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871:(1961) conducted sets of the symphonies attempting to follow Beethoven's metronome markings, which up to then had been widely regarded as impossibly fast. These pioneering efforts were followed in later decades by recordings of performances in what was currently regarded as authentic style, often played by specialist ensembles on old instruments, or replicas of them, playing at about a
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612:) Beethoven further departed from the traditional minuet-trio-minuet form by repeating the trio after the second rendition of the scherzo section, and then bringing the scherzo back for a third hearing. The final repetition of the scherzo is abridged, and in the coda the two horns "blow the whole movement away" (Tovey).
170:
The work is dedicated to "the
Silesian nobleman Count Franz von Oppersdorff". Although Oppersdorff had paid for exclusive rights to the work for its first six months, his orchestra did not give the first performance. The symphony was premiered in March 1807 at a private concert in Vienna at the town
987:
in the first movement. This typically makes a difference of about 2½ minutes. Examples from the versions mentioned in the
Recordings section are Klemperer and Monteux, who play the repeat and whose first movements last for 12:28 and 12:37 respectively, compared with Toscanini and Karajan, who omit
794:
The symphony has been recorded, in the studio and in concert performances, more than a hundred times. Early recordings were mostly issued as single sets, sometimes coupled with another
Beethoven symphony, such as the Second. More recently, recordings of the Fourth have often been issued as part of
712:
First a slow movement full of short disjointed unconnected ideas, at the rate of three or four notes per quarter of an hour; then a mysterious roll of the drum and passage of the violas, seasoned with the proper quantity of pauses and ritardandos; and to end all a furious finale, in which the only
515:
The main theme returns in an elaborate variation, followed by a middle episode and the reappearance of the varied main theme, now played by the flute. A regular recapitulation is followed by a coda that makes a final allusion to the main theme, and the timpani bring the movement to an end with the
301:
642:
264:, with whom Beethoven had studied a decade before. In a commentary on the symphony Grove comments that Haydn – who was still alive when the new symphony was first performed – might have found the work too strong for his taste. The Fourth Symphony contrasts with Beethoven's style in the previous
673:
major. The tempo marking is
Allegro ma non troppo; this, like that of the third movement, is an afterthought on Beethoven's part: the original tempo indication in the autograph score is an unqualified "allegro". The composer added (in red chalk) "ma non troppo" – i.e. but not too much so. The
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house of Prince
Lobkowitz, another of Beethoven's patrons. The first public performance was at the Burgtheater in Vienna in April 1808. The orchestral parts were published in March 1809, but the full score was not printed until 1821. The manuscript, which was for a time owned by
537:
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163:. Other commentators suggest that the Fourth was essentially complete before Oppersdorff's commission, or that the composer may not yet have felt ready to press on with "the radical and emotionally demanding Fifth", or that the count's evident liking for the more
745:. But their enthusiasm was not shared by the wider musical public. As early as 1831 a British critic noted that the Fourth was the "least frequently brought forward" of the first six, though, in his view "not inferior to any". In 1838 the French impresario
948:
The fee is variously described as "350 florins" and "500 gulden". Beethoven later received a separate fee of 1500 gulden from the publisher the Wiener Kunst- und
Industrie-Comptoir. That sum covered the publishing rights to the symphony together with the
713:
requisite is that there should be no ideas for the hearer to make out, but plenty of transitions from one key to another – on to the new note at once! never mind modulating! – above all things, throw rules to the winds, for they only hamper a genius.
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In a 2012 study of the
Symphony the musicologist Mark Ferraguto casts doubt on whether the phrase can reliably be attributed to Schumann. Ferraguto suggests that it originated in Grove's gloss on, or misremembering of, words actually used by
894:
More recently some conductors of modern symphony or chamber orchestras have recorded the Fourth (along with other
Beethoven symphonies), drawing to a greater or lesser degree on the practices of the specialist groups. Among these are
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for this symphony, and this symphony would be played – often – as an example of that composer's great work. As it is, for
Beethoven, it is a work in search of an audience. It's the least known and least appreciated of the
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in most printed scores, though not in
Beethoven's original manuscript. It is marked "Allegro vivace", and was originally to have been "allegro molto e vivace", but Beethoven deleted the "molto" in the autograph score. His
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Other critics were less hostile, praising the composer's "richness of ideas, bold originality and fullness of power" though finding the Fourth and the works premiered alongside it "rough diamonds". Beethoven's biographer
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called the Fourth sublime and regretted that in Paris it was not merely neglected but denigrated. In 1896 Grove commented that the work had "met with scant notice in some of the most prominent works on Beethoven".
