Classical Music | Orchestral Music

Recorded on 07/09/2000, uploaded on 05/21/2009

Musician's or Publisher's Notes

Symphony No. 1 in C major, op. 21         Ludwig van Beethoven

                The very thought of Beethoven's first symphony, the very sounds of its opening bars, brings to mind that entire immortal series. "The Nine Symphonies." It requires that nothing else be said and we know instantly what is before us-a set of works that stand as the greatest example of symphonic form-eclipsing everything before them, and to which no other works have yet achieved so glorious a title. These nine symphonies encompass nearly the entire life of one of the greatest artists the world has seen-the first composed around 1795 while Beethoven was in his twenties, and the last completed in 1824, only three years before his death. In these works, we see the ever-developing artist-from his formative years, through the towering heights of the middle symphonies, and finally the mysterious, introspective vision of the last.

                The Symphony No. 1 in C major was composed around the year 1795. During this time, Beethoven was still under the tutelage of his counterpoint teacher Johann Georg Albrechtsberger. Sketches for the last movement are found among counterpoint exercises and the passages of imitative counterpoint that occur throughout the symphony, no doubt, would have made Albrechtsberger proud of his student. However, it would be five years because the symphony would be performed for the public on April 2^nd, 1800. Sir George Grove points out that, by the time of this performance, Beethoven was thirty years old and was only then premiering his first completed symphony. By the same age, Mozart had already completed the whole of his symphonic output with exception of his last three. Yet, how much more weighty and profound the symphonies of Beethoven are to those of Mozart's!

                It is to the tradition of Mozart and Haydn, however that this symphony and its successor are indebted to. In many points of style, orchestration, and composition, the Symphony No. 1 bears much resemblance to the symphonies of Beethoven's great predecessors, although not without his own personal touch.

                The symphony begins, in the Classical tradition, with a slow introduction before the first movement proper. It was this introduction, though, that is one of the most novel sections of the piece and responsible for ruffling the feathers of the established critics of the day. It was not so much the fact that the symphony begins with a discord, but that it begins with a discord in the wrong key. The opening bar is clearly in the key of F major and by the third bar the music is distinctly in the key of G major. Yet, the work's title professes to be a symphony in C major!  Yet, Beethoven was undeterred by this criticism and repeated the same process in later compositions, particularly with the severely harsh dissonances that begin the finale of the Ninth Symphony. The first movement proper, beginning at the Allegro con brio, proceeds according to the usual sonata-allegro plan.

                The second movement is one of Beethoven's most known Adagio movements. At times it displays the strict contrapuntal emphasis of Albrechtsberger's teaching, yet the entire movement has a sublime grace about it. It is also necessary to mention the rather original passage in which the timpanist has a solo part.

                The third movement is also another of the strikingly original portions of the symphony. Though labeled a Minuet, it is far removed from the minuets of Haydn and Mozart. Instead, it is more forward-looking to the scherzos of the later symphonies. Furthermore, the daring modulations of the "minuet" place it far out of the reach of the Classical era minuet.

                The finale quite exceptionally begins with a slow introduction of its own, which has often been referred to as a sort of "musical joke." In fact, the early 19^th century conductor, Türk, omitted the passage when his orchestra performed it because he thought for sure it would cause the audience to burst out in laughter. Indeed the halting ascending scale, which after several attempts finally makes its way to the octave, possesses a humorous character. This movement, as lively as it is, is perhaps that part of the symphony which most looks back to the time of Haydn. Its relentless energy never lets up from beginning to end.

                Thus, the colossal Nine Symphonies begin and what a beginning!

Joseph DuBose

Courtesy of The International Festival-Institute at Round Top

Located in historic Round Top, Texas, The James Dick Foundation for the Performing Arts and its sole project, The International Festival-Institute at Round Top, were founded in 1971 by world-renowned concert pianist James Dick. Begun with a handful of gifted young pianists in rented space on the town square, the project is now an internationally acclaimed European-styled music institute for aspiring young musicians and distinguished faculty. Over a thirty eight year period and with the help of its patrons and friends, The James Dick Foundation for the Performing Arts has developed superb year round education and performance programs.