Beethoven Symphony n. 7| Karajan | Berliner Philharmoniker
Portrait of Beethoven in 1815, by Joseph Willibrord Mähler, two years after the premiere of his 7th Symphony
The Symphony No. 7 in A major, Op. 92, is a symphony in four movements composed by Ludwig van Beethoven between 1811 and 1812, while improving his health in the Bohemian spa town of Teplice. The work is dedicated to Count Moritz von Fries.
At its première, Beethoven was noted as remarking that it was one of his best works. The second movement, Allegretto, was the most popular movement and had to be encored. The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony.[1]
Form
The Seventh Symphony is in four movements:
Performance time lasts approximately 40 minutes. The work as a whole is known for its use of rhythmic devices suggestive of a dance, such as dotted rhythm and repeated rhythmic figures. It is also tonally subtle, making use of the tensions between the key centres of A, C and F. For instance, the first movement is in A major but has repeated episodes in C major and F major. In addition, the second movement is in A minor with episodes in A major, and the third movement, a scherzo, is in F major.
First movement
The first movement starts with a long, expanded introduction marked Poco sostenuto (metronome mark: quarter=69) that is noted for its long ascending scales and a cascading series of applied dominants that facilitates modulations to C major and F major. From the last episode in F major, the movement transitions to Vivace through a series of no fewer than sixty-one repetitions of the note E. The Vivace (dotted quartet=104) is in sonata form, and is dominated by lively dance-like rhythms (such as dotted rhythms), sudden dynamic changes, and abrupt modulations. In particular, the development section opens in C major and contains extensive episodes in F major. The movement finishes with a long coda, which starts similarly as the development section. The coda contains a famous twenty-bar passage consisting of a two-bar motif repeated ten times to the background a four octave deep Pedal point of an E. The critic and composer Carl Maria von Weber is said to have pronounced Beethoven “fit for a madhouse” after hearing this passage.
Second movement
The second movement in A minor has a tempo marking of Allegretto (a little lively), making it slow only in comparison to the other three movements. This movement was encored at the premiere and has remained popular since. The ostinato (repeated rhythmic figure) of a quarter note, two eighth notes and two quarter notes is heard repeatedly. This movement is structured in a double variation form. The movement begins with the main melody played by the violas and cellos. This melody is then played by the second violins while the violas and cellos play a second, but equally important melody, a melody described by George Grove as “a string of beauties hand-in-hand”.[4] Then, the first violins take the first melody while the second violins take the second. This progression culminates with the wind section playing the first melody while the first violin plays the second. After this climax, the music changes from A minor to A major as the clarinets take a calmer melody to the background of light triplets played by the violins. This section ends thirty-seven bars later with a quick descent of the strings on an A minor scale, and the first melody is resumed and elaborated upon in a strict fugato.
Third movement
The third movement is a scherzo in F major and trio in D major. Here, the trio (based on an Austrian pilgrims’ hymn[5]) is played twice rather than once. This expansion of the usual A–B–A structure of ternary form into A–B–A–B–A was quite common in other works of Beethoven of this period, such as his Fourth Symphony and String Quartet Op. 59 No. 2.
Fourth movement
The last movement is in sonata form, the coda of which contains an example, rare in Beethoven’s music, of the dynamic marking ƒƒƒ (called forte fortissimo or fortississimo). Donald Tovey, writing in his Essays in Musical Analysis, commented on this movement’s “Bacchic fury” and many other writers have commented on its whirling dance-energy: the main theme vaguely resembles Beethoven’s arrangement of the Irish folk-song “Save me from the grave and wise”, No. 8 of his Twelve Irish Folk Songs, WoO 154.
Beethoven – Symphony No.7 in A: The 10 best recordings 200 years ago on 8 December 1813, Beethoven’s Symphony No.7 was premiered. Both dramatic and dance-like, the Symphony was put to stirring use in The King’s Speech. Here are 10 very different recordings of this great work. Beethoven – Symphony No.7 in A: The 10 best recordings 200 years ago on 8 December 1813, Beethoven’s Symphony No.7 was premiered. Both dramatic and dance-like, the Symphony was put to stirring use in The King’s Speech. Here are 10 very different recordings of this great work. Read more at http://www.classicfm.com/composers/beethoven/guides/beethoven-7-10-best/#Lxoc1ZqwVUPmrzij.99 Read more at http://www.classicfm.com/composers/beethoven/guides/beethoven-7-10-best/#Lxoc1ZqwVUPmrzij.99 (Access by clicking on the pic!)
Carlos Kleiber conducting the Vienna Philharmonic Orchestra
German-born Austrian conductor Klieber made fewer than 20 recordings. His version of Beethoven’s Seventh is often cited as the outstanding recording of the work – dramatic and urgent.
Read more at http://www.classicfm.com/composers/beethoven/guides/beethoven-7-10-best/#Lxoc1ZqwVUPmrzij.99
