26-27 Classics 5 – Program Notes: Beethoven Symphony No. 5
7:30 PM | Santander Preforming Arts Center
Andrew Constantine Conductor
Reading Symphony Orchestra
Symphony No. 5 in C minor, Op. 67
Ludwig van Beethoven (1770-1827)
Composed between 1804 and 1808
Premiered on December 22, 1808 in Vienna, conducted by the composer.
Beethoven’s Fifth Symphony, more than any work in the musical repertory, is the archetypal example of the technique and content of the form. Its overall structure is not one of four independent essays linked simply by tonality and style, as in the typical 18th-century example, but is rather a carefully devised whole in which each of the movements serves to carry the work inexorably toward its end. The progression from minor to major, from dark to light, from conflict to resolution is at the very heart of the “meaning” of this work. The triumphant nature of the final movement as the logical outcome of all that preceded it established a model for the symphonies of the Romantic era. The psychological progression toward the finale — the relentless movement toward a life-affirming close — is one of Beethoven’s most important technical and emotional legacies, and it established for following generations the concept of how such a creation could be structured, and in what manner it should engage the listener.
The opening gesture is the most famous beginning in all classical music. It establishes the stormy temper of the Allegro by presenting the germinal cell from which the entire movement grows. Though it is possible to trace this memorable four-note motive through most of the measures of the movement, the eminent English musicologist Sir Donald Tovey pointed out that the power of the music is not contained in this fragment, but rather in the “long sentences” that Beethoven built from it — the key to appreciating Beethoven’s formal structures lies in being aware of the way in which the music moves constantly from one point of arrival to the next. The gentler second theme derives from the opening motive, and gives only a brief respite in the headlong rush that hurtles through the movement. It provides the necessary contrast while doing nothing to impede the music’s flow. The development section is a paragon of cohesion, logic and concision. The recapitulation roars forth after a series of breathless chords that pass from woodwinds to strings and back. The stark hammer-blows of the closing chords bring the movement to its powerful end.
The Andante is a set of variations on two contrasting themes. The first theme, presented by violas and cellos, is sweet and lyrical; the second, heard in horns and trumpets, is heroic. The ensuing variations on the themes alternate to produce a movement by turns gentle and majestic. The Scherzo returns the tempestuous character of the opening movement, as its four-note motto is heard again in the horns. The fughetta, the “little fugue,” of the trio is initiated by the cellos and basses. The Scherzo returns with the mysterious tread of the plucked strings, after which the music wanes to just a heartbeat from the timpani. Then begins another accumulation of intensity as a link to the finale, which arrives like brilliant sun through ominous clouds. The finale is jubilant and martial. The sonata form proceeds apace. At the apex of the development, however, the mysterious end of the Scherzo is invoked to serve as the link to the recapitulation. It also recalls and compresses the emotional journey of the entire Symphony. The closing cadence chords are repeated extensively to discharge the work’s enormous accumulated energy.
©2015 Dr. Richard E. Rodda
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Concerto for Piano, Violin, Cello and Orchestra in C major, Op. 56, “Triple Concerto”
Ludwig van Beethoven (1770-1827)
Composed in 1803-1804
Premiered in 1805 or 1806 in Vienna, with violinist Carl August Seidler, cellist Anton Kraft and pianist the Archduke Rudolph as soloists.
“Everyone likes flattery; and when you come to Royalty you should lay it on with a trowel,” counseled the 19th-century British statesman Benjamin Disraeli. He would have gotten no argument from Beethoven. When Rudolph, Archduke of Austria and titled scion of the Habsburg line, turned up among Beethoven’s Viennese pupils, the young composer realized he had tapped the highest echelon of European society. Beethoven gave instruction in both piano and composition to Rudolph, who had a genuine if limited talent for music. Concerning flattery, the most important manner in which 19th-century composers could praise royalty was by dedicating one of their compositions to a noble personage. Beethoven wrote the Triple Concerto for Rudolph, who eventually became Archbishop Cardinal of Austria and remained a life-long friend and patron of the composer, and dedicated to him such important works as the Fourth and Fifth Piano Concertos, “Lebewohl” and “Hammerklavier” Sonatas, Op. 96 Violin Sonata, “Archduke” Trio, Missa Solemnis and Grosse Fuge.
The “Triple” Concerto’s first movement is a modified sonata design with a lengthy exposition and recapitulation necessitated by the many thematic repetitions. After a hushed and halting opening in the strings, the full orchestra takes up the main thematic material of the movement. The soloists enter, led, as usual throughout this Concerto, by the cello with the main theme. The second theme begins, again in the cello, with a snappy triad. Much of the remainder of the movement is given over to repetitions and figuration rather than to true motivic development. The second movement is a peaceful song for the solo strings with elaborate embroidery for the piano. The finale is a strutting Rondo alla Polacca in the style of the Polish polonaise.
©2016 Dr. Richard E. Rodda