...In lieu of me forgetting Friday.

It's been a rather Beethoven-ish time lately.

With the whole theme of Heroicism and fate hovering around many of the posts as of late, not coincidental to the fact it was Easter Weekend. And also with the incredibly long tribute to the "Eroica" Symphony, which I'll admit probably wouldn't have happened had I not written a paper on it previously, the next update for symphonic Friday seems to be obvious.

If not then I shall reveal the mystery. This week we move sequentially to Beethoven's Symphony No.4 in B Flat Major, Op.60. Chronologically speaking within the context of Beethoven's life this was probably a less important work in the fields of orchestral composing but as it is a Beethoven work, it is still ridiculously complex.

The story behind this symphony is in its dedication. A relative of Beethoven's patron, Prince Lichnowsky, Count Franz won Oppersdorff. While visiting Lichnowsky at his summer home, in which Beethoven was residing, Von Oppersdorff met Beethoven and was so wildly amused and intrigued by the Second Symphony of Beethoven in D Major that he offered Beethoven a substantial sum of money to compose a symphony solely dedicated to him.

Therein, the symphony was dedicated to "the Silesian nobleman Count von Oppersdorff." The symphony was completed in 1806.



The first movement opens mysteriously, almost fearful of what lay ahead before courageously exploding into the Allegro Vivace section finishing triumphantly.

The second movement allows us to reflect off the momentous occasion of the first movement whilst silently preparing the audience for the remainder of the symphony.

The Allegro Vivace of the third movement rests in its humorous rhythmic subdivisions and almost anticipation of the orchestra unwinding.

The fourth movement, as with most of Beethoven symphonies is my favorite as a mildly chromatic, witty string section interludes the charismatic brass and a robust coda continued to show Beethoven's maturing compositional style.

The symphony itself probably has the lowest reputation among Beethoven's symphonic works. As is the result with his "even" numbered ones. Robert Schumann once refereed to it as the "slender Greek maiden between two Norse Gods." Upon listening to the symphony it is easy to see that it is far from resembling a "Greek maiden" but the quote finds its reference in that the symphony is sandwiched between the Third (Eroica) and the Fifth symphony, both of which own towering reputations.

It almost seems unfair that such direction is attended towards the Third, Fifth, Seventh and Ninth symphonies. They rank as some of the most profound works Beethoven ever wrote but only tell half the story to his work.

Often overlooked is the Second, the Sixth, "Pastorale," of which contains the most beautiful slow movement out of all the Beethoven symphonies in my opinion. It was my unprecedented favorite until I heard the funeral march in the Eroica. The Eighth Symphony as well has tremendous character. So while examining the Odd numbered symphonies brings many into a great light of the composer that was Beethoven, the shadows aren't truly gone until one recognizes the other four.