the four-bar motive from the opening (measures 9-12 or 00:11) now travels through several variations of expression. Beethoven further heightens the mood with the addition of the sfp or sforzando piano marking (a direction indicating that the note should be played with particular emphasis followed by a sudden decrease in volume) starting in measure 255 (06:29) and now following in every other bar. I therefore ask for the sfp to be played in a characteristically folkloristic style, which immediately brings to life the dance-like character. The movement continues before reaching the coda which introduces a certain Baroque-like austerity for just a brief moment (measure 422 or 09:15), though this immediately fades away and returns to the folk-like mood (measure 428 or 09:21). Beethoven next builds to a beautiful climax which culminates in measure 458 (09:52) where I ask for a very broad and generous legato that dissipates over the next bars. (Interestingly, this passage corresponds roughly to the coda in the last movement [measure 227 or 08:08]). Following a lyrical and serene clarinet solo marked dolce (sweetly and softly) and a brief rise to forte (loudly), the movement ends with two simple, quiet chords. SECOND MOVEMENT While the first movement (which I see almost as an overture) expresses longing for the country, expectation and the impending arrival, the second movement has clearly arrived in the country. Here, man dwells in nature and is absorbed by the sounds. Beethoven titles this movement “Scene by the brook,” and it is therefore no wonder that the driving motoric elements of the first movement are now gone. Instead, we experience an idyllic scene. We know that Beethoven seems to have wrestled with the tempo indication of this movement for a long time. In some writings it is noted as “Andante quasi Allegretto,” (implying faster than an Andante), but in the end, it is actually marked “Andante molto moto” (indicating a walking tempo, but with motion). In 1817, Beethoven even went so far as to enter the metronome marking of dotted quarter note equals 50, which seems to indicate that the tempo should be faster, though this is rather contrary to today’s practice. I find this tempo marking to be quite understandable, though, as the opening depicts a flowing brook, which Beethoven already alluded to in his 1803 sketchbook (“murmuring of the brook”). A particularly special and ingenious element of this movement is the way that the contemplative and relaxing mood is actually created through a certain regularity of motion. In addition, the opening asks for the strings to play con sordino (using a mute) so that the sound is somewhat restrained and unobtrusive in support of this mood. Similar to the first movement, there is not a single moment in this movement where the mood is disrupted or disturbed. Whereas Beethoven’s scores are typically full of unusual rhythms, specific dynamic and articulation markings, there are only four sf or sforzati indications in the entire movement, in addition to a few fp or forte piano (a forte accent immediately followed by a piano) markings (measures 45 and 49, and then in parallel in the recapitulation measures 117 and 121). There are, however, some of the typical Beethoven syncopations (a shifting of the normal accent, usually by stressing the normally unaccented beats) and hemiolas (a musical figure in which two groups of three beats are replaced by three groups of two beats, giving the effect of a shift between triple and duple meter). But here, they are beautifully embedded in the quiet character of the movement. Throughout this movement, one must be aware that the uniformity in motion could pose the risk of a static feeling. One example to mention is the sforzati, both in measures 45 (03:36) and 118 (09:04) which set in motion a series of triads which, if played at a constant tempo, could seem somewhat halting and rigid. Here, in my opinion, one should think of a wave or a small stone that breaks loose and gains momentum as it begins to roll slowly. Likewise, the magnificent bird duet in the flute and oboe (measure 62 or 04:56) leads to a subtle acceleration. It is almost as if the two birds are soaring (measure 65 or 05:10). Throughout, man experiences these wonderful occurrences and it is therefore not a surprise that he, too, rapturously joins in the song. One beautiful example is the singing, expressive phrase in measures 33 to 36 (02:38-02:53) which is repeated three times. Anton Schindler reported that while on a walk together in April 1823, Beethoven actually showed him the place where he wrote the scene by the brook. It was also on that same walk that Beethoven spoke of the cuckoo (clarinet), nightingale (flute) and quail (oboe) that “composed together with him.” These references are specifically designated in the score and can be found at the end of the second movement which I like to think of almost like a bird cadenza (measure 129 or 10:37). Thanks to today’s technology, we have the opportunity to hear these actual birds “singing live,” just as Beethoven must have heard on his walks. I have therefore asked our musicians to listen to these birdsongs via YouTube. For example, one can hear the song of the quail at “Coturnix - Codorniz común – Galeperra.” I find it nearly impossible to note this rhythm exactly, but believe that it provides helpful clues to the spirit in which this passage should be played. Often, the cuckoo is imitated in music through the use of the fourth interval or