VII. symphony, A-major,
opus 92
Analysis of the
Movement form: sonata form with
introductory section.
(The
Tempo designation: Vivace –
4/4, vivace: – 6/8
The introductory
music section.
After orchestral chords a slow and long
musical introductory-theme sounds on
oboe, while the orchestral chords sound three
more times.
Then on strings the so-called scale-passages follow, which move upward and are repeated several
times, from piano to fortissimo.
After, dance rhythmic, idyllic melody
sounds on oboe, which is repeated.
The scale-passages sound
again, followed by the dance rhythmic melody. Then the rhythmic interlude prepares the entry of the vivace. We reach the
vivace through motif-thinning and
gradually decreasing dynamics. See PPT
page #3!
(motif-thinning = when the composer gradually decreases the motif consisting of a few
notes to one or two notes, in this case to a single note.)
I. Exposition
The movement is introduced by
a repeating rhythm pattern, this is the dactyl-motif;
here a pianissimo sounds /in the coda, fortissimo sounds/. ♫ 008_Egy_daktilus_mot.wav
A dactyl is a
descending foot of one long and two short syllables: – U U
With Morse–sounds: dah-dit-dit, example word: tenderly, musical etc.
Music: one long and
two short notes.
The first theme sounds on flute in piano. After motif-weaving the theme is
fulfilled on whole orchestra with strong dynamics. A joyous and extremely
energetic melody of a playful mood. As background music we hear the dactyl
rhythm-motif. ♫
009_Egy_elso_tema.wav
Then downward moving motivic sequences follow, which reach a
rhythmic transition section.
The second theme consists of two short
parts. The “b” part first sounds on wind instruments in piano, then in forte on
the orchestra. The dactyl-motif is present throughout.
The transition to the closing theme is done by motif-repetitions that
begin in piano, and then its dynamics gradually become more powerful. The
closing theme sounds fairly hidden on deep strings
in bass, its melody moving downward and repeating.
Next the motif selected from
the closing theme plays a short part, then the wild, barbaric sounding,
interrupted closing-figure leads to
the end of the exposition. In between, general
pause loosens the rhythmic tension to some extent.
II. Elaboration
At the beginning of the
elaboration section we only hear rhythm, then a motif reminiscent of the first
theme, and after motivic and rhythmic play alternate, the protagonist of
which is the dactyl rhythm-motif
throughout.
At the end of the elaboration
section the dynamics increase, which prepares the reprise of the first theme. Flow chart cannot be made.
I suggest several
listennings! (Wagner gave the name “The apotheosis of dance” for the symphony, considering
rhytmics. We first read the word apotheosis when discussing Musical knowledge,
more specifically rhythm; the word description is at the end of the page.)
III. Reexposition
The reprise of the first theme
sounds on the whole orchestra, while its
repetition sounds in piano (it was the
opposite in the exposition!). The transition before the second theme now
sounds in forte volume. The dynamic contrasts are extremely sharp; there is no
other important difference from the exposition.
IV. Coda
First, we only hear rhythm, then repetition of motifs sound.
The repetitions’ dynamics
gradually increase, at the end of which the dactyl-motifs explode on the whole orchestra in fortissimo.
The conclusion is also ruled
by this rhythm-type, the volume is of course still fortissimo.
The movement, and especially the rhythm may have been considered modern
at that time, as the contemporary composer Weber
C. M. (1786-1826) – an excellent german composer – once said: “Beethoven is now
ready for the asylum.”
Analysis of the II. movement
Movement form: free trio form (can be divided into three parts).
Tempo designation: Allegretto, time signature: 2/4
The most popular movement of
the symphony. It’s not a funeral march, as the second movement of the III.
symphony, but music reminiscent of grief. The movement summons a funeral march slowly
advancing, then moving away. During the first performance the audience asked
for the repetition of the movement.
Bernstein, L. said: ”It was born somewhere in the cosmos, its
place is there.”
The movement can be divided
into three parts.
First part - A
There is a monotonous base
rhythm present throughout the movement; it is similar to the rhythmic music of
the brook in the VI. symphony’s second movement; or e.g. the beating-motif of
the IV. symphony’s second movement.
Here is the base rhythm: it consists of a dactyl
and a spondee (only two beats). We are already familiar with the dactyl: – U U; the spondee consists of two
long syllables: – – Example word: childhood, heartbreak.
The dactyl and the
spondee make up the ancient Greek adonic
verse, the formula of which is: – U U – –
With Morse code: dah-dit-dit-dah-dah; word example: strawberry shortcake.
