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mrzlem gledališču Theater-an-der-Wien. Štiriurni koncert Beethovnovih<br />
del je bil predolg, da bi lahko uspel, polomijo pa je zagotovila še slaba<br />
izvedba z glasnimi vmesnimi Beethovnovimi opazkami. Šesta simfonija<br />
(tedaj naslovljena kot Peta simfonija, Peta pa kot Šesta) je bila kot prva na<br />
vrsti dobro sprejeta. Sestrski simfoniji sta po značaju različni, obenem<br />
pa predstavljata dva pola istega pogleda na svet. 5. simfonija povzdiguje<br />
individuum in je v nenehnem razvoju, Šesta simfonija pa človeka predstavlja<br />
v odvisnosti od in kot del narave. Harmonija ni cilj, temveč red<br />
stvari; značilna je stalna harmonska prisotnost trozvoka, pogost je tudi<br />
bordun. Harmonska napetost je minimalna, kontrasti so majhni, zvočne<br />
plasti statične in mirno valujoče. Ta mir za kratek čas razbije samo nevihta.<br />
Napovednik koncerta je Pastoralno simfonijo opisal kot »Spomine na<br />
podeželsko življenje«. Skladbo še bolj kot asociacija na glasbeno tradicijo<br />
pastorale določa Beethovnova osebna zavezanost naravi, ki izhaja iz<br />
notranjega občutenja. Sporočilo slavnega stavka – »Bolj občutje kakor<br />
slikanje« – je jasno: Beethoven kljub <strong>program</strong>skim naslovom ne slika<br />
narave in konkretnih prizorov podeželskega življenja (izjemi sta Prizor ob<br />
potoku z glasovi ptic ter posnemanje nevihte), temveč odmeve narave v<br />
človeku. V Šesti simfoniji se na estetski ravni v eno združujejo človekova<br />
občutja ob naravi, ki je bila za Beethovna skoraj religiozen pojem – »göttliche<br />
Natur«, božanska narava.<br />
Violinist and composer Arcangelo Corelli left relatively few works, but<br />
those he did bequeath had an enormous influence. During his lifetime, he<br />
published four collections of works, each containing twelve trio sonatas<br />
and solo violin sonatas, and in 1714 twelve concerti grossi were published<br />
posthumously in Amsterdam. The latter are expanded trio sonatas in which<br />
the concerto grosso is contrasted with small concertino ensembles. They are<br />
written in the form of dance flavoured movements (sonata da camera) or<br />
more serious church sonatas (sonata da chiesa), with a continuo comprising<br />
chordal instrument and a bass instrument.<br />
Concerto grosso No. 8 from opus 6 is possibly identical to the Christmas<br />
concerto that Corelli wrote in 1690 for Cardinal Ottoboni. It is written in the<br />
form of a four-movement church sonata. The serious, chromatically coloured<br />
Grave is marked by long note values and linear voice leading. In the second<br />
movement the individual sections appear in various forms of imitation. The<br />
cantabile and expressive Adagio with its contrasting central section is followed<br />
by the fourth movement, made up of two sections in differing time<br />
signatures. The repeat of the concluding cadenza leads directly to a movement<br />
entitled Pastorale. In the 17 th and 18 th centuries, the pastorale was a<br />
popular form of instrumental music that ‘illustrated’ a rustic atmosphere<br />
with musical means. On publication, Corelli’s movement was added to this<br />
concerto grosso ad libitum by the composer’s pupil Matteo Fornari, earning<br />
the work its title “Per la notte di natale”.<br />
PROGRAM / PROGRAM<br />
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