L.V. Beethoven "Symphony No. 7": history, video, interesting facts, content

Ludwig van Beethoven Symphony No. 7

This work of the great Beethoven, which the composer was proud of and called his favorite child, was not immediately appreciated by his contemporaries. Symphony No. 7 was initially described as “musical extravagance” and “the production of an elevated and diseased mind,” and its author was called quite mature for an insane asylum. Time passed and the work began to admire uncontrollably, calling it "inconceivably beautiful." The Seventh Symphony was destined to be born by fate itself. Perhaps the apotheosis and the nationwide jubilation heard in her music indicates the direction that led the genius maestro to his epochal ode "To Joy", in which a very important appeal was made to all mankind: "Hug millions!".

The history of the creation of Beethoven's Symphony No. 7, as well as interesting facts and musical content of the work, can be found on our page.

History of creation

When Beethoven was twenty-six years old, he was struck down by a terrible malady, as a result of which he began to lose his hearing. Appeals to doctors did not improve the composer's health, and he soon realized that a progressive disease could lead to complete deafness. Dumas brought Ludwig to the thought of suicide, but taking himself in hand, he began to work even more intensely on composer creativity.

In addition, Beethoven even had a desire to travel, for example, to visit Italy, England and always in Paris. He received such an opportunity when an invitation came in 1811 to visit Naples. Nevertheless, Ludwig failed to use it, because, on the insistent advice of his doctor, he did not go to Italy, but to the Czech resort of Teplice. In July, Beethoven did not arrive there alone, but with Franz Oliva, a young man whom he became friends with in 1809. The composer did not bring significant health improvements to the resort, but it remained in his memory for a long time because of meetings with interesting people. There, Ludwig met with prominent representatives of the German intelligentsia, distinguished by advanced convictions. Among them, Lieutenant Warngagen von Enze and his bride, the talented writer Rachel Levin, stood out. However, in addition to this there were other meetings. A great impression on Ludwig made familiarity with a charming girl, a talented singer Amalie Sebald. The charming young lady with her appearance and beautiful voice drove not only Beethoven crazy.

It was such an inspiring atmosphere for creativity that prompted the composer to create his seventh symphony. However, he began to write it not immediately, but a few months after returning home. In total, the composer took a little more than five months to create this work. The symphony was completed in early May 1812, and its premiere performance took place only a year and a half later: in December 1813. It was a charity concert held in the hall of the University of Vienna in favor of soldiers who were injured in the fight against Napoleonic conquerors.

Interesting Facts

• Ludwig van Beethoven dedicated the seventh symphony to the philanthropist, collector and banker, Count Moritz Christian Johann von Fries.
• Contemporaries of Beethoven reproached the composer for his seventh symphony, explaining that such "common" music is unworthy of a high genre.
• The premiere performance of Beethoven's "Symphony No. 7" was held at a charity concert in the hall of the University of Vienna. The author conducted the orchestra, and the money collected went to the rehabilitation of disabled soldiers. However, the performance of the symphony to the public did not make much of an impression, but the essay, which was created by the composer in haste, was awarded with enthusiastic recognition. This, as they said, the work unworthy of the great Beethoven was called "Wellington's Victory, or the Battle of Vittoria." The noisy battle musical picture was such a tremendous success that the public donated four thousand guilders to the soldiers, which for those times was considered an incredible amount.
• It should be noted that Beethoven worked on the Seventh and Eighth Symphonies in parallel and completed them almost simultaneously. The creation of these works is closely connected with the stay of the composer at the Czech resort Teplice in 1811. The following summer, Ludwig returned to this amazing place famous for healing hot springs, and met Johann Wolfgang von Goethe there. It is worth noting that due to the obstinate nature of Beethoven the relationship between great people did not work out.

