Two Forgotten Symphonies

Beethoven Symphony No. 4 and No. 8

DECEMBER 6TH, 2021

To close out the year of Beethoven, we will take a look at the two symphonies that are not widely considered from the nine total that Beethoven composed. They aren’t forgotten symphonies. These two symphonies are excellent in their own right. However, numbers four and eight were cast in the shadows due to the symphonies surrounding them.

The fourth was composed between the fifth and third. Beethoven’s Fifth Symphony doesn’t need many words to describe it. It’s been played by symphonies worldwide many times and used frequently in media: commercials, TV, and movies. The Third Symphony was a mammoth work, a first of its kind in terms of works written by Beethoven and symphonies written during that time. Symphony No. 3 revolutionized the symphonic form, making it bigger and grander; the work helped kick off one of Beethoven’s most prolific periods in his writing career.

Now the eight didn’t stand much of a chance either. It was composed between the seventh and the ninth. The Seventh Symphony is iconic with its memorable/beautiful dance-like melodies, with each movement having its sweet earworm. Like the Fifth, the Ninth Symphony can stand on its own; no words are needed to bolster it to the height it already reached on its own. It was Beethoven’s goodbye to the Symphony, though he didn’t know it, and the Symphony set Schiller’s “Ode to Joy,” which Beethoven passionately coveted.

So what happened to the Eighth Symphony and Fourth Symphony? Do they hold up as great works written by the master composers? Are they unfairly considered when held up to the standards of the symphonies that surround them? Anyway, we’ll look at both of these works to see how they compare to Beethoven’s most recognized symphonies and see if they are unfairly treated.

Beethoven Symphony No. 4

It was a beautiful summer-fall of 1806 when Beethoven composed his Fourth Symphony; it may or may not have been lovely. Napoleon was still around, making quite the impression on the battlegrounds of Europe.

The Fourth Symphony isn’t as epic or vigorous as the Fifth and Third. It can almost be seen as subdued or reserved, more reminiscent of a late classical work by Mozart or Haydn. If you played the first five symphonies in random order without telling a listener, many might place this as the third one chronologically composed by Beethoven; it fits in nicely with the progression of Beethoven’s first two symphonies, and the third and fifth are more closely related with their evolution of the genre.

The 1802-1812 period was Beethoven’s most productive years with many great works, beyond the third and fifth. The Fourth was one of many compositions that Beethoven created. With so much good, one of his pieces was bound to draw the short straw; unfortunately, the Fourth Symphony was the piece that took it.

However, this doesn’t mean the work is not well written or beautiful. It’s a mesmerizing piece that thrives on its simplicity. Instead of a grand epic like the third, the fourth presents itself as a majestic piece that shares more with the spirit and atmosphere of a classic fairytale. The fourth is merry and finds itself content with being so.

The Fourth may have just been an overcorrection to the Third Symphony, which was seen as complex in its musical ideas and a composition for the music experts. Beethoven was conceding to the audiences (just a little) to write more direct and clear works. The Fourth was his first foray into this territory, which he would continue to master and evolve as he did with his next Symphony that would cast another shadow over the fourth.

The beginning of Beethoven’s Fourth Symphony is mysterious, slow, and a little foreboding as if you’re trepidatious walking through a dark forest. It’s a traditional beginning to a first movement, an Adagio – Allegro type format, which was utilized by Haydn frequently during his late symphonies.

Before we are introduced to the rich, melodic, and galloping first theme, Beethoven jabs the audience with a buildup of dense, dissonant harmonies, which makes the introduction of the theme by the violins all the sweeter. We are treated to a dramatic contrast within the first five minutes of the works as the mysterious Adagio builds up to a joyful and cheerful Allegro.

Once the Allegro begins, Beethoven masterfully follows the sonata-allegro form that is common for the first movement of a symphony (we’ll cover the form in a later post). The first movement races through the music as if to quickly reveal the beauties that you may not have thought would come in the dark forest we were initially introduced to in the beginning. The themes have a bounce of giddiness that gives you an overwhelming sense of happiness throughout this first movement. If you didn’t think the work would be cheery and bright after hearing the Adagio, this would all change by the end.

The second movement, Adagio, slows things down after the rapid first movement. It is an emotionally expressive movement that takes time with its motion, allowing you to hear every note. The movement has more sections that are less dense; it enables you to listen to soloists expressively playing the theme, such as the clarinet and flute, without much distraction.

The third movement returns to a more brisk pace, with its first theme being less of a gallop but a lively hunting stroll. The movement features a trio section that contrasts heavily from the first theme, bringing the pace down and giving the woodwinds expressive lines. In this movement, we have these two themes that juxtapose each other. We don’t get to explore these themes for long as we move promptly into the fourth movement for the final act.

In the final movement of the Fourth Symphony, we return to a pace similar to that of the first movement. Beethoven pushes the motion forward with a rapid succession of notes, pulsing along as a hummingbird flying through the air. It almost feels like you can’t stop running in this movement; if you stop for any reason, you’ll lose the fun, upbeat spirit portrayed in the movement and the Symphony as a whole. For a brief moment before the end, we get a feeling of what it would be like, but this only lasts for a few short moments as we return to end this Beethoven’s Fourth Symphony with the propelling motion again.

