ASSIGNMENT FIVE

Ms Suncica Lazic, Student ID: Suncica516098 Assignment Five

Analysis of Ludwig van Beethoven’s Symphony No. 6 in F major, Op. 68. (also known as Pastoral Symphony). 1808. Analytical Essay with charts, 2000 words

Over the stylistic techniques course, we have covered many different composers, pieces, styles and techniques.

Your final assignment is to write an essay of 2000 words on Beethoven’s Pastoral symphony, with a focus on the first movement.

Use the investigative techniques employed in this course book and others you have discovered to explore the music itself and its context.

You may include some biographical information but be careful to balance this more ‘factual’ research with the more investigative and discursive content which is the real purpose of this assignment.

Discuss the form and include a harmonic-thematic structural analysis of the first movement similar to the one for Haydn’s Emperor and Mozart’s Sonata No. 15 in this chapter. Include a discussion about what your analysis reveals about the music and its composer, if anything. Include musical examples as appropriate to illustrate your points.

Discuss the cultural and historical context of the piece and the effect these factors may have had in influencing the composition and the composer.

Include a paragraph discussing your analytical methodology and a brief personal reflection upon what you have learned in this assignment about the Pastoral, and your own skills and abilities.

Assignment Five

Historical background, sociopolitical and personal context:

The German composer Ludwig van Beethoven (1770 –1827) is generally considered one of the most important and innovative composers of Western Art music. He began composing in the classical period and helped usher in and define the romantic era. Typically, his work is divided into three periods, early, middle (‘heroic’) and late. His early classical style was reminiscent of Mozart and Haydn. He even studied under Haydn for a while. The middle period saw him innovate and develop the classical style towards romanticism and his later period led him to further innovations and experimentations with form and expression.

It is during his mid period that Symphony No. 6 in F major, Op. 68. (also known as Pastoral Symphony) was published. The premier itself has become one of his legendary shambolic concerts, held at the freezing ‘Theater an der Wien’ in Vienna on 22 December 1808 and premiered alongside his Fifth Symphony and several other works, adding up to over 4 hours of unrehearsed performances. (Steinberg, 1995)

As the nickname ‘Pastoral’ suggests the Sixth Symphony is Beethoven’s ode to nature. Throughout his life he had shown a preference for composing in nature and had even devised special sketchbooks to facilitate this method of working. (Suchet, 2020)

‘… A countryman of ours, the late Mr. Chas. Neate, one of the founders of the Philharmonic Society, who lived in intimate friendship with Beethoven in Vienna for eight months in 1815, has given us a remarkable testimony to this fact: he had ‘never met anyone who so delighted in Nature, or so thoroughly enjoyed flowers or clouds or other natural objects. Nature was almost meat and drink to him; he seemed positively to exist upon it.’ Other friends have recorded the same thing.’ (Grove, 2016)

The period leading up to the composition of the Pastoral Symphony had been a particularly dark time in his life due to the gradual onset of deafness and in an un-mailed letter, now named ‘the Heiligenstadt Testament’, from 1802 he admitted to even contemplating suicide:

“For my brothers, Carl and …, to read and to execute after my demise. “Heiligenstadt, October 10th, 1802.” ‘…But what a humiliation, when any one standing beside me could hear at a distance a flute that I could not hear, or any one heard the shepherd singing and I could not distinguish a sound! Such circumstances brought me to the brink of despair and had well nigh made me put an end to my life: nothing but my art held my hand. “ (Schindler, 1841)

In addition to the onset of deafness Beethoven also wrestled with current political and social issues. The French were on the verge of invading and within two years Vienna was occupied, making music performances and publishing more difficult. Beethoven who had initially admired both Napoleon and the revolutionary sentiments in France, was bitterly disappointed by Napoleons megalomania.

