Composer: L. van Beethoven (1770-1827)
Music: Symphony No.4 Op.60
Performance: Rafael Kubelik (conductor), Orchestre de Paris, 1975/09 Stereo, Herkulessaal, Residenz, München, DG
Analysis, Score Editing, Synch: ScoreMan

0:00 Movement 1: Adagio - Allegro vivace
12:01 Movement 2: Adagio
22:00 Movement 3: Allegro vivace
28:06 Movement 4: Allegro ma non troppo

OVERVIEW

This symphony, composed in 1806, stands somewhat in the shadow of its monumental neighbors—Symphonies No. 3 (“Eroica”) and No. 5. Yet it is a masterpiece of classical balance, wit, and lyrical charm, often admired for its structural clarity and elegance. Robert Schumann once called it “a slender Greek maiden between two Norse giants,” highlighting its more serene and joyful nature compared to the dramatic intensity of the third and fifth symphonies.

HISTORICAL CONTEXT

Beethoven wrote the Fourth Symphony during a particularly productive period in 1806 while staying at the estate of Count Franz von Oppersdorff, a music-loving nobleman who likely commissioned the work. Around the same time, Beethoven was also working on the Fourth Piano Concerto and the Rasumovsky String Quartets. Though the symphony was not as revolutionary as some of his other works, it was well-received at its premiere and remains beloved by many musicians and listeners for its freshness and charm.

INSTRUMENTATION

1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, Timpani, Strings

STRUCTURE & ANALYSIS

I. Adagio – Allegro vivace
The first movement opens with a mysterious, slow Adagio in B-flat minor, which unfolds with surprising harmonic ambiguity. It sets a suspenseful tone, unusual for the Classical style, and is often seen as a foreshadowing of Romantic drama. This introduction then bursts into a bright and lively Allegro vivace, where the primary theme dances with joy. The exposition is clear and sonata-form structured, with Beethoven’s typical rhythmic energy and inventive development techniques. The movement’s character is optimistic and full of vitality.

II. Adagio
This slow movement is one of Beethoven’s most lyrical. Set in E-flat major, it unfolds a long-breathed melody played initially by the first violins over a pulsing rhythm in the accompaniment. The structure loosely follows a sonata form (without development section), but Beethoven’s inventive orchestration and dynamic contrast give it a rich emotional palette. There’s a subtle tension throughout the movement, achieved by harmonic shifts and syncopated rhythms, yet it always resolves with a sense of warmth and serenity.

III. Allegro vivace – Trio: Un poco meno allegro
This is a light-hearted and spirited scherzo, replacing the traditional minuet. It’s in 3/4 time but moves with a bounding rhythmic unpredictability, typical of Beethoven's scherzos. The main theme is full of energy, and the trio provides a contrasting rustic dance quality. Interestingly, Beethoven repeats the trio a second time, making the structure Scherzo–Trio–Scherzo–Trio–Scherzo, which was quite unusual and innovative for the time.

IV. Allegro ma non troppo
The finale is a fast and playful rondo-sonata hybrid, filled with brilliance and wit. The main theme is agile and vibrant, introduced by the strings and passed through the orchestra with dazzling variations. This movement showcases Beethoven’s humor and technical mastery, featuring sudden dynamic shifts and rhythmic surprises. The energy builds up toward an exhilarating conclusion that ties the symphony together with a sense of joyful exuberance.

LEGACY

Though not as frequently performed as some of Beethoven's other symphonies, the Fourth has gained appreciation over time for its clarity, elegance, and inventiveness. Hector Berlioz especially praised its orchestration, and conductors like Felix Mendelssohn and Leonard Bernstein have championed its merits.
Today, Symphony No. 4 is celebrated for its balance between Classical grace and emerging Romantic depth, reflecting a moment in Beethoven’s compositional journey where he bridged the past and future with brilliance and poise.