minor third. Here, however, Beethoven notates it as a major third. For me, these inconsistencies can be understood, as the pitch of a cuckoo varies and cannot always be captured exactly. However, in the example of the “Call of the common cuckoo - Cuculus canorus – Kuckuck,” also available on YouTube, it is clearly the interval of a major third, just as Beethoven has notated. I see the ending of the movement with the two chords also as a cuckoo call. THIRD MOVEMENT If the first two movements evoke the connection to nature and its effect on man, the third movement now brings the first chance to meet the man who lives there. Beethoven titles this movement “Merry assembly of country folk,” and it is no doubt inspired by the numerous festivals that Beethoven attended at his favorite country inn where he loved to observe the band of musicians. Often, they would play German dances, which in that time, were mostly danced by the lower social classes. But Beethoven would have surely noticed how the horns incited exuberant dances (measure 75 or 00:42) and how occasionally, the instrumentalists might have played “wrong” entries, which, in this movement are reflected in the oboe in measures 91 (00:51) and 295 (03:03). A particularly comical spot is the solo passage of the second bassoon who naively repeats three descending notes (measure 95 or 00:53). According to Schindler, this was meant to be an imitation of a tired village bassoonist who is sporadically awakened from his slumber. It becomes increasingly funny, though, as the music suddenly accelerates and switches to a 2/4 time signature. Here, Beethoven actually writes a sf on each first bar unit for 16 consecutive measures. For me, I believe that this represents the peasants as they dance and stamp about in their wooden shoes. What a sonic impact this must have had on Beethoven! In preparing for this performance, I have asked our musicians to stamp along with their feet exactly on these repeated sforzati with the goal to acoustically imitate the fervor of the peasants. My wish was to exactly transfer the rough and hard sound of the wooden shoes to the instruments. The result can be heard from measure 165 (01:34) onward. Next in measure 173 (01:41), Beethoven again incorporates birdcalls in the flutes. But just as was the case in the first movement, it is nearly impossible to hear them in this register, so I have again taken the liberty of adding the high-pitched piccolo. The birds now become audible in their dance! Also noteworthy to mention is the first use of the trumpets in this movement. The stomping dance section ends with the first trumpet holding a fermata note, perhaps meant to evoke a bugle-like call to the dancing soldiers (measure 203 or 02:06). Beethoven brings this movement to a close with an energetic Presto (rapid) flurry (measure 439 or 04:41) that is boisterous, wild and exuberant, before it stops abruptly. FOURTH MOVEMENT The fourth movement, titled “Thunderstorm,” is in the darkly threatening key of F minor. Only 155 measures long, it is the shortest movement of the Symphony. Many musicologists rightly assume that it was directly inspired by Paul Wranitzky’s Symphony “La tempesta,” as well as by Justin Heinrich Knecht’s, Le portrait musical de la nature. I find this movement ingenious in its conception, a stringing together of motifs intended to evoke the impression of a thunderstorm. It has no real order, but rather orients itself towards instability and restlessness achieved through extreme dynamic contrasts, harmonic dissonances (for example, the use of seventh chords) and fast tremolos (a wavering effect in a musical tone produced by rapid reiteration of the note). These tremolos are evoked from the very start of the movement, immediately conjuring the sounds of rumbling thunder. Here, throughout this movement, an enlarged instrumentation is used for the first time, with the timpani and piccolo now included (both instruments are exclusive to this movement only), as well as two trombones. Beethoven reinforces the restless mood through the clever use of certain tricks, for example, simultaneously scoring both triplets and sixteenth notes, or even quadruplets and quintuplets in the cellos and basses (measure 68 or 01:26). For me, it was important to support this restlessness with clear phrasing. I’ve asked, for example, for quick diminuendos in measures 7 and 8 (00:08), the addition of ponticello (a technique of playing a stringed instrument with the bow very close to the bridge) heard in measure 64 or (01:20), and highlighted the accents and syncopation, for example in measure 71 (01:30). As is often mentioned regarding this movement, the overall impression is not merely that of a thunderstorm, but instead the thunderstorm’s effect on man. Of course, in order to achieve this, the thunderstorm must in reality be just like a real thunderstorm—utterly realistic and merciless—otherwise, the overall impact would be lost. Across this movement, my aim was to bring this to life quite dramatically, especially in the timpani with its very first entrance that I have asked to be played with the greatest possible unrelenting power. Here, we’ve used wooden mallets to heighten the effect (measure 21 or 00:26). Beginning in measure 78 (01:38) and onward, one can begin to feel how the water masses are accumulating before the first entrance of the piccolo (measure 82 or 01:43), here scored in an extremely high register, which adds the iciness of a wind that whistles around the ears. Whereas