‘Beethoven’s sympathies for political and social alternatives to the remnants of feudalism and unenlightened absolutism that he loathed in his own Austria. He glimpsed such alternatives in the republican strivings of the French Revolution…’ (Glenn , 2000)

Suffice to say, the political and cultural climate along with his health struggles precipitated Beethoven’s escape to the countryside and immersion in music where he found solace.

It is in this context that the Pastoral came to be. The sixth symphony is generally considered Beethoven’s main ‘pictorial’ work. The titles of each of the five movements, themselves borrowed from a 1784 five-movement composition ‘Le Portrait musical de la Nature ou Grande Symphonie’ by Justin Heinrich Knecht, suggest a typical programmatic pastoral work as had been in fashion since Baroque times. Beethoven’s Pastoral was however less concerned with mimicking or ‘word painting’, than describing his emotional response to nature.

‘The composer said that the Sixth Symphony is “more the expression of feeling than painting”, (Sadie, 2000)

It is only some sections, for example the birdcalls in Movement 3 which are true ‘wordpainting’ .

‘In the second movement we hear the babbling brook. Famously, towards the end of this movement Beethoven imitates bird calls in the orchestra – nightingale on flute, quail on oboe, cuckoo on clarinet. The merry dancing of country folk Beethoven will have witnessed for himself in one of the villages of the Vienna Woods. In the middle section of this movement the bassoon interrupts with downward notes, inspired by a drunken musician Beethoven saw playing in a musical group in a tavern. Gathering clouds herald the storm, which causes the dancers to flee inside for shelter. Then, with one of his loveliest melodies, Beethoven has the shepherds give thanks for coming through the storm unscathed. (Suchet, 2020)

Overview of Symphony:

Symphony no 6. Duration: approximately 40 min in total. For orchestration see first page of score in fig below.

I. Allegro ma non troppo – F major, 2/4, sonata form ‘Awakening of cheerful feelings on arrival in the countryside’

II. Andante molto mosso – Bb major, 12/8, sonata form ‘Scene by the brook’

III. Allegro – F major, ¾, scherzo ‘Merry gathering of country folk’

IV. Allegro – F minor, 4/4‘Thunder, Storm’

V.Allegretto – F major, 6/8, sonata rondo form ‘Shepherd’s song. Cheerful and thankful feelings after the storm’

Analysis of 1st movement:

Structural harmonic analysis: A closer look at Movement I ‘Awakening of cheerful feelings on arrival in the countryside’ instantly reveals that it is in the sonata form, typical for a 1^st movement of a symphony from the classical period.

Exposition:

The movement is structurally divided into an Exposition section with a first subject area in the tonic key of F Major. This 1^st subject is repeated 10 times over the static harmony of a 5^th ‘bagpipe’ drone (with dynamic changes: crescendo- diminuendo- crescendo). The figure repeats 10 times at bar 16, over a V pedal.

A modulatory Transition episode follows, leading to a second subject area in the dominant key of C Major. The 2nd subject theme is taken up by different instruments.

The Exposition is repeated once more before the Development section at bar 139 which starts in the tonic key of F Major before migrating through several keys.

There are far away key changes Bb Major (bars151-162) to D Major (bars163-179) going up a third, later mirrored when key changes G Major (bars 191-208) to E Major (bars 209-236) going down a third.

Whilst staying largely in the major domain, there is a short foray into the key of G minor (bars 257-261) forming the only minor section in the entire piece:

The Recapitulation is safely back in the tonic key of F Major as expected, the only unusual thing to note is the lack of the usual cadential V-I preparation. The recapitulation is instead ushered in by the subdominant key of Bb Major (bars 275-278) IV-I leading into a premature F Major section (bars 279-289) with the start of the Recapitulation somewhat vague and obscured at bar 289 (Michele Kishlansky, 2014), but not truly felt until 1st subject area theme 1 of exposition re-enters loudly (ff) at bar 312.

There is a ‘mock’ transition episode at bar 328 with the reoccurrence of the triplet motif (it doesn’t really modulate like in the exposition) which leads to the restatement of the second subject area theme 1 at bar 346, this time in the Tonic.

