E-flat Major is the bold heroic key, majestic, grave and serious. Its color is dark blue, royal blue, or navy.
E-flat major
is a key with E-flat as root and consists of the pitches E♭, F, G, A♭, B♭, C, and D. Its key signature
has three flats. Its relative minor is C minor, and its parallel minor
is E-flat minor (or enharmonically D-sharp minor).
E-flat Major is harder and mightier than C Major, as well as darker. It is not as versatile as D Major, but it can express a variety of different shades. It can be very uncompromising and thundering as in Beethoven’s Eroica Symphony, but when it is softer and chooses to be more lyrical it becomes contemplative and profound. Beethoven's Eroica Symphony, Emperor Concerto and Grand Sonata (Piano Sonata No 4) are all in this key. Together, E-flat Major, C Major, and D Major are the strongest keys on the entire scale.
The first piano concerto by Liszt, which has several martial aspects and ends in a military march, is in E-flat major. Another notable heroic piece in the key of E-flat major is Richard
Strauss's A Hero's Life. Mahler's vast and heroic Eighth Symphony is in
E-flat and his Second Symphony also ends in this key. "Mozart's Eroica",
his 9th piano concerto, is another good example of strong music in this key.
Three of Mozart's completed Horn Concertos and Joseph Haydn's Trumpet Concerto are in E-flat major, and so is Anton Bruckner's Fourth Symphony with its prominent horn theme in the first movement. In his Horn Trio in E-flat, written to commemorate the death of his mother, and therefore except in the last movement a rather mournful work, Brahms opted for the
natural horn because in his opinion it had a suitably somber
and melancholic timbre.
Shostakovich, finally, turned things on their head and used the E-flat major scale to sarcastically evoke military glory in his Symphony No. 9 which ends with a circus march.
Characteristic Music in E-flat major
Ludwig van Beethoven, Symphony No. 3 in E-flat Major Op. 55 "Eroica"
Ludwig van Beethoven's 3rd Symphony in E-flat major, op. 55, nicknamed "Eroica" (Heroic Symphony) was composed between 1802 and 1803. Today, the work is considered revolutionary and is one of the composer's most popular and most frequently performed orchestral works. It is the iconic E-flat Major symphony.
1. Allegro con brio
The first movement of the Eroica begins with a triadic melody prepared by a two-beat introduction. This theme appears again and again at important points in the first movement. In this respect, it is not at all a common introduction as found in the 1st and 2nd symphonies, or in virtually all Haydn symphonies; rather, one is in the thick of things with it from the first note (an indication of the new path that Beethoven choose). It is also very remarkable that the movement is written in odd (3/4) time - normally the first movement of a symphony was in even time. The 3/4 time makes the first movement - despite all dynamics, violence and emphasis on the rhythmic - also dance-like. A model here is possibly Mozart's Symphony K. 543, also in E-flat major, whose first movement is in 3/4 time. The dance-like quality is also in contrast to the expectations of contemporaries regarding a "battle symphony," which the Eroica is not. The first theme is not a main theme, as might be expected, but a motivic idea, since it is composed of triadic breaks.
This theme (to syncopated accompaniment) subsequently appears in other instruments (violins, flutes, clarinets), and at the end of the main movement it returns in interesting instrumentation: wood with brass and low strings, the remaining instruments accompanying. A secondary idea appears in measure 45 and is very brief (one measure long). It is a transition theme in the double dominant. In measure 83, the secondary movement begins in B-flat major, a very urgent theme first performed by the woodwinds.
The development (measure 152) also works with these two themes at the beginning, but the motto-like "tutti beats" soon reappear, though now no longer performed by the full orchestra. The cascading theme also soon appears. From measure 248, the entire orchestra begins to play syncopations and the famous 45 sforzati; we reach another climax, also reminiscent of the 5th Symphony. In measure 284, a new theme appears, which does not reappear in the recapitulation, but only in the coda. Over a secondary chord of B7 (measure 394), the horns begin the main theme in E-flat major (the famous "false" horn entry); the recapitulation begins 2 measures later, now really in E-flat major. The coda begins at measure 561 and works mainly with the theme from the development. The longest first movement of Beethovenian symphonic music ends with the "tutti beats" of the orchestra.
