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An Introduction to Beethoven: The Pastoral Symphony
ALBUM NAME
An Introduction to Beethoven: The Pastoral Symphony
Copyright
℗ 2002 Naxos
RELEASE DATE
April 1, 2002
TRACK
125
DURATION
2:32:53
ALBUM ARTIST
Album Track
 
2
 
 
Opening phrase of the 'Pastoral': Mood, Symbolism and Musical Function
1:44
 
3
 
 
Musical Acorns: the outline of melody; the shape of a question
42
 
4
 
 
The 'question' in the 'Pastoral' repeated...
4
 
5
 
 
...and answered
12
 
6
 
 
The opening phrase ends on a note full of pregnant expectation
19
 
7
 
 
Starting with a stop
36
 
8
 
 
The rhythmic profile of the opening phrase; a two-part construction
52
 
9
 
 
Phrase One, Part One
9
 
10
 
 
Phrase One, Part Two
6
 
11
 
 
The properties of rhythmic ambiguity; the 'question' of Phrase One answered
1:3
 
12
 
 
Phrase Two: from meander to march
27
 
13
 
 
The makings of a conversation: contrast and variation
47
 
14
 
 
Repetition as a major factor, but it's never mere repitition; each time something new is added
33
 
15
 
 
From soft to loud and back again; instrumental enrichment from horns and double-basses
18
 
16
 
 
Mega-repetition: violins play exactly the same little fragment ten times in a row
29
 
17
 
 
But no two repetitions are quite the same; varieties of contrast
34
 
18
 
 
More variation: pitch rises; violins joined first by the clarinet, then by the oboe
18
 
19
 
 
Return to the opening idea, but with new instrumentation and articulation
25
 
20
 
 
Clarinets, horns, bassoons and flutes now join expansive variation
49
 
21
 
 
New' insistent rhythm derived from the first four notes of the piece
9
 
22
 
 
With the dawn chorus, a whole forest is waking up; feelings of rapture
36
 
23
 
 
First violins play a derivative of the opening figure, joined by wind and strings
32
 
24
 
 
Sudden change of key, from the home key (tonic) to the dominant
30
 
25
 
 
Arrival at the highly contrasting second main theme
55
 
26
 
 
Unusual properties of second main theme
2:15
 
27
 
 
Rhythmic clash between simultaneous groups of three beats and groups of two
1:9
 
28
 
 
Winds fall silent as the violins and violas interrupt with a new theme
30
 
29
 
 
Winds answer with the same morse-like rhythm but at half the speed
51
 
30
 
 
Crescendo leads to strings' acceleration of the pace with no increase in tempo
1:5
 
31
 
 
Beginning of coda, directly based on morse-like rhythm of the main theme
22
 
32
 
 
Strings reiterate small fragment of the new theme 13 times in a row
48
 
33
 
 
A simple, rising violin phrase leads to a repeat of the Exposition
18
 
34
 
 
The nature and function of the Development section in sonata form: 'harmonic' rhythm explained
2:22
 
35
 
 
The nature of harmonic rhythm illustrated
35
 
36
 
 
A typically Beethovenian exercise in the frustration of experience
38
 
37
 
 
Repetitiousness and magic effected largely through instrumental colour
42
 
38
 
 
Then come four, almost identical bars
7
 
39
 
 
Even greater magic, with sudden switch of key and tone colour
28
 
40
 
 
Entire Development section up to this point
1:55
 
41
 
 
The Development continued
1:23
 
42
 
 
Increased unease and suspense as harmonic rhythm accelerates
2:3
 
43
 
 
Arrival at the point of Recapitulation; back to the beginning, as a reminder
1:50
 
44
 
 
Beginning of Recapitulation
50
 
45
 
 
More Beethovenian frustrations of expectations which he himself has just set up
1:1
 
46
 
 
Harmonic rhythm speeds up, giving the impression of an accent on every beat
34
 
47
 
 
Prevailing mood restored; new theme from clarinets and bassoons
28
 
48
 
 
Violins and violas take up theme; horns, cellos, double-basses accompany
48
 
49
 
 
A hush falls, followed by a return of the movement's most familiar tag in strings
58
 
50
 
 
Clarinet takes up the running triplet figures of the main closing theme
32
 
51
 
 
First violins take up the opening phrase again, accompanied by double-basses
37
 
52
 
 
Beethoven slips in one last surprise; cue to complete movement
59
 
53
 
 
First Movement (complete)
11:1
 
54
 
 
General introduction; the birth of a melody
1:59
 
55
 
 
Brook music quickens; syncopated horns; theme changes hands; evocation of birdsong
1:19
 
56
 
 
The 'motto' theme introduced by violins and treated to round-like overlappings
52
 
57
 
 
Transitional 'bridge' theme sets off for new key group. But is it? And does it?
39
 
58
 
 
Will he, or won't he? Beethoven keeps us guessing
1:9
 
59
 
 
The run-up to the Second Group
1:14
 
60
 
 
Arrival at the Second Group; but where is the actual Second Subject?
39
 
61
 
 
A new tune is introduced by the bassoon
38
 
62
 
 
Tune is repeated three times
1:
 
63
 
 
...which the full orchestra now takes up in varied form
45
 
64
 
 
Theme carried by flutes and first violins in a charmingly waltz-like development
48
 
65
 
 
A reminder of the precedent
14
 
66
 
 
Back to the prevailing triple-metre with violins, bassoons and flutes
16
 
67
 
 
Another reminder of precedent...
16
 
68
 
 
...and a cue to some unexpected departures
37
 
69
 
 
The transformational magic of Beethoven's 'tone-painting' - and a new variation
50
 
