Beethoven: Symphony 1 & 2
Preface
Those of you who follow my blog know I began listening to all of F.J. Haydn's 104 symphonies, in order, in March of 2025, as performed by Ádám Fischer and the Austro-Hungarian Haydn Orchestra on Brilliant Classics (BLOG). In addition, I covered Mozart's '45' Symphonies in January of 2026, also from Ádám Fischer, but with the Danish National Chamber Orchestra on Da Capo (BLOG). I thought it only apt to continue on Beethoven's 9 Symphonies, providing a through-line across the Classical Era. I have never taken on Beethoven in this way, so it may be interesting.
Any comparisons of Beethoven's symphonies to that of Haydn and Mozart should be greatly tempered, though. Remember, Beethoven completed his First Symphony in 1800, while Haydn had finished off his last symphony in 1795, and Mozart even farther back in 1788. In essence, Beethoven is just getting started, while the other masters of the genre have said their farewells to the genre some time back. Haydn didn't join The Choir Invisible until 1809, which occurred sometime between Beethoven's Sixth and Seventh Symphonies, thus LvB made symphonic waves in a rather short amount of time.
Beethoven wasn't just sitting on his duff in the interregnum, given between Haydn's last symphony until Beethoven's First, he had composed a remarkable number of solo piano sonatas, string sonatas, chamber music galore, and had already entered his First Piano Concerto as well. The composer must have been a remarkable workhorse when it came to composing, for there was just as much composed between Symphony no. 1 & 2, with only two or three years betwixt the two works.
And so, I will be listening through Beethoven's symphonies. I last listened to Beethoven's cycle of symphonies from Herbert von Karajan's 70s set on DGG, a favorite of mine. For those who don't know my musical predilections, I am not a huge fan of period performance practice, however I am not necessarily against it. My peeves include cold steely, zingy strings, clotted horns, and clipped phrasing, while I generally prefer a lush orchestral sound. Having listened to Ádám Fischer take modern instruments and use them in HIP ways with Haydn and Mozart's symphonies, it only seemed natural to listen to Chailly's cycle, which takes the historic Gewandhaus Orchestra, but applies modern views on how the Classical Era symphony should sound and be played today. At some point, Chailly called it the 'Third Way'.
In any case... I won't be looking at the historical background of the composer's symphonies, nor will I be making any comparisons to other recordings or performances, other than generalized thoughts. I will, however, point out portions which strike my notice as I listen, as well as major goalposts in Beethoven's music to watch out for.
Those looking for my generalized thoughts should skip to the bottom to read my final thoughts. Otherwise, I will do a movement-by-movement breakdown of each symphony for those who wish to listen along. I will provide a video of these same performers I am listening to in order to make it easier to follow along with my thoughts. That YouTube playlist can be found at the very bottom of this blog post.
Symphony 1 in C major, op. 21
Movement 1
Key: C Major
Meter: Common Time & Cut Time
Tempo: Adagio molto & Allegro con brio
BPM Chailly:
= 45 (Intro) & 𝅗𝅥 = 114 - 124
Movement 1
Key: C Major
Meter: Common Time & Cut Time
Tempo: Adagio molto & Allegro con brio
BPM Chailly:
= 45 (Intro) & 𝅗𝅥 = 114 - 124Not all of my movement posts will be quite as long as this one. I wanted to introduce the parts of the Sonata-Allegro form for those unfamiliar with it, as well as flesh out musical elements I will be listening for. My apologies for this first post's length.
C Major is an historically festive key, usually including trumpets and timpani, as it does here. When speaking of Haydn and Mozart, I listed the wind instruments from symphony to symphony, as they often changed. However, with Beethoven, he already begins with clarinets added to the rest of the wind retinue (flutes, oboes, bassoons, horns), so I won't list them here. After all, it took until Haydn and Mozart's last efforts to even come to term with using clarinet in an ensemble.
Also, as in Haydn and Mozart's later symphonies, Beethoven begins with a slow introduction. To make one step forward, Beethoven makes the audacious choice to begin on an unstable C7 chord (V of IV) which leads to a second chord of F Major. Thus, the accidentals seen in the score at the very start are unusual, at least within the accidental-less key of C Major. Thus, Beethoven's first symphonic utterance is essentially a 'tell' for his whole career as a composer.