2. Marcia funebre (Adagio assai)
The second movement is a funeral march in C minor and consists of three parts in the relatively slow tempo Adagio. It refers to the custom at funeral tributes in France from 1789 onward. At the very beginning, the violins begin with a plaintive first motive, which they play over rolling basses; in measure 9, the theme is repeated with a consolatory sound in the oboe. The second theme begins in measure 17 and ends in measure 27. Beginning in measure 16, a C minor theme plays the leading role, continuing on and on. Later, in measure 69, the second part begins, again in C major and characterized by a triple fugato. Beginning in measure 80, the second theme is further developed and altered until the coda follows in measure 89, which uses the first motive in a fragmentary fashion, ending it with the rolling basses at the beginning of the movement.
3. Scherzo (Allegro vivace)
The Scherzo as the 3rd movement of the symphony was a great innovation in the time when the public expected a Menuetto. The Scherzo is filled with the light and buoyant tempo Allegro vivace. Everything flows and blends almost seamlessly. At the beginning, the strings open with a fast crotchet movement to be played "sempre pianissimo e staccato," which at first leaves the listener uncertain whether it is a duple or a triple meter. Above this, beginning in measure 7, the oboe introduces the first theme of the movement, which is later taken over by the flute. It continues with the hurried staccato movements of the string section. Until measure 93, everything flows along pianissimo, giving the listener the incessant and running feeling of tension and waiting for a surprise. Now, however, the fortissimo suddenly sets in, and with it the main theme in E-flat major played by the entire orchestra. Beginning in measure 115, elements of the broken E-flat major triad are inserted into the staccato action as a second theme; a motif is tossed back and forth between the woodwinds and strings in second steps. In the trio (from measure 170), the expressive character of the music changes abruptly: a horn quintet plays so-called "horn quints" in the homophonic movement, a conventional mode for this instrument that results from the traditional construction of the horn without valves and is reminiscent of its use in hunting. While the first theme was still waltz-like and dance-like (albeit in the untypical pianissimo and apart from constant, pent-up second changes, especially in the strings), and the second theme more stormy and perhaps "defiantly" determined by the repeated "quarter-half" rhythm, the third theme in the trio (a part of the movement common in the scherzo), on the other hand, seems clearly calmer, songlike, solemn and noble through the use of the horns, the reminder of the (noble) hunt and the quiet, "devotional" echo interjections by the strings and woodwinds. In the subsequent repeat section (beginning in measure 203), the strings and woodwinds again take the lead with a new, almost "staggering" figure that wears away the meter boundaries.
4. Finale (Allegro molto - Poco andante - Presto)
The fourth movement consists primarily of variations, the main theme of which comes from a motif in Beethoven's ballet The Creatures of Prometheus. The Eroica variations can be seen here as a prelude to the fourth movement of the symphony.
The basic tempo is allegro molto; the movement begins with a toccata-like pizzicato passage in the strings that lasts eleven measures. The bass theme is then introduced twice, first in three-part harmony, then in four-part harmony. In measure 76, a melodic counterpoint (treble theme) is added; the theme becomes a fugato beginning in measure 117. Measure 117 introduces a transition to C minor; from here on, the bass theme is used both in the original and mirrored; new ideas continue to flow into the overall form; the form seems free, but still keeps to the ground of the theme. The tempo soon slows to a Poco Andante, in which the theme is distributed among all instruments and spreads out chorale-like. This is followed by an equally surprising change to A-flat major, and the theme is subsequently varied for the sixth time. Finally, at measure 431, the coda begins with sixteenth-note runs in the fast Presto, to land stormily, fanfare-filled and phenomenally in the heroic key of E-flat major. The movement ends magnificently.
Alondra de la Parra conducts the Tonhalle Orchester Zürich
1. Allegro con brio
The first movement of the Eroica begins with a triadic melody prepared by a two-beat introduction. This theme appears again and again at important points in the first movement. In this respect, it is not at all a common introduction as found in the 1st and 2nd symphonies, or in virtually all Haydn symphonies; rather, one is in the thick of things with it from the first note (an indication of the new path that Beethoven choose). It is also very remarkable that the movement is written in odd (3/4) time - normally the first movement of a symphony was in even time. The 3/4 time makes the first movement - despite all dynamics, violence and emphasis on the rhythmic - also dance-like. A model here is possibly Mozart's Symphony K. 543, also in E-flat major, whose first movement is in 3/4 time. The dance-like quality is also in contrast to the expectations of contemporaries regarding a "battle symphony," which the Eroica is not. The first theme is not a main theme, as might be expected, but a motivic idea, since it is composed of triadic breaks.