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590:= 100, at which brisk speed a traditional minuet would be impossible. Haydn had earlier wished that "someone would show us how to make a new minuet", and in this symphony, as in the
83:
The symphony is in four movements. It is predominantly genial in tone, and has tended to be overshadowed by the weightier Beethoven symphonies that preceded and followed it – the
594:, Beethoven "forsook the spirit of the minuet of his predecessors, increased its speed, broke through its formal and antiquated mould, and out of a mere dance-tune produced a
145:, and his first intention may have been to complete it in fulfilment of the Count's commission. There are several theories about why, if so, he did not do this. According to
420:, "a conversation between the bassoon, the oboe, and the flute." The development section takes the tonality towards the remote key of B major before returning to the tonic B
398:
The quiet introduction is thirty-eight bars long, and is followed by a fortissimo repetition of the chord of F, leading into the allegro vivace first subject of the main,
1479:
733:, and not that of a human. Nonetheless, by the time Berlioz was writing musical criticism, the Fourth was already less often played than other Beethoven symphonies.
1871:
696:, Beethoven concludes the symphony with the Haydnesque device of playing the main theme at half speed, interrupted by pauses, before a final fortissimo flourish.
1001:
the four movements consist of 691, 247, 442 and 473 bars; the Fourth consists of 498, 104, 397 and 355 – making the Fourth 499 bars shorter than its predecessor.
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988:
the repeat and respectively take 9:57 and 9:55. The total playing time of the symphony in these four recordings is 35:49, 34:10, 29:59, and 31:09 respectively.
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Beethoven had to write to Oppersdorff apologising for this breach of their agreement. It is not known whether Oppersdorff's orchestra ever performed the work.
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The late 1950s and early 1960s saw the first recordings based on recent musicological ideas of authentic early-19th-century performance practice:
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of Beethoven's contemporaries had written this symphony, it would be considered that composer's masterwork, and that composer would be remembered
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later recalled the Fourth as being a great success from the outset, although later scholars have expressed reservations about his reliability.
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Notes to CD sets Parlophone 0724356679559 (2003), Decca 00028948088942 (2015), Parlophone 5099972333457 (2013), and DG 00028947771579 (2007)
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and the Fifth. In a study of the Fourth written in 2012 Mark Ferraguto quotes a 1994 description of the work as "a rich, verdant valley of
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is said to have called the Fourth Symphony "a slender Greek maiden between two Norse giants", and it was an important influence on his
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As usual by this stage of the composer's career, the symphony divided opinion among those who heard early performances. In 1809
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138:, written four years earlier. After this, Oppersdorff offered the composer a substantial sum to write a new symphony for him.
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In general the symphony is sunny and cheerful, with light instrumentation that for some listeners recalls the symphonies of
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As well as the tempi adopted by the performers, the playing time is affected by the decision to play or omit the
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362:, tip-toeing its tenuous weight through ambiguous unrelated keys and so reluctant to settle down into its final B
30:
271:, and has sometimes been overshadowed by its massive predecessor and its fiery successor, the Fifth Symphony.
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by the strings, followed by a long-held chord in the wind, during which the strings move slowly in the minor.
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72:. It was composed in 1806 and premiered in March 1807 at a private concert in Vienna at the town house of
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1480:"Beethoven: Symphony No. 4 & No. 7 – Boston Symphony Orchestra/ Serge Koussevitzky – Pristine Audio"
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134:. The Count maintained a private orchestra, and the composer was honoured with a performance of his
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495:. The rhythmic figure of the opening theme persists throughout, and underpins, the whole movement:
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126:. In September Beethoven and the Prince visited the house of one of the latter's friends, Count
106:
greatly admired the work it has not become as widely known among the music-loving public as the
1501:, AHRC Research Centre for the History and Analysis of Recorded Music. Retrieved 22 August 2019
875:
below modern concert pitch. Among conductors of such versions of the Fourth Symphony have been
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London literary gazette and journal of belles lettres, arts, sciences, etc. for the year 1831
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expressiveness … poised between the two staggering yang peaks of the Third and the Fifth".
