As UGG season returns and Halloween decorations spawn, people are defrosting their fall playlists. This year, I have decided to add Beethoven's Symphony No. 6 in F major, also known as the Pastoral Symphony, to my playlist, after being lucky enough to hear it performed live by the Rochester Philharmonic Orchestra on Oct. 12, conducted by Music Director Andreas Delfs.
Beethoven’s Pastoral is broken down into five movements that all revolve around the central theme of celebrating harvest. Delfs, known for his dynamic conducting, brought out the theatrical aspects of this iconic symphony, which was filled with pastoral imagery and poignant emotion.
Delfs’ interpretation highlighted a deeper theatricality. The final movement, typically a reflective moment of thanksgiving, was almost prayer-like in its sincerity. This was a unique touch, as Beethoven’s symphonic finales are often triumphant and loud, yet Delfs opted for subtlety and emotional depth — almost a cornucopia of sounds from the countryside, a humble and intimate expression of gratitude rather than bombast.
Notably, Beethoven composed this symphony when he was nearly deaf, and Delfs emphasized the tenderness in Beethoven's recollection of nature. The bird calls of nightingales and cuckoos in the second movement, evoked by flutes and clarinets, were particularly poignant, as if drawn from a memory Beethoven could no longer hear firsthand. These delicate moments, along with muted cellos and vibrant Shepherd’s tunes, created a soundscape of warmth and nostalgia.
Movement I opened melodiously, brimming with the joy of nature, almost like a ballet soundtrack. Delfs gradually built the intensity, taking the audience from the calmness of a fall morning to the exuberance of a harvest celebration. The clarinets stood out, adding a playful charm.
Following a vivacious first movement, Movement II brought about a tonal shift, with deeper, more resonant sounds accompanied by bird calls. The call-and-response between the clarinets and flutes painted a floating, tranquil scene, but there was always a hint of anticipation, as if the serenity might soon be broken.
Movement III accelerated with energy, as if reflecting the jolly green pastures and the bustle of village life. The lightheartedness of the shepherd’s celebration soon turned ominous, however, as the trumpets signaled a dark turn.
The penultimate Movement IV captured the sudden eruption of thunder, with rapid violin runs and a frantic energy that swept through the orchestra — capturing the panic as a storm ravaged the harvest.
The finale was delivered with delicate precision. Beethoven’s choice to end the symphony quietly was unusual for its time, but Delfs embraced this understated approach. He emphasized that, despite the chaos of the storm, the symphony ends with good spirits and hope, which was all the more impactful given Beethoven's personal struggles.
As a delightful encore, Delfs treated the audience to a rousing performance of Rossini’s William Tell Overture, a fitting choice given his comment that the Pastoral’s ending, while beautiful, can sometimes feel underwhelming. This encore injected an extra dose of energy into the night, bringing the concert to a triumphant close.
In the end, Delfs’ interpretation of the Pastoral was not just about the picturesque countryside, but about Beethoven’s profound connection to nature, even in his darkest personal moments. Delfs captured the symphony’s essence, as Beethoven once said, “It comes from my heart to yours.”
Katie Kim is a freshman in the College of Arts and Sciences. She can be reached at sk2673@cornell.edu.
