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Symphony No. 6 (Beethoven) – Wikipedia


https://en.m.wikipedia.org/wiki/Symphony_No.6%28Beethoven%29

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

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Instrumentation

Form

In film

Notes

References

External links

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MUSIC
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
“Pastoral”

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
CHRISTOPHER H. GIBBS

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.

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Ludwig van Beethoven
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historic musical bits: Leonard Bernstein “Overture König Stephan” Beethoven, Wiener Philharmoniker


Leonard Bernstein “Overture König Stephan” Beethoven

historic musical bits: Johannes Brahms – Symphony No.1 – Wiener Philharmoniker – Bernstein – 1981


Johannes Brahms – Symphony No.1 – Wiener Philharmoniker – Bernstein – 1981

historic musical bits: Johannes Brahms – Symphony No.1 – Wiener Philharmoniker – Bernstein – 1981


Johannes Brahms – Symphony No.1 – Wiener Philharmoniker – Bernstein – 1981

Happy Mother’s Day! Strauss Sphärenklänge Wien/Vienna 2010


 

 

Strauss Sphärenklänge Wien/Vienna 2010

best classical music: , Amilcare Ponchielli – La danza delle ore / La Danse des heures / Dance of the Hours , make music part of your life series


Amilcare Ponchielli – La danza delle ore / La Danse des heures / Dance of the Hours

Happy Birthday Mozart: Eine kleine Nachtmusik KV 525 Karl Bohm, Wiener Philharmoniker , great compositions/performances


Mozart, Eine kleine Nachtmusik KV 525 Karl Bohm, Wiener Philharmoniker

 

Happy Birthday Mozart: Requiem Mass in D minor (K. 626), Heerbert von Karajan, Wiener Philharmoniker, Wiener Singverein, great compositions/performances


mozart requiem karajan

Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker. , great compositions/performances


Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker

Published on Aug 9, 2013

Johannes Brahms: Symphony No.4 in E minor, Op.98

I. Allegro non troppo (00:00)
II. Andante moderato (13:33)
III. Allegro giocoso (27:19)
IV. Allegro energico e passionato (33:47)

Wiener Philharmoniker
Leonard Bernstein, conductor

September 8, 1988, Luzern

Sibelius, Symphonie Nr 7 C Dur op 105 Leonard Bernstein, Wiener Philharmoniker: great compositions/performances


Sibelius, Symphonie Nr 7 C Dur op 105 Leonard Bernstein, Wiener Philharmoniker

Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker: great compositions/performances


Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker

Johannes Brahms: Symphony No.4 in E minor, Op.98

I. Allegro non troppo (00:00)
II. Andante moderato (13:33)
III. Allegro giocoso (27:19)
IV. Allegro energico e passionato (33:47)

Wiener Philharmoniker
Leonard Bernstein, conductor

(September 8, 1988, Luzern)

Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker: great compositions/performances


Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker

Johannes Brahms: Symphony No.4 in E minor, Op.98

I. Allegro non troppo (00:00)
II. Andante moderato (13:33)
III. Allegro giocoso (27:19)
IV. Allegro energico e passionato (33:47)

Wiener Philharmoniker
Leonard Bernstein, conductor

September 8, 1988, Luzern

 

 

great compositions/performances: F. Schubert – Symphony No. 4 “Tragic” in C minor, D. 417 (Harnoncourt)


[youtube.com/watch?v=CnoI-sYtCOU]

F. SchubertSymphony No. 4 “Tragic” in C minor, D. 417 Conductor – Nikolaus Harnoncourt
Wiener Philharmoniker
Musikvereinssaal Wien

From Wikipedia, the free encyclopedia
The symphony has four movements (a performance lasts around 30 minutes.)
  1. Adagio molto – Allegro vivace
  2. Andante in A flat major
  3. Menuetto. Allegro vivace – Trio in E flat major
  4. Allegro

The Symphony No. 4 in C minor, D. 417, commonly called the Tragic (German: Tragische), was composed by Franz Schubert in April 1816.[1] It was completed one year after the Third Symphony, when Schubert was 19 years old. However, the work was premiered only on November 19, 1849, in Leipzig, more than two decades after Schubert’s death.[citation needed]

The title Tragic is Schubert’s own. It was added to the autograph manuscript some time after the work was completed.[1] It is not known exactly why he added the title, but the work is one of only two symphonies (the Unfinished Symphony is the other) which Schubert wrote in a minor key.

The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in B-flat, 2 bassoons, 4 horns in A-flat, C and E-flat, 2 trumpets in C and E-flat, timpani and strings.

