Symphony No. 4 (Beethoven)

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The Symphony No. 4 in B Flat Major (Op. 60) by Ludwig van Beethoven, was written in 1806. It was dedicated to Count Franz von Oppersdorff.

1 Background
2 Orchestration
3 Form
- 3.1 Descriptions
4 External links

[edit] Background

A cliché holds that the odd numbered symphonies of Beethoven are majestic, while the even numbered symphonies are peaceful. Though it arguably contrasts heavily with the 3rd and the 5th symphonies, one has to squint to envision the "slender Greek maiden between two Norse gods" that Robert Schumann saw in this work. The symphony opens with a subdued introduction, common to many classical symphonies, but it has the character of a brooding pause before the stormy first subject. The subjects of all movements are, for the most part, as loud, aggressive, and "masculine" sounding as anything in Beethoven. Even the adagio movement contains fortissimo passages and muscular Beethovenian hammer-blows. Along with the 1st, this is perhaps the most neglected of Beethoven's symphonies.

Count Franz von Oppersdorff was the relative of Beethoven's patron, Prince Lichnowsky. When the Count traveled to Lichnowsky's summer home, he managed to meet Beethoven, who was having a summer vacation. Von Oppersdorff listened to Beethoven's Symphony No. 2 in D Major, and liked it so much that he offered a great amount of money for Beethoven to compose a new symphony for him. Beethoven went to work, using the cheerful mood of the Second Symphony. The dedication was made to "the Silesian nobleman Count Franz von Oppersdorf" (refer to Beethoven Handbook by Paul Netl; Frederick Ungar Publishing Co., New York, 1967. p. 262)

[edit] Orchestration

The orchestration for the Fourth Symphony is as follows:

Woodwinds: 1 Flute; 2 Oboes; 2 Clarinets in B-flat; 2 Bassoons

Brass: 2 Horns in B-flat, E-flat; 2 Trumpets in B-flat, E-flat

Percussion: Timpani

Strings: 1st, 2nd Violins; Violas; Violoncellos; Double Basses

[edit] Form

There are four movements in this piece:

Adagio -- Allegro vivace
Adagio
Allegro molto e vivace -- Trio. Un poco meno allegro
Allegro ma non troppo

It is about 33 minutes in length.

[edit] Descriptions

First Movement: Follows sonata form. The adagio portion, serving as an introduction, gives the mysterious and quiet atmosphere. However, once the allegro vivace part begins, the mood quickly transforms to one of activity and cheerfulness. The movement is very rhythmical, and at the shortened recapitulation the movement ends with a florid coda.

Second Movement: Follows sonata form. Calm, beautiful melody gives the lyrical atmosphere to the entire movement, which engulfs us in elegant and sublime emotion. The melody appears in first violin section, while the second theme appears in the clarinet section.

Third Movement: Follows scherzo form. The movement humorously and freely develops. Overall, an energetic movement. Notably, the trio is brought back twice expanding the traditional ABA structure to ABABA.

Fourth Movement: Follows sonata form. With a fast tempo, this movement brings the gaudiness and cheerful atmosphere to a high degree. Vividness and extreme happiness continues until the coda.