After this the recapitulation proceeds as normal presenting the themes in the tonic but differing from the exposition in orchestration groupings and through inverting the dynamics: diminuendo-crescendo-diminuendo.

The movement ends with a majestic Coda which begins at bar 418 in Bb Major then working it’s way back to tonic area and peaking, before fading away and ending with a clear V- I cadence.

Dynamic/orchestration analysis:

Aside from tonal/harmonic structuring Beethoven also uses orchestration and dynamics to superimpose and juxtapose alternative structures. For instance, the 24 bars (Bb Major 275-278) dynamically form two ‘12 bar blocks’, whilst orchestrally simultaneously forming three ‘8 bar blocks’. (Bernstein, 2018) :

The following D Major section also has various overlapping subsections. These larger blocks then in turn combine to form even larger sections in which there is a constant ebb and flow both in terms of dynamics, tessitura and density of instruments.

Textural analysis:

The texture is constantly changing: melody with accompaniment / two-part / three-part harmony / polyphony/ homorhythmical tutti sections / solo voices. The accompaniment varies too: drones, pedal tones, block chords and arpeggios or other scalic figures:

Motivic/thematic analysis:

It is however motivic/thematic development rather than harmonic development which drives this movement forward.

The 1st Subject area theme 1, presented in the first four bars, is broken up into three separate short motifs:

These motifs are then used as building blocks from which new themes are formed. The answering theme at bars 6-8 is itself derived from the first theme:

So is the underlying theme in the viola part at bar 5-8:

The the theme at bars 9-12 is also variation and amalgamation of the themes listed above:

I have chosen to label the triplet motif which first appears during the transition episode at bar 53 as my ‘subsidiary’ theme. I could have several of the motifs above, but the triplet motif seems to me to have a greater structural significance.

The second Subject area Theme 1 first appears at bar 67.

The subsidiary theme in the second subject area could either be considered the ‘viola theme’, this time in the cello part, starting at bar 67 or the triplet motif which re- enters at bar 83.

The transformation devises used to develop the motifs of the 1st theme are transposition, inversion, retrograde and augmentation. Other types of development techniques are sequencing see fig, rhythmical changes, layering and many others.

Some of the layering uses different rhythms superimposed over each other. For example: setting a triplet theme against theme 1, which creates a sort of murmuring or fluttering sensation:

The one technique Beethoven makes the most use of is fragmentation and then repetition of these fragments. These fragments are developed, reassembled, layered and repeated in new configurations and with different orchestration. In this sense there are some similarities to Haydn’s integrated compositional method as discussed in Project 2 of this unit of the Stylistic course text, but Beethoven takes this approach even further. In spite of seemingly endless repetitions of the same short phrases Beethoven manages to create a sense of growth and expansion reminiscent of the organic growth and pattern repetition inherent within nature itself.

Reflective account and analytical conclusions:

My analytical skills have progressed immensely during this module, from barely being able to ‘see the forest for the trees’, to at the very least being able to glimpse an overall structure and recognise themes. I closely followed the analytical method outlined in the course work as I undertook a harmonic/thematic/textural structural investigation. At first, I simply listened for the different sections before referring to the score, listening for key changes and repeated themes/motifs. In this respect I also found it helpful to listen to Liszt’s piano arrangement of the Symphony. After annotating the motifs and sections on the score I entered my findings in the tables above. Since I am still finding the perception of motifs and themes somewhat subjective, I read and watched several lectures for alternative points of view and hints to elements I might have missed. This further broadened my perspective on the Pastoral.

In conclusion, the above analysis reveals the possibilities of endless variations through fragmentation and orchestration techniques, irrespective of a relatively static harmonic structure. Beethoven shows his immense capacity for innovation. Something as ‘quaint’ as a Pastoral has been used to push the boundaries of the standardised classical symphony. It also highlights his diversity, being able to write such an uplifting and beautiful piece whilst simultaneously writing the dramatic and ‘menacing’ Fifth symphony.

