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