Author(s): Siepmann, Jeremy
Artist(s): Siepmann, Jeremy
Label: Naxos Educational
Genre: Music Education
Period: Classical
Catalogue No: 8.558034-35
Barcode: 0636943803424
Release Date: 04/2002

Classics Explained: BEETHOVEN - Symphony No. 6, 'Pastoral' (Siepmann)

The warmest and perhaps the most beloved of all Beethoven’s nine symphonies, the so-called ‘Pastoral’ is a festival of enchantment from beginning to end. Though pictorial in many of its images and in the titles given to each movement, Beethoven stressed that the symphony was “more an expression of feelings than a painting”. The feelings it arouses in the listener are of continuous joy and wonder, but the craft behind them is hardly less wonderful. Here we explore the piece from the inside out, discovering just how this magnificent musical oak grows from the tiniest of acorns and encountering in the process one of the greatest magicians in musical history.

A series exploring, in words and music, the major classical works of the concert hall. In an accessible and lively manner, Jeremy Siepmann looks at the history and the form of the great masterpieces of western music.

Tracklist

Disc 1
Beethoven, Ludwig van
Siepmann, Jeremy - Author
1On Beethoven's Openings01:26
2Opening phrase of the 'Pastoral': Mood, Symbolism and Musical Function01:44
3Musical Acorns: the outline of melody; the shape of a question00:42
4The 'question' in the 'Pastoral' repeated...00:04
5...and answered00:12
6The opening phrase ends on a note full of pregnant expectation00:19
7Starting with a stop00:36
8The rhythmic profile of the opening phrase; a two-part construction00:52
9Phrase One, Part One00:09
10Phrase One, Part Two00:06
11The properties of rhythmic ambiguity; the 'question' of Phrase One answered01:03
12Phrase Two: from meander to march00:27
13The makings of a conversation: contrast and variation00:47
14Repetition as a major factor, but it's never mere repetition; each time something new is added00:33
15From soft to loud and back again; instrumental enrichment from horns and double-basses00:18
16Mega-repetition: violins play exactly the same little fragment ten times in a row00:29
17But no two repetitions are quite the same; varieties of contrast00:34
18More variation: pitch rises; violins joined first by the clarinet, then by the oboe00:19
19Return to opening idea, but with new instrumentation and articulation00:25
20Clarinets, horns, bassoons and flutes now join expansive variation00:49
21'New' insistent rhythm derived from the first four notes of the piece00:09
22With the dawn chorus, a whole forest is waking up; feelings of rapture00:36
23First violins play a derivative of the opening figure, joined by wind and strings00:32
24Sudden change of key, from the home key (tonic) to the dominant00:30
25Arrival at the highly contrasting second main theme00:55
26Unusual properties of second main theme02:15
27Rhythmic clash between simultaneous groups of three beats and groups of two01:09
28Winds fall silent as the violins and violas interrupt with a new theme00:30
29Winds answer with the same morse-like rhythm but at half the speed00:51
30Crescendo leads to strings' acceleration of the pace with no increase in tempo01:05
31Beginning of coda, directly based on morse-like rhythm of the main theme00:22
32Strings reiterate small fragment of the new theme 13 times in a row00:48
33A simple, rising violin phrase leads to a repeat of the Exposition00:18
34The nature and function of the Development section in sonata form; 'harmonic' rhythm explained02:22
35The nature of harmonic rhythm illustrated00:35
36A typically Beethovenian exercise in the frustration of expectation00:38
37Repetitiousness and magic effected largely through instrumental colour00:42
38Then come four, almost identical bars00:08
39Even greater magic, with sudden switch of key and tone colour00:28
40Entire Development section up to this point01:55
41The Development continued01:23
42Increased unease and suspense as harmonic rhythm accelerates02:03
43Arrival at the point of Recapitulation; back to the beginning, as a reminder01:50
44Beginning of Recapitulation00:50
45More Beethovenian frustrations of expectations which he himself has just set up01:01
46Harmonic rhythm speeds up, giving the impression of an accent on every beat00:34
47Prevailing mood restored; new theme from clarinets and bassoons00:28
48Violins and violas take up theme; horns, cellos, double-basses accompany00:48
49A hush falls, followed by a return of the movement's most familiar tag in strings00:58
50Clarinet takes up the running triplet figures of the main closing theme00:32
51First violins take up the opening phrase again, accompanied by double-basses00:37
52Beethoven slips in one last surprise; cue to complete movement00:59
53First movement (complete)11:01
54General introduction; the birth of a melody01:59
55Brook music quickens; syncopated horns; theme changes hands; evocation of birdsong01:19
56The 'motto' theme introduced by violins and treated to round-like overlappings00:52
57Transitional 'bridge' theme sets off for new key group. But is it? And does it?00:39
58Will he, or won't he? Beethoven keeps us guessing01:09
59The run-up to the Second Group01:14
60Arrival at the Second Group; but where is the actual Second Subject?00:39
61A new tune is introduced by the bassoon00:38