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Greenberg, Part 2: Lecture 14: "Symphony No. 4: Consolidation of the New Aesthetic IV"
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recordings, made in the era of 78 rpm discs or mono LPs, include a 1933 set with
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Tovey calls the first episode (or second subject) "a still more subtle melody":
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741:. Mendelssohn loved the Fourth, and programmed it when he was conductor of the
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149:, economic necessity obliged Beethoven to offer the Fifth (together with the
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Beethoven spent the summer of 1806 at the country estate of his patron,
38:
1558:
Beethoven's Fourth Symphony: Reception, Aesthetics, Performance History
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In the 20th century, writers continued to contrast the Fourth with the
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heard the symphony he wrote that the slow movement was the work of the
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1267:
1076:"Early Music Copyrights: Did They Matter for Beethoven and Schumann?"
578:
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last appearance of the rhythmic theme with which the movement began.
42:
Beethoven at about the time of the composition of the Fourth Symphony
29:"Beethoven's 4th" redirects here. For the direct-to-video movie, see
167:
world of the Second Symphony prompted another work in similar vein.
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37:
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LP era of the mid-1950s to the 1970s include those conducted by
192:
1853:
1581:. London: Retail Entertainment Data Publishing and Gramophone.
1139:"Ludwig van Beethoven – Symphony No. 4 in B-flat Major, Op. 60"
358:
described it as a "mysterious introduction which hovers around
1095:"Symphony No. 4 in B-flat major, Op. 60 Ludwig van Beethoven"
1080:
International Review of the Aesthetics and Sociology of Music
1163:"Beethoven, Ludwig van: Sinfonien; orch; B-Dur; op.60, 1806"
915:. Among conductors of more traditional recordings have been
903:(2007). In a survey of all available recordings in 2015 for
622:
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436:
354:
of Beethoven's nine symphonies, it has a slow introduction.
281:
252:. It typically takes between 30 and 35 minutes to perform.
307:
Performed by the Skidmore College Orchestra, courtesy of
1268:"The Minuets of Haydn and Mozart: Goblins or Elephants?"
674:
movement is in a playful style that the composer called
1203:
Leonard Bernstein Discusses Beethoven's Fourth Symphony
1141:, Chicago Symphony Orchestra. Retrieved 25 August 2019
907:
the top recommended version was in this category: the
2010:
141:
Beethoven had been working on what later became his
1165:, Staatsbibliothek, Berlin. Retrieved 26 August 2019
1979:
1911:
1895:
1671:
1097:, New York Philharmonic. Retrieved 25 August 2019
690:After some 340 bars of what Grove describes as a
1802:. Oxford and New York: Oxford University Press.
406:as "gaiety itself, and most original gaiety":
1865:
1761:Text and Act: Essays on Music and Performance
1679:The Penguin Guide to Recorded Classical Music
1036:Kemp, Linsday. Notes to LSO Live set LSO0098D
795:complete cycles of the Beethoven symphonies.
8:
675:
110:, the Fifth and other Beethoven symphonies.
1872:
1858:
1850:
1642:Beethoven's Symphonies: An Artistic Vision
1119:, Kennedy Center. Retrieved 25 August 2019
608:In the Fourth Symphony (and later, in the
76:. The first public performance was at the
1828:International Music Score Library Project
817:, recordings from the 1940s conducted by
1719:. Manchester: University of Manchester.
1598:The Symphonies of Beethoven. Part 2 of 4
1117:"Symphony No. 4 in B-flat major, Op. 60"
708:, never an admirer of Beethoven, wrote:
2017:
1520:"Building a Library Database 1999–2018"
1024:
941:
416:The second subject is, in the words of
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725:When Beethoven's younger contemporary
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1800:Symphonies and Other Orchestral Works
1763:. New York: Oxford University Press.
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1333:Morgenblatt für die gebildeten Stände
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1044:
1042:
94:. Although later composers including
7:
1846:, Indiana University School of Music
1844:William and Gayle Cook Music Library
1673:"Beethoven, Ludwig van – Symphony 4"
1555:Ferraguto, Mark Christopher (2012).
1741:. Oxford: Oxford University Press.
770:San Francisco Conservatory of Music
402:part of the movement, described by
2043:Symphonies by Ludwig van Beethoven
1540:. Vol. 3. London: Macmillan.