This theme (to syncopated accompaniment) subsequently appears in other instruments (violins, flutes, clarinets), and at the end of the main movement it returns in interesting instrumentation: wood with brass and low strings, the remaining instruments accompanying. A secondary idea appears in measure 45 and is very brief (one measure long). It is a transition theme in the double dominant. In measure 83, the secondary movement begins in B-flat major, a very urgent theme first performed by the woodwinds.
The development (measure 152) also works with these two themes at the beginning, but the motto-like "tutti beats" soon reappear, though now no longer performed by the full orchestra. The cascading theme also soon appears. From measure 248, the entire orchestra begins to play syncopations and the famous 45 sforzati; we reach another climax, also reminiscent of the 5th Symphony. In measure 284, a new theme appears, which does not reappear in the recapitulation, but only in the coda. Over a secondary chord of B7 (measure 394), the horns begin the main theme in E-flat major (the famous "false" horn entry); the recapitulation begins 2 measures later, now really in E-flat major. The coda begins at measure 561 and works mainly with the theme from the development. The longest first movement of Beethovenian symphonic music ends with the "tutti beats" of the orchestra.
2. Marcia funebre (Adagio assai)
The second movement is a funeral march in C minor and consists of three parts in the relatively slow tempo Adagio. It refers to the custom at funeral tributes in France from 1789 onward. At the very beginning, the violins begin with a plaintive first motive, which they play over rolling basses; in measure 9, the theme is repeated with a consolatory sound in the oboe. The second theme begins in measure 17 and ends in measure 27. Beginning in measure 16, a C minor theme plays the leading role, continuing on and on. Later, in measure 69, the second part begins, again in C major and characterized by a triple fugato. Beginning in measure 80, the second theme is further developed and altered until the coda follows in measure 89, which uses the first motive in a fragmentary fashion, ending it with the rolling basses at the beginning of the movement.
3. Scherzo (Allegro vivace)
The Scherzo as the 3rd movement of the symphony was a great innovation in the time when the public expected a Menuetto. The Scherzo is filled with the light and buoyant tempo Allegro vivace. Everything flows and blends almost seamlessly. At the beginning, the strings open with a fast crotchet movement to be played "sempre pianissimo e staccato," which at first leaves the listener uncertain whether it is a duple or a triple meter. Above this, beginning in measure 7, the oboe introduces the first theme of the movement, which is later taken over by the flute. It continues with the hurried staccato movements of the string section. Until measure 93, everything flows along pianissimo, giving the listener the incessant and running feeling of tension and waiting for a surprise. Now, however, the fortissimo suddenly sets in, and with it the main theme in E-flat major played by the entire orchestra. Beginning in measure 115, elements of the broken E-flat major triad are inserted into the staccato action as a second theme; a motif is tossed back and forth between the woodwinds and strings in second steps. In the trio (from measure 170), the expressive character of the music changes abruptly: a horn quintet plays so-called "horn quints" in the homophonic movement, a conventional mode for this instrument that results from the traditional construction of the horn without valves and is reminiscent of its use in hunting. While the first theme was still waltz-like and dance-like (albeit in the untypical pianissimo and apart from constant, pent-up second changes, especially in the strings), and the second theme more stormy and perhaps "defiantly" determined by the repeated "quarter-half" rhythm, the third theme in the trio (a part of the movement common in the scherzo), on the other hand, seems clearly calmer, songlike, solemn and noble through the use of the horns, the reminder of the (noble) hunt and the quiet, "devotional" echo interjections by the strings and woodwinds. In the subsequent repeat section (beginning in measure 203), the strings and woodwinds again take the lead with a new, almost "staggering" figure that wears away the meter boundaries.
4. Finale (Allegro molto - Poco andante - Presto)
The fourth movement consists primarily of variations, the main theme of which comes from a motif in Beethoven's ballet The Creatures of Prometheus. The Eroica variations can be seen here as a prelude to the fourth movement of the symphony.