The opening introduction, leads directly into the Allegro proper. Oftentimes, a slow-tempoed introduction will exist on its own, with a large pause before the change to a new, faster tempo, or even a key change. In this case, Beethoven makes the introduction part of the symphonic whole. By the time the faster tempo first appears, he has already sounded out C Major, even if it took him a good deal of time to actually get there, and its arrival is not as strong as it is at the tempo change.
I suppose I should speak to tempos. Chailly is noted as wanting to meet Beethoven's metronome markings. Some believe metronomes hadn't come along as far as a technology in Beethoven's time, so they are considered too fast for real-time speeds. Others find his marked tempos worked just fine, while even more performers simply find tempos somewhere in between. Here I notice Chailly drives the main theme, yet pulls back some in the second motivic area, so Beethoven's tempos are not hard-and-fast rules for the Italian conductor, but instead a guide.
Can I say that I just love the opening melody of this symphony? There is something about a low tessitura melody in the violins which I enjoy, especially as rhythmic a setting as it is given here. Then Beethoven moves the whole melody up one scale degree in repetition, only to use parts of the melody to remind the listener later on what they were initially introduced to. The second motivic area is much more lyrical, one which leaps up, holds, and then makes a scalular motion downward. This motion is similar to the first motive, which also leaps up and holds, just with a dotted rhythm attached instead, plus less wind work attached to it. Beethoven, however, uses the best of both worlds later on; the snappy dotted rhythm of the first and the falling motive of the second. Glorious!
The transitional material between these motivic areas are nearly as captivating, with some of the most heroic writing of the exposition. Beethoven uses that same scale degree pattern as the first melodic statements to move towards the second motivic area most interestingly. I like the little wind banter afforded the winds as Beethoven sets off towards ending the exposition, as well as some furious semidemiquaver rhythms which pop up. I have always considered Beethoven a rather developmental composer, a quality where Beethoven searches out distant keys. Usually this aspect in composing is contained within the following development section, yet as he winds down the exposition, in a lengthy fashion I might add, here is Beethoven moving harmonically all over the place wherever his musical whims take him.
Mozart's symphony development sections were a mite short most of the time, although both he and Haydn came around to using them more decisively. Beethoven needs no such urging, and I find him a master of motivic development. Think back to the opening theme here, with its dotted leaping motion and repetition, plus the second motive of falling winds. How many times do you hear Beethoven passing around these ideas across the orchestra? So many times, and often in shorter, little fragmentary bits, while the falling second theme is more hidden than the more muscular first theme. Beethoven is a model of what every composer should strive for in a development, and this said of his very First Symphony too!
The recapitulation brings back all of the major sections as in the opening, however like Haydn and Mozart, Beethoven uses this retelling to elongate and develop a little further than the very first expositional statements, even if only slightly at first.
And then there is the Coda. Beethoven was famous for carrying on to the end in an endless fashion. He loved to circle around the main I & V chords, but also comes round to IV and vi among others as well. This is to make the listener feel like they have finally landed at home, and with Beethoven, more time to apply his motivic material to create a satisfying conclusion.
Here we are at the very end! I must admit, Symphony no. 1 in C Major's first movement is a favorite of mine. While Beethoven goes his own way, as the composer was apt to do, there is so much respect for the form of the symphony in his hands. I can only surmise this respect is in honor of Haydn's development of the symphony, and my gosh, listen to how well Beethoven can fill out that form.
Movement 2
Key: F Major
Meter: 3/8
Tempo: Andante cantabile con moto
BPM Chailly: ♪ = 120 - 128
I think Beethoven spoiled his move to F Major at the very beginning of the symphony, but here we are regardless. A light, lilting dance permeates most of this movement. Only some loud, syncopated sforzandos interrupt any geniality the composer has put forth.
He introduces the main theme in the 2nd violin section only, and as that melody ends, the violas and cello pick up the melody themselves; and in a shorter time frame the double basses and bassoons enter on the melody as well, creating a solid polyphonic texture right at the ope.
I should also mention Haydn and Mozart would put away the trumpet and timpani for their slow movements, but that doesn't happen with Beethoven. Indeed, before the first section closes, the timpani taps out the skipping dotted rhythms, ones which have been so pervasive across the second movement thus far, joined by the trumpets lightly sustaining at the same time.
