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Scan 118
Grove's Dictionary of music and musicians, 1927
73 lines. Read by computer on 5 September 2026. Printed page 82. See the scan on archive.org.
1PASTORAL SYMPHONY. 'Sinfonia Pastorale, No. 6,' is the title of the published score of Beethoven's sixth symphony, in F, op. 68 (Breitkopf & Härtel, May 1826).
3The autograph, in possession of the Baron van Kattendyke, of Arnheim, bears the following inscription in Beethoven's own writing:
5'Sinfia 6 ta. Da Luigi van Beethoven. Angenehme heitere Empfindungen welche bey der Ankunft auf dem Lande im Menschen erwa—All° ma non troppo—Nicht ganz geschwind—N.B. die deutschen Überschriften schreiben sie alle in die erste Violini—Sinfonie von Ludwig van Beethoven';
7or, in English:
9'6th 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.'
11Besides the 'titles' referred to in this inscription, which are engraved in the first 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:
13First Violin Part.
14Pastoral Sinfonie oder Erinnerungen an das Landleben (mehr Ausdruck der Empfindung als Mahlerey).
151. Allegro ma non molto. Erwachen heiterer Empfindungen bey der Ankunft auf dem Lande.
162. Andante con moto. Scene am Bach.
173. Allegro. Lustiges, Zusammenseyn der Landleute.
184. Allegro. Gewitter, Sturm.
195. Allegretto. Hirntengesang. Frohe und dankbare Gefühle nach dem Sturm.
21Pastoral Symphony or Recollections of country life. (More expression of feeling than painting.)
221. Allegro ma non molto. The awakening of cheerful feelings on arriving in the country
232. Andante con moto. Scene at the brook.
243. Allegro. Merry meeting of country folk.
254. Allegro. Thunderstorm, tempest.
265. Allegretto. Song of the shepherds. Glad and thankful feelings after the storm.
28Programme of Concert, Dec. 22, 1808.
29Pastoral Symphonie (No. 5) mehr Ausdruck der Empfindung als Malerey.
301stes Stück. Angenehme Empfindungen, welche bey der Ankunft auf dem Lande im Menschen erwachen.
312tes Stück. Scene am Bach.
323tes Stück. Lustiges Beysammenseyn der Landleute; fällt ein
334tes Stück. Donner und Sturm; in welches einfällt
345tes Stück. Wohlthätige, mit Dank an die Gottheit verbundene Gefühle nach dem Sturm.
36Pastoral Symphony (No. 5) more expression of feeling than painting.
371st piece. The pleasant feelings aroused in the heart on arriving in the country.
382nd piece. Scene at the brook.
393rd piece. Jovial assemblage of country folk, interrupted by
404th piece. Thunderstorm, interrupted by
415th piece. Pleasurable feelings after the storm, mixed with gratitude to God.
43Printed Score.
44Sinfonia Pastorale, No. 6.
45Erwachen heiterer Empfindungen bey der Ankunft auf dem Lande. All° ma non troppo.
46Scene am Bach. Andante molto moto.
47Lustiges Zusammenseyn der Landleute. Allegro.
48Gewitter. Sturm. Allegro.
49Hirntengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto.
51Sinfonia Pastorale, No. 6.
52The awakening of cheerful feelings on arriving in the country. All° ma non troppo.
53Scene at the brook. Andante molto moto.
54Merry meeting of country folk. Allegro.
55Thunderstorm, tempest. Allegro.
56Song of the shepherds. Glad and thankful feelings after the storm. Allegretto.
58A book of sketches for the first movement, now in the British Museum, is inscribed 'Sinfonie caracteristica. Die Erinnerungen von dem Landleben'; with a note to the effect that 'the hearer is to be allowed to find out the situations for himself'—'Man überlässt dem Zuhörer sich selbst die Situationen auszufinden.'
60The 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 Rasoumowsky; their opus numbers follow one another, and so closely were the two connected that at the first performance—in the Theater 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 Concert Spirituel at Vienna, given by Hanslick (Concertwesen in Wien, p. 189).
62The titles of the movements were curiously anticipated by KNECHT (q.v.), more than twenty years earlier, in a 'Portrait musical de la Nature.'
64The symphony was first played in London at a concert given for the benefit of Mrs. Vaughan, at Hanover Square Rooms, May 27, 1811. On Apr. 14, 1817, it first appears in the programmes of the Philharmonic Society.1 On three occasions attempts were made to turn the symphony into a stage-piece. At Bochsa's benefit at the Haymarket (June 22, 1829); at Düsseldorf, in Feb. 1863, by the Artists' Club, 'Der Malkasten'; and at Drury Lane, Jan. 30, 1864, it was given with scenery, and in the two English performances, with action also.
66G.
68PATerson & SONS, one of the most important among the Scottish music-publishers. The business was started in 1819 by Robert Paterson, Mortimer & Co., at 18 North Bridge, Edinburgh, who in the following year removed to No. 51 in the same street. In 1826 the firm went to 43 Hanover Street, when by the advent of Peter Walker Roy it became Paterson & Roy. Under this last name it existed until the death of Roy in 1850, when Paterson's sons took share in the business, and the house traded under the name Paterson & Sons. Before 1837 the firm had removed to 27 George Street; later a dépôt was opened in Castle Street, Berners Street, London. Branches were at different times started in other parts of Scotland, at Glasgow, 1857; Perth, 1864; Ayr, 1868; Dundee, 1882; Dumfries, 1886; Paisley, 1887; Kilmarnock, 1892, and later, at Aberdeen, Oban, and other places.
70The original Robert Paterson died in 1859, when his second son, Robert Roy Paterson (b. 1830; d. Dec. 3, 1903), became senior partner. The latter was a skilful performer on several instruments and did much to advance
721 But see Beethoven and his Nine Symphonies, by Sir G. Grove, p. 225, note.
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