The basic tempo is allegro molto; the movement begins with a toccata-like pizzicato passage in the strings that lasts eleven measures. The bass theme is then introduced twice, first in three-part harmony, then in four-part harmony. In measure 76, a melodic counterpoint (treble theme) is added; the theme becomes a fugato beginning in measure 117. Measure 117 introduces a transition to C minor; from here on, the bass theme is used both in the original and mirrored; new ideas continue to flow into the overall form; the form seems free, but still keeps to the ground of the theme. The tempo soon slows to a Poco Andante, in which the theme is distributed among all instruments and spreads out chorale-like. This is followed by an equally surprising change to A-flat major, and the theme is subsequently varied for the sixth time. Finally, at measure 431, the coda begins with sixteenth-note runs in the fast Presto, to land stormily, fanfare-filled and phenomenally in the heroic key of E-flat major. The movement ends magnificently.
Alondra de la Parra conducts the Tonhalle Orchester Zürich
Wolfgang Amadeus Mozart, Piano Concerto No. 9 in E-flat Major K. 271 "Jeunehomme"
The 9th piano concerto is the last and most important of Mozart's Salzburg piano concertos; the next ones were composed in Vienna. The composition was written in 1777 for the piano virtuoso Louise Victoire Noverre née Jenamy, the daughter of Jean-Georges Noverre, a dancer who was a friend of Mozart's. Mozart biographers Théodore de Wyzewa and Georges de Saint-Foix assumed "Jeunehomme" to be the pianist's name, and so the work was often referred to as the "Jeunehomme Concerto" in the 20th century. Jenamy's pianistic abilities must have been great, since the concerto demands a high degree of virtuosity. Structurally, it may have its only precursor in Carl Philipp Emanuel Bach.
1st movement: Allegro
The beginning of the movement sees the unusual use of the solo piano in the midst of the orchestral exposition. The movement's distinctive opening motive consists of an E-flat major chord followed by the ascending E-flat major triad when the fifth degree is sounded three times. The piano enters with an independent contribution in the second measure; the theme is thus introduced by both together before the orchestra fleshes it out. The solo piano returns only after the introduction of the theme with an "entrance," as Mozart calls the preluding of the piano before the actual theme entry. The development is brief and mainly deals with the triadic motif. In the following recapitulation, the distribution of tasks in the main theme is reversed: the piano takes over the triadic motive and the orchestra responds. The solo cadenza is extremely virtuosic and works motivically. In this it already points to the cadenzas of Beethoven. Mozart composed several cadenzas for the concerto.
2nd movement: Andantino
The Andantino is Mozart's first concerto movement in a minor key - C minor. The movement begins with a sighing motive in the strings, then a dialogue develops between the first and second violins. The piano plays its serious melody over the gentle foundation of the strings. The repetition of the main theme ends surprisingly in major. From this develops the more confident but equally lyrical second theme. The development mainly processes the opening ritornello from the beginning of the main theme. It is followed by an extended solo cadenza that is directly motivically integrated into the composition. Two strong chords in minor end the movement.
3rd movement: Rondeau
The concerto's long rondo finale is back in E-flat major. It gives the pianist the opportunity for virtuoso development as in none of the previous concertos. The movement begins directly with the pianist's rondo theme, which acts like a perpetual motion machine throughout the movement. After the theme is presented, the orchestra takes up the idea and expands it. This expansion, in turn, is taken up by the solo piano and formulates the thought together with the orchestra. The B-flat theme of the rondo presents a solo cadenza by the piano that demands a degree of virtuosity previously unknown to Mozart. This is followed by the abbreviated return of the rondo theme. The middle section consists of an inserted minuet in the key of A flat major, rarely used by Mozart. The melody of the piano is accompanied by pizzicati of the strings. After a long slow transitional section, the rondo theme returns in the piano. Immediately the orchestra enters and plays a shortened version of the theme. The movement ends with two chords from the piano and orchestra.
Today, the 9th Piano Concerto remains one of Mozart's most popular, best known and most performed of all his concertos. The musicologist Alfred Einstein called the work "Mozart's Eroica" and the pianist and Mozart interpreter Alfred Brendel even speaks of "one of the greatest wonders of the world" with regard to this piano concerto.
Maria João Pires with the Orchestre Philharmonique de Monte Carlo, conductor Mazuki Yamada
1st movement: Allegro
The beginning of the movement sees the unusual use of the solo piano in the midst of the orchestral exposition. The movement's distinctive opening motive consists of an E-flat major chord followed by the ascending E-flat major triad when the fifth degree is sounded three times. The piano enters with an independent contribution in the second measure; the theme is thus introduced by both together before the orchestra fleshes it out. The solo piano returns only after the introduction of the theme with an "entrance," as Mozart calls the preluding of the piano before the actual theme entry. The development is brief and mainly deals with the triadic motif. In the following recapitulation, the distribution of tasks in the main theme is reversed: the piano takes over the triadic motive and the orchestra responds. The solo cadenza is extremely virtuosic and works motivically. In this it already points to the cadenzas of Beethoven. Mozart composed several cadenzas for the concerto.
