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: Beethoven and his world more intimate

This post is dedicated to myself. I thought

an afternoon in the sun, in the quiet countryside, everything got from listening to one of the most beautiful and moving musical pages that were ever written in music history: the Sixth Symphony in F major "Pastorale .

For this symphony as for all other works of Beethoven, not just a whole blog, but I'll talk about it imposes limits, hoping not to get bored.

I will tell you the truth. I love Pastoral. I think the most representative among the compositions of Beethoven, but not the composer but of man-Beethoven Beethoven. The Ninth Symphony, with the famous Ode to Joy on the verses of Schiller, the celebrated "pact of brotherhood, of joy and solidarity among men. But the Sixth Symphony has something incredibly more intimate. It 's his diary in which he writes and speaks, using the universal language, is the pact with nature that is, at first sight, indeed cruel to him as often happens to men, but always and unequivocally Mother. And it is in fact in Nature that Beethoven escapes to find himself, is that Beethoven Nature speaks, and it is that it has pinned its hopes more intimate. A few nights ago I reread some of his letters, and this impressed me, especially in some passages that show the passion of Beethoven for the country life.

The letter is addressed Therese Malfatti, a noblewoman and friend "intimate" of the composer.

Vienna, May 1810

(...) I lead a very lonely and quiet life. There are yes, here and there, the lights would wake up, but since all of them have gone away from Vienna, I feel a void in me that can not be bridged and that even my art, which usually is faithful to me, (...) What can make me forget She was lucky, which is already in the country have gone so soon.
I can not enjoy such bliss until the day 8, but already I am delighted as a child just thinking about it. As I will be happy to potermene go around for a while between the hedges and woods, trees, grasses and rocks. There is nobody who can love the country as I do. From the woods, trees, rocks rises the echo which man wants to hear. Ludwig van Beethoven

And yes. Before I wrote the cruel nature.

Deafness, whose first symptoms he felt around 1795, became final in 1818 (this is the year that he began to use conversation books, through which to communicate with his audience). In the Heiligenstadt Testament, (October 6, 1802), he already shows that it has accepted, after many intense suffering, its sad fate. Her profound loneliness, is justified by the need to shut himself in his world, not because he was a gruff, (how many times have we read about bad biographies of his life this nonsense!) But because he could not officially reveal his condition of ill health his fellows.

was the greatest paradox of excellence for a musician.

The Symphony No. 6 in F major "Pastorale" Op.68, which I suggest you listen, it was written in 1808, almost parallel to the Fifth, in a period of time ranging from summer 1807 to ' summer 1808.

The two symphonies are very different in spirit. While the fifth is symbolic action and the human struggle, but the Sixth fully embodies the ideal of the contemplative life and is the exception in the composer's symphonic output.

I have not posted the entire symphony, but only a part. My favorite.

Last Movement: "Song of the Shepherds. Feelings of joy and gratitude after the storm"

Beethoven translates into music the feelings of the shepherds. The first topic on which almost all the movement comes from a simple tune, similar to the "Ranz des vaches" or "Kuhreihen " (singing Vaccai-that is a classic song of pastors that do not is provided assistance).

The video starts by presenting the first complete theme given to the first violins, the tone is typically "pastoral" in F major, imitated by the latter, while the third series of dense winds contend. Immediately after the entire orchestra will be involved in this song of praise to the Creator.

(remember that Beethoven was a pantheist, nature / = created the image and likeness of the Creator)

Just after we hear echoes themes of the first movement (a combination of the pace in eighth-sixteenth notes) and the stream of the scene (in the drawing of the arches ).

(What resending the previous movements of the Symphony is an act of composition pioneered by Beethoven, not surprisingly considered the precursor of cyclic Symphony). After that we have a small episode in alternating waves of sound based on agreements in "very strong".

After the reappearance of the first subject entrusted to the wind, here is the return of the hymn (1:44), always the first violins, but this time accompanied by a slight upward movement of the second violins.

A new tune, fervent and ecstatic at the same time, appears in the records of clarinets and bassoons (readily be placed in the video.) Subsequently, the first theme reappears in the minor (2:42), the intervals are modificati.Potremmo say that it is the only example of "development" of the whole movement, the intention is to Beethoven, probably to create an analogy between the form adopted and the singing ministry that does not comply with any taxation structure (hence the lack of development, which is certainly unusual considering we're talking about Beethoven, but this is justified because of what I said earlier , that this symphony spiritualmnete differs from the others and therefore can not be taken as a compositional procedure development that Beethoven always takes the meaning of "battlefield ).

Finally, the movement has more and more characteristics of a theme and variations. The theme will be changed again by the violins (3:23), then by the cellos (3.52), while the orchestra explodes into agreements that seem to suggest the power and the charm of a nature now "tamed", peaceful, after the concerns of the time (4 th movement) and that starts at sunset.

Enjoy.

Damiano Franco

Herbert von Karajan directing the Berlin Philharmonic Orchestra.
5 ° Movement: Allegretto