Fourth Symphony in E
flat major "Homage to Beethoven" (2003, revised 2021), a Neo-Classical symphony based on Beethoven's sketches for his
Tenth Symphony, like a speculative "reconstruction". In 1822-1827, the fascinating
Tenth Symphony (Biamonti 838)
was one of Beethovens relatively advanced projects, but still it was at the beginning of its elaboration. The material is not quite
abundant, and many secondary features in the concept sketches could have been
modified, according to his working habits, should he have lived a few years
more. For a true reconstruction, the sketches are too scarce, but they are also
too good to be left aside and very stimulating for a composer, especially for
one whose formation is indebted to Beethoven and who is willing to pay him
homage.
I
have chosen a Neo-Classical idiom, an
approach analogous to Stravinskys
"The
Fairys Kiss" (after Tchaikovsky). For such a work, the thorough study of
fundamental articles on Beethovens projects and sketches (by Barry Cooper,
Sieghard Brandenburg, Robert Winter, Martin Staehelin, Nicholas Cook, and Lewis
Lockwood) was a necessity. Then,
in 2021, the symphony was heavily revised, mainly to make it terser and truer
to the sketches and to Classical practices
For this symphony, all the thematic material is Beethovens,
and also the general outline, as much as the latter could be inferred from his
sketches. In its revised version, I made use only of the sketches clearly
identifiable as intended for the Tenth
Symphony and dating from 1822 and later years (most of the themes of its corresponding
movements), but also of a few other sketches, most of them contemporary or
relatable, unused or intended for other compositions: in the continuation to
the second subject group in the first movement, in the second strains of the Presto and of its Trio, and in the
transitions and the episodes in the Finale. The symphony has 4 movements and is scored for a normal concert orchestra,
including 3 trombones. The revised version makes use also of a contrabassoon,
to support the double basses and suggesting a stronger presence of the winds
like in the "larger scale" concerts in the Classical era (usually with doubled
winds).
Total duration: 34 min. Performing Rights Organization: SOCAN. The mp3 audio clip is a recording of the first movement (Andante-Allegro-Andante).