2nd movement: Andantino
The Andantino is Mozart's first concerto movement in a minor key - C minor. The movement begins with a sighing motive in the strings, then a dialogue develops between the first and second violins. The piano plays its serious melody over the gentle foundation of the strings. The repetition of the main theme ends surprisingly in major. From this develops the more confident but equally lyrical second theme. The development mainly processes the opening ritornello from the beginning of the main theme. It is followed by an extended solo cadenza that is directly motivically integrated into the composition. Two strong chords in minor end the movement.
3rd movement: Rondeau
The concerto's long rondo finale is back in E-flat major. It gives the pianist the opportunity for virtuoso development as in none of the previous concertos. The movement begins directly with the pianist's rondo theme, which acts like a perpetual motion machine throughout the movement. After the theme is presented, the orchestra takes up the idea and expands it. This expansion, in turn, is taken up by the solo piano and formulates the thought together with the orchestra. The B-flat theme of the rondo presents a solo cadenza by the piano that demands a degree of virtuosity previously unknown to Mozart. This is followed by the abbreviated return of the rondo theme. The middle section consists of an inserted minuet in the key of A flat major, rarely used by Mozart. The melody of the piano is accompanied by pizzicati of the strings. After a long slow transitional section, the rondo theme returns in the piano. Immediately the orchestra enters and plays a shortened version of the theme. The movement ends with two chords from the piano and orchestra.
Today, the 9th Piano Concerto remains one of Mozart's most popular, best known and most performed of all his concertos. The musicologist Alfred Einstein called the work "Mozart's Eroica" and the pianist and Mozart interpreter Alfred Brendel even speaks of "one of the greatest wonders of the world" with regard to this piano concerto.
Maria João Pires with the Orchestre Philharmonique de Monte Carlo, conductor Mazuki Yamada
Franz Liszt, Piano Concerto No. 1
Franz Liszt made the first sketches for the Piano Concerto No. 1 in E-flat major in 1832. Revised and in the third version known today, it was premiered on February 17, 1855 in the "Kleiner Saal" of the Weimar Palace under the direction of Hector Berlioz and the composer himself as soloist.
The entire piece consists of four movements, which are played continuously throughout. It is a truly "heroic" concerto, ending with a triumphal march.
1st movement, Allegro maestoso. E-flat major, 4/4 time. In free sonata form.
The first theme is presented by the whole orchestra, and is immediately followed by a cadenza-like phrase played by the piano. This cadenza-like phrase is indicated as "grandioso.
Second movement Quasi adagio. B major, 12/8 time (or 4/4 time). A slow movement in free form.
This movement consists of two parts: the first part begins with strings with a weak instrument, and the second part begins with trills and an arpeggio cadenza on the piano.
Third movement Allegretto vivace - Allegro animato. E-flat major, 3/4 time. According to the free form, this movement corresponds to a scherzo, and it is said that the scherzo was introduced under the influence of Litolff's "Symphonic Concerto". The triangle appears for the first time in this movement.
Fourth movement Allegro marziale animato. E-flat major, 4/4 time. Free form.
The woodwinds play a gorgeous march-like theme, and the speed is increased while incorporating existing motives.
Yuja Wang and NDR Elbphilharmonie Orchestra conducted by Alan Gilbert
The entire piece consists of four movements, which are played continuously throughout. It is a truly "heroic" concerto, ending with a triumphal march.
1st movement, Allegro maestoso. E-flat major, 4/4 time. In free sonata form.
The first theme is presented by the whole orchestra, and is immediately followed by a cadenza-like phrase played by the piano. This cadenza-like phrase is indicated as "grandioso.
Second movement Quasi adagio. B major, 12/8 time (or 4/4 time). A slow movement in free form.
This movement consists of two parts: the first part begins with strings with a weak instrument, and the second part begins with trills and an arpeggio cadenza on the piano.
Third movement Allegretto vivace - Allegro animato. E-flat major, 3/4 time. According to the free form, this movement corresponds to a scherzo, and it is said that the scherzo was introduced under the influence of Litolff's "Symphonic Concerto". The triangle appears for the first time in this movement.
