Beethoven’s 6th Symphonies, 4th Movement Through Fresh Ears.
This week, I’m set to attend a Beethoven symphony at the LA Phil, conducted by Zubin Mehta. On the program are the 6th followed by the 3rd Symphony. Admittedly, I might have indulged a bit too much of the 3rd Symphony in my life, a significant musical milestone worthy of repeating. But the 6th? Upon some deep listening, it’s left my jaws open. Diving deep into its complexities, I’ve unearthed layers that were previously hidden to my ears. It’s an actual big revelation!
Beethoven’s 6th Symphony, crafted alongside his powerhouse 5th, truly comes alive in the 4th movement. Picture a storm of epic proportions, lightning bolts striking with ferocity — that’s the electrifying energy I mean quite literally! It’s like an awakening, breaking free from the 3rd movement’s finale, then bursting into an explosive opening, echoing thunder strikes against Austrian mystical landscapes.
Now, if you happen to own a pair of high-quality headphones, this is the moment to put them to good use. I’m astounded that such details eluded me before.
This is where Beethoven’s genius truly reveals itself, where his architectural prowess in composition shines brightest. He masterfully elevates and twists notes beyond imagination, surpassing even the heights he had previously achieved. While it’s often said that Beethoven wasn’t as gifted a melodist as Mozart, the intricate architecture of musical pillars he constructs is nothing short of otherworldly. It’s in these complex models that his music speaks a universal language, transcending time and space, weaving a narrative that resonates deep within the soul.
True to say that each time I experience a live performance, it’s as if I’m uncovering treasures previously hidden in recordings. This upcoming visit to the LA Phil to hear Beethoven’s 6th Symphony will be my repeat encounter (Perhaps the 3rd time I attend the live performance of the 6th) with this masterpiece, yet I’m buzzing with anticipation as if it’s my first.
Every live rendition brings with it a fresh perspective, revealing new realizations and sounds that eluded me in past hearings. I’m going into this performance with a new set of observations and agendas, eager to discover what I might have missed, and I am sure there is a lot more to uncover.
For instance, just before the 2-minute mark of the 4th movement, a striking moment occurs when a high-pitched flute emerges, its sound swirling as if moving from one direction to another. On closer listening, this flute is not only piercing but also mesmerizingly captivating, creating an auditory illusion. It’s almost as if Beethoven, centuries ahead of his time, was experimenting with a precursor to what we now know as surround sound.
Beethoven’s 6th Symphony “Pastoral” (Op. 68, 1808) stands apart from earlier nature-themed compositions. It’s not just a programmatic reflection of nature, but, as Beethoven himself noted, “More the Expression of Feeling than Tone Painting.” This distinction is critical; the symphony isn’t just an auditory stroll through nature, but a profound expression of Beethoven’s personal and emotional bond with the natural world.
This view is evident in Beethoven’s letters. In May 1810, he wrote to Teresa Malfatti about his deep love for the countryside, hinting at nature’s healing power over his struggles with deafness and loneliness (perhaps hinting at his suffering from depression). Imagine that he even contemplated a rural life as a potential remedy for his despair, as revealed in a letter to Franz Wegeler. This longing for nature, perhaps, was a lifeline during his darkest times, like after penning the Heiligenstadt Testament in 1802. I can’t help but think Beethoven would be running for the hills if he saw our modern lives distance from nature, especially compared to the more tranquil, nature-imbued Vienna of his time!
The Sixth Symphony, therefore, should be seen not as a simple imitation of nature, but as a metaphysical yearning for tranquility communicated through the language of music. Beethoven’s own words from his sketchbook caution against overdoing tone-painting in instrumental music. While the symphony does mimic natural sounds — like the brook or bird calls — these serve more as emotional textures rather than the core purpose.
The choice of F major, traditionally associated with nature and pastoral themes, complements this approach. The distinction between the beautiful (rational, pleasurable, dream-like) and the (irrational, ecstatic, primordial) is relevant here. The Pastoral Symphony, predominantly beautiful, does briefly venture into the depths in its fourth movement’s storm scene. Yet, this movement, structurally unique and seemingly formless, doesn’t overshadow the symphony’s overall serenity.
Here is my favorite recording. Karajan remains my North Star for all things Beethoven. In a similar vein, I’ve found that most LA Phil performances share certain characteristics with Karajan’s tempo and arrangements.
