Suwon Philharmonic Orchestra - Beethoven Symphonies 5 & 2

Beethoven Symphony No.5 in C minor, Op. 67 If the Second Symphony can be perceived as a symbol of renewal in Beethoven's creativity, the Fifth Symphony is a full-fledged departure from traditional ideas and an open embrace of Romantic consciousness. It achieves a perfect balance of musical and formal techniques, while reaching into the depths of emotion, struggle, large-scale narrative, and ultimately victory and triumph of life. It took Beethoven more than four years to complete the Fifth Symphony. It's conception dates to early 1804 yet many other projects interfered with it's progress. Indeed, it was a period of feverish activity and relentless productivity: among the contemporary works were the Fourth and Sixth Symphonies, the Fourth Piano Concerto, the Violin Concerto, Coriolan Overture, Mass in C major, the "Razumovsky" String Quartets, and many more. Regardless of how true Beethoven's assistant Schindler's recollection of the 'Fate' anecdote is, Beethoven's choice of the key of C minor for the symphony is no doubt of special significance. This key held a particular meaning for the composer for he already had published multiple large-scale works in C minor such as the Piano Trio Op.1-No.3, Piano Sonata Op.13 "Pathetique," String Quartet Op.18-No.4, Violin Sonata Op.30-No.2 and the Third Piano Concerto Op.37. All these works are highly dramatic and rather defiant in character. The opening pounding of the Allegro establishes the stormy temper. This gesture becomes the cell of thematic motion in every movement: Beethoven built the whole formal structure based on the opening cell. Even the contrasting second theme, tranquil and peaceful, is accompanied by the lower strings insisting on the opening motive. A poignant oboe cadenza embellishes the recapitulation and the massive powerful coda brings the movement to a definite end. The second movement marked Andante con moto is an unusual continuous set of variations with two contrasting themes. The first theme played by the lower strings is gentle and sweet in nature; the second theme introduced by the winds in the same key A flat is comparatively heroic. A sudden triumphal C major statement looks ahead at the final measures of the fourth movement. Throughout the second movement the two themes are intertwined and varied separately covering the widest range of emotions. It is very possible that Beethoven intended to make the opening arpeggio of the Scherzo resemble the last movement of Mozart's G minor Symphony. After the mysterious introduction the tempestuous character of the first movement makes a return, and the 'fate motive' is presented in the horns. After a hurried muscular fughetta in the trio section, the scherzo returns into a transitional section, where the heartbeat of the timpani, rising in intensity, leads into the exhilarating beginning of Finale. A jubilant, brilliant, and fierce movement, the Finale trumpets victory across the land. Added trombones, piccolo, and contrabassoon, provide a richer, deeper, and grander core to the sound of the orchestra. The fate motive, relegated to it's rhythmic essence, provides stoic support, and the recall of the Scherzo movement in the development section furthers the notion of unity and completeness for the composition. The affirmation of the power of art is nowhere more radiant than in the coda, passionately affirmative of the supremacy of C major. A journey from darkness to light is complete and a new life emerges! Beethoven Symphony No.2 in D major, Op.36 In words of Maynard Solomon, Beethoven's Second Symphony is a work "both retrospective and prospective," standing at a pivotal moment in it's creator's personal life and compositional development. By 1802 Beethoven was already well known as a piano virtuoso and a notable composer, yet he was still to prove himself to be a worthy successor to the symphonic tradition of Haydn and Mozart. Also around this time the composer was facing the most horrifying period in his life facing hearing loss. Realizing the permanent nature of his deafness in October of 1802 Beethoven wrote the so-called "Heiligenstadt Testament" - an expression of utter despair and suicidal thoughts. However, one sentence stands out and provides a backdrop for the composer's entire life: "I would have ended my life, only my art held me back. It seemed to me impossible to leave the world until I had produced all that I felt was within me." Maybe this is why the Second Symphony is filled with such cheerful, optimistic and humorous air. Perhaps it's composition served as a healing motivation to the great composer, a reminiscence of happier times, and an expression of determination. In the first movement, a rather long and dramatic introduction foretells a style to be expanded upon in later symphonies. The development of a simple unison texture into melodic richness, which juxtaposes major and minor modes show a stark departure from the language of the First Symphony. The introduction runs into the Allegro con brio without a pause, the galloping first theme starting off softly with the strings. The fragmentation of this fearless and brisk theme is used and revisited in later movements, giving unity to the whole composition. The entire movement is based on elementary scales and arpeggios, but it's effect is masterfully brilliant. The lengthy yet lively coda with the help of brass and percussion leads to a fanfare-like vivid ending. The Larghetto moves at an easy pace, tenderly and leisurely. The character of motion was indeed intended, as Beethoven added quasi andante to the marking when he arranged this symphony later for piano trio. Beethoven presents a simple song as a theme then varies it with embellishments and diverse instrumentation. Although the development passage is richly harmonized, it never loses Beethoven's light-hearted Ländler-like mood. Regarding the third movement, Beethoven was the first to employ the term Scherzo in this particular symphony eventually leading it to replace the traditional Minuet during the Romantic era. The joking character here is not only wildly playful with constant passing figures among the instruments, but also it has capricious and surprising gestures achieved by sudden dynamic contrasts, abrupt changes of keys, and contrasts so typical of Beethoven. The energy of the third movement is matched and bested by that of the last movement. The explosive and high-spirited finale, Allegro molto was indeed new to the audiences of 1803. It is filled with unpredictable harmonic changes, which would sound quite foreign to an unaccustomed ear. The victorious coda is built on the joke-like rhythmic first theme rooted in repeated dominant-seventh chords. The music's impetuous pace reveals no desperation, no hesitation and no doubt. Music Director & Senior Conductor, Daejin Kim Daejin Kim has successfully consolidated the well-deserved status as one of the leading pianists and pedagogues in Korea. He won in 1985 the first prize in the prestigious 6th Robert Casadesus International Piano Competition (presently, the Cleveland Competition). In 1986, Mr. Kim made his New York debut and received an exceptionally favorable review from the critic for the New York Times who wrote that 'Daejin Kim demonstrated all the accouterments necessary for a successful solo career." Since then, he has performed in recital and with orchestra in major cities throughout the United States, Europe and Asia. In 1994, Mr. Kim family moved to Korea and since then he has become a prime example of that rare individual who is able to successfully combine both the demanding careers of a concert artist and the most productive teacher. His master classes have drawn international recognition and at the same time, he has been able to maintain a full schedule of performances such as a historic one-day performance of the complete Beethoven's Piano Concertos (2001) and the complete cycle of the Mozart Piano Concertos (2002-2004). His recent discogr