I was listening to the fifth movement of Beethoven’s Symphony No. 6 (Pastorale) conducted by Simon Rattle:

“Hirtengesänge – Frohe und dankbare Gefühle nach dem Sturm” (Shepherds’ song. Happy and thankful feelings after the storm).

Great rendition.

It made me think of music celebrating the countryside. Earlier writers and composers knew it, knew nature, in a way we no longer do.

Springtime.

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Beethoven was a student of Haydn’s and was influenced by him. Below is a movement from the first part (Spring) of Haydn’s oratorio Die Jahreszeiten (The Seasons).

Nr. 2 – Chor des Landvolks

LANDVOLK

Komm, holder Lenz,
Des Himmels Gabe, komm!
Aus ihrem Todesschlaf
Erwecke die Natur!

WEIBER UND MÄDCHEN

Er nahet sich, der holde Lenz;
Schon fühlen wir den linden Hauch, Bald lebet alles wieder auf.

MÄNNER

Frohlocket ja nicht allzufrüh!
Oft schleicht, in Nebel eingehüllt,
Der Winter wohl zurück und streut Auf Blüt’ und Keim sein starres Gift.

ALLE

Komm, holder Lenz,
Des Himmels Gabe komm!
Auf unsere Fluren senke dich, Komm, holder Lenz, o komm!
Und weile länger nicht!

2. Chorus

Come, gentle Spring, ethereal mildness come!
Out of her wintry grave bid drowsy nature rise.
At last the pleasing Spring is near; the softening air is full of balm.
A boundless song bursts from the groves.
As yet the year is unconfirmed, and Winter oft at eve resumes the breeze,
and bids his driving sleets deform the day and chill the morn.
Come, gentle Spring, ethereal mildness come!
and smiling on our plains descend, while music wakes around.

On January 24 of this year, I saw a performance of Die Jahreszeiten by the Cleveland Orchestra, conducted by Franz Wesler-Möst, at Carnegie Hall. It was an incredible experience for me and a revelation to see the work performed live, with me holding the libretto in my hands and following the words.

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The libretto is based on a long poem by the English poet and playwright James Thomson (1700-1748): The Seasons. With some difficultly, I was able to find and purchase a copy of this book length poem, which I am reading by fits and starts. It’s quite good. It conveys a sense, with Miltonic scope (Thomson’s work has echoes of the cadences of Paradise Lost), of the essence of the countryside in all its various guises and in its plenitude — the rhythms of work and daily life as the seasons change — and how they were experienced by people at the time, which is to say before the Industrial Revolution. Haydn captured this brilliantly. The libretto of Haydn’s oratorio was written by Gottfried van Swieten, who adapted Thomson’s poem for the oratorio. (van Swieten was closely associated with Mozart. He introduced both Mozart and Haydn to Handel.)

COME, gentle Spring, ethereal mildness, come;
And from the bosom of yon dropping cloud,
While music wakes around, veiled in a shower
Of shadowing roses, on our plains descend. …

And see where surly Winter passes off
Far to the north, and calls his ruffian blasts:
His blasts obey, and quit the howling hill,
The shattered forest, and the ravaged vale;
While softer gales succeed, at whose kind touch,
Dissolving snows in livid torrents lost,
The mountains lift their green heads to the sky. …

White through the neighbouring fields the sower stalks
With measured step, and liberal throws the grain
Into the faithful bosom of the ground:
The harrow follows harsh, and shuts the scene.

— James Thomson, The Seasons, “Spring”

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A few days after the concert, I wrote in an email to a relative of mine:

In “The Creation,” you feel you are experiencing nature and the countryside as people did in 1800. You’re right there: a farmer plowing a field, dawn, a loaded cart with produce from the harvest, lovers under a tree (and the male throwing a chestnut when climbing it at the unsuspecting girl he admires as a joke), a thunderstorm, a hunt for hares, etc. Haydn is totally unpretentious, he can be funny, and the music perfectly fits the text.

Haydn is the consummate composer. He never overreaches. The music is unpretentious, yet he is a master of form.

The program notes for the performance note: “fresh feeling of innovation” … “[we] are never overpowered by the orchestrations” … “balances expression with refinement.” All of this is very true.

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Here is a page from Haydn’s score for the appropriate part of Die Jahreszeiten. The score, which I purchased in book form after the concert, is 309 pages long. It kind of shows graphically — for the uninitiated such as myself — what effort must be involved in composing a musical work of this magnitude.

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And, while we are talking about nature (as experienced in the eighteenth and nineteenth centuries), the following is a favorite Keats poem of mine. It came alive for me when I heard it out loud. I wish I could find a good recording to share.

To Autumn

By John Keats

Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss’d cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For summer has o’er-brimm’d their clammy cells.

Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reap’d furrow sound asleep,
Drows’d with the fume of poppies, while thy hook
Spares the next swath and all its twined flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours by hours.

Where are the songs of spring? Ay, Where are they?
Think not of them, thou hast thy music too,—
While barred clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies.

— posted by Roger W. Smith

   June 2018

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Addendum:

I found a great recorded reading of Keats’s poem “To Autumn.” The reading is by Frederick Davidson. I know of no better audiobook reader.

The reading is on a CD and I can’t post it individually. The CD track is about ten minutes long. The poem “To Autumn” starts at a point 3:42 minutes into the track.