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Historic musical moments: Brahms – Symphony No. 2 – Wiener Philharmoniker – Leonard Bernstein – 1982


[youtube.com/watch?v=n-qMtWVf0NA]

Brahms – Symphony No. 2Wiener PhilharmonikerLeonard Bernstein – 1982

Johannes Brahms
Symphony No. 2 in D major, Op. 73

I. Allegro non troppo . . . . . . . . . . . . . . . . . . . . . . . . . . (00:42)
II. Adagio non troppo – L’istesso tempo, ma grazioso . . . (21:53)
III. Allegretto grazioso (quasi andantino) . . . . . . . . . . . . (34:41)
IV. Finale. Allegro con spirito . . . . . . . . . . . . . . . . . . . . (40:13)

Wiener Philharmoniker
Leonard Bernstein

Recorded live at the Große Musikvereinssaal
Vienna, 1-6 September 1982

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Make Music Part of Your Life Series: Mozart: Symphony No.29 – André Previn Wiener Philharmoniker(2000Live)


[youtube.com/watch?v=sXMRimMFV7M]

Mozart: Symphony No.29André Previn Wiener Philharmoniker (2000Live)

Wolfgang Amadeus Mozart (1756-1791)
Symphony No.29 in A major, K.201
André Previn
Wiener Philharmoniker
Festspielhaus, Salzburg, 28 1/2000

The Symphony No. 29 in A major, K. 201/186a, was completed by Wolfgang Amadeus Mozart on 6 April 1774.[1] It is, along with Symphony No. 25, one of his better known early symphonies. Stanley Sadie characterizes it as “a landmark … personal in tone, indeed perhaps more individual in its combination of an intimate, chamber music style with a still fiery and impulsive manner.”[2]

Structure

The symphony is scored for 2 oboes, 2 horns and strings, as was typical of early-period Mozart symphonies.

There are four movements:

  1. Allegro moderato, 2/2
  2. Andante, 2/4
  3. Menuetto: Allegretto – Trio, 3/4
  4. Allegro con spirito, 6/8

The first movement is in sonata form, with a graceful principal theme characterized by an octave drop and ambitious horn passages. The second movement is scored for muted strings with limited use of the winds, and is also in sonata form. The third movement, a minuet, is characterized by nervous dotted rhythms and staccato phrases; the trio provides a more graceful contrast. The energetic last movement, another sonata-form movement in 6/8 time, connects back to the first movement with its octave drop in the main theme.

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Great Compositions/Performances: Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker


Johannes Brahms: Symphony No.4 in E minor, Op.98

I. Allegro non troppo (00:00)
II. Andante moderato (13:33)
III. Allegro giocoso (27:19)
IV. Allegro energico e passionato (33:47)

Wiener Philharmoniker
Leonard Bernstein, conductor

September 8, 1988, Luzern

From Wikipedia, the free encyclopedia
 




Problems playing these files? See media help.

The Symphony No. 4 in E minor, Op. 98 by Johannes Brahms is the last of his symphonies. Brahms began working on the piece in Mürzzuschlag. then in the Austro-Hungarian Empire, in 1884, just a year after completing his Symphony No. 3, and completed it in 1885.

Instrumentation

The symphony is scored for two flutes (one doubling on piccolo), two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, triangle (third movement only), and strings

Reception

The work was given its premiere in Meiningen on October 25, 1885 with Brahms himself conducting. The piece had earlier been given to a small private audience in a version for two pianos, played by Brahms and Ignaz Brüll. Brahms’ friend and biographer Max Kalbeck, reported that the critic Eduard Hanslick, acting as one of the page-turners, exclaimed on hearing the first movement at this performance: “For this whole movement I had the feeling that I was being given a beating by two incredibly intelligent people.”[2] Hanslick later spoke more approvingly of it, however.[citation needed]

Progressive rock group Yes‘ keyboardist Rick Wakeman used part of the symphony on the instrumental “Cans and Brahms” from the 1971 album Fragile

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Great Compositions/Performances: Bernstein – Academic Festival Overture (Brahms)



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Geschichten aus dem Wienerwald op.325 – Johann Strauss II



Geschichten aus dem Wienerwald op.325 (Tales from Vienna Woods). Author: Johann Strauss II (1825-1899).
Conductor: Willi Boskovsky & Wiener Philharmoniker
Picture: Vienna Woods

[La forza del destino] overure – Riccardo Muti, Wiener Philharmoniker



Verdi – La Forza del Destino ‘Overture’ (encore) 

Wiener Philharmoniker 
conducted by RICCARDO MUTI

Live at the Suntory Hall, Tokyo – Oct, 11, 2005.

Hans Knappertsbusch “Funeral march” Götterdämmerung



Siegfried`s funeral march from
Götterdämmerung by Richard Wagner (1813-1883)
Wiener Philharmoniker
Hans Knappertsbusch, conductor
Wien VI.1956

 

Annen-Polka op. 117 – Johann Strauss II



Annen-Polka op 117 from Neujahrskonzert 2009. Author: Johann Strauss II (1825-1899).
Conductor: Daniel Barenboim & Wiener Philharmoniker

George Szell & Wiener Philharmoniker – Orchestra Concert of 1966 Wiener Festwochen


Beautiful music, as it was understood in the 20th century (Gosh it was like yesterday). Not only that, but also the entire video, in good old black  and white, maintaining the air of time long passed …Someday, today will too become part of the historic past as something always happen, each moment to make one thinking about it as… Memorable .

Thank you, friends for returning to my virtual home, and for following, and commenting: You’re always welcome!

 An Orchestra Concert of 1966 Wiener Festwochen on 5th June 1963 in Grossen Musikvereinssaal in Vienna.

Ludwig van Beethoven (1770-1827):
Piano Concerto No.5 in E-flat Major, Op. 73 “Emperor” (Pianist: Friedrich Gulda)
Anton Bruckner (1824-1896):
Symphony No.3 in D Minor, WAB 103

Wiener Philharmoniker
George Szell

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