#Beethoven 7th symphony 2nd allegretto lirik full#
The principal Theme is stated four times, at full length, with heavy crescendo, before the soothing, touching First subordinate Theme enters. It begins with two introductory measures, on the 6-4 chord of the tonic-a chord without "support," hovering, as if wafted in from some ethereal region. Its design approximates the Second Rondo-form, akin to that chosen by Beethoven for the Finale of his Third Symphony, and the slow Movement of his Fifth also, later, for the slow Movement of his Ninth-inasmuch as the numerous restatements of the principal Theme convey the impression of Variations. The second (slow) Movement is the world-famous, apparently imperishable Allegretto, always sure of its profoundly moving appeal to every music-loving soul. There occurs, in the Coda, one of those daring episodes which confirm Beethoven's occasional unconventional methods, and which for a time caused some consternation even in the Beethoven ranks: some fifty measures before the end of the Movement, the basses softly intonate a figure of two measures (derived with quaint modifications from the first measures of the principal Theme), and repeat this drone, waxing into a growl, eleven times-as ground-motive or basso ostinato-against an almost absurdly primitive "yodel" in the violins. The Recapitulation is nearly exact, with the prescribed transpositions. The Development is the most masterly, fascinating, logically and structurally perfect model of what a Development may and should be, that even Beethoven ever consummated. This discloses Beethoven's modulatory purpose, and it is faithfully carried out in an exceedingly striking manner, characteristic of Beethoven and no other master-thus: when the e is finally reached and rooted (ten measures before the Theme begins), it is reiterated alone, alternately in the wood-wind and violins no fewer than sixty times! The "subordinate Theme" is placed, the second time, in F major, whose tonic f, is the lowered (or minor) sixth scale-step of A, the original key, and therefore tends naturally and urgently toward the tone e, the dominant, and portal, of the opening harmony of the Allegro.
This whole "Exposition" is then recapitulated, with transpositions, and thus the whole Movement (Introduction) approximates the sonatine-allegro form. The structural design of this wonderfully beautiful Introduction is a very broad Two-Part form, the Second Part of which-a truly exquisite sentence-assumes the appearance and importance of a subordinate Theme, placed at first in C major. The Seventh starts with the traditional Introduction and this Introduction is so lengthy, so impressive, and so independent in contents and character, that it may be regarded as a separate Movement, wherefore the Seventh Symphony, like the Sixth, actually comprises five Movements. The dictum: "The Seventh Symphony is the apotheosis of Rhythm," is attributed to Liszt and as stated earlier in this thread, Wagner is said to have called it "the apotheosis of the Dance." The former simile befits the work with quite sufficient accuracy, since it is the element of Rhythm which seems chiefly answerable to the singular vivacity and irresistible urge of all but the Allegretto Movement furthermore, each of its Movements has a distinctive and persistent rhythmic motive, or prosodic meter. In his Seventh, Beethoven manifests complete control of the elemental forces of musical speech, and amazing originality, and an inexhaustible fund of resources, that are not met with in such luxuriance and assurance in his previous symphonies. During the four years that had passed since the composition of the Sixth, Beethoven's genius had matured still further, and the advance he had made in freedom and sureness of touch, particularly in his command of tonal architecture, in the structural formation of his Movements, is strikingly apparent.
The Seventh Symphony, A major, Op.92, was written in the early months of 1812, and first performed late in 1813, in Vienna.
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