• For the first time, Beethoven traveled to Teplice with Franz Oliva. This young man, who served as an ordinary accountant, was very gentle and patient with Ludwig. The composer, having a complex character, could flare up at him, call him an "ungrateful villain" and drive him out. However, Franz steadfastly endured all the insults of the composer, who was his idol and always, despite the insults, came to his aid. This kind of friendship lasted until 1820, while Franz did not leave for Russia.
• Beethoven’s Seventh Symphony is a very well-known work by the brilliant maestro, so many filmmakers insert fragments with great pleasure into the soundtracks of their films. Here are some of them: "Beethoven. Live with me" (Canada 1992), "Irreversibility" (France 2002), "The King Says!" (United Kingdom, United States, Australia 2010), Zardoz (Ireland, United States 1974).
• The second part of "Symphony No. 7" - "Allegretto" is especially popular. This composition is often performed separately from the entire work. For example, her sorrowful sounding accompanied the first all-European mourning ceremony - a farewell to the former German Chancellor Helmut Kohl in Strasbourg on July 1, 2017.

Content of Beethoven's Symphony No. 7

Symphony No. 7 (A-dur) is a four-part composition, starting with a grand expanded introduction (Poco sostenuto). It has convincing orchestral chords harmoniously combined with a magical motif in the performance oboe and the quiet rustling gamma-like passages of strings, the sound of which later grows to fortissimo. Then comes the new theme, which, with its march rhythmic elasticity and timbre contrasts, creates the impression of extraordinary volume. In the future, it is ingeniously transformed, and from its last sound, “mi”, the main part of the exposition is born.

The first part - Vivace. The whole cheerful material, having no dramatic conflicts, the thematic material of the part is united by a single rhythmic pattern, therefore the main part and all the topics that follow it are perceived as a complete musical canvas.

The main part, filled with sun shine and based on folk dance motifs, begins flutes, and then pick up the oboe, it gives the music the features of simplicity and pastorality. In the subsequent conduct of the theme, in which the entire orchestra participates, the sound pipes and horns transforms the music and betrays her heroic mood. A side batch built on the previous leutritme sounds like a continuation of the main one. Also based on folk dance melodies, it is replete with colorful modulations and at the climax triumphal takeoff leads to the dominance of the tone.

In the development of the development of musical material built on a short motif, also permeated by the leutritme. Here there is a fusion of genre and heroic symphony, there is not only a rapid polyphonic movement, but also homophonic moments. The dynamic development in the development leads to a reprise, which, unlike the exposition, is characterized by a more active character and does not return to its pastoral appearance.

The second part - Allegretto, which is the finest example of Beethoven's creativity, is enclosed in a complex three-part form. In the first and third parts, written in A minor, the composer used two themes, which he subjected to a skillful contrapuntal variation. The first theme in its nature resembles a mourning march, however, it is filled not with impotent sorrow, but with courageous sadness. Its ostinate pulsation forms the basis of the rhythm of the entire "Allegretto". Starting with clear pianissimo cellos and double basses the theme is gradually expanding and, covering more and more orchestral registers, is coming to a rich tutti. The second theme, creating a bright contrast and having a gentle, charming melodic line, first appears in middle voices as a sub-voice. After the first performance entrusted to the cellos and altos, it is actively developing, subsequently, like the first theme, it dominates. Following the first section, the major middle episode brings reverie and enlightenment to the music of Allegretto. Then, in a dynamic reprise, the tragic mood returns. Here, the intense fugirovanny development of the first theme leads to a climax, in which Beethoven drama is clearly expressed.

The third part. Presto. It is an enchanting scherzo, written in double three-part form, which can be represented by the scheme: А В А В А. Joyful music with a light and playful melodic line, powerful rapid flow and rich sound of the whole orchestra embodies wild fun. The composer, using colorful harmonies, spectacular tonal variation and large-scale symphonic development, creates a bright holiday mood. The next trio then contrasts sharply with the first movement. His simple but sunny theme, in which Beethoven used the tune of an Austrian folk song, is based on a melodic motif that resembles a sigh. Subsequently, in the reprise in the development process, this topic grows to a magnificent hymn.

Fourth part. Allegro con brio. The music of the finale, imbued with folk dance motifs, draws an intoxicating jubilant celebration. Here every beat is saturated with joyful fun. The temperament of sharp rhythms, underlined by syncopations, displays an impetuous dance, however, as a result of the development, the subject material more often includes invocatory heroic intonations that get a vivid expression in the code.

Today it is a great surprise that such a bright and priceless creation as the seventh symphony Beethoven, initially it was so negatively greeted by contemporaries - the composer’s colleagues. Nevertheless, time has put everything in its place, and in this century the outstanding work of the genius maestro has taken a worthy place in the treasury of world music.