Fourth movement Allegro marziale animato. E-flat major, 4/4 time. Free form.
The woodwinds play a gorgeous march-like theme, and the speed is increased while incorporating existing motives.
Yuja Wang and NDR Elbphilharmonie Orchestra conducted by Alan Gilbert
Johannes Brahms, Horn Trio in E-flat major, Op. 40
Composed in 1865, the work commemorates the death of Brahms's mother earlier that year. So we have E-flat major here for the horn, as in Mozart's horn concertos, but not really as a warlike key - in fact, this is a rather mournful work (except in the joyful finale). Brahms chose to write the work for natural horn rather than valve horn despite the fact that the valve horn was becoming more common. The timbre of the natural horn is more somber and melancholic than the valve horn and creates a much different mood. Brahms himself believed that the open tones of the natural horn had a fuller quality than those produced by valves. Nineteenth-century listeners associated the sound of the natural horn with nature and the calls of the hunt. Fittingly, Brahms once said that the opening theme of the first movement came to him while he was walking through the woods. Brahms also learned natural horn (as well as piano and cello) as a child, which may be another reason why he chose to write for these instruments following the death of his mother.
The work is divided into four movements:
1. Andante
In the first movement, Brahms emphasizes the simplicity of the opening theme by abandoning the structure of sonata form in flavor of three slow sections offset by two shorter, more rhapsodic segments. Brahms also deviates from classical practice by adopting a slow–fast–slow–fast order of movements, perhaps looking back to the old sonata da chiesa form.
2. Scherzo (Allegro)
The Scherzo represents a lighter side of grief; since the work as a whole simulates the stages of mourning, the Scherzo serves as the reminder of happy memories. As in the first movement, Brahms uses the pitches of the E-flat overtone series to establish the theme. (This theme is found in some variation in every movement, most directly in the Finale.) The playfulness that the tempo suggests offers a break from the slow and somber surrounding movements. The contrasting trio section uses transposed material from a small unpublished piano piece (Albumblatt) which Brahms had written twelve years earlier, in 1853.
3. Adagio mesto
The Adagio mesto opens with four measures of solo piano in the low register of the instrument; this sets up the solemn, contemplative mood of the movement that is emphasized by the entrance of the violin and horn. It has been called one of Brahms's most impassioned and heartfelt slow movements.
4. Allegro con brio
The Finale contains the main theme that is present in the previous three movements, but it is prominently displayed in E-flat major in a lively tempo.
Trio Arkel: Marie Bérard, Violin; Peter Longworth, Piano; Neil Deland, French Horn
The work is divided into four movements:
1. Andante
In the first movement, Brahms emphasizes the simplicity of the opening theme by abandoning the structure of sonata form in flavor of three slow sections offset by two shorter, more rhapsodic segments. Brahms also deviates from classical practice by adopting a slow–fast–slow–fast order of movements, perhaps looking back to the old sonata da chiesa form.
2. Scherzo (Allegro)
The Scherzo represents a lighter side of grief; since the work as a whole simulates the stages of mourning, the Scherzo serves as the reminder of happy memories. As in the first movement, Brahms uses the pitches of the E-flat overtone series to establish the theme. (This theme is found in some variation in every movement, most directly in the Finale.) The playfulness that the tempo suggests offers a break from the slow and somber surrounding movements. The contrasting trio section uses transposed material from a small unpublished piano piece (Albumblatt) which Brahms had written twelve years earlier, in 1853.
3. Adagio mesto
The Adagio mesto opens with four measures of solo piano in the low register of the instrument; this sets up the solemn, contemplative mood of the movement that is emphasized by the entrance of the violin and horn. It has been called one of Brahms's most impassioned and heartfelt slow movements.
4. Allegro con brio
The Finale contains the main theme that is present in the previous three movements, but it is prominently displayed in E-flat major in a lively tempo.
Trio Arkel: Marie Bérard, Violin; Peter Longworth, Piano; Neil Deland, French Horn
Anton Bruckner, Symphony No. 4 "Romantic"
The "Urfassung" (first version) of this symphony was composed between January 2 and November 22, 1874. Four years later, a revision completely reworked the corner movements and the Scherzo was even completely recomposed. The finale received its final form in 1879-1880.