The 'B' section segues to a minor key, while the insistent dotted rhythms are picked up by the strings. Chailly moves slightly ahead at this point as well, where Beethoven's exploratory nature comes out, almost increasing to a militant style, before bringing everything back again.
At the return of the opening melody, Beethoven introduces an accompaniment figure instead of repeating the single violin line as it was originally. Eventually, the continuation of the melody alongside the new accompanying textures expands across the entire ensemble. Beethoven also expands the time he takes to finish off the movement.
Granted this is only the first symphony in Chailly's cycle, yet this is the first time I thought the conductor was too hasty. While I enjoy the light balletic feel he provides the music, I wanted to revel in this music a fair bit more than he was willing to offer me. A small point, but a missed opportunity all the same.
Movement 3
Key: C Major & C Major (Trio)
Meter: 3/4
Tempo: Allegro molto e vivace
BPM Chailly: 𝅗𝅥. = 120 & 𝅗𝅥. = 112 (Trio)
While Haydn and Mozart were rather straightforward with their tempo instructions, Beethoven doesn't hold back how he wants his music performed tempo-wise. Here, the composer instructs for an unusually swift tempo to be taken, Chailly coming in at one-to-a-bar, far from the Allegretto of the typical Minuet, yet more towards Beethoven's favored Scherzo.
This is also a rather chromatic Minuet, with the 'B' section remarkably longer than the first section. Something about Beethoven's use of crescendo and the application of the winds here reminds me strongly of what will come from Beethoven in the future. I suppose when I think about such a statement, really all that means is the future is now.
The winds dominate the Trio with wispy utterances from the strings in reply. Eventually, Beethoven does employ the entire ensemble, again with a major crescendo through not only increasing volume, but also adding instruments through the crescendo. Also, a curious set of syncopated sforzandos bring the last Trio section to a close, a most unusual rhythmic attribute.
Movement 4
Key: C Major
Meter: 2/4
Tempo: Adagio & Allegro molto e vivace;
BPM Chailly: ♪ = 68 & = 160
The opening to the last movement is quite a surprise - a slow Adagio with the first chord held on a fermata. This is followed by a violin-section recitative of sorts. If Ádám Fischer had been leading, a solo violinist would have taken over this little incipit. Again, Beethoven leads directly into the Allegro proper without any compunction to separate the two sections, or have it stand out in any way.
I like the light, witty tune Beethoven eventually begins the movement proper with. The first crescendo of the piece continues to use an additive effect, where instruments are added to help along the crescendo. The second motive is even folksier than the first in its dance-like attitude, a moment I greatly enjoy.
Beethoven is quite short with his development here, but I enjoy some aspects within it. The outward and inward moving strings are a neat effect, and of course, the composer first moving to B-flat from C Major is a striking move.
The recapitulation comes to a complete halt, with a rising climax stopped by two fermatas. The soft violin and wind scales which immediately follow are absolutely delicious, especially at Chailly's quick tempo. It only takes Beethoven a few pages to finish the rest of the movement, with continuing scale flourishes, but hardly making more time of it than necessary.
Overall, I was rather pleased with this symphony and its performance. More to come...
Symphony 2 in D Major, op. 36
Movement 1
Key: D Major
Meter: 3/4 & Common Time
Tempo: Adagio & Allegro con brio
BPM Chailly: = 44 & = 184
C Major is an historically festive key, usually including trumpets and timpani, as it does here. When speaking of Haydn and Mozart, I listed the wind instruments from symphony to symphony, as they often changed. However, with Beethoven, he already begins with clarinets added to the rest of the wind retinue (flutes, oboes, bassoons, horns), so I won't list them here. After all, it took until Haydn and Mozart's last efforts to even come to term with using clarinet in an ensemble.
Also, as in Haydn and Mozart's later symphonies, Beethoven begins with a slow introduction. To make one step forward, Beethoven makes the audacious choice to begin on an unstable C7 chord (V of IV) which leads to a second chord of F Major. Thus, the accidentals seen in the score at the very start are unusual, at least within the accidental-less key of C Major. Thus, Beethoven's first symphonic utterance is essentially a 'tell' for his whole career as a composer.
The opening introduction, leads directly into the Allegro proper. Oftentimes, a slow-tempoed introduction will exist on its own, with a large pause before the change to a new, faster tempo, or even a key change. In this case, Beethoven makes the introduction part of the symphonic whole. By the time the faster tempo first appears, he has already sounded out C Major, even if it took him a good deal of time to actually get there, and its arrival is not as strong as it is at the tempo change.
