Beethoven - Symphony No. 4 / Remastered (rf.rc.: Herbert von Karajan, Berliner Philharmoniker)

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Ludwig van Beethoven (1770-1827) Symphony No. 4 in B-flat Major, Op. 60
00:00 I. Adagio, Allegro vivace
09:50 II. Adagio
19:48 III. Allegro vivace
25:31 IV. Allegro ma non troppo

Berliner Philharmoniker
Conductor: Herbert von Karajan
Recorded in 1962, at Berlin
New mastering in 2022 by AB for CMRR
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Symphony No. 4 in B-flat Major, Op. 60 // The symphony was completed in 1806 and dedicated to Count Oppersdorf. The first performance took place in Vienna, in March 1807, at the residence of Prince Lobkowitz. By the time Beethoven had completed his Third Symphony, his intention was to compose the symphony in C minor (the Fifth), the plan for which he had already sketched out. But he had to change his mind. Romain Rolland recounts the creation of the Symphony in E flat Major as follows: "Happiness had come to him. In May 1806, he became engaged to Thérèse of Brunswick. She had loved him for a long time, ever since she took piano lessons with him as a little girl... (...) Beethoven's concern to reconcile, as far as possible, his genius with what was generally known and loved by his predecessors has been rightly noted in this work. But one senses under these games, under the fantasies and even the tenderness of the Symphony in B flat, the formidable force, the capricious mood, the angry jibes."

I. Adagio, Allegro vivace. The introduction is quite unusual: it is longer than that of most of Beethoven's other symphonies, and the mood is contemplative and dreamy. It begins with a "false start" (like the introduction to the last movement of the First Symphony), but the joyous Allegro vivace is suddenly heard.
II. Adagio. This is a very simple movement, a melodious, dreamy composition. It has been said that none of Beethoven's slow movements surpass this one in beauty.
III. Allegro vivace. It bears neither of the two usual indications "minuet" or "scherzo"; it is mostly reminiscent of Haydn's minuet, but the form has been enlarged (with repetition of the trio) and the force and breadth are Beethoven's own.
IV. Allegro ma non troppo. This movement also shows a certain affinity with Haydn, with its infectious good humor and sudden dissonances.

Extract from notes in Herbert von Karajan's manuscript: "Once again, the problem of fidelity to the work arises. But what is the meaning of this expression, which has been abused too often and has caused more errors and misunderstandings in musical interpretation than any other? Where does the line lie between arid, petty pedantry in the execution of the score, on the one hand, and total emotional surrender to the work of art, on the other, a surrender that can only be achieved by imposing the most rigorous discipline in observing every nuance of the work? One thing is certain: notes alone cannot reveal the spirit of a work of art. But to read between the lines, you need both absolute respect for the text and the intuitive ability to feel the most secret movements that notes, on their own, are powerless to express. This raises the complex question of dynamics: what is a forte and what is a piano? Is a piano half a forte, a third or an eighth? What sound power does it represent and, even if this can be measured, what effects does this sound produce in two different rooms? Did Beethoven tell us how many decibels a particular passage of the Ninth should have? And how long should a chord vibrate before it reaches the desired length? All these questions - as we can see - don't get us very far; on the contrary, we need to start from fundamental values, which are themselves independent of any individual judgement."

Beethoven: Missa Solemnis in D Major Op. 123
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