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BEETHOVEN SYMPHONY NO 7
Ludwig van Beethoven[1] (baptized 17 December 17...
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BEETHOVEN SYMPHONY NO 7
Ludwig van Beethoven[1] (baptized 17 December 1770[2]--26 March 1827) was a German[3] composer and pianist. The crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential composers of all time.
Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven moved to Vienna in his early 20s, studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist. His hearing began to deteriorate in the late 1790s, yet he continued to compose, conduct, and perform, even after becoming completely deaf.
Symphony No. 7 (Beethoven)
Ludwig van Beethoven's Symphony No. 7 in A major, Op. 92, in 1811, was the seventh of his nine symphonies. He worked on it while staying in the Bohemian spa town of Teplice in the hope of improving his health. It was completed in 1812, and was dedicated to Count Moritz von Fries. At its debut, Beethoven was noted as remarking that it was one of his best works.[1]
The second movement Allegretto was the most popular movement and had to be encored.[1] The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony.[2]
Premiere
The work was premiered in Vienna on December 8, 1813 at a charity concert for soldiers wounded in the Battle of Hanau, with Beethoven himself conducting and double featured with the patriotic Wellington's Victory symphony. The orchestra was led by Beethoven's friend, Ignaz Schuppanzigh, and included some of the finest musicians of the day: violinist Louis Spohr,[3] Johann Nepomuk Hummel, Giacomo Meyerbeer, Antonio Salieri, Anton Romberg, and the Italian double bass virtuoso, Domenico Dragonetti, whom Beethoven himself described as playing "with great fire and expressive power". It is also said that the Italian guitar virtuoso Mauro Giuliani played cello at the premiere. The piece was very well received, and the second movement, the allegretto, had to be encored immediately.[3] Spohr made particular mention of Beethoven's antics on the rostrum ("as a sforzando occurred, he tore his arms with a great vehemence asunder ... at the entrance of a forte he jumped in the air"), and the concert was repeated due to its immense success.
Reception
Critics and listeners have often felt stirred or inspired by the Seventh Symphony. For instance, one program-note author writes:[5]
... the final movement zips along at an irrepressible pace that threatens to sweep the entire orchestra off its feet and around the theater, caught up in the sheer joy of performing one of the most perfect symphonies ever written.
Composer and music author Antony Hopkins says of the symphony:[6]
The Seventh Symphony perhaps more than any of the others gives us a feeling of true spontaneity; the notes seem to fly off the page as we are borne along on a floodtide of inspired invention. Beethoven himself spoke of it fondly as "one of my best works". Who are we to dispute his judgment?
Another admirer, Richard Wagner, referring to the lively rhythms which permeate the work, called it the "apotheosis of the dance".[4]
On the other hand, admiration for the work has not been universal. Carl Maria von Weber considered the chromatic bass line in the coda of the first movement evidence that Beethoven was "ripe for the madhouse"[7] and the 20th century conductor Thomas Beecham was similarly uncharitable, saying "What can you do with it? It's like a lot of yaks jumping about."[8]
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