the strings play repeated sforzati on the fourth beat, the winds have the emphasis on the second beat, again contributing to the overall feeling of unrest. One can hear in measure 95 (02:00) the torrential water masses as they increasingly accelerate downward like a waterfall. The climax is reached with the first use of the trombones (measure 106 or 02:15), here in a fortissimo (very loud) entrance on the odd fourth beat, which I ask to be sustained and without diminuendo (a decrease in dynamic). After a few more thunderclaps, the water masses begin to dissipate (measure 119 or 02:31), corresponding directly to Beethoven’s 1803 sketchbook entry, “The more water, the lower the tone.” Here, the cellos and basses take the lead, and by the end of this section, I have added dynamic swells to both instrument groups in an effort to continue to bring out the unrest (measure 130 or 02:47), even as it dies away. The chorale that follows is particularly beautiful and serves as a true glimmer of hope and cathartic relief after having experienced the threat of the storm. It seems to already anticipate the spirit of the final movement, “Benevolent feelings of thanksgiving to the deity after the storm.” I also see the chorale connected with Friedrich Silcher’s beautiful and popular church hymn, composed later in 1843, that was presumably inspired by this thanksgiving melody. The movement bridges into the final movement with a dolce run in the flute, like a sunbeam and an opening of the sky. FIFTH MOVEMENT The last movement is a rondo (a musical form with a recurring leading theme) in which the main theme returns each time slightly varied. It is titled “Shepherd’s Song” with the aforementioned additional descriptor of “Benevolent feelings of thanksgiving to the deity after the storm.” Here, Beethoven indicates a tempo marking of “Allegretto,” but similar to the second movement, there are variations in this tempo character marking amongst various versions. For example, in one edition, Beethoven has handwritten “quasi Allegro” next to the Allegretto indication, perhaps a signal that he believed that his slow movements might be played too slowly. Just like the first movement, the last movement is again in the pastoral key of F major and lovingly sings of man’s relationship with the beauty of nature. Already in the opening bars, Beethoven composes over a drone of open fifths in the violas (C and G) and later in the cellos (F and C). We also hear again the alpine melody from the first movement (measure 115 or 01:56) with its characteristic leap of a sixth, now in the clarinet and evoking the “shepherd.” The “song” is heard beginning in measure 9 (00:19) and I ask for this to be felt and played almost as if singing, so that it becomes a true “shepherd’s song.” As was the case in the Fifth Symphony, this last movement presents itself in the sense of “per aspera ad astra.” But whereas in the Fifth this was a triumphant, political manifesto, here in the Sixth, it is now personal, human and deeply intimate. The pastoral theme now passes through several variations. A particularly beautiful example begins in measure 117 (04:13) where Beethoven scores a shortened version of the main motive in the second violins, this time in pizzicato (plucking the strings). This then develops into a wonderful dialogue between the first violins and violas (measure 125 or 04:30), before finally presenting itself in the forte dynamic now in the horns (measure 133 or 04:46) fully exemplifying the powerful, alpine spirit. I find the last section of this movement to be very significant. It is Beethoven’s exuberant and effervescent expression of gratitude and bliss toward a higher power, here clearly meant to be God. I have therefore asked for a magnificent crescendo beginning in measure 225 (08:04). I interpret the diminuendo that follows to be a slow genuflection, as if one is kneeling in prayer. At the very bottom of the diminuendo, here Beethoven includes an important direction in the score (measure 237 or 08:33) for sotto voce (under the voice). I see this special moment as a true evocation of Beethoven’s enormous awe for the Creator. It is a silent prayer, full of thanks. I believe that these last moments are also about saying goodbye to the land. Here, the extreme feelings of gratitude and farewell intertwine. We see again the direction for sotto voce in the strings now (measure 248 or 09:06), while the same melody in the woodwinds is marked dolce two bars later. Perhaps the first sotto voce version is a “goodbye” (“auf Wiedersehen”), while the dolce version that follows is the “thank you” (“ich danke dir”). The muted solo horn further indicates the continued fading away. It is almost as if Beethoven has said goodbye to the country and is already back in the carriage on the way to Vienna. The last two chords of the Symphony, now a surprise in fortissimo, are actually reminiscent of the second movement. Again, it is the interval of a major third. Are these the last words of the cuckoo? Or perhaps a farewell? In any case, with these final two chords, we see the shortest ending of a Beethoven symphony. Here, the Sixth stands in total contrast to the last moments of the Fifth Symphony with its countless fortissimo beats. Above all, in the end, we see before us a Beethoven who is not merely a radiant hero, but a man obliged to express profound thanks in pure and complete harmony with both nature and God.
Manfred Honeck
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