Off the Cuff: Beethoven Symphony No. 7
{ program notes
Beethoven led the proceedings, but his deafness severely hampered his effectiveness. It is amazing the Seventh Symphony was even noticed in this circus atmosphere, but indeed it was warmly received and the audience demanded an encore of the second movement.
The first movement begins with a slow introduction, the biggest Beethoven ever wrote. Lewis Lockwood in his indispensable new book Beethoven’ s Symphonies: An Artistic Vision calls it“ one of the noblest statements in all of Beethoven’ s works. … [ it ] not only establishes the emotional tone of the whole symphony, but it is, in effect, its slow movement” because the Allegretto second movement is really too quick on its feet to qualify as a slow movement. Its expansive dimensions, accentuated by majestic rising scales, allows for two lyrical interludes— led first by oboes, then by the flute— which carry the music to keys remote from the A-Major home base.
The introduction is linked to the main Vivace section by the playful evolution of the galloping rhythm that drives the rest of the movement. Swafford calls this section“ a titanic gigue”— the gigue or jig being a fast dance in bouncing rhythm. Late in its course, listen for the remarkable passage in which the low strings mutter a twisting dissonant motive— like an evil worm corrupting the tranquil, sustained harmony above.
Another persistent rhythmic pattern propels the enthralling second movement: a gentle march beat of long-shortshort-long-long. Swafford explains that“ the idea is a process of intensification, adding layer on layer to the inexorably marching chords.” Beethoven lets its wonderful theme gradually unfurl: first the bare-bones harmonic tune in low strings, then the stately march melody above, accompanied by graceful countermelodies. The form is one of Beethoven’ s own devising: part rondo, part themeand-variations. Lockwood:“ The beautiful A-Major interludes that twice alternate with the basic A-minor variations cast rays of light into the prevailing shadow … [ leading to ] an exalted state of profound emotional involvement.”
Off the Cuff: Beethoven Symphony No. 7
Music Center At Strathmore Friday, January 13, 2017— 8:15 pm
Joseph Meyerhoff Symphony Hall
Saturday, January 14, 2017— 7pm
Series Supporting Sponsor:
Marin Alsop, conductor
Ludwig van Beethoven Symphony No. 7 in A Major, opus 92 Poco sostenuto- Vivace Allegretto Presto Allegro con brio
The concert will end at approximately 9:15pm Friday and 8pm Saturday.
Saturday, January 14: Join us for an after-party in the Meyerhoff lobby featuring live entertainment, food and drink specials.
Marin Alsop
For Marin Alsop’ s bio., please see pg. 7.
Movement three is Beethoven’ s most ebullient and propulsive scherzo, relentlessly chugging in a frenzied Presto tempo. Providing contrast, the middle trio section, dominated by woodwinds, is smoothly lyrical over a sustained pedal note. In a trick also used in his Fourth Symphony, Beethoven runs around the scherzo-trio track three times, though, as the trio begins its third reprise, it falters harmonically and is roughly dismissed.
The finale is a fierce dance of triumph; Swafford says its goal“ is to ratchet the energy level higher than it has yet been.” Again, a rhythmic motive starts the
action: a cannon boom followed by a three-note rat-ta-tat rifle response. This wild and surging music has a pronounced military flavor suited to its era. In fact, we hear a theme of swaggering martial gait early on, and in the coda, the trumpets carry it to a ringing affirmation triple forte. Here Beethoven joyfully trounces Napoleon and all the enemies of humankind.
Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, strings.
Notes by Janet E. Bedell, Copyright © 2017
January – February 2017 | Overture 21