Don’t just read, but pronounce the words as well! ♫ 016_adoniszi_ritmus.wav
From this completely
insignificant, monotonous rhythm – first we hear it in one single note – a
theme (melody) sounds and is
developed. This is the movement’s most important melody, in fact its main
melody.
In the followings we hear this
melody in variational development. The dynamics increase, the orchestration
becomes richer, to which a counter-theme
is added. The melody and tone of the counter-theme is mournful, and really
intimate; it is about pain and grief.
Second part - B
The second part’s keynote is
pain, its melody is primarily lyrical, and sounds on clarinet, while violins
provide background music. Then the musical fabric becomes richer, at the end of
which scale-passages prepare the
main melody’s appearance in the third section. These all move downwards.
The third part - C
The main melody sounds in
piano. Then we hear its fugato development, at the end of which the base rhythm
sounds on fortissimo, four times. The second part’s lyrical melody begins again,
but it does not end, but gradually sounds more distant, and we only hear some
parts of the main melody, more and more silently, while general pauses
interrupt the continuity of the music.
Analysis of the
III. movement
Movement form: scherzo-like.
Tempo designation: Presto, time
signature: 3/4
Assai meno presto (Trio), time signature:
3/4
A. - Presto
The movement begins with two
beats of rhythm introduction /upbeat/, then in piano the theme follows, which is repeated instantly; it moves downward, it
“hurries-runs-rushes”; its rhythm is dance-like (its not exactly melodious).
Then it builds from the presto’s
– as it were cheerful music – motif-fragment. It’s characterized by unbridled
high spirits, as well as audacity, which concerns tempo, dynamics and
orchestration. Its rhythm is special, unique. Flow chart is not applicable. ♫ 020_Harom_presto_tema.mp3
B. - Trio
The movement’s middle part,
the trio is a melody of an extremely poetic tone, which possibly has folk
roots. Simple and intimate. Its beauty and artistic force is in the development
and orchestration of the melody, and Beethoven elevates it to the heights of
musical art.
A – (third part)
In the third part the Presto
sounds again, then the Trio, and again the Presto. After the Presto sounds the
third time the music of the Trio begins, which is interrupted by forte chords;
it soon becomes evident that it is a musical joke.
“We can almost see Beethoven before us, throwing away his pen.” – Schumann, Robert (1810-1856) portrays the
ending with this apt picture.
Analysis of the
IV. movement
Movement form: free sonata form.
Tempo designation: Allegro con brio,
time signature: 2/4
There were critics who said that in some parts of this finale Beethoven
“cries and shouts”, rather than playing music. In
Some also called it “wild bacchanalia” as well as “the orgy of rhythm”.
Perhaps R. Wagner’s (1813 – 1883) symphony-naming
is the most appropriate: “The apotheosis of dance.” (Perhaps even more so
the apotheosis of rhythm! It could also be: the crowning of rhythm, the
celebration of rhythm – these are only names given by me.)
The
movement can be best described with the words “frightening vigour”. Let us
observe, whether it is true!
I. Exposition
The movement’s music begins
with the already heard dactyl-motif,
which sounds twice, it rumbles: –
U U
♫ 024_Negy_daktilus_mot.wav
Two hundred years ago, the
beginning was unusual, daring, and “modern” at the same time.
Then we hear the first theme
right away. The theme in fact consists of the repetitions of a short motif! The
theme is primarily ruled by rhythm and emphasis, the melody is subordinated to
the dactyl-rhythm; after it sounds it is immediately repeated.
In the followings we hear the theme’s variant, (the difference is
minimal), then it is repeated as well, and the repetitions of the first theme
is concluded by the rumbling of the dactyl-motif four times.
I detail the flow chart
because the motif and theme alternations happen quickly.
Then we hear the first theme’s consequent part twice, –
while the dactyl-motif rumbles four times. Then a short little melody is repeated four times (it is in
fact melodious, but sounds in forte), and leads to the so called beating-motifs.
The second theme follows, which is
Hungarian, reminiscent of recruiting music in its rhythm; it can be divided
into two parts. After concluding the theme, rhythmic motifs with increasing
volume reach to the raving-motifs
sounding on the whole orchestra, which is
shifted by the ecstatic whirling-motifs,
increasing its demonic effect, power. The conclusion is of course done by the
dactyl-motif. ♫ 026_Negy_masodik_tema.wav
II. Elaboration
In the elaboration section the
beginning of the first theme starts
twice, but it is not finished. Then – just as in the exposition – the main
theme sounds four times, followed by a short development section. It is
characteristic of its play with rhythm.