1 Bewegt, nicht zu schnell
Peaceful horn signals (descending fifths) against a murmur of strings, from which the first climax develops via a pastoral tune. A playful melody in the violins as a second theme ("etwas gemächlich, ausdrucksvoll") and a somber motif in the basses. After the elaboration, wonderful moments, such as a (truly Brucknerian) chorale that develops from the first horn motive and counterpoint of the flute against that horn motive.
2 Andante quasi Allegretto
Opens with a weeping march-like melody in the cellos. After signal motives of horns and trumpets and a short chorale-like episode of the strings the subsidiary theme: a long cantilene (a so-called "endless melody") for the violas, accompanied by con sordino, pizzicato playing violins.
3 Scherzo: Bewegt
The "Jagd-Scherzo" (completely newly composed in the 1878 version). A hunting scene is depicted: series of horn fanfares.
4 Finale: bewegt, doch nicht zu schnell
From a pianissimo start, the main theme breaks loose, followed by a calmer subsidiary theme, from which a spun out violin cantilena develops. In the monumental coda the horn signal with which the first movement opened returns.
The fourth, with the seventh, is among the most frequently played of Bruckner's symphonies.
hr-Sinfonieorchester ∙ Eliahu Inbal
1 Bewegt, nicht zu schnell
Peaceful horn signals (descending fifths) against a murmur of strings, from which the first climax develops via a pastoral tune. A playful melody in the violins as a second theme ("etwas gemächlich, ausdrucksvoll") and a somber motif in the basses. After the elaboration, wonderful moments, such as a (truly Brucknerian) chorale that develops from the first horn motive and counterpoint of the flute against that horn motive.
2 Andante quasi Allegretto
Opens with a weeping march-like melody in the cellos. After signal motives of horns and trumpets and a short chorale-like episode of the strings the subsidiary theme: a long cantilene (a so-called "endless melody") for the violas, accompanied by con sordino, pizzicato playing violins.
3 Scherzo: Bewegt
The "Jagd-Scherzo" (completely newly composed in the 1878 version). A hunting scene is depicted: series of horn fanfares.
4 Finale: bewegt, doch nicht zu schnell
From a pianissimo start, the main theme breaks loose, followed by a calmer subsidiary theme, from which a spun out violin cantilena develops. In the monumental coda the horn signal with which the first movement opened returns.
The fourth, with the seventh, is among the most frequently played of Bruckner's symphonies.
hr-Sinfonieorchester ∙ Eliahu Inbal
Dmitri Shostakovich, Symphony No 9
Shostakovich developed plans for a ninth symphony as early as the spring of 1944. It upset the leadership of the Soviet Union in many ways. By using the key of E-flat major, he adopted the required heroic character of a victory symphony, but carried the expectations associated with this key ad absurdum. The means to this end were, on the one hand, the strict form, which had already been dissolved since Beethoven and was extremely unusual in the music of the 20th century. Furthermore, the symphony is extremely short compared to its predecessors. The textbook application of strict form is paired with the use of almost mindless musical devices, seemingly pointless runs and sarcastically exaggerated allegri. Shostakovich escalates these musical devices over the course of the symphony to a circus march at the point where a heroic finale should be.
1st movement (Allegro)
The first movement is in the key of E-flat major, which offers two possibilities for interpretation. On the one hand, E-flat major can be an allusion to Stalin's personality cult after the victory of the Red Army due to the historical bias by Beethoven and references to Napoleon; on the other hand, the first movement misses the key of Beethoven's 9th symphony, D minor, by half a tone, thus dragging the demands placed on the symphony by the Soviet leadership into the absurd. The first movement is emphatically unimaginative. A dialogic structure dominated by strings and flutes is dominant. Characteristic are the resolute leaps of fourths, which anticipate the grotesque heroism of circus music, but also recall the Leningrad Symphony, in which these leaps of fourths are a symbol of violence. Formally, the first movement follows in an extremely orthodox manner the structure of a classical sonata main movement.
2nd movement (Moderato)
The second movement also conforms to the structure of a classical symphony. In this one, however, there is nothing of grotesqueness or absurdity. Rather, it is dominated by threatening and plaintive motives. Two plaintive motives are developed, both characterized by muted woodwinds. These are joined in measure 99 by a third that employs threatening motives often used by Shostakovich. Here it is chromatically rising strings embedded in an elongated crescendo. This third motif can be seen as a sarabande. Shostakovich already used baroque forms in the previous two war symphonies as a means of expressing suffering, grief, violence, and brutality. In general, the second movement is marked by a deep seriousness that contrasts with the first. This approach, often found in Shostakovich, is due to the need to contrast the grief and suffering of ordinary people with the triggering violence of those in power.