I suppose I should speak to tempos. Chailly is noted as wanting to meet Beethoven's metronome markings. Some believe metronomes hadn't come along as far as a technology in Beethoven's time, so they are considered too fast for real-time speeds. Others find his marked tempos worked just fine, while even more performers simply find tempos somewhere in between. Here I notice Chailly drives the main theme, yet pulls back some in the second motivic area, so Beethoven's tempos are not hard-and-fast rules for the Italian conductor, but instead a guide.
Can I say that I just love the opening melody of this symphony? There is something about a low tessitura melody in the violins which I enjoy, especially as rhythmic a setting as it is given here. Then Beethoven moves the whole melody up one scale degree in repetition, only to use parts of the melody to remind the listener later on what they were initially introduced to. The second motivic area is much more lyrical, one which leaps up, holds, and then makes a scalular motion downward. This motion is similar to the first motive, which also leaps up and holds, just with a dotted rhythm attached instead, plus less wind work attached to it. Beethoven, however, uses the best of both worlds later on; the snappy dotted rhythm of the first and the falling motive of the second. Glorious!
The transitional material between these motivic areas are nearly as captivating, with some of the most heroic writing of the exposition. Beethoven uses that same scale degree pattern as the first melodic statements to move towards the second motivic area most interestingly. I like the little wind banter afforded the winds as Beethoven sets off towards ending the exposition, as well as some furious semidemiquaver rhythms which pop up. I have always considered Beethoven a rather developmental composer, a quality where Beethoven searches out distant keys. Usually this aspect in composing is contained within the following development section, yet as he winds down the exposition, in a lengthy fashion I might add, here is Beethoven moving harmonically all over the place wherever his musical whims take him.
Mozart's symphony development sections were a mite short most of the time, although both he and Haydn came around to using them more decisively. Beethoven needs no such urging, and I find him a master of motivic development. Think back to the opening theme here, with its dotted leaping motion and repetition, plus the second motive of falling winds. How many times do you hear Beethoven passing around these ideas across the orchestra? So many times, and often in shorter, little fragmentary bits, while the falling second theme is more hidden than the more muscular first theme. Beethoven is a model of what every composer should strive for in a development, and this said of his very First Symphony too!
The recapitulation brings back all of the major sections as in the opening, however like Haydn and Mozart, Beethoven uses this retelling to elongate and develop a little further than the very first expositional statements, even if only slightly at first.
And then there is the Coda. Beethoven was famous for carrying on to the end in an endless fashion. He loved to circle around the main I & V chords, but also comes round to IV and vi among others as well. This is to make the listener feel like they have finally landed at home, and with Beethoven, more time to apply his motivic material to create a satisfying conclusion.
Here we are at the very end! I must admit, Symphony no. 1 in C Major's first movement is a favorite of mine. While Beethoven goes his own way, as the composer was apt to do, there is so much respect for the form of the symphony in his hands. I can only surmise this respect is in honor of Haydn's development of the symphony, and my gosh, listen to how well Beethoven can fill out that form.
Movement 2
Key: F Major
Meter: 3/8
Tempo: Andante cantabile con moto
BPM Chailly: ♪ = 120 - 128
I think Beethoven spoiled his move to F Major at the very beginning of the symphony, but here we are regardless. A light, lilting dance permeates most of this movement. Only some loud, syncopated sforzandos interrupt any geniality the composer has put forth.
He introduces the main theme in the 2nd violin section only, and as that melody ends, the violas and cello pick up the melody themselves; and in a shorter time frame the double basses and bassoons enter on the melody as well, creating a solid polyphonic texture right at the ope.
I should also mention Haydn and Mozart would put away the trumpet and timpani for their slow movements, but that doesn't happen with Beethoven. Indeed, before the first section closes, the timpani taps out the skipping dotted rhythms, ones which have been so pervasive across the second movement thus far, joined by the trumpets lightly sustaining at the same time.
The 'B' section segues to a minor key, while the insistent dotted rhythms are picked up by the strings. Chailly moves slightly ahead at this point as well, where Beethoven's exploratory nature comes out, almost increasing to a militant style, before bringing everything back again.