At the end of the section the
dynamics unexpectedly switch to piano: the dactyl-motif sounds four times, then
the main melody begins; this short little musical part is repeated. Then
without any transition the dactyl motif explodes in with forte volume, thus the
reexposition begins.
III. Reexposition
The reexposition shows minimal difference from the exposition. That
difference is at the repetition of the first theme, which is shorter than in
the exposition.
IV. Coda
The coda begins with four
dactyl-motifs that explode with elemental force on the whole orchestra. The
development of the first theme’s consequent part known from the exposition
follows, which sounds four times, first followed by motif-weaving, then by motif-repetitions. At the end of the
repetitions the dynamics become stronger, and the dactyl-motifs throb in anew.
Then the first theme’s
consequent part appears again, but soon only one motif of it is repeated.
At the end of the repetitions
the concluding section begins, its increased rhythm, dynamics crowns the
movement, which ends in victorious blare.
Before the two chords would
close the movement, Beethoven, as usual, reminiscences the beginning of the
first theme twice, if only for a short time.
I n w o r d s
The VII. Symphony is a leap in
quality in Beethoven’s music, similar to how the III. symphony was, and how the
IX. Symphony will be. His European fame grows, which increases his self-confidence,
his pleasure of composing. He is forty-three years old then. He himself
conducts the orchestra, but due to his ear problems he is forced to withdraw
from public appearance, and lives only to compose.
The symphony’s first
performance was in the grand hall of the
Before composing this symphony
Beethoven was able to do an in-depth study on Greek world of legends, Homeros’
(? VIII. century BC.) works, Greek poetry, the foots, the old celebrations of
the Greek nation along with their view of life etc. But not their music, as its
practice has not passed down to the posterity. Even the authenticity of the
>single melody< in the single surviving ode of the biggest Greek poet, Pindaros
(? 520 BC– ?445 BC) is yet to be proved.
This time even the slightest
dramatic contrast is missing from the symphony’s music. It is an informal,
passionate and liberated music without any bounds. Its orchestration is richer
and more colorful than that of the previous symphonies.
Perhaps I have
to point out here that the symphony is in A Major. In the past, and perhaps
even now the A major is described as a “shiny, bright” key. The D major was
given the “heroic” attribute. The F major is the key for “pastoral themes”. The
Bminor is “mournful”, the C minor is “dark” and “tragic”, and the G minor is
“bitterly mournful” – (Mozart composed the so called great G minor symphony in
this key – Köchel-register nr.: 550.)
This symphony is significantly
different from the rest. Each movement has a unique rhythm.
The works power and greatness
is defined by the rhythm as a whole. The rhythm, which is the primal component
of music. ”In the beginning, there was rhythm.”
– said Wagner. In music rhythm is the primary unit. At the dawn of
humanity the „homo sapiens” created rhythm-music, which may be called as
something derived from nature. Melody can be viewed as secondary, which is
mainly derived from people’s emotions, and is only beautiful if it creates
emotions in others as well: awakens joy or comforts our sad hearts. (The
units of music: rhythm, melody, tone, dynamics; they cannot exist without each
other, we cannot talk about music without them; except only the above mentioned
rhythm-music.)
Thus we must observe the tempo
designation of each movement!
The
Introduction’s tempo
designation: Poco sostenuto (slightly drawling, reserved), 4/4
Movement’s tempo designation: Vivace
(lively, fast), 6/8
The introductions tempo is
slow to make the entry of the fast paced movement more effective. At the end of
the introductory music we can witness the birth of the ”daktyl-motif”. (It is to no avail: the composer of a classical music
piece cannot let its audience to listen to the music in an indifferent mood!)
We can only truly value the
music of a „vivace” movement, if we have already heard several. (For
example: the
The main theme reminiscent of
dancing, sounding in the
The second movement:
Allegretto (slightly fast), 2/4
The symphonies’ II. movement
is usually slow, but here a slightly faster tempo designation is competent. The
movement is defined by a monotonous base rhythm, which is almost present
throughout: whether in piano or in fortissimo volume. The main theme’s melody
is also defined by rhythm; it almost has an inferior role compared to rhythm.
The counter-theme joining the
main theme is what has a more expressive melody; nostalgic, sorrowful, it has a
greater effect on our emotions. The two melodies intertwine, and achieves their
full purpose in fugato development.
