Page:A Dictionary of Music and Musicians vol 2.djvu/683

PASTORAL SYMPHONY. preface to the Handel Society's edition (1850); but Arnold's edition has 'Sinfonia Pastoralle.' Handel's MS. and the Smith transcripts give only 'Pifa.' As to the origin of the music Dr. Rimbault, in his Preface to the edition of the Handel Society professes to give the melody note for note from a MS. collection of ancient hymns written in 1630; but what collection, and where it is to be found, is not told us.

etc., 16 bars in all.

Playford's 'Musick's Handmaid' (1678) has a very similar tune, and in Crotch's specimens this also figures as an example of Italian music—a Siciliana. In these two works the title of 'Parthenia' has been added to it. Doubtless Handel heard the peasants playing such an air about the streets of Rome at Christmas during his visit there, and stored up the. idea for future use. [See .]

At first it consisted of the first part alone, the second being added on a slip of paper wafered into the original MS. Of the second part there are two versions, one which is in use, 10 bars long, the other, 12 bars, with the sequence prolonged, taking the music into F, in which key it winds up before the Da Capo. The second version, which is on the back of the slip of paper just mentioned, Handel has crossed through.

This little Symphony is scored only for strings, with a third violin part which has curiously often been left out. In a piece of music intended to represent the playing of Pifferari, it is singular that Handel should not have given the melody, at least, to his favourite instrument the hautboy, which had in his day a very broad reed, and a tone somewhat reminding one of the Roman peasants who pipe a pastoral in our streets at the present time. [ W. G. C. ]  PASTORAL SYMPHONY, THE. 'Sinfonia Pastorale, No. 6,' is the title of the published score of Beethoven's 6th Symphony, in F, op. 68 (Breitkopf & Härtel, May 1826).

The autograph, in possession of the Baron van Kattendyke, of Arnheim, bears the following inscription in Beethoven's own writing, 'Sinf$ia$ 6ta. Da Luigi van Beethoven. Angenehme heitre Empfindungen welche bey der Ankunft auf dem Lande im Menschen erwa—Allo ma non troppo—Nicht ganz geschwind—N.B. die deutschen Ueberschriften schreiben sie alle in die erste Violini—Sinfonie von Ludwig van Beethoven': or, in English, '6th Symphony, by Luigi van Beethoven. The pleasant, cheerful feelings, which arise in man on arriving in the country—Allo ma non troppo—not too fast—N.B. [this is to the copyist] the German titles are all to be written in the first-violin part—Symphony by Ludwig van Beethoven.'

Besides the 'titles' referred to in this inscription, which are engraved in the 1st violin part, on the back of the title-page, Beethoven has given two indications of his intentions—(1) on the programme of the first performance, Dec. 22, 1808, and (2) on the printed score. We give the three in parallel columns:—

A book of sketches for the first movement, now in the British Museum, is inscribed 'Sinfonie caracteristica. Die Erinnerungen von der Landleben'; with a note to the effect that 'the hearer is to be allowed to find out the situations for himself'—'Man uberlässt dem Zuhörer sich selbst die Situationen auszufinden.'

The work was composed in the neighbourhood of Vienna, in the wooded meadows between Heiligenstadt and Grinzing, in the summer of 1808, at the same time with the Symphony in C minor. The two were each dedicated to the same two persons, Prince Lobkowitz and the Count Rasoumoffsky; their opus-numbers follow one another, and so closely were the two connected that at the first performance—in the Theatre an der Wien, Dec. 22, 1808—their numbers were interchanged, the Pastoral being called 'No. 5' and the C minor 'No. 6.' This confusion lasted as late as 1820, as is shown by the list of performances of the Concerts Spirituels at Vienna, given by Hanslick (Concertwesen in Wien, p. 189).