Double Reed 70 cover - British Double Reed Society

going to bring, and for them, each
symphony represented a surprise.
Nowadays we think we have the measure
of the symphonies and usually categorise
the odd numbered as ‘innovative’ and the
even numbered as ‘consolidatory’, but
even that is a relative judgement because
there are innovative and consolidatory
elements in all the symphonies. Where
there is less likely to be disagreement is
with the comment that there is not a
linear development between the first and
last. For Beethoven what constitutes the
essence of the symphony lies at the hub
of a wheel, so to speak, and he examines
it from nine points on the circumference.
Personally I find this quite a helpful
analogy: it does not attach a preeminence
to any particular symphony –
each spoke of the wheel has a part to
play in the strength and integrity of the
wheel – and it encourages you to think of
a symphony not simply as a separate
entity, but as having a part in an overarching
creative endeavour.
To my mind Beethoven uses the opening
bars of the 1st Symphony to make this
very point: the symphony is in C, but the
first chord is the dominant seventh of the
key of F major; the next bar seems about
to correct this ‘mistake’ but takes us in
another direction altogether with an
interrupted cadence; it reaches at last the
dominant key (G major) in bar 4. Only
then does the slow introduction begin
properly. Simply perverse? Or a statement
of intent compressed into the smallest
possible space? You decide; but for me
this is an Einsteinian moment – a sort of
B=mc2, where Mass and Creativity meet
in Beethoven! This is Beethoven’s
shorthand for saying that the voyage of
discovery will visit remote corners; that it
will be unpredictable and sometimes
confrontational: that it will eschew
convention; and that the journey of
10,000 bars starts with the first chord!
And Beethoven keeps his promise. There
may be moments when the writing is not
so inspiring (the last movement of the 7th,
for example, when I feel the dotted
rhythm makes its point but outstays its
welcome), but for the most part we know
we are in the company of a genius.
The extraordinary 3rd, whose first
movement alone is longer than entire
symphonies by Haydn and Mozart, and
its wonderful Trio for three horns; the 4th
and its notorious bassoon solo in the
Finale; the iconic theme in the 5th which
was adopted by the BBC as its call sign in
WWII; the wonderful tone-painting of the
Pastoral (6th) symphony; the rhythmic
complexities of the 7th and the deft
humour in the 8th! The sheer range of
utterance leaves one breathless!
Beethoven also used the symphony to
introduce his own invention – the
Scherzo, transformed from the classical
Minuet: the lightest of soufflés invented
by the most skilful of chefs!
Talking of skills, Beethoven had no
hesitation in demanding virtuoso playing
from his instrumentalists, not least the
bassoon. It is quite remarkable how many
solos and countermelodies he puts the
way of the bassoons, and how often he
draws on the colour of two bassoons
playing in harmony. He frequently
couples 1st clarinet and 1st bassoon, and
some of the trickiest runs demand
absolute co-ordination between the two
instruments. For the most part the notes
lie well under the fingers, but players of
instruments with a dodgy tenor F sharp
may see their past life flash before their
eyes as they reach for the very exposed
notes (including an E sharp!) in the
opening adagio of the 4th symphony, and
the awkward and totally solo, repeated
leap from D flat to G flat in the slow
movement!
The Fourth is by some way the most
difficult of the symphonies for bassoon
and, for the 1st bassoon, everything is
overshadowed by that notorious solo
statement of the theme in the last
movement. By this time the conductor
usually has the bit between his teeth
and is pounding for the finishing post!
Staccato semi-quavers at breakneck speed
are no joke, and just to make things more
awkward Beethoven has the bassoon start
the theme on the off-beat of the bar. I
wonder what the very first bassoonist
ever to play those bars thought? He was
fortunate in the sense that they came as
a surprise and probably overtook him
before he knew what had happened! All
of us successors now know what lies
ahead!
So, Marathon over, we can relax and
reflect on a happy and successful day. I
rather suspect that it may be a while
before a Beethoven symphony features
again on our concert programmes! More
seriously however, apart from benefiting
local causes, has it made a difference to
us as musicians? Not easy to answer.
Thinking about my own reactions I would
be inclined to say ‘Yes’. I was a latecomer
to Beethoven, and had shied away
from his symphonies in favour of his
piano sonatas and quartets. I now feel I
am close to being on first name terms
with his symphonies, and I like that
feeling. I also now know what Beethoven
requires from my instrument and I have
great admiration for the skill with which
he uses it. I feel fortunate to be able to
play well enough to participate in
communicating Beethoven’s ideas.
Finally, we live in troubled times and in a
society increasingly at odds with itself.
My marathon spent with Beethoven
provided a bracing reminder that there is
more to life than current head-lines. If
only we could harness Beethoven’s values
to remedy today’s problems!
[*Levon Parikian (conductor), Clare
Howick (leader and soloist in Beethoven’s
Violin Concerto) and Kingston
Philharmonia]
Double Reed News 85 Winter 2008 35