Dancing from Tonga to Vienna Program Notes

Ludwig van Beethoven (1770-1827) – Symphony No. 7 in A Major, Op. 92

Beethoven’s seventh symphony was completed in 1812, and performed for the first time in Vienna on December 8, 1813. Duration 38:00.

Beethoven’s seventh and eight symphonies, which were composed at roughly the same time during 1811-1812, are among the last products of what has come to be known as his “heroic decade”—the remarkable period of creativity between 1802 and 1812. The sublime optimism and joy of these symphonies are their most “heroic” qualities—these were works written when the composer had become almost entirely deaf, when his ill health and loneliness could have dried up his inspiration. The seventh is particularly exuberant, and was one of Beethoven’s own favorite works. 

The Symphony No.7 was first performed in December 1813, at a benefit concert for Austrian and Bavarian soldiers wounded at the battle of Hanau. Beethoven also included his hastily-composed “battle symphony” Wellington’s Victory on this program. The Symphony No.7 was warmly applauded, but Wellington’s Victory was a huge hit with the audience. For his part, Beethoven was disgusted with the public’s rapture over what he considered to be a shoddy piece of work, and more than a little disgusted with himself for writing it. Since then, however, Wellington’s Victory has faded into well-deserved obscurity, and the Symphony No.7 has been recognized for what it truly is, one of Beethoven’s most joyful and subtle works. Despite its lightness of feeling, however, the seventh is the most complex of the symphonies, save the ninth, and displays a confident compositional virtuosity in its form and thematic development.

The long introduction to the first movement (Poco sostenuto) is almost a movement unto itself, with two themes exposed and fully developed in the course of its 64 measures. However, at the point we would expect to hear a recapitulation, the texture begins to thin, finally leaving only violins and upper woodwinds to echo one another. The rhythmic fragment that is passed between them blends seamlessly into the beginning of the Vivace. Immediately, there is distinctive three-note rhythm that will dominate this movement. The opening theme, played by the flute, emerges from this rhythmic figure and is gradually taken up by other sections of the orchestra. There is a brief hold, and a sweeping string figure leads back into a statement of the theme by full orchestra.  A second theme is also built from the same rhythmic material. In the extended development section, Beethoven shows his mastery of contrapuntal writing. A grand crescendo and a forceful passage by full orchestra leads to a recapitulation of the opening theme. Even at this point, Beethoven is able to pry further surprises from his thematic material, before bringing the movement to a close with a lengthy coda.

The second movement (Allegretto) begins as a solemn theme and variations. The theme is first heard in the low strings, and the timbre becomes brighter as the first three variations proceed: first the second violins are added, then the firsts, and finally, the entire orchestra is added to the mix. After the third variation, Beethoven abandons the theme briefly in favor of a new pastoral melody. The movement then moves on in the manner of a rondo: introducing new material, but always returning to elaborate variations on the original theme.

The scherzo is one of Beethoven’s most charming symphonic movements Here he expands the traditional three-part form of symphonic third movements to a five-part structure with elements of sonata form. The opening section is a good-natured theme (Presto), and the trio is contains somewhat slower and sweeter music (Assai meno presto). Following the trio, the scherzo theme is stated again and developed. Another statement of the trio and a return to the scherzo round out the form. As a parting joke, Beethoven begins the trio melody yet again, now in a mournful D minor, but after only four measures, brings the movement to an abrupt end in the original key.

One writer has described the finale (Allegro con brio) “a triumph of Bacchic fury.” This movement is filled with good humor and incessant energy. The opening theme is clearly dancelike in nature, recalling some of the pastoral feeling of the sixth symphony. The second theme is softer in nature, with mincing dotted figures in upper woodwinds and strings. As if to counterbalance the massive introduction of the first movement, Beethoven provides the final movement with a huge coda extending for well over 100 measures. This extensive closing section serves almost as a second development, exhausting the possibilities of his thematic material.

“I am Bacchus incarnate, to give humanity wine to drown its sorrow… one who divines the secret of my music is delivered from the misery that haunts the world.” – Beethoven