Overall, Beethoven’s Fourth Symphony is a joyous symphony. It may be Beethoven at his happiest. The drama and tension you usually expect from a Beethoven work are not found in this composition. He decides to go for a festive spirit, which may have been an internal break after the epic drama he wrote for his Third Symphony.

Beethoven Symphony No. 8

The Eighth Symphony was composed in a tumultuous time for Beethoven. His hearing was nearly gone, his health continued to deteriorate, he still struggled with love (always trying but never finding it), and the war was still raging with France. Additionally, money was always an issue with Beethoven. Even though he received an annuity from benefactors, it was never enough; what made this worst was one of his benefactors had died in an accident during this time as well.

Though it was a difficult time, Beethoven did write his Eighth and Seventh Symphonies both around the same time. The Eighth was almost destined to be overshadowed by the Seventh Symphony. During the symphonies premier, it was included in a program featuring the Seventh Symphony. The second movement of the seventh was repeated due to the audience’s joy and love for this new Symphony. It also didn’t help that Beethoven’s Wellington’s Victory was on the program as well; this was a trendy piece of the time as it celebrated the end of Napoleon and the victory of the Duke of Wellington.

While it was a mistake to premier the eighth with two other famous Beethoven works of the time, it also didn’t help that Beethoven’s Ninth, heralded as the harbinger of the Romantic Movement, came right after the eighth. If anything, we feel more sympathy for the eighth. The Fourth did have to contend with the Fifth and Third; luckily, it didn’t premiere in a program along with the Third, and the Third and Fifth weren’t initial hits (it took some time for audiences to appreciate these giant works).

The Eighth Symphony never really had a chance, especially with Beethoven calling it “my little Symphony in F.”

Beethoven’s Symphony No. 8 is one of the shortest in length. Not since the first Symphony has Beethoven composed a symphony of such length. It is a lighter work similar to the Fourth, not as intense or dramatic as Beethoven’s more notable symphonies. It’s almost like Beethoven was reminiscing the days of the classical symphonies by Mozart and Haydn. The composition is waltz-like and nearly celebratory in nature; possibly Beethoven was preparing for the celebratory works that would come after the long war against France. He was writing ahead of the game.

We will never know why Beethoven wrote these pair of symphonies the way he did; one being very dramatic, intense, and epic in scale (the third, fifth, and seventh) and the other being lighter, humorous (at times), and brighter. It may have been away for him to cope after writing a work of such intensity. Or it may have been easier to write, and he needed more pieces for the money. Whatever the reason, we can find brilliance in all his works, including the tiny Eighth.

Unlike the Fourth Symphony, which has a mysterious, almost ominous intro, the Eighth Symphony has no introduction. It jumps right into the fun, with the spirit of an elegant dance (one you see in shows like Downtown Abbey and other English dramas where the nobility dance in palaces and mansions). Beethoven crafts the first movement like a master clockmaker, fine-tuning his skills with the sonata form. The first theme and second theme complement each other effectively. The bouncy, exuberant, and powerful introductory theme contrasts the second theme’s more lyrical, flowy, and gentle. And they pair brilliantly, like two puzzle pieces coming together.

However, similar to the Fourth Symphony, the exuberance, and merriment, set in the first movement, continues through the remaining movements, without any real slow down. The second movement keeps the pace and introduces audiences to another bouncy theme with the light touch of a child tip-toeing through a room. It can almost be set to ballet, as Beethoven carries on with the dance theme of the Symphony (setting symphonic music to ballet is not that uncommon either).

Beethoven utilizes a minuet and trio form in the third movement, not a slow movement. The themes are statelier than the second movement with its childlike pitter-patter. The majesty and stately quality reach their peak with the Horns singing the melody, paired with the clarinets in a less dense section (giving the horn and clarinets complete spotlight in the trio).

In the final movement, Beethoven returns to a quicker pace. The first theme runs and skips in the blink of an eye until it reaches a more lyrical theme that doesn’t lose the running feet underneath it. This fourth movement is Beethoven at his most playful, giving us the impression of a child running and playing on a playground then the usual grumpy Beethoven demeanor we’re accustomed to from this composer.

Again, Beethoven opened up and shared his witty and joyful spirit with this Symphony. While the odd Symphonies (three, five, seven, and nine) were intense works that gave us a glimpse of Beethoven’s genius, the even symphonies (four, six, and eight) almost feel like a sigh of relief from the composer. After making it through the complexities of some of his work, Beethoven relished the simplicity of the even-numbered works. And the Eighth is another excellent example of Beethoven’s master craftsmanship in brighter works, with little to no dramatic subject. It was a mental relief for audiences and the composer himself.

Final Thoughts

No matter how forgotten a work (or works) may be from Beethoven, it doesn’t take away from how well-crafted and beautiful that work is. Beethoven never compromised on his style. He may have gone different directions on his themes, which may have been for personal reasons or his presentation to the audience; since he was quite the egotist, it was most likely for his own sake.

The Fourth and Eighth Symphony are brilliant works that are more forgotten not because of their quality just from the incredible creations surrounding them. Each one deserves the attention of any of the other great Beethoven symphonies. After so much gloom in the last few years, a few bright and merry works can help strengthen our spirits.