At the return of the opening melody, Beethoven introduces an accompaniment figure instead of repeating the single violin line as it was originally. Eventually, the continuation of the melody alongside the new accompanying textures expands across the entire ensemble. Beethoven also expands the time he takes to finish off the movement.
Granted this is only the first symphony in Chailly's cycle, yet this is the first time I thought the conductor was too hasty. While I enjoy the light balletic feel he provides the music, I wanted to revel in this music a fair bit more than he was willing to offer me. A small point, but a missed opportunity all the same.
Movement 3
Key: C Major & C Major (Trio)
Meter: 3/4
Tempo: Allegro molto e vivace
BPM Chailly: 𝅗𝅥. = 120 & 𝅗𝅥. = 112 (Trio)
While Haydn and Mozart were rather straightforward with their tempo instructions, Beethoven doesn't hold back how he wants his music performed tempo-wise. Here, the composer instructs for an unusually swift tempo to be taken, Chailly coming in at one-to-a-bar, far from the Allegretto of the typical Minuet, yet more towards Beethoven's favored Scherzo.
This is also a rather chromatic Minuet, with the 'B' section remarkably longer than the first section. Something about Beethoven's use of crescendo and the application of the winds here reminds me strongly of what will come from Beethoven in the future. I suppose when I think about such a statement, really all that means is the future is now.
The winds dominate the Trio with wispy utterances from the strings in reply. Eventually, Beethoven does employ the entire ensemble, again with a major crescendo through not only increasing volume, but also adding instruments through the crescendo. Also, a curious set of syncopated sforzandos bring the last Trio section to a close, a most unusual rhythmic attribute.
Movement 4
Key: C Major
Meter: 2/4
Tempo: Adagio & Allegro molto e vivace;
BPM Chailly: ♪ = 68 &
= 160The opening to the last movement is quite a surprise - a slow Adagio with the first chord held on a fermata. This is followed by a violin-section recitative of sorts. If Ádám Fischer had been leading, a solo violinist would have taken over this little incipit. Again, Beethoven leads directly into the Allegro proper without any compunction to separate the two sections, or have it stand out in any way.
I like the light, witty tune Beethoven eventually begins the movement proper with. The first crescendo of the piece continues to use an additive effect, where instruments are added to help along the crescendo. The second motive is even folksier than the first in its dance-like attitude, a moment I greatly enjoy.
Beethoven is quite short with his development here, but I enjoy some aspects within it. The outward and inward moving strings are a neat effect, and of course, the composer first moving to B-flat from C Major is a striking move.
The recapitulation comes to a complete halt, with a rising climax stopped by two fermatas. The soft violin and wind scales which immediately follow are absolutely delicious, especially at Chailly's quick tempo. It only takes Beethoven a few pages to finish the rest of the movement, with continuing scale flourishes, but hardly making more time of it than necessary.
Overall, I was rather pleased with this symphony and its performance. More to come...
Symphony 2 in D Major, op. 36
Movement 1
Key: D Major
Meter: 3/4 & Common Time
Tempo: Adagio & Allegro con brio
BPM Chailly:
= 44 & = 184If Symphony no. 1 shows Beethoven fitting into a Classical symphonic model, certainly Symphony no. 2 is a great expansion upon his first efforts in the genre.
The Adagio introduction is a fine example of this. While Beethoven begins firmly in D Major, it doesn't take long for the composer to meander to B-flat, the chromatic mediant and rather distantly related key. Of course, he circles around and around after that, eventually landing on a pedal preparation for D Major in the Allegro to follow. It takes Beethoven nearly 2 minutes to finally arrive at the first movement proper, a long time for a slow introduction to unravel and develop in the Classical Era.
While the Allegro tempo is set in common time, it is much easier to feel the beat at the minim rather than the crotchet with Chailly at the helm.
The first theme, pitched lower in the violas and cellos, is essentially a decorated D Major triad, one which rises and falls. Beethoven really seems to latch onto the last five crotchets, which brings the melody back down V - V - III - III - I in an amiable manner. He repeats the same, but the second time the music whirls around to begin again on the fourth scale degree. The transitional material to follow picks up on this motive as well, to cement it into the minds of the listener, more subtly found in the bass line. It isn't long, however, until Beethoven finds his way into minor, an often necessary trait from the composer.
