Symphony

Mozart’s Symphony No. 39 in E-flat Major: Majestic and Celebratory

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A string of superlatives characterizes the earliest-known audience account of a performance of Mozart’s Symphony No. 39 in E-flat Major. It comes from Iwan Anderwitsch, who attended an all-Mozart memorial concert in Hamburg in March of 1792, a year after the composer’s death: The opening is so majestic that it so surprised even the coldest, most insensitive listener and non-expert, that even if he wanted to chat, it prevented him from being …

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Stravinsky’s Symphony in Three Movements: Rhythmic Delirium

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Igor Stravinsky’s Symphony in Three Movements is a delirious celebration of rhythm. This bright, exuberant music leaves behind the rapturous, primordial jabs of The Rite of Spring to enter the crisp, spare world of neoclassicism. Witty and spirited conversations unfold between instrumental voices. Quirky, irrepressible ostinatos propel the music forward amid unpredictable and swiftly changing rhythmic currents. The outer movements hurtle forward with the hyper, unrelenting energy of an action film, whisking us from one …

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Beethoven’s Third Symphony, “Eroica”: Music of Revolution

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The music of Beethoven, perhaps more than any other composer, embodies the spirit of revolution. It is music filled with ferocious struggle and ultimate transcendence. Heralding the dawn of Romanticism, it signifies the ripping apart of an old order and the emergence of something new. Genteel, aristocratic elegance is replaced by edginess, disruption, and pathos. We hear the music of the court transitioning to the music of the public concert hall. An …

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Sibelius’ Fourth Symphony: Probing Psychological Depths

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Jean Sibelius’ Symphony No. 4 in A minor enters a dark, austere, and occasionally terrifying sonic landscape. At first listen, it is undoubtedly the strangest and most unsettling of Sibelius’ seven symphonies. Its four movements probe frigid, mysterious depths. Yet, upon entering this forbidding territory, we are rewarded with glimpses of rugged beauty and awe-inspiring power. Sibelius called the Fourth “a psychological symphony.” It is the stuff of Expressionism, murky dreams, and …

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Shostakovich’s Fifth Symphony: The Unlikely Triumph of Freedom

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In a public statement, Dmitri Shostakovich reportedly gave the Fifth Symphony the obsequious subtitle, “a Soviet artist’s reply to just criticism.” These are the words of a composer held hostage, both artistically and literally. The year was 1937, and the Fifth Symphony represented Shostakovich’s attempt to placate Stalin and his cultural censors. A year earlier, the composer’s racy and subversive opera, Lady Macbeth of the Mtsensk District was attacked as “muddle instead of music” …

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Beethoven’s Fourth Symphony: The Art of Moderation

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Within Beethoven’s catalogue, Symphony No. 4 in B-flat Major is sometimes overshadowed by its odd-numbered neighbors, the “Eroica” and the Fifth Symphony. Robert Schumann called it “a slender Grecian maiden between two Nordic giants.” It’s a testament to the sense of moderation that seems to characterize Beethoven’s symphonic journey. The odd-numbered symphonies are often ferocious, mighty and revolutionary, while the even-numbered works retreat into a world of sunny intimacy. Both offer equally rich rewards. …

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Bruckner’s Third Symphony: Vindicated by Time

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The premiere of Anton Bruckner’s Symphony No. 3 in D minor stands as one of music history’s most infamous disasters. The performance took place in Vienna on December 16, 1877. It was to have been conducted by Johann Herbeck, an Austrian maestro who had led the posthumous premiere of Schubert’s “Unfinished” Symphony in 1865. But Herbeck died suddenly, and Bruckner—an accomplished organist and choral director but an inexperienced orchestral conductor—decided to take …

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