LIST OF ILLUSTRATIONS

Figure 1. Sunny, L. (2020) Movement III Birdcalls. Sheet music Symphony No. 6 in F major, Op. 68. © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 2. Sunny, L. (2020) Structural/harmonic overview chart. [Illustration] In: possession of: The author: London.

Figure 3. Sunny, L. (2020) 1st page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). [Illustration] In: possession of: The author: London.

Figure 4. Sunny, L. (2020) Fragmentation and drone examples. 2nd page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 5. Sunny, L. (2020) Modulating transition section. 4th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 6. Sunny, L. (2020) Second subject area of Exposition. 5th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 7. Sunny, L. (2020) Development section. 8th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co [Illustration] In: possession of: The author: London.

Figure 8. Sunny, L. (2020) Development section continues. Bb Major to D Major. 9th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 9. Sunny, L. (2020) Development section continues. G Major to E Major. 11th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 10. Sunny, L. (2020) Development section continues. G Major to E Major continues. 12th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co [Illustration] In: possession of: The author: London.

Figure 11. Sunny, L. (2020) Development section continues. A Major. 13th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 12. Sunny, L. (2020) Development section continues. Transition. G Minor. 14th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 13. Sunny, L. (2020) Development section continues. IV-I, Bb Major to F Major. 15th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 14. Sunny, L. (2020) Recapitulation section ‘soft start”. Subject area 1 theme 1. 16th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 15. Sunny, L. (2020) Recapitulation section ‘audible start’. Subject area 1 theme 1 and triplet motif. 17th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 16. Sunny, L. (2020) Recapitulation section continues. Re-transition. 18th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 17. Sunny, L. (2020) Recapitulation section continues. Second subject area restated in tonic. 19th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 18. Sunny, L. (2020) CODA starts. 22th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 19. Sunny, L. (2020) CODA continues. Final chord and V-I cadence. 26th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 20. Sunny, L. (2020) Overlapping 8 and 12 bar block sub structures. 9th page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 21. Sunny, L. (2020) Fragmentation and overlapping sub structures. Dynamic based structures. 2nd page of score. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 22. Sunny, L. (2020) Texture example 1. Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 23. Sunny, L. (2020) Texture example 2. Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 24. Sunny, L. (2020) Texture example 3. Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 25. Sunny, L. (2020) Texture example 4. Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 26. Sunny, L. (2020) Exposition motivic/thematic chart. [Illustration] In: possession of: The author: London.

Figure 27. Sunny, L. (2020) Recapitulation motivic/thematic chart.  [Illustration] In: possession of: The author: London.

Figure 28. Sunny, L. (2020) Exposition Subject Area 1. Theme 1. [Illustration] In: possession of: The author: London.

Figure 29. Sunny, L. (2020) Exposition Subject Area 1. Theme 1 variant, bar 6-8. [Illustration] In: possession of: The author: London.

Figure 30. Sunny, L. (2020) Exposition Subject Area 1. Theme 1 variant, viola theme, bar 5-8. [Illustration] In: possession of: The author: London.

Figure 31. Sunny, L. (2020) Exposition Subject Area 1. Theme 1 variant, bar 9-12. [Illustration] In: possession of: The author: London.

Figure 32. Sunny, L. (2020) Exposition transition, subsidiary Theme, triplet motif, bar 5-8. [Illustration] In: possession of: The author: London.

Figure 33. Sunny, L. (2020) Exposition Second Subject Area 1. Theme 1 [Illustration] In: possession of: The author: London.

Figure 34. Sunny, L. (2020) Transformation devices for motivic development. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 35. Sunny, L. (2020) Layering of rhythms creating ‘combo themes. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

Figure 36. Sunny, L. (2020) More layering of themes creating ‘combo themes. Annotated Sheet music Symphony No. 6 in F major, Op. 68. (1808). © 2011 Ernst Eulenburg & Co. [Illustration] In: possession of: The author: London.

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