70
 
 
Conversation of clarinet, flute and oboe on the way to the Development
43
 
71
 
 
Harmonic movement emphasised by violins; oboe takes up the First Subject
38
 
72
 
 
Flute and oboe discuss the First Subject, before arriving together at the Transition
1:4
 
73
 
 
Gains in volume and intensity lead to a new key-change
47
 
74
 
 
More thematic transformation through the agency of tone-colour
1:11
 
75
 
 
Harmonic fluidity - instability - as the central engine of the Development section
1:40
 
76
 
 
Harmonic instability, thematic dissolution increase, then lessen with approach of Recapitulation
1:41
 
77
 
 
Recap. and transformation: key and material are right, but what a change of presentation!
1:29
 
78
 
 
Just when we know that's coming, Beethoven changes the rules (or at least the harmony)
53
 
79
 
 
Transformation by reorchestration; switch to long sustained chords; then everything stops
1:20
 
80
 
 
The silence is broken by voices of nightingale (flute), quail (oboe) and cuckoo (clarinet)
40
 
81
 
 
First violins bring back the motto theme
12
 
82
 
 
Cue to complete movement on CD 2
32
 
83
 
 
Second Movement (complete)
12:3
 
84
 
 
Beethoven and the Scherzo: and introduction; Part One of opening phrase taken by the strings
1:31
 
85
 
 
Immediate response; Part One is answered by a much more singing, continuous legato
23
 
86
 
 
Entire orchestra gives out opening theme, this time fortissimo and with powerful accents
1:6
 
87
 
 
A musical ball game. The contrast of this and the first two movements could hardly be greater
32
 
88
 
 
After quietly teasing suspense, Beethoven mocks village band, first the oboe, then the bassoon
1:18
 
89
 
 
Clarinet joins in, then horns take the tune - the dance no longer boisterous but lyrical
48
 
90
 
 
Strings sweep the village musicians aside and hurtle us into the new, boisterous 'Trio' section
46
 
91
 
 
The air is alive with the sound of (mock) bagpipes, tambourines and fifes
1:
 
92
 
 
Coda; begins as the movement itself begins, but soon diverges in harmony and instrumentation
1:18
 
93
 
 
Original layout compressed; order of events is changed and Beethoven springs a big surprise
42
 
94
 
 
Third movement (complete)
5:14
 
95
 
 
Unparalleled portrait of nature's power over humanity, with some stupendous orchestration
3:5
 
96
 
 
Self-generating form and terror of total unpredictability; 'anxiety motif' from the violins
1:34
 
97
 
 
The 'lashing rain' motif - downward-driving arpeggios from the first violins and violas
36
 
98
 
 
The 'lightning' motif, and its recurrence later in the movement
21
 
99
 
 
Rain' motif, derived from descending scale pattern from the violins at the outset
13
 
100
 
 
Shivering tremolandos from the strings and increasingly eerie harmonies from the wind
18
 
101
 
 
Steady crescendo in strings; terrifying, downward spelling-out chords in the violins
1:37
 
102
 
 
Extremes of dynamic contrasts; the unsettling, disturbing, undermining effects of chromaticism
1:2
 
103
 
 
Abandonment of the melody, and most traces even of rhythm; sustained, discordant harmony
20
 
104
 
 
Storm dispersed, the sun reappears, bathing sodden earth below with its life-giving rays
1:52
 
105
 
 
Cue to complete performance of Fourth Movement
9
•
106
 
 
Fourth movement (complete)
3:55
 
107
 
 
Yodelling' figure from clarinet, then horn, then violins, who introduce the main theme
59
 
108
 
 
Details of instrumental magic in the interplay of horns, cellos, clarinets and bassoons
1:6
 
109
 
 
Main theme heard three times in a row - and yet never the same way twice
1:6
 
110
 
 
Now we get the whole orchestra, playing full out, with violins all double-stopping
36
 
111
 
 
Transition to the next section, based on the last two notes of the main theme
42
 
112
 
 
The rhythmic basis of new transition theme, first in violas, then taken up by first violins
38
 
113
 
 
Another rhythmic detail of extended transition comes increasingly into the foreground
29
 
114
 
 
...and is then heard in expanded version, taken in sequence by the strings, from the top down
51
 
115
 
 
New phrase, introduced by violins, brings us resoundingly back to the opening material
1:13
 
116
 
 
Main theme, re-orchestrated; unexpected drift into another key and a new, gently flowing theme
2:15
 
117
 
 
Hints of a return to main them; long 'pedal point'; running commentary from the violins
58
 
118
 
 
Main theme returns, but significantly altered, and not entirely intact
37
 
119
 
 
Running commentary now heard in the middle, with alternating pizzicatos both above and below
24
 
120
 
 
Part Three of main theme given to entire orchestra, leading to final appearance of Theme two
1:21
 
121
 
 
Extended coda; overlapping variations of main theme, rather in the manner of a round
2:9
 
122
 
 
Suddenly the scene changes. A variation of the 'running commentary' cited in tracks 34 and 36
51
 
123
 
 
The crowning glory, as the Shepherd's Song of Thanksgiving takes on a 'heavenly' magnificence
2:10
 
124
 
 
Cue into complete performance of Fifth Movement through the 'gateway' of the Fourth
1:9
 
125
 
 
Fourth and Fifth movements (complete)
13:47
 
Album Artist
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