the fifth the fifth the fifth!

a typical rundown of Beethoven’s symphonies might go something like this: #1 and #2 are the classical-style gems, #3 is the mighty gamechanger eroica, #5 has the über-famous fate come a-knockin’ intro, #6 is the popular pastoral, #7 is the apotheosis of dance, #8 is the cleverly light-hearted darling, and #9 is (of course) the ultimate choral masterpiece.  okay, some of you eagle-eyed readers will have already noticed an omission.  others may suppose that LvB never even composed a fourth symphony.  well, the beaver would be willing to forgive you for this assumption, since poor ol’ #4 is (by far) the least-listened-to, least-written-about, and least-performed symphony uncle Ludwig ever wrote.  it doesn’t have a catchy nickname and it happens to be smooshed inbetweenst two of the most famous symphonies ever created (like, by anyone).  let’s face it: #4 is the jan brady of Beethoven’s symphonic output – an awkward middle child eternally destined to have freckles and wear glasses.  [all i hear all day long at school is how wonderful the fifth is – the fifth the fifth the fifth!]  the good news?  the fourth, regardless of public opinion polls, is absofuckinlutely totes gnar.  seriously now, if the beavs was held at gunpoint and had to pick the most-exuberant, most-raucous, most-flat-out-fun symphony from the immortal nine, it would have to be good ol’ numero cuatro.  i’m telling you all this now so you’ve got plenty of time to grab tix for the band’s concert on 2/4 or 2/6.  considering p-town is a national refuge for folks with facial tats, blue skin, and/or female beards, the schnitzer concert hall just might be the perfect venue for Beethoven’s oddball out.

and to whet yer whistle, i now invite you to *click here and enjoy the fourth’s finale performed by the vienna phil (and conducted by oscar-winner colin firth.  i think.)


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