Beethoven's Sixth Symphony "The Pastoral"

Little compares to Ludwig van Beethoven. One of the strangest opinions I've ever heard of Beethoven is that his music is malevolent. He certainly can convey darker themes with his compositions. The Fifth Symphony, with its "Fate knocking at the door" is far from lighthearted. Indeed, Beethoven can be seen as the first Heavy Metal artist, with the booming epic style of his symphonies. Considered a member of the Classical school along with Mozart and Haydn we can hear echoes of Shubert and a foretaste of the Romantics that is absent mostly, say, in Mozart. To make a grossly inadequate analogy for the student of pop music, Beethoven's dramatic range is like Led Zepellin to Mozart's saccharine early Beatles.

Beethoven's place in Western culture is unparalleled. Consider Stanley Kubrick's dystopian masterpiece, A Clockwork Orange. The anti-hero Alexander De Large could hardly have been portrayed as a Tschaikovsky fanatic. When the Berlin Wall fell, they did not hold a Mahler or a Wagner concert to celebrate. One of the greatest of all human accomplishments is Beethoven's nine symphonies. Especially the last seven, from the "Eroica" (3rd) from which he ripped the dedication to Napoleon when Bonaparte betrayed the Republic and crowned himself Emperor, to the Ninth, the wildly popular "Choral Symphony" based on Schiller's romantic poem, the Ode to Joy.

One of my favorite of all classical pieces is Beethoven's Sixth Symphony, "The Pastoral." Composed, rehearsed and debuted along with the more ominous Fifth, The Sixth, with its buoyant mood, provides a perfect complement. The Pastoral Symphony, which is intentionally meant to evoke "recollections of country life" has been famously adapted to two iconic movies of the Twentieth Century. The first is Walt Disney's animated masterpiece Fantasia. The full five movements, performed by Leopold Stokowski directing the Philadelphia Symphony Orchestra, are illustrated with scenes of Greek and European mythology that comprise one of my earliest and most joyful childhood memories.

The second iconic film usage is in 1973's sci-fi noir, Soylent Green. The fatherly police archivist Sol Roth, (Edward G. Robinson in his last role,) has watched America decay from greatness to mindless rioting and self-delusion. Choosing to die, he patronizes a state-run euthansia clinic. With all the world's wildlife dead, Roth watches images of the countryside and listens to Beethoven's Pastoral as the fatal cocktail takes effect. Of course its use in Soylent Green is darkly ironic. The piece itself conjures no malevolent images, at least nothing worse than a soon-passed summer thunderstorm.

Click here to see part one of the Pastoral in Disney's Fantasia. Click here for Sol's departure in Soylent Green. And here is Herbert von Karajan, renowned for his beethoven Interpretations, directing the Berlin Philharmonic in a performance of the complete symphony:

Works of Joy: The Music of YES

The music of the band Yes stands out among other rock bands, even fellow progressive rock bands, for one quality that most others lack. Though they may share all of the technical virtuosity, grand vision, and the triple-gatefold sleeves of King Crimson, Genesis, ELP, and Pink Floyd – Yes cornered the market on one commodity – joy.

The work of Yes presents a sense of life that can only be described through Ayn Rand's favored term, "sunlit universe." Indeed, many of the lyrics of Jon Anderson, not only in his Yes work, but his solo work as well, mention the glory of the sun. (See his contribution to the film Legend, "Loved By The Sun." As a motivating factor, they use religion in the best sense that one can, one that Rand, an atheist, would approve of. The music of Yes is an anthem to life, and the very name of the group is a reflection of that.


The band is given a lot of flack from more cynical rock fans who dismiss them as little more than "sunshine and rainbows." But that is a superficial reading. Yes is not ignorant to pain and suffering. The music of Yes, which is, admittedly, something of a "utopian" project, addresses the suffering in the world in relation to their songs of elation...theirs is not a Pollyanna solution. And they offer no sanction of the victim. "If the summer changed to winter, yours is no disgrace!" They do not celebrate the dark, they fight through it to make their way towards the sun.

With that said, let's take a look at some of their key "works of joy":

"Sweetness" from YES (1969) From the first album, the lyrics to this song may seem a bit treacly to us today, but it was a perfect sentiment for the summer of love. A nice love song from a strong first album:

She brings the sunshine to a rainy afternoon;
She puts the sweetness in, stirs it with a spoon.

"Time and A Word" (1970) The title song provides the group's first anthem, with the sing-along lines:

There's a time and the time is now and it's right for me,
It's right for me, and the time is now.
There's a word and the word is love and it's right for me,
It's right for me, and the word is love.

"I've Seen All Good People" (1971) The Yes Album song that showed a new dimension through the exuberant guitar work of Steve Howe, and the immortal line:

I've seen all good people turn their heads each day
So satisfied I'm on my way

The song starts off in a pastoral mood and kicks into a rockabilly rock-out that shows the lie that rock music can't be anything but "anger, hurt, and rage."

"And You & I" (1972) When Yes went Close to the Edge, you knew they wouldn't abandon you, as demonstrated by this magnificent musical piece, at once childlike and mature, simple yet orchestral...

Tales from Topographic Oceans (1974) This whole album, a tribute to what religion can represent at its best, is a tour de force, with several highlights of soaring vocal chorals, spiraling guitars, and orchestral keyboards, all culminating in the finale "Nous Sommes Du Soleil." It's a challenging work, not only musically, but spiritually, which is probably why it is so hated among many "rock" fans, but for those who seek something more, nothing less than a journey of joy.

Going for the One (1977) Another album of continuous joy and clarity. From the exhaustingly joyous "Going For the One" to the gracefulness of "Wondrous Stories..." "Turn of the Century" tells the love story of Pygmalion in a hymn to creation itself, while the album culminates in the last great epic of the Jon Anderson-led yes, "Awaken."


"Future Times/Rejoice" (1979) may be considered the poorest of the Yes albums, but Yes at their worst offers much more than most rock bands at their height. The opening track here is a very creative one, encompassing many moods and textures, and a childlike sense of possibility in an era of increasing despair. That a band could still find a way to rejoice in the age of punk was no mean feat...

"It Can Happen" (1983) The band had changed by the time Jon Anderson rejoined the band for 90125, but the spirit lived on, most notably in this track, a song of optimism that was perfect for the "morning in America" ushered in during the Reagan administration.

These songs are the key highlights to the joys of YES, but are by no means exhaustive. If you've never taken them seriously, you may want to give them another try. You have nothing to lose, but a world of joy to gain...

The distinctive album-cover art of Yes is designed by Roger Dean. Here is a live performance of the band's signature cover of Simon and Garfunkel's "America."