Daily Archives: October 25, 2019

Horoscope♉: 10/25/2019


Intense, vivid dreams spark your mental processes. You could wake up wondering why you dreamed what you did and what it has to do with what’s going on in your life. Dream books can be helpful. What do the symbols mean to you? The symbols, or even the story itself, could set in motion a mental chain of events resulting in a new project of some kind. Make the most of it!: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Today’s Holiday: Guavaween

Today’s Holiday:

Guavaween is a parade and block party with a Latin flavor in Ybor City, a two-square-mile area in Tampa, Florida. The “guava” stands for the tropical American fruit, while the “ween” alludes to the festival’s resemblance to Halloween, also observed around this time of year. The parade, with 20 to 50 bands, is led by a woman portraying the mythical “Mama Guava” doing the “Mama Guava Stumble.” Many paraders wear costumes lampooning national figures. After the early evening parade, there is partying until the wee hours. More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Today’s Birthday: François Mitterrand (1916)

Today’s Birthday:
François Mitterrand (1916)

Initially a supporter of the Vichy government during World War II, Mitterrand joined the Resistance in 1943. After the war, he held cabinet posts in 11 Fourth Republic governments. He ran unsuccessfully against Charles de Gaulle’s government in 1965 but was elected president in 1981 and 1988, after which he strongly promoted European integration. Mitterrand retired in 1995, having served longer than any other French president. Who succeeded him as president of France? More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

This Day in History: Erie Canal Opens (1825)

This Day in History:
Erie Canal Opens (1825)

The Erie Canal is a New York waterway that runs between Albany and Buffalo, linking the Hudson River with Lake Erie. It was born out of the need for an all-American water route from the Great Lakes to the Atlantic coast that became evident after the American Revolution. The canal contributed greatly to the development of New York City and the Midwest, allowing for the transport of people and supplies. Commercial traffic on the canal has since dwindled, and it is now used mainly for what purpose? More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Quote of the Day: Virginia Woolf

Quote of the Day:
Virginia Woolf

The connection between dress and war is not far to seek: your finest clothes are those you wear as soldiers. More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Article of the Day: The Marine Chronometer

Article of the Day:
The Marine Chronometer

Before the mid-18th century, navigators were unable to accurately determine their longitude at sea. In an effort to encourage innovators to develop a method for precisely determining a ship’s longitude, the British government began offering a prize in 1714. In 1735, John Harrison invented the first timepiece accurate enough to be used in such calculations. He spent the next 30 years improving his chronometer and was awarded a good deal of money as a result. What do ships use to navigate today? More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Idiom of the Day: (the) elephant in the room

Idiom of the Day:
(the) elephant in the room

An obvious truth or fact, especially one regarded as embarrassing or undesirable, that is being intentionally ignored or left unaddressed. Watch the video…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Word of the Day: crackpot

Word of the Day:

Definition: (noun) A whimsically eccentric person.

Synonyms: fruitcake, nut case, screwball, crank

Usage: By wearing a tinfoil hat everywhere he goes, Mr. Williams has earned himself a reputation as the town crackpot.: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

American Suite – Wikipedia


The American Suite in A major (Czech: Suita A dur), Op. 98b, B. 190, is an orchestral suite written in 1894–1895 by Czech composer Antonín Dvořák.



The suite is written in five movements, each with a marked rhythm:

  1. Andante con moto
  2. Allegro
  3. Moderato (alla pollacca)
  4. Andante
  5. Allegro

Analysis and receptionEdit

As often is the case with
Dvořák, the orchestral version gives the work a new breadth. The cyclic
aspects of Dvořák’s composition are apparent, in that the principal
theme of the first movement recurs during the conclusion of the work.
This opening theme is marked by his American-influenced style. It is difficult to determine whether it comes from the typical folk music of the New World or simply from the music of the Czech emigrants, to which the Dvořák liked to listen during his stay in the United States.

This mix of American influence with Slavic tradition is also
perceptible in the rhythm of the “alla Polacca” third movement, and in
the last movement’s themes native to the Far East, played by flute and oboe in unison, where the orchestra passes easily from the minor theme to the major one.

Far from any exoticism, the art of Dvořák’s orchestral work is in the field of pure music, and it is undoubtedly for this reason that Brahms
appreciated it. Even in New York, when Dvořák encouraged his pupils to
work on their own folk melodies, it was authentic recreation of the
popular folk musics that he called for.