The second motivic area is announced by a martial melody stated in the winds. When the theme moves to the strings, it is done so in minor, and again follows the same pattern in restatement. While the transitional material carries on, eventually in fanfare-like fashion, Beethoven abruptly stops, pulls back the dynamic and orchestration for some quiet, strings only decorations reminiscent of the embellishments from the first main melody, all of which build to minor. Beethoven continues major chord to minor chord back and forth (I and iv) until the conclusion of the exposition.
Another meaty development section follows, mostly picking up on the first thematic area and circling around and around. At some point, Beethoven again stops, and pulls back the tempo only to give the second fanfare motive to a very gentle-sounding string section, but eventually the listener catches on that the composer is still developing.
Beethoven leads directly into the recapitulation without stop. Beethoven is pretty hands off as far as the recapitulation is concerned, not mucking about with the two thematic areas until they have been fully stated. While the composer left himself an easy out for a relatively brief, efficient ending, Beethoven can't resist an extended Coda. Here his developmental noodlings are allowed full reign, although he lands solidly realizing out D Major for the listener.
Movement 2
Key: A Major
Meter: 3/8
Tempo: Larghetto
BPM Chailly: ♪ = 96
This listener would have been in absolute second-movement bliss if Beethoven had stuck to a song form, for there are a wealth of musical ideas, and the warm, strings melodies are a delight here. But then, a mere ternary form wouldn't suffice for this composer; instead we have a full-blown Sonata form with development. This aspect nearly makes this movement too long for this listener.
The reason I mention my preference is, I want to wrap myself up in this music making, not psychologically develop this music even further than its surface beauty.
Yet, this is a personal wont, not an analytical one. One element I am continually impressed with, especially after the first areas have all been initially stated, is the counterpoint of the wind instruments. Sometimes the winds color with the strings, other times they are in the drivers seat, but when Beethoven sets them against the strings doing their own thing, or comment on the action, this is when the music comes alive.
At least Beethoven knew he had a treasure-trove of melodic interest, for he amiably makes a final statement of the very first theme at the very conclusion. I am sure some of my love here is due to having the Gewandhaus Orchestra on hand as well.
Movement 3
Key: D Major & D Major (Trio)
Meter: 3/4
Tempo: Allegro
BPM Chailly: 𝅗𝅥. = 104
So, Beethoven ditches the Minuet for a full-on Scherzo now, something he probably should have done in the previous symphony. Again, a very short 'A' section gives way to a rather lengthy 'B' section. In the first section, Beethoven rotates interest across the ensemble, almost in a pointillistic fashion, where there is a little bit in violin, then the horn, then the ensemble, etc. It makes for rather colorful listening.
It takes Beethoven no time at all to move towards B-flat in the 'B' section, the chromatic mediant of D Major. This seems to be a favorite harmonic direction of the composer. And of course, what follows is somewhat developmental in the way Beethoven moves around and around harmonically. This section also seems filled with off-beat sforzandos as well.
The 'A' section of the Trio is given over to winds alone, whereas the 'B' section is string only for a while, only to give it back to winds again. Oddly, the string portion is mostly shorn of melodic duty, where the winds control that aspect here.
Again, Beethoven keeps the same key across the Scherzo and the Trio, creating a sort-of whole between the two contrasting parts of this movement. Because the itty-bitty elements I describe above go by so fast now, my descriptions seem nearly too intense for what is a rather quick and light listen on the whole.
Movement 4
Key: D Major
Meter: Cut time
Tempo: Allegro molto
BPM Chailly: 𝅗𝅥 = 146
While the fourth movement might not be as witty and folksy as the previous symphony, this one still comes off pretty lightweight. A musical 'sneeze' opens the finale, one which keeps the feeling of an initial pulse off kilter, at least at first. I nearly detect three themes in this movement; the first sneeze theme, the wonderful second one with cellos answered by violins and violas, and yet another with descending winds. So melodic are transitional areas, it is often difficult to discern what is motivic and which is not.
In Sonata form again, Beethoven gives everything the developmental treatment with proper recapitulation. Beethoven is at his most verbose with this Coda, however. The Coda does go on especially long here, with not just one big build up to fermatas followed by a deceptive cadence, but two such occasions. Of course, I am a 'get it over with' sort of personality once all is said and done, so sometimes Beethoven's garrulous musical language can be a bit much for me.
