Key: A Major
Dedication: Moritz Reichsgraf von Fries
Orch: 2 Fl., 2 Ob., 2 Cl., 2 Bsn. / 2 Hrn., 2 Tpt. / Timp. / Str.
Duration: 38 Min (approx).
Composed: 1811-12
Autograph: Biblioteka Jagiellónska, Cracow
Background details:
Although Beethoven had considered the production of a seventh symphony as early as 1808, possibly intended for Count Oppersdorff, it was not until 1811 that Beethoven finally started sketching such a piece. By then he had in mind not one but a set of three symphonies. The sketches reveal that the 7th and 8th Symphonies were realised side by side, although the 7th was finished first with the main body of writing being undertaken and completed in the spring of 1812. The sketches of 1811 also reveal some preliminary attempts at what was to become the choral section of the 9th Symphony.
Beethoven had hoped that the 7th Symphony could be performed at the time of the Pentecost in 1812, but the project fell through and it was not until the 8th of December 1813, that the piece was first heard at a charity concert in aid of Austrian and Bavarian troops wounded in the battle with Napoleon's army at Hanau. The concert took place in the University Hall in Vienna and also included Beethoven's 'Battle of Vitoria' Op.91, better known as the 'Battle Symphony'. The timing of the concert was perfect, such jubilant and victorious music at a time of public relief when Napoleon's army was all but smashed. By all accounts it was a stupendous success and the whole concert was repeated four days later. A correspondent from the Allgemeine Musikalische Zeitung attended both and wrote "the applause rose to the point of ecstasy." Beethoven had reached the zenith of his popularity.
Musical outline:
In one respect the 7th Symphony could be a summation of Beethoven's symphonic experience during his so-called middle period: it included the daring rhetorical style of the 3rd and 5th, yet also includes structural and lyrical aspects developed from the 4th and 6th. A strong sense of rhythmic motion pervades the whole work, though the description of the Symphony by Wagner as 'the apotheosis of the dance' is perhaps too narrow.
First Movement
Like the 4th Symphony, the piece opens with a slow introductory section, though that of the present work is a more commanding 'Poco Sostenuto' compared to the 'Adagio' of the 4th. This rather vague marking has led to a great divergence in interpretation regarding the tempo of the opening. However if one pays attention to the motive strength of the semi quaver scales that appear alongside the opening minims, one should deduce that the 'sostenuto' should not be overdone. The opening is linked to the main sonata form 'Vivace' by a series of solitary exchanges between the wind and the strings that almost brings the music to a complete halt, until the dotted rhythm on the 'Vivace' is gently generated. This rhythm is then maintained vigorously throughout the remainder this barnstorming movement of energy on a cosmic scale. The keys of C major and F major play an important role in the development and indeed are a unifying factor in all four movements. In the coda the bizarre grinding bass (which led Weber to declare Beethoven 'ripe for the madhouse') serves to build up enormous tension before the release of the final climax.
Second Movement
Then follows the slow movement in the minor key (Allegretto). From the outset this movement was of great popularity with the audiences of the day, and to have it repeated at concerts was the norm. On occasion it was even substituted in place of the existing slow movements of his earlier symphonies during performances of these works! In reality, however, the movement is not 'Allegretto', but 'Andante'. This can be maintained on two levels - firstly, on the original printed musical parts the second movement were marked 'Andante', and early reviews indicated this also. Somehow, in later editions of the score, 'Allegretto' had been substituted. That Beethoven was aware of this error is reported by Schindler who stated that "in later years the master recommended that the first designation be restored." Secondly, one can deduce Andante from the music itself. The movement is quasi-variational in design, the theme being the haunting and melancholic march, with two intervening pastoral episodes in the major featuring the clarinet . It was typical of Beethoven to use a march-like Andante theme as the source for a variation movement, but not an Allegretto. By definition Andante (Italian for 'to go' or 'to walk') is the ideal tempo for such a march as this; Allegretto is altogether something more lively. The variants themselves are confined to accompanying figures, for the theme itself is always present. The theme eventually takes on a fugal form that develops to a climax before the coda scatters the theme quietly amongst the instruments.
Third Movement
The third movement is a scherzo (Presto) in F major. Here the sense of motion is accelerated with great energy. The structure of the movement takes the by now familiar ABABA with the trio (in D major) repeated twice. Apparently the theme for the trio has its origins as an Austrian Pilgrim's Hymn. Whether this is true or not, it has led to the common practice of playing the trio in a most drawn-out fashion most unlike Beethoven's slight reduction in tempo in the score to 'assai meno presto'. The fact that the trio is played twice in full and hinted at again in the coda does not favor a lengthy conception of the trio.
The Finale
The finale (Allegro con brio) is in sonata form. The semi quaver swirl of the first subject has its origins in Beethoven's arrangement of the Irish round-dance 'Save me from the grave and wise' WoO 154 No.8, though the light gaiety of the dance is transformed into an irresistible whirlwind in its symphonic incarnation. The second group explores unexpected minor key territory with equal force . In the development the victorious move to C major occurs yet again. Further harmonic twists occur in the recapitulation before the coda fires up the whirlwind once more. Here an interesting passage occurs where the first theme is passed back and forth between the first and second violins. The true effect of this can only be appreciated if the first and second violins are separated and placed to the left and right of the conductor. This is evidence that Beethoven's wrote his music baring this layout in mind, and indeed all of his orchestral compositions benefit from the separation of the violins. In the closing phase we experience two monstrous climaxes using the full force of the orchestra before the book is closed in an appropriately tidy fashion.
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