It is perhaps Beethoven's most cheerful symphony: the Symphony No. 4 in B-flat major. Pianist and conductor Fabian Müller describes Beethoven's 4th Symphony as “a celebration for everyone”. This performance of the Fourth, played by the Trinity Sinfonia under the direction of Fabian Müller, took place at the Beethovenfest Bonn 2024 in the auditorium of the university.
(00:00) Silence
(00:06) I. Adagio - Allegro vivace
(10:50) II. Adagio
(20:29) III. Allegro vivace
(25:51) IV. Allegro ma non troppo
Ludwig van Beethoven (1770-1827) composed his Symphony No. 4 in B-flat major Op. 60 in 1806, in a relatively short amount of time. Its premiere in March of 1807 was held in private and was conducted by the composer himself. The first public performance was given in November of that same year. The fourth Symphony was well received during the composer's lifetime but was later criticized. When held up against Beethoven's monumental Symphonies Nos. 3, 5, and 9, it appears somewhat flat, less pregnant with meaning. But the sunny nature of the Fourth should not obscure the fact that it, too, expresses an unusual theme for music and a formidable one at that: the theme of freedom.
Beethoven had been previously preoccupied with his opera Fidelio and the paradigm of the ‘rescue opera’. An initial version premiered in 1805, with the second incarnation appearing in March of 1806. Beethoven's fourth symphony may be considered a continuation of Fidelio’s theme of liberation. The first movement, for instance, begins with a slow, brooding introduction, upon which the fast, lilting main theme bursts in like a liberating strike. Beethoven also references his sole opera in the movements which follow. There is, however, an additional, programmatic parallel between Beethoven's Fourth and Fidelio: both pieces are about love. In the opera, the theme is played out openly. In Symphony No. 4 it is expressed as a gesture or a mood. Beethoven was experiencing a contented love affair with the Countess Josephine Deym von Stritetz while he was composing his fourth symphony.
Born in Bonn, Fabian Müller has established himself as one of the most remarkable pianists of his generation in recent seasons. He caused a sensation in 2017 at the International ARD Music Competition in Munich, where he won five prizes. Subsequent performances equally enthralled audiences: in 2018, he made his debut at New York’s Carnegie Hall with the Bavarian State Orchestra and at the Elbphilharmonie. Daniel Barenboim has invited him to perform all of Beethoven's piano sonatas in Berlin and he is about to make his debut at London's Wigmore Hall. In search of his own sound, he has also founded his own chamber orchestra, the Trinity Sinfonia.
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