The Adagio introduction is a fine example of this. While Beethoven begins firmly in D Major, it doesn't take long for the composer to meander to B-flat, the chromatic mediant and rather distantly related key. Of course, he circles around and around after that, eventually landing on a pedal preparation for D Major in the Allegro to follow. It takes Beethoven nearly 2 minutes to finally arrive at the first movement proper, a long time for a slow introduction to unravel and develop in the Classical Era.
While the Allegro tempo is set in common time, it is much easier to feel the beat at the minim rather than the crotchet with Chailly at the helm.
The first theme, pitched lower in the violas and cellos, is essentially a decorated D Major triad, one which rises and falls. Beethoven really seems to latch onto the last five crotchets, which brings the melody back down V - V - III - III - I in an amiable manner. He repeats the same, but the second time the music whirls around to begin again on the fourth scale degree. The transitional material to follow picks up on this motive as well, to cement it into the minds of the listener, more subtly found in the bass line. It isn't long, however, until Beethoven finds his way into minor, an often necessary trait from the composer.
The second motivic area is announced by a martial melody stated in the winds. When the theme moves to the strings, it is done so in minor, and again follows the same pattern in restatement. While the transitional material carries on, eventually in fanfare-like fashion, Beethoven abruptly stops, pulls back the dynamic and orchestration for some quiet, strings only decorations reminiscent of the embellishments from the first main melody, all of which build to minor. Beethoven continues major chord to minor chord back and forth (I and iv) until the conclusion of the exposition.
Another meaty development section follows, mostly picking up on the first thematic area and circling around and around. At some point, Beethoven again stops, and pulls back the tempo only to give the second fanfare motive to a very gentle-sounding string section, but eventually the listener catches on that the composer is still developing.
Beethoven leads directly into the recapitulation without stop. Beethoven is pretty hands off as far as the recapitulation is concerned, not mucking about with the two thematic areas until they have been fully stated. While the composer left himself an easy out for a relatively brief, efficient ending, Beethoven can't resist an extended Coda. Here his developmental noodlings are allowed full reign, although he lands solidly realizing out D Major for the listener.
Movement 2
Key: A Major
Meter: 3/8
Tempo: Larghetto
BPM Chailly: ♪ = 96
This listener would have been in absolute second-movement bliss if Beethoven had stuck to a song form, for there are a wealth of musical ideas, and the warm, strings melodies are a delight here. But then, a mere ternary form wouldn't suffice for this composer; instead we have a full-blown Sonata form with development. This aspect nearly makes this movement too long for this listener.
The reason I mention my preference is, I want to wrap myself up in this music making, not psychologically develop this music even further than its surface beauty.
Yet, this is a personal wont, not an analytical one. One element I am continually impressed with, especially after the first areas have all been initially stated, is the counterpoint of the wind instruments. Sometimes the winds color with the strings, other times they are in the drivers seat, but when Beethoven sets them against the strings doing their own thing, or comment on the action, this is when the music comes alive.
At least Beethoven knew he had a treasure-trove of melodic interest, for he amiably makes a final statement of the very first theme at the very conclusion. I am sure some of my love here is due to having the Gewandhaus Orchestra on hand as well.
Movement 3
Key: D Major & D Major (Trio)
Meter: 3/4
Tempo: Allegro
BPM Chailly: 𝅗𝅥. = 104
So, Beethoven ditches the Minuet for a full-on Scherzo now, something he probably should have done in the previous symphony. Again, a very short 'A' section gives way to a rather lengthy 'B' section. In the first section, Beethoven rotates interest across the ensemble, almost in a pointillistic fashion, where there is a little bit in violin, then the horn, then the ensemble, etc. It makes for rather colorful listening.
It takes Beethoven no time at all to move towards B-flat in the 'B' section, the chromatic mediant of D Major. This seems to be a favorite harmonic direction of the composer. And of course, what follows is somewhat developmental in the way Beethoven moves around and around harmonically. This section also seems filled with off-beat sforzandos as well.
The 'A' section of the Trio is given over to winds alone, whereas the 'B' section is string only for a while, only to give it back to winds again. Oddly, the string portion is mostly shorn of melodic duty, where the winds control that aspect here.
Again, Beethoven keeps the same key across the Scherzo and the Trio, creating a sort-of whole between the two contrasting parts of this movement. Because the itty-bitty elements I describe above go by so fast now, my descriptions seem nearly too intense for what is a rather quick and light listen on the whole.