3rd movement (Presto)
The scherzo of the third movement again contrasts strongly with the second movement. It is in three parts, two main movements embedding a trio in the middle of the scherzo. The trio is again march-like. Of interest in this march is the initial key of F-sharp minor, which in the Romantic period was considered the key of death. The movement ends in a mood that strongly contradicts the scherzo character, leading into the fourth movement.
4th movement (Largo)
The fourth movement dialectically processes the two aspects of war. A martial fanfare theme opens the movement and is contrasted in measure 10, after a cymbal strike, by a strongly melodic and very intimate theme performed by only one bassoon. The dialogic structure of the only moderately varying fanfare theme and the bassoon melody continues throughout the movement. The different treatment of the dynamics is striking. While the fanfare theme is largely uniformly fortissimo, the bassoon theme exhibits a broader range. The movement ends with a decrescendo reminiscent of a choking.
5th movement (Allegretto - Allegro)
The fifth movement, which follows attacca from the fourth, is introduced with the character-altered bassoon part of the fourth movement. The movement develops three themes and is again in the initial key of E-flat major. A march-like characteristic appears quite early. In the development, all three themes are developed. It serves to intensify and condense the material. The climax is found in the recapitulation, in which the material is increased to a grotesque circus march in the "heroic" key of E-flat major.
WDR Sinfonieorchester | J.-P. Saraste
1st movement (Allegro)
The first movement is in the key of E-flat major, which offers two possibilities for interpretation. On the one hand, E-flat major can be an allusion to Stalin's personality cult after the victory of the Red Army due to the historical bias by Beethoven and references to Napoleon; on the other hand, the first movement misses the key of Beethoven's 9th symphony, D minor, by half a tone, thus dragging the demands placed on the symphony by the Soviet leadership into the absurd. The first movement is emphatically unimaginative. A dialogic structure dominated by strings and flutes is dominant. Characteristic are the resolute leaps of fourths, which anticipate the grotesque heroism of circus music, but also recall the Leningrad Symphony, in which these leaps of fourths are a symbol of violence. Formally, the first movement follows in an extremely orthodox manner the structure of a classical sonata main movement.
2nd movement (Moderato)
The second movement also conforms to the structure of a classical symphony. In this one, however, there is nothing of grotesqueness or absurdity. Rather, it is dominated by threatening and plaintive motives. Two plaintive motives are developed, both characterized by muted woodwinds. These are joined in measure 99 by a third that employs threatening motives often used by Shostakovich. Here it is chromatically rising strings embedded in an elongated crescendo. This third motif can be seen as a sarabande. Shostakovich already used baroque forms in the previous two war symphonies as a means of expressing suffering, grief, violence, and brutality. In general, the second movement is marked by a deep seriousness that contrasts with the first. This approach, often found in Shostakovich, is due to the need to contrast the grief and suffering of ordinary people with the triggering violence of those in power.
3rd movement (Presto)
The scherzo of the third movement again contrasts strongly with the second movement. It is in three parts, two main movements embedding a trio in the middle of the scherzo. The trio is again march-like. Of interest in this march is the initial key of F-sharp minor, which in the Romantic period was considered the key of death. The movement ends in a mood that strongly contradicts the scherzo character, leading into the fourth movement.
4th movement (Largo)
The fourth movement dialectically processes the two aspects of war. A martial fanfare theme opens the movement and is contrasted in measure 10, after a cymbal strike, by a strongly melodic and very intimate theme performed by only one bassoon. The dialogic structure of the only moderately varying fanfare theme and the bassoon melody continues throughout the movement. The different treatment of the dynamics is striking. While the fanfare theme is largely uniformly fortissimo, the bassoon theme exhibits a broader range. The movement ends with a decrescendo reminiscent of a choking.
5th movement (Allegretto - Allegro)
The fifth movement, which follows attacca from the fourth, is introduced with the character-altered bassoon part of the fourth movement. The movement develops three themes and is again in the initial key of E-flat major. A march-like characteristic appears quite early. In the development, all three themes are developed. It serves to intensify and condense the material. The climax is found in the recapitulation, in which the material is increased to a grotesque circus march in the "heroic" key of E-flat major.
WDR Sinfonieorchester | J.-P. Saraste