Beethoven: Symphonies Nos. 4 & 6 "Pastorale"
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Composer: Ludwig van BeethovenConductor: Bruno Walter
Edition: Music CD
CD Release Date: 1995-05-16
Music Label: Sony
Soundtracks:
- Symphony No. 4 In B Flat Major, Op. 60: I. Adagio - Allegro vivace
- Symphony No. 4 In B Flat Major, Op. 60: II. Adagio
- Symphony No. 4 In B Flat Major, Op. 60: III. Allegro vivace
- Symphony No. 4 In B Flat Major, Op. 60: IV. Allegro ma non troppo
- Symphony No. 6 In F Major, Op. 68 'Pastoral': I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo
- Symphony No. 6 In F Major, Op. 68 'Pastoral': II. Szene am Bach. Andante molto moto
- Symphony No. 6 In F Major, Op. 68 'Pastoral': III. Lustiges Zusammensein der Landleute. Allegro
- Symphony No. 6 In F Major, Op. 68 'Pastoral': IV. Gewitter, Sturm. Allegro
- Symphony No. 6 In F Major, Op. 68 'Pastoral': V. Hirtengesang. Frohe und dankbare Gefuhle nach dem Sturm. Allegretto
Free Music Notes for Beethoven: Symphonies Nos. 4 & 6 "Pastorale"
Free Music Review: Beethoven Meets His Maker....And Likes It
Hit: 5 Stars
Beethoven illustriously asserted that his Pastoral Symphony was more feeling than painting. Indeed, the idyllic brook in the B flat Andante paints with deft brushstrokes on the most fertile canvas in the universe - the human mind. Listening carefully to the closing bars, the birdsong of quail, nightingale, and cuckoo lilt with a precious enchantment. The evocative imagery of this five-movement masterpiece ranges from open countryside to merry-whirling townsfolk to wrathful storm and a new hope beyond.
Fortunately for us, Beethoven's crowning jewel does not strain for the musical realism of Strauss or Berlioz. Rather than prescribing some programmatic storyboard, he respects us far more, giving us the freedom to envision the poetry in our own minds as vividly as we would.
That this symphony was first performed in 1808 in Vienna is only fitting, for Beethoven's walks in the country near the culturally vibrant city were part of its impetus. Even his notes, haphazardly scrawled on symphonic sketches, attested to Beethoven's affinity for nature. Perhaps the Pastoral was Beethoven's way of saying that music alone squanders potential; imagery and atmospheric suggestion can take it to an even higher plane. In 1810 Beethoven remarked fondly, "How delighted I will be to ramble for awhile through the bushes, woods, under trees, through grass, and around rocks...surely woods, trees, and rocks produce the echo that man desires to hear."
Enter now the avalanche-melting warmth of Bruno Walter. In his later years at the Columbia Symphony Orchestra he had what many have called his 'Indian Summer', his resurgence in musical inspiration and execution which has left us some of the great recordings. Now it is true that at times the twilight of his mastery became evident; this is particularly true in the 4th symphony of this recording, which despite its warmth suffers from feeble playing and a lack of energy. But the 6th symphony is Walter on the mountaintop, and arguably the best recording of the Pastoral ever made. In truth, Otto Klemperer's 1957 Pastoral matches it, and with better sound quality. Yet Walter stands beside Klemperer, these two titans producing Pastoral recordings of historic value that hopefully shall never be forgotten...
The Pastoral Symphony is for me the most admirable of Beethoven's achievements, yet I realize not all may share this view. For many the excitement and drama of the 5th, 7th, and 9th overshadow the 6th's sprightly warmth. Yet I think many of you will find as the ears age and the mind yearns for peace and tranquility, that this Pastoral recording is not only something you can enjoy. You can come back to it again and again, and rather than exhaust your emotions it replenishes and renews.
Beethoven: Symphonies Nos. 4 & 6 "Pastorale" Poster
Bruno Walter was always a most persuasive advocate of the gentler Beethoven--at least, that's what everyone thought until his stereo Beethoven cycle was remastered onto CD, revealing a much stronger musical profile than had been suspected. But that just made the cycle's best performances sound better still--and here they are, together on one midpriced CD! It's amazing that a man in his 80s, as Walter was when these performances were recorded, could take what was essentially a pickup orchestra and turn in performances of such power and authority. Walter and the Columbia Symphony had a genuine chemistry between them--they play these two symphonies as if they had been making music together for years. --David HurwitzBruno Walter recorded the Beethoven symphonies in stereo for Columbia in 1958-59, taping No. 9 in New York and Nos. 1-8 in Los Angeles with orchestras of freelance and studio musicians who rose magnificently to the occasion. Walter was in his eighties, but that didn't stop him from grabbing these works by the throat; there is no mincing around, no effusive lingering over phrases, and no ponderous trudging either. The even-numbered symphonies are sunny and outgoing, full of the warmth the conductor exuded during his Indian-summer years in the studio. Yet the drama of the odd-numbered works is not slighted. Walter's account of the Fifth, for example, is an intensely expressive one in which lyricism and thrust are in perfect balance--an evocation of stormy Romanticism at its best. The recordings have held up extremely well; the sound on these 20-bit CDs is spacious yet detailed, with amazing presence and solidity. --Ted Libbey
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