634:4th movement:Allegro ma non troppo
25:
1621:Beethoven and His Nine Symphonies
829:, and from the early 1950s under
520:III. Scherzo-trio: Allegro vivace
2020:
1842:of Beethoven's Fourth Symphony,
1738:The Symphony: A Listener's Guide
1522:, BBC. Retrieved 27 August 2019.
1397:"Music: Philharmonic Society",
638:
542:
452:
318:Problems playing this file? See
297:
1600:. Chantilly: Teaching Company.
1564:. Ithaca: Cornell University.
1274:21, no. 3 (1993), pp. 437–444
1082:43, no. 2 (2012), pp. 265–302
764:According to the musicologist
1:
1713:Beethoven's Tempo Indications
931:Notes, references and sources
807:London Philharmonic Orchestra
2053:Compositions in B-flat major
1710:Noorduin, Marten A. (2016).
1705:. New York: Frederick Ungar.
743:Leipzig Gewandhaus Orchestra
538:3rd movement: Allegro vivace
293:1st movement: Allegro vivace
64:60, is the fourth-published
187:The symphony is scored for
2074:
1670:; Paul Czajkowski (2008).
1644:. New York: W. W. Norton.
1596:Greenberg, Robert (2003).
1498:Decca Classical, 1929–2009
275:I. Adagio – Allegro vivace
28:
1836:, all-about-beethoven.com
909:Zurich Tonhalle Orchestra
616:IV. Allegro ma non troppo
327:The first movement is in
80:in Vienna in April 1808.
1834:Beethoven Symphony No. 4
1782:. New York: Dial Press.
1778:Thompson, Oscar (1935).
1538:The Letters of Beethoven
1536:Anderson, Emily (1985).
809:, a 1939 version by the
652:The last movement is in
466:The second movement, in
342:time. Like those of the
179:and can be seen online.
1780:How to Understand Music
1579:RED Classical Catalogue
1276:(subscription required)
1084:(subscription required)
858:Hans Schmidt-Isserstedt
2058:Music with dedications
1840:"Eulenburg full score"
811:BBC Symphony Orchestra
687:
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627:
605:
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512:
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441:
413:
395:
368:major." It begins in B
286:
43:
31:Beethoven's 4th (film)
1510:Taruskin, pp. 227–229
951:Fourth Piano Concerto
901:Sir Charles Mackerras
686:
626:
604:
530:
511:
501:
440:
412:
394:
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128:Franz von Oppersdorff
41:
1887:Ludwig van Beethoven
1423:Ferraguto, pp. 51–52
1388:Ferraguto, pp. 45–46
1361:Ferraguto, pp. 25–26
1128:Steinberg, pp. 19–24
1074:Albinsson, Staffan.
897:Nikolaus Harnoncourt
840:Recordings from the
706:Carl Maria von Weber
448:2nd movement: Adagio
177:Berlin State Library
70:Ludwig van Beethoven
18:Beethoven's 4th
1701:Netl, Paul (1976).
1682:. London: Penguin.
1577:Ford, Gary (2001).
1484:Audiophile Audition
1405:in Ferraguto, p. 12
1352:in Ferraguto, p. 24
955:Razumovsky Quartets
889:John Eliot Gardiner
877:Christopher Hogwood
854:Herbert von Karajan
835:Wilhelm Furtwängler
2000:No. 10 in E♭ major
1733:Steinberg, Michael
1703:Beethoven Handbook
1486:, 24 November 2017
1266:Malloch, William.
827:Sir Thomas Beecham
823:Serge Koussevitzky
747:Louis-Désiré Véron
688:
628:
606:
586:marking is dotted
532:
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442:
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374:minor with a low B
287:
44:
2048:1806 compositions
2008:
2007:
2002:
1912:Middle symphonies
1809:978-0-19-315147-5
1770:978-0-19-509458-9
1757:Taruskin, Richard
1748:978-0-19-506177-2
1689:978-0-1410-3336-5
1664:Edward Greenfield
1651:978-0-393-35385-3
1607:978-1-56585-700-1
1588:978-1-900105-22-4
1547:978-0-333-39833-3
1450:Ford, pp. 127–128
1336:, December 1809,
1239:Ferraguto, p. 157
1137:Huscher, Philip.