At the end of the movement – with
decreasing dynamics and interrupted melody – the main theme disappears into
NOTHING. Dr. Antal Molnár musicologist, to describe the movement, quotes a
section of Samuel’s poem:
„Vándor vagy, ember,
Bíztat az
utad,
De célt az
elméd hiába kutat.
Honnan jössz
s hová vezet a Végzet,
Sosem adatott
megtudni néked.
Csak mégy az
úton,
Ki tudja,
hova,
Mígnem majd
egyszer Nem jutsz már tova.”
The III. movement:
Presto (really fast, swift), ¾
Trio: assai meno presto
(less swiftly), ¾
The III. movement of the
symphonies was traditionally the minuet, which was later replaced by the
scherzo. Beethoven here no longer uses even the name scherzo, but simply uses
tempo designation: Presto. Despite this the movement is in fact a fast paced
scherzo. The Presto’s music is colorful, playful, funny; enchanting; its rhythm
is daring, just as that of the other movement’s. Listening to it requires less
attention, it is simply enough to take delight in it, immerse yourself in the
pleasure of the music and in this case, mainly in the pleasure of rhythm.
The Trio’s sounding is quite
poetic. Its melody is as simple as possible, gentle and emanating calmness. (It
is also in contrast with the Presto!) Technical literature puts the melody and
its base into the type of folk music. (Contemporary Stadler Abbé
claims it is the melody of a known Austrian pilgrimage song.)
The orchestration and the
masterfully chosen harmonies make it unforgettable.
And what we have to mention
still is the movement’s form, which written with letters is the following: A B
A B A, namely after the usual A B A pattern the Trio and the Presto are
repeated.
The IV. movement:
Allegro con brio, 2/4 – lively, swiftly,
with heat.
(Here I mention that the
literal meaning of the word Allegro is: merry, fast.)
The IV. Movement is the crown
on the symphony, to which the most appropriate attribute would be the already
known ”frightful vigour”. Many claim that
it cannot be played swiftly enough. Free and daring, it is not void of
exaggerated passion.
Beethoven frees the rhythm of
its boundaries, ties; he raises it to an ecstatic level, still keeps it under
control. The general view has developed that the movement expresses the
exhilaration of Dionysus: unbridled, limitless joy.
It is not exaggerating to use
the word bacchanalia, which was the festivity of the ancient Greek nation.
In this movement, the rhythm-patterns flowing unrestrained escape from their
usual world, and create an exaggerated, orgiastic state.
We can also imagine that the
music summons the mood of the masquerades of Italian cities, where the self-abandoned joy and
the rhythms chasing each other carelessly calls to dance even those, who only
wished to contemplate and to be inquisitive. In the end the masquerade turns
into a collective dance-celebration, a national celebration. (Many qualify
it as a wild folkdance.)
It is no accident that such an
over-excited, passionate expression of rhythm evoked aversion to the symphony,
as according to their value judgment it exceeds the notion of artistic beauty,
offends the accepted aesthetic principles, etc.
By today, different research
and analysis have proven and shown that the symphony’s movements comply with
the rules of classical style, with the harmonic order and with the requirements
of form and content.
And what is the most
significant proof: the symphony became popular throughout
Beethoven was not in a drunken
state or state of delirium when he composed the symphony. He only increased the
rhythm above the usual to express the rapturous joy of dancing, the ecstatic
sense of life rising above earthly life. In other words: in the revel of the
most primal element of music, rhythm, he expresses the feelings of the
liberated spirit.
It is another question that
along with this he also expresses the mood of unbridled bacchanalia, the
rejoicing joy of Dionysus, which in ancient
The fact that two years after
its first performance, several different treatments of the symphony (on wind
instruments, quintet, piano) appeared in print further proves the greatness of
this musical piece.
Index
apotheosis gr – 1./glorification,
divinization; 2./ idolizing, praising; 3./ in some
theatre plays the extolment of the hero at the ceremonial ending scene < vissza
bacchanalia gr – ceremony, feast held in honour of Bacchus,
Greek god, the feast often resulted in orgy < vissza
dionysia gr – the Dionysus-celebration of the
ancient Greek, a feast of harvest
(Dionysus = Bacchus – his other Greek name) < vissza
ecstatic gr-lat – being in ecstasy; in delirium;
excited < vissza
orgy gr
– unbridled debauchery /revelry/ < vissza
orgiastic gr-lat – Of, relating to, or characteristic of an orgy < vissza
masquerade german-italian – costume march, masquerade <
vissza