Movement 4
Key: D Major
Meter: Cut time
Tempo: Allegro molto
BPM Chailly: 𝅗𝅥 = 146
While the fourth movement might not be as witty and folksy as the previous symphony, this one still comes off pretty lightweight. A musical 'sneeze' opens the finale, one which keeps the feeling of an initial pulse off kilter, at least at first. I nearly detect three themes in this movement; the first sneeze theme, the wonderful second one with cellos answered by violins and violas, and yet another with descending winds. So melodic are transitional areas, it is often difficult to discern what is motivic and which is not.
In Sonata form again, Beethoven gives everything the developmental treatment with proper recapitulation. Beethoven is at his most verbose with this Coda, however. The Coda does go on especially long here, with not just one big build up to fermatas followed by a deceptive cadence, but two such occasions. Of course, I am a 'get it over with' sort of personality once all is said and done, so sometimes Beethoven's garrulous musical language can be a bit much for me.
Overtures
In Chailly's symphony set, he also provides some of Beethoven's overtures to fill out each volume. In the first volume, this includes the overture from The Creatures of Prometheus and Leonore Overture no. 3. The sleeve incorrectly labels the latter overture as op. 72a, but this is most definitely op. 72b.
Aside from a similar approach to the symphonies in the Leonore Overture, the finest attribute comes in the Creatures of Prometheus Overture. There, Beethoven heavily divides the strings, and boy howdy, listen to the Gewandhaus Orchestra lay into their winning deep, lush string sound at quite volumes. This is what I want!
As far as Leonore 3 is concerned, I find it a little hard and cold in the hands of Chailly. The warm colors of Creatures did not come back for Leonore, poor woman! Of course the uptempo portions are properly heroic, played with great energy across the board, with plenty of trumpet and timpani a-blaze.
Final Thoughts
When speaking of Beethoven's symphonies, most are introduced to Symphonies 5 & 9 first, usually followed by some combination of Symphonies 3, 6, and 7. Symphonies 4 and 8 are usually considered Classical Era throwbacks, while Nos. 1 and 2 are relegated as early works from the composer. Yet, the composer makes his mark strongly in these early efforts.
Having listened to the symphonies of Haydn and Mozart right before this recording, I think I have a greater appreciation for Symphony no. 1 and 2 now, as I can relate to so much I have heard already. Personally, I take to the First more than the Second, although I was captivated across both on this listen.
I know Beethoven was lambasted for it, but the use of winds is excellent right off the bat. I am surprised audiences of the time had issue with the composer's ample use of winds, for Haydn and Mozart do similar things in their late symphonies as well.
As to Chailly's approach to Beethoven, at least in this first volume, he seems married to the composer's instructions. Chailly follows Beethoven's dynamic instructions to a 'T', often exaggerating the effect, including forthright sforzandos. There were some moments where I though Chailly could have injected more imaginative phrasings when dynamics were not concerned, and that is a thought to pin for future listening in this set. After all, there is more to musical interpretation than simply following composer instructions, especially in the Classical Era where musicality is not always printed as it would be for Mahler and Bruckner.
I am generally pleased with the sound of the Gewandhaus, though. Chailly might instruct them to play with minimal vibrato, but their luscious sound is always present. Perhaps they don't have depth of string ensemble as normal, yet their core sound is very fine still. The balance of winds is also excellent, although maybe the bassoons could be slightly more present alongside the lower strings. Otherwise, each of the wind instruments shine in their many moments throughout these works.
Thus far, tempo only bothered me in the second movement of the First Symphony. Even here I can't gripe regarding this performance, as Beethoven explicitly adds con moto to his Andante tempo, which can be interpreted a number of ways. My interpretation is simply slower than others.
Join me for Volume 2, where I eagerly await to hear what Chailly and the Gewandhaus continue to say in Beethoven.
Work Series
Vol. 1 from Symphonies on Decca
Works
Symphony 1 in C major, op. 21 (23.09)
Symphony 2 in D Major, op. 36 (30.26)
Creatures of Prometheus, op. 43: Overture (4.55)
Leonore: Overture no. 3, op. 72b (12.28)
Performers
Gewandhaus Orchestra
Riccardo Chailly, conductor
Label: Decca
Year: 2011
Total Timing: 71.00
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