Appearances in popular cultureEdit

Along with several other works by Dvořák (including some of the Slavonic Dances and the second movement of the New World Symphony), the first movement, Andante con moto is part of the sound track to Sid Meier’s Civilization IV.
The allegro was used in the trailer for The Elder Scrolls II Daggerfall.


  1. Klaus Döge, Grove

References and further readingEdit

  • Döge, Klaus: “Antonín Dvořák”, Grove Music Online, ed. L. Macy (Accessed December 16, 2006), (subscription access)

See also

External links

Symphony No. 6 (Beethoven) – Wikipedia


Symphony No. 6 (Beethoven)

The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony (German: Pastorale[1]), is a symphony composed by Ludwig van Beethoven and completed in 1808. One of Beethoven’s few works containing explicitly programmatic content,[2] the symphony was first performed in the Theater an der Wien on 22 December 1808[3] in a four-hour concert.[4]

Symphony No. 6
by Ludwig van Beethoven
Beethoven sym 6 script.PNG

Part of a sketch by Beethoven for the symphony

Other namePastoral SymphonyKeyF majorOpusOp. 68PeriodClassical periodFormSymphonyBased onNatureComposed1802–1808DedicationPrince Lobkowitz
Count RazumovskyDurationAbout 40 minutesMovementsFiveScoringOrchestraPremiereDateDecember 22, 1808LocationTheater an der Wien, ViennaConductorLudwig van Beethoven




In film



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Beethoven’s Symphony No. 6 in F Major, Op. 68
June 12, 200610:39 AM ET
Audio will be available later today.
Hear an Interview with Conductor Christoph Eschenbach

Composed in 1808

Premiered December 1808

Published 1809 in Leipzig

Many of Beethoven’s works are titled, yet many of these names came from friends or from those to whom the pieces were dedicated. The Sixth Symphony, however, is one of only two symphonies Beethoven intentionally named. Beethoven’s full title was “Pastoral Symphony, or Recollections of Country Life.” Although it was composed in the same time period and dedicated to the same people as the Fifth, the works have many differences. The “Pastoral” is known as a “characteristic” symphony and closely resembles “Le musical de la nature” by Rheinish composer Justin Heinrich Knecht. Beethoven publicly declared the piece’s “extramusical” purpose: an expression of nature. His affinity for nature and his love for walks through the country outside Vienna were captured in the Sixth, as well as in the notes scribbled on sketches of the symphony.

Notes on Beethoven’s Sixth Symphony

Most of the familiar titles attached to Beethoven’s works were put there by someone other than the composer. Critics, friends, and publishers invented the labels “Moonlight,” “Tempest,” and “Appassionata” for popular piano sonatas. Prominent patrons’ names—Archduke Rudolph, Count Razumovsky, Count Waldstein—became wedded to compositions they either commissioned or that are dedicated to them, thereby winning a sort of immortality for those who supported the composer.

Beethoven himself crossed out the heading “Bonaparte” from the title page of the Third Symphony, but later wrote in “Sinfonia eroica” (Heroic Symphony), and it is his only symphony besides the Sixth to bear an authentic title. To be sure, stories about “fate knocking at the door” in the Fifth and the choral finale of the Ninth have encouraged programmatic associations for those works, beginning in Beethoven’s own time. But, in the end, it is the Sixth Symphony, the “Pastoral,” that stands most apart from his others, and indeed from nearly all of Beethoven’s instrumental and keyboard music, in its intentional, publicly declared, and often quite audible extramusical content. Beethoven’s full title is: “Pastoral Symphony, or Recollections of Country Life.”

“More an Expression of Feeling Than Painting”

And yet the Sixth Symphony does not aspire to the level of musical realism found in a work like Berlioz’s Symphonie fantastique or in Richard Strauss’s later tone poems. In the program for its premiere, Beethoven famously noted that the “Pastoral” contained “more an expression of feeling than painting.” He had earlier objected to some of the musical illustration in Haydn’s oratorios The Creation (1798) and The Seasons (1801), with their imitations of storms, frogs, and other phenomena. He probably would not have cared much for what the “New German School” of Berlioz, Liszt, and Wagner would later advocate and create.

