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Beethovens betydelse för den första satsen i Hugo Alfvéns tredje symfoni

Abstract

The point of departure for this article is Martin Tegen’s 2003 claim that Hugo Alfvén’s (1872-1960) Third Symphony (1905-06) is his most Beethovenian symphony. The first aim is to explore and validate Tegen’s thesis through an analysis of the first movement. The second, related aim is to analyse the so far unnoticed structural parallels between Alfvén’s movement and the first movement of Beethoven’s Eighth Symphony. There are no sources that confirm that Alfvén intentionally modelled his movement on Beethoven’s, but the parallels are so numerous that it is unlikely that they are coincidental. In spite of the many similarities, the differences between the two movements are equally important. Especially, Alfvén avoids the most original features of Beethoven’s movement, like the secondary theme starting in an unexpected key. However, when Alfvén departs from the model of the Eighth Sympony, he still uses Beethovenian procedures. When writing the Third Symphony, Alfvén was an experienced composer who subscribed to the ideal of originality. Despite the modelling, the first movements of Alfvén’s Third Symphony and Beethoven’s Eighth Symphony sound completely different. But why did Alfvén use a model at all? Even though no conclusive answer can be presented, two hypotheses can be offered. First, generally Alfvén was dependent on extra-musical stimulus as a composer. However, when composing the Third Symphony his intention was to create a more abstract, non-programmatic work. Therefore, he may have required a model as a stimulus for his creative imagination. Second, in 1904 Alfvén visited Vienna where he followed the paths of Beethoven to Nussdorf, the place that is supposed to have inspired the Pastoral Symphony, and Alfvén describes his experience in quasi-religious terms. Thus, the modeling in the Third Symphony may be considered a private and
secret hommage to the great and revered master.