Beethoven- Symphony No. 4 in B-flat Major, op. 60 Part IV
We conclude our discussion of Beethoven’s Symphony No. 4 in B-flat Major with the fourth movement.
- Adagio- Allegro vivace
- Adagio
- Allegro vivace
- Allegro ma non troppo
IV. Allegro ma non troppo
The opening theme consists of two measures of fast sixteenth notes followed by three loud tuttis from the orchestra, and it’s heard immediately. The hushed chitter-chatter in the strings finally rises to a slower, more recognizable melody (0:10), repeated with variation by the flute, and launched into a transition by three loud orchestral strokes. Theme two (0:31) begins in the oboe, played over triplets in the clarinet which seem to portray running water as it does in the 6th Symphony (as it does elsewhere in the repertoire). A syncopated contrasting melody is heard in the strings. Quiet winds then converse (argue?) with loud strings, before more tutti orchestra blasts (0:56) alternate with violins and flutes that seem almost bird-like. A brief cadence taken from theme two alternates between the high and low strings over a busy, almost rumbling bass line playing the sixteenth note motive. The entire exposition is repeated.
The development begins at 2:52 with quiet theme one sixteenth note motives that gradually crescendo, adding a violin tremolo before dropping in dynamic once again to play the recognizable melody from the exposition, but this also crescendos and results in sixteenth note motives in alternating string sections accompanied by slower passages in the winds. The strings in this section (3:18) are almost jabbing at you- playing softly and accenting the last note in the sequence. Sustained winds over the chattering violins grow into blaring brass and rumbling basses. A magnificent and difficult bassoon solo comes out of nowhere (4:04) and almost sounds like the bassoonist miscounted their rests, as it is followed almost immediately by the rest of the orchestra playing the same thing. This takes us into the recapitulation (4:09).
Theme one is restated immediately but is shorter than the first time. Theme two is then played, followed by the winds arguing with loud tutti passages. Again the bird-like violins and flute return, still in stark contrast to the dark orchestra chords trying to ward them away. The recapitulation is relatively short and ends at 5:24.
Quickly quieting down to begin the coda, the strings begin a slow upward descent based on the sixteenth note motive before the orchestra bangs out their chords again. The bassoon and violin quietly play theme one before the orchestra plays a series of 3 tutti motives which climaxes and then quiets. Chattering low strings can be heard underneath the “recognizable” melody from theme one before they switch to a dialogue with quiet responses from the violins. Two tuttis with pauses in between are followed by a much slower rendition of theme one in the violins (perhaps they’re tired?) followed by the same from the bassoon and strings. It becomes apparent that this last respite is just a deep breath, as the movement ends on one final flourish from the orchestra.
Beethoven’s Symphony No. 4 is quirky but remains a masterpiece. Nobody but Beethoven can get away with taking such simple ideas and turning them into something great. From the heartfelt serenades in the second movement to the comical bassoon solo in the last, the Symphony deserves to be held as one of Beethoven’s finest achievements.
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If you are interested in listening to a recording, I recommend Leonard Bernstein’s 2004 release with the Vienna Philharmonic on Deutsche Grammophone. You can buy this recording from Amazon by clicking on the image below. Alternatively, you can purchase this recording from the iTunes Music Store often at a reduced price by following the link below.
This article is part of the Music 365 series. To find out more about this project, please visit the project homepage.
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