62Tune is repeated three times01:00
63...which the full orchestra now takes up in varied form00:45
64Theme carried by flutes and first violins in a charmingly waltz-like development00:48
65A reminder of precedent00:14
66Back to the prevailing triple-metre with violins, bassoons and flutes00:16
67Another reminder of precedent...00:16
68...and a cue to some unexpected departures00:38
69The transformational magic of Beethoven's 'tone-painting' - and a new variation00:50
70Conversation of clarinet, flute and oboe on the way to the Development00:43
71Harmonic movement emphasised by violins; oboe takes up the First Subject00:38
72Flute and oboe discuss the First Subject, before arriving together at the Transition01:04
73Gains in volume and intensity lead to a new key-change00:47
74More thematic transformation through the agency of tone-colour01:11
75Harmonic fluidity - instability - as the central engine of the Development section01:40
76Harmonic instability, thematic dissolution increase, then lessen with approach of Recapitulation01:41
77Recap. and transformation: key and material are right, but what a change of presentation!01:29
78Just when we know what's coming, Beethoven changes the rules (or at least the harmony)00:53
79Transformation by reorchestration; switch to long sustained chords; then everything stops01:20
80The silence is broken by voices of nightingale (flute), quail (oboe) and cuckoo (clarinet)00:40
81First violins bring back motto theme00:12
82Cue to complete movement on CD 200:32
Disc 2
1Second movement (complete)12:03
2Beethoven and the Scherzo: an introduction; Part One of opening phrase taken by the strings01:32
3Immediate response; Part One is answered by a much more singing, continuous legato00:23
4Entire orchestra gives out opening theme, this time fortissimo and with powerful accents01:06
5A musical ball game. The contrast of this and the first two movements could hardly be greater00:33
6After quietly teasing suspense, Beethoven mocks village band, first the oboe, then the bassoon01:18
7Clarinet joins in, then horn takes the tune - the dance no longer boisterous but lyrical00:48
8Strings sweep the village musicians aside and hurtle us into the new, boisterous 'Trio' section00:46
9The air is alive with the sound of (mock) bagpipes, tambourines and fifes01:00
10Coda; begins as the movement itself begins, but soon diverges in harmony and instrumentation01:18
11Original layout compressed; order of events is changed and Beethoven springs a big surprise00:42
12Third movement (complete)05:14
13Unparalleled portrait of nature's power over humanity, with some stupendous orchestration03:05
14Self-generating form and terror of total unpredictability; 'anxiety motif' from the violins01:34
15The 'lashing rain' motif - downward-driving arpeggios from the first violins and violas00:36
16The 'lightning' motif, and its recurrence later in the movement00:22
17'Rain' motif, derived from descending scale pattern from the violins at the outset00:13
18Shivering tremolandos from the strings and increasingly eerie harmonies from the wind00:18
19Steady crescendo in strings; terrifying, downward spelling-out of chords in the violins01:37
20Extremes of dynamic contrasts; the unsettling, disturbing, undermining effects of chromaticism01:02
21Abandonment of melody, and most traces even of rhythm; sustained, discordant harmony00:20
22Storm dispersed, the sun reappears, bathing sodden earth below with its life-giving rays01:52
23Cue to complete performance of Fourth Movement00:09
24Fourth movement (complete)03:55
25'Yodelling' figure from clarinet, then horn, then violins, who introduce the main theme00:59
26Details of instrumental magic in the interplay of horns, cellos, clarinets and bassoons01:06
27Main theme heard three times in a row - and yet never the same way twice01:06
28Now we get the whole orchestra, playing full out, with violins all double-stopping00:36
29Transition to the next section, based on the last two notes of the main theme00:43
30The rhythmic basis of new transition theme, first in violas, then taken up by first violins00:38
31Another rhythmic detail of extended transition comes increasingly into the foreground00:29
32...and is then heard in expanded version, taken in sequence by the strings, from the top down00:51
33New phrase, introduced by violins, brings us resoundingly back to the opening material01:13
34Main theme, re-orchestrated; unexpected drift into another key and a new, gently flowing theme02:15
35Hints of a return to main theme; long 'pedal point'; running commentary from the violins00:58
36Main theme returns, but significantly altered, and not entirely intact00:37
37Running commentary now heard in the middle, with alternating pizzicatos both above and below00:24
38Part Three of main theme given to entire orchestra, leading to final appearance of Theme two01:21
39Extended coda; overlapping variations of main theme, rather in the manner of a round02:09
40Suddenly the scene changes. A variation of the 'running commentary' cited in Tracks 34 and 3600:51
41The crowning glory, as the Shepherd's Song of Thanksgiving takes on a 'heavenly' magnificence02:10
42Cue into complete performance of Fifth Movement through the 'gateway' of the Fourth01:09
43Fourth and Fifth movements (complete)13:47

Total Playing Time: 02:33:00