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 Teplitz. The work is dedicated to Count Moritz von Fries.
When Beethoven began composing the 7th symphony, Napoleon was planning his campaign against Russia. After the 3rd Symphony, and possibly the 5th as well, the 7th Symphony seems to be another of Beethoven's musical confrontations with Napoleon, this time in the context of the European wars of liberation from years of Napoleonic domination.[2]
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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.[11]
The first movement starts with a long, expanded introduction marked Poco sostenuto (metronome mark: = 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 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 of a grinding four octave deep pedal point of an E.
After this, 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.
On the other hand, admiration for the work has not been universal. Friedrich Wieck, who was present during rehearsals, said that the consensus, among musicians and laymen alike, was that Beethoven must have composed the symphony in a drunken state;[17] and the conductor Thomas Beecham commented on the third movement: "What can you do with it? It's like a lot of yaks jumping about."[18]
The rhythmic vitality and simple rustic character cover an unusual choice of key layout for the movements. Rather than using a relative minor key or keys that are related by a fourth or fifth, Beethoven chose to exploit keys separated by a third, particularly between the inner movements. The second movement is in A Minor and the third movement is in F Major, with the trio in D Major. These third-related keys, and the rustic character supplied by woodwinds, are foreshadowed in the slow introduction of the first movement. The key of A Major is the first chord of the symphony, but the opening moves throughout various keys, such as C Major, led by the oboes, and F Major, led by the flutes, until orchestral arrival on the dominant E Major. The home key of A Major is not clear until the fifth measure of the Vivace section (3:33-3:59), with the flutes introducing the principal melody.
Rarely does this rhythmic figure cease, only doing so in order to create moments of great anticipation. These characteristic Beethovenian moments of dramatic, blaring silences give way to major changes in the music, such as signaling structural changes in moving to the development section (8:23-10:32) and the coda (12:51-14:19), where rising chromatic figures suddenly stop before falling into the next section (8:23-8:34, 12:51-12:57). Chromaticism is the third defining feature of the first movement. As with the use of silences, ascending and descending chromatic lines, often in the bass, lead towards and away from the different sections and key areas. Beethoven perfectly bookends the sonata form of the first movement with its introduction and coda, balanced at exactly 62 measures each. The exposition and recapitulation, being 114 and 115 measures respectively, also balance around a lengthier developmental center of 97 measures.
The second movement (Allegretto) of Beethoven's 7th symphony is my favourite movement/piece of classical music. I first heard it roughly a year ago, while I was browsing for music similar to Handel's Sarabande. I was struck by the haunting mood and the emotional depth; it has held first place in my heart ever since, not just in the classical genre, but out of all the music I have listened to.
I've heard music fans describe certain pieces or songs as 'expressing life' or resembling 'life condensed into a single piece of music.' I think it was a Western listener who said the former of Yann Tiersen's 'La valse d'Amelie' and a Korean listener who used the latter expression to describe Hisaishi Joe's aptly-named 'The Carousel of Life'. That's how the second movement of this symphony sounds to me. It captures the essence of life: the effort, the glory, the failures, and above all, what remains in your heart once the experiences that shake you - either for good or bad - have passed.
The Seventh Symphony's premiere concert was performed to benefit the soldiers wounded a few months earlier in the battle of Hanau. It was one of Beethoven's most successful concerts. Viennese audiences, miserable from Napoleon's 1805 and 1809 occupations of Vienna and hopefully awaiting a victory over him, embraced the symphony's energy and beauty. The celebratory symphony, dedicated to both Count Moritz von Fries and Russian Empress Elisabeth Aleksiev, was performed three times in 10 weeks following its premiere. The second movement of the Seventh often is performed separately from the complete symphony, and might have been one of Beethoven's most popular compositions. In spite of the symphony's popularity, Beethoven was not the most performed or most published composer of the time, and he competed for prestige with emerging composer Rossini.
Many of Beethoven's works are titled, yet many of these names came from friends or from those to whom the pieces were dedicated. The Sixth Symphony, however, is one of only two symphonies Beethoven intentionally named. Beethoven's full title was "Pastoral Symphony, or Recollections of Country Life." Although it was composed in the same time period and dedicated to the same people as the Fifth, the works have many differences. The "Pastoral" is known as a "characteristic" symphony and closely resembles "Le musical de la nature" by Rheinish composer Justin Heinrich Knecht. Beethoven publicly declared the piece's "extramusical" purpose: an expression of nature. His affinity for nature and his love for walks through the country outside Vienna were captured in the Sixth, as well as in the notes scribbled on sketches of the symphony.
Beethoven conceived his Eighth Symphony at the same time as his Seventh, focusing on the former during the summer of 1812. The Eighth, part of the third period of his career, continued his trend of retreating to classical styles in even-numbered symphonies. It is light and humorous, contradictory to his circumstances that summer. To escape poor sanitary conditions in Vienna, Beethoven escaped to the Bohemian spas. While there, he wrote his famous letter to the "Immortal Beloved," terminating his relationship with a woman some historians suspect was the wife a good friend. He completed the symphony in Linz that fall while visiting his brother, but Beethoven was in poor health. Critics admired the Eighth for the composers workmanship, but it paled in comparison to the widely popular Seventh. The style of his former mentor Hadyn is evident in this work.
Beethoven grew up knowing and hearing the symphonies of Mozart and Haydn. When he was born, Mozart was busy writing his Salzburg symphonies. When he was a teenager, Mozart was writing his extraordinary late symphonies. Haydn had many years before he honed his symphonic skills. In 1770, Haydn already had 49 symphonies under his belt and was on his way to write 106 (if one includes the Hoboken categorization). In 1795, when Beethoven began to sketch a symphony, Haydn produced the Drumroll and London symphonies: numbers 103 and 104.
This clip from the Carlie Brown Easter Special features the main melody of the first movement of the symphony. It is performed on flutes and other woodwinds instead of the full orchestra as Beethoven wrote it. The flutes lend this version a lighter, Spring-ier sound.
Listen to a full performance of the symphony below, or join the Fort Collins Symphony on August 12th, 2022 for a live performance at Timberline Church in Fort Collins, Colorado. Tickets and more information are available on our Beethoven Festival concert page.
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Symphony No. 8 in F Major, Op. 93 is a symphony in four movements composed by Ludwig van Beethoven in 1812. Beethoven fondly referred to it as "my little Symphony in F", distinguishing it from his Sixth Symphony, a longer work also in F.[1]
The Eighth Symphony is generally light-hearted, though not lightweight, and in many places is cheerfully loud, with many accented notes. Various passages in the symphony are heard by some listeners to be musical jokes.[2] As with various other Beethoven works such as the Opus 27 piano sonatas, the symphony deviates from Classical tradition in making the last movement the weightiest of the four.
This movement is in the home key of F major and is in fast 3/4 time. As with most of Beethoven's first movements of this period, it is written in sonata form, including a fairly substantial coda. As Antony Hopkins has noted,[8] the movement is slightly unusual among Beethoven's works in that it reaches its dramatic climax not during the development section, but at the onset of the recapitulation. To this end, the concluding bars of the development form a huge crescendo, and the return of the opening bars is marked fff (fortississimo), which rarely appears in Beethoven's works, but has precedents in the 6th and 7th Symphonies. This extravagance is made up for however, in the quiet closing measures of the movement. 2351a5e196
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