1065:Anderson, p. 1426
985:exposition repeat
963:Coriolan Overture
917:Leonard Bernstein
865:Hermann Scherchen
819:Willem Mengelberg
803:Felix Weingartner
731:Archangel Michael
643:
577:major, is headed
556:The movement, in
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457:
356:Leonard Bernstein
302:
173:Felix Mendelssohn
120:Prince Lichnowsky
16:(Redirected from
2065:
2025:
2024:
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2016:
1997:
1987:No. 9 in D minor
1971:No. 8 in F major
1966:No. 7 in A major
1956:No. 6 in F major
1951:No. 5 in C minor
1945:
1944:
1929:
1928:
1919:No. 2 in D major
1903:No. 1 in C major
1896:Early symphonies
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1832:Analysis of the
1826:: Scores at the
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1694:Internet Archive
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161:Count Razumovsky
157:Prince Lobkowitz
74:Prince Lobkowitz
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1692:– via
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913:David Zinman
899:(1992), and
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147:George Grove
140:
130:, in nearby
117:
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26:
1660:March, Ivan
1624:. Novello.
1272:Early Music
923:(2000) and
905:BBC Radio 3
887:(1991) and
867:(1958) and
856:(1963) and
833:(1951) and
831:Georg Solti
677:aufgeknöpft
400:sonata form
360:minor modes
100:Mendelssohn
78:Burgtheater
2037:Categories
1940:No. 4 in B
1924:No. 3 in E
1881:Symphonies
1725:1064358078
1019:References
790:Recordings
430:II. Adagio
386:pianissimo
320:media help
165:Haydnesque
132:Oberglogau
114:Background
1630:491303365
1618:(1903) .
1570:826932734
1011:Schumann.
700:Reception
667:time in B
584:metronome
382:pizzicato
380:, played
197:clarinets
1960:Pastoral
1943:♭
1927:♭
1798:(1990).
1759:(1995).
1735:(1995).
1640:(2017).
961:and the
927:(2006).
919:(1980),
891:(1994).
883:(1988),
879:(1986),
873:semitone
860:(1966).
852:(1959),
848:(1957),
837:(1952).
799:Monaural
670:♭
579:Menuetto
574:♭
486:♭
423:♭
377:♭
371:♭
365:♭
268:(Eroica)
256:Analysis
241:♭
235:♭
230:trumpets
225:♭
219:♭
210:bassoons
204:♭
152:Pastoral
104:Schumann
90:and the
87:(Eroica)
66:symphony
55:♭
1530:Sources
1208:YouTube
997:In the
782:forever
768:of the
610:Seventh
596:Scherzo
352:seventh
309:Musopen
250:strings
246:timpani
124:Silesia
96:Berlioz
2013:Portal
1991:Choral
1934:Eroica
1806:
1788:377014
1786:
1767:
1745:
1723:
1686:
1648:
1628:
1604:
1585:
1568:
1544:
1466:March
1403:quoted
1350:Quoted
1338:Quoted
999:Eroica
957:, the
842:stereo
755:Eroica
481:time (
350:, and
348:second
108:Eroica
1946:major
1930:major
1717:(PDF)
1562:(PDF)
1468:et al
936:Notes
785:nine.
592:First
588:minim
571:and B
493:rondo
489:major
404:Grove
344:first
238:and E
222:and E
214:horns
193:oboes
189:flute
122:, in
92:Fifth
58:major
1804:ISBN
1784:OCLC
1765:ISBN
1743:ISBN
1721:OCLC
1684:ISBN
1646:ISBN
1626:OCLC
1602:ISBN
1583:ISBN
1566:OCLC
1542:ISBN
825:and
384:and
248:and
232:in B
228:, 2
216:in B
212:, 2
208:, 2
195:, 2
191:, 2
159:and
102:and
46:The
1883:by
1206:on
778:any
776:If
759:yin
199:in
68:by
62:Op.
50:in
2039::
1676:.
1666:;
1662:;
1482:,
1455:^
1437:^
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1270:,
1223:^
1146:^
1078:,
1041:^
1027:^
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346:,
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1989:(
1962:)
1958:(
1936:)
1932:(
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1572:.
1550:.
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660:4
564:4
483:E
474:4
335:2
322:.
201:B
52:B
33:.
20:)
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