The common myth that Beethoven was a somewhat morose and antisocial character is not a wholly accurate portrayal of this iconic and inventive composer. Despite his progressive deafness which made socialising difficult, it is well documented that he enjoyed company, was full of witty remarks and never short of a clever pun. Much of this transcends into his music, having even invented the musical joke (the Scherzo), and is possibly one of the many reasons his music has enjoyed lasting popularity.
In contrast to the fiery and heroic nature of his Third and Fifth Symphonies the Fourth has a loftier, more lyrical, relaxed and spacious quality, whilst retaining Beethoven’s archetypal playful wit, drama and love of the unexpected, but this possibly stems from the circumstances around its origins.
During the summer of 1806, Beethoven travelled with Prince Carl von Lichnowsky, notably one of Beethoven’s most devoted admirers and patrons, to the home of Count Franz von Oppersdorff. Widely documented as maintaining his own private orchestra, Oppersdorff treated Beethoven to a performance of his Second Symphony, and shortly after commissioned him to write a new one. Setting aside his sketches for the already forming Fifth Symphony, Beethoven set to work on a more Haydnesque symphony, akin to that of the Second Symphony of which the Count was so fond. Despite this, the resulting Fourth Symphony brims with athletic vigour, vivacious energy and puckish humour.
The symphony was premiered in March 1807, with the composer leading the private performance at the Vienna home of Prince Franz Joseph von Lobkowitz, and received its first public performance a little over a year later, yet the full score was not printed until 1821, only 6 years before his untimely death!
Programme Note © Amy Campbell