Beethoven’s “Pastoral” Symphony belongs to a tradition, going back to the previous century, of “characteristic” symphonies. Indeed, the titles for the movements that Beethoven provided closely resemble those of “Le Portrait musical de la nature,” written nearly 25 years earlier by the Rheinish composer Justin Heinrich Knecht. (It is doubtful Beethoven knew the music of the piece, but he did know the titles.) Scattered comments that Beethoven made in his sketches for the Symphony are revealing: “The hearers should be allowed to discover the situations / Sinfonia caracteristica—or recollection of country life / All painting in instrumental music is lost if it is pushed too far / Sinfonia pastorella. Anyone who has an idea of country life can make out for himself the intentions of the composer without many titles / Also without titles the whole will be recognized as a matter more of feeling than of painting in sounds.”

Regardless of the musical and aesthetic implications that the “Pastoral” Symphony raises with respect to the program music—a key issue for debate over the rest of the century—it unquestionably offers eloquent testimony to the importance and power of nature in Beethoven’s life. The composer reveled in walking in the environs of Vienna and spent nearly every summer in the country. When Napoleon’s second occupation of the city in 1809 meant that he could not leave, he wrote to his publisher: “I still cannot enjoy life in the country, which is so indispensable to me.” Indeed, Beethoven’s letters are filled with declarations of the importance of nature in his life, such as one from 1810: “How delighted I will be to ramble for awhile through the bushes, woods, under trees, through grass, and around rocks. No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo that man desires to hear.”

Companion Symphonies

Beethoven wrote the “Pastoral” primarily during the spring and fall of 1808, although some sketches date back years earlier. Its composition overlapped in part with that of the Fifth Symphony, which might be considered its non-identical twin. Not only did both have the same period of genesis and the same dedicatees (Count Razumovsky and Prince Lobkowitz), but they were also published within weeks of one another in the spring of 1809 and premiered together (in reverse order and with their numbers switched).

The occasion was Beethoven’s famous marathon concert of December 22, 1808, at the Theater an der Wien, and was the only time he premiered two symphonies together. Moreover, the program also included the first public performance of the Fourth Piano Concerto, two movements from the Mass in C, the concert aria Ah! perfido, and the “Choral” Fantasy. Reports indicate that all did not go well, as musicians playing after limited rehearsal struggled their way through this demanding new music, and things fell apart during the “Choral” Fantasy. Although the Fifth and Sixth symphonies are extremely different from one another in overall mood, there are notable points of convergence, such as the innovations in instrumentation (the delayed and dramatic introduction of piccolo and trombones in the fourth movements) and the splicing together of the final movements.

A Closer Look

Beethoven’s descriptive movement titles for the “Pastoral” were made public to the audience before the premiere. The first movement, “Awakening of cheerful feelings upon arriving in the country,” engages with a long musical tradition of pastoral music. From the opening drone of an open fifth in the lower strings to the jovial coda, the leisurely and often repetitive pace of the movement is far from the intensity of the Fifth Symphony. The second movement, “Scene by the brook,” includes the famous birdcalls: flute for the nightingale, oboe for the quail, and two clarinets for the cuckoo (Berlioz copied the effect for two of the birds in the pastoral third movement of his Symphonie fantastique).

This is Beethoven’s only symphony with five movements and the last three lead one into the next. The third is entitled “Merry gathering of peasants” and suggests a town band of limited ability playing dance music. The dance is interrupted by a “Tempest, storm” that approaches from afar as ominous rumblings give way to the full fury of thunder and lightning. The storm is far more intense than other well-known storms—such as by Vivaldi and Haydn—and presages later ones by Berlioz and Wagner. Just as the storm had approached gradually, so it passes, leaving some scattered moments of disruption before the “Shepherds’ hymn—Happy and thankful feelings after the storm” brings the work to its close. Regardless of Beethoven’s declared intentions, this music seems to function on both descriptive and expressive levels, therein fueling arguments about the issue ever since his time.

Program note © 2006. All rights reserved. Program note may not be reprinted without written permission from The Philadelphia Orchestra Association.

Web Resources
The Philadelphia Orchestra’s Site
Philadelphia Orchestra
Ludwig van Beethoven
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Redefine the role of yoga: it’s not just exercises

Redefine the role of yoga: it's not just exercises

Redefine the role of yoga: it’s not just exercises


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