New York Philharmonic Symphony Orchestra / Arturo Toscanini. What kinds of security measures do we take to safeguard your Personal Information The security and confidentiality of your Personal Information matters to us.Symphonies Nos 5 & 7. Dedication: Count Moritz von Fries ( portrait).New York Philharmonic Attn.: Marketing Department 10 Lincoln Center Plaza, New York, NY 10023 unsubscribenyphil.org. The concert at which the work had its premiereit was a benefit for Austrian and Bavarian soldiers wounded at the recent Battle of Hanauwas probably the most wildly successful of. THE BACKSTORY The Seventh Symphony is Beethoven’s last word for quite a few years on the subject of the big style he had been cultivating since the early 1800s.
124 tickets left starting from 89.00. Jaqua Concert Hall - Shedd Institute - Eugene, OR. But then in a sense he was fortunate.Beethoven's Eroica. Either way Toscanini is a near-impossible act to follow.
Allegro con brio (2/4, MM=72). Scherzo/Trio (ternary extended)IV. Scherzo (Presto, MM=132)/Trio (Assai meno presto, MM=84). Ostinato variation (developing, passacaglia) with fugato.III. Sonata-Allegro (w/ slow intro.).II.
This concert was probably the most successful in Beethoven’s lifetime. Beethoven finally started working on the A major Symphony in earnest in the fall of 1811 in the Bohemian spa town of Teplice, where he had travelled to improve his health, and completed it in April 1812.The Seventh Symphony was premiered in the great hall of the University in Vienna on December 8, 1813, as part of a charity concert for soldiers wounded in the Battle of Hanau. In 1809, he noted some short ideas marked “Sinfonia” in his sketchbooks, though some of them were not used in the later symphonies. The vacancy of symphonic work did not imply that Beethoven was no longer interested in being publicly recognized as a symphonic composer (Lockwood, Beethoven’s Symphonies, 146). Although Beethoven did not compose any symphony during the intervening years, he remained productive in other genres, especially keyboard and chamber music, and produced some of his most important works, including the “Emperor” Piano Concerto, the “Lebewohl” (Farewell) Piano Sonata, and the “Archduke” Piano Trio. 92 was composed in 1811-12, more than three years after the premiere of the Fifth and the Sixth Symphonies.
The Allegretto remained widely popular throughout the nineteenth century, and even today is often performed separately. The second movement—Allegretto—was particularly loved, leading to outbreaks of applause before the third movement during a number of early performances. Its huge popularity led to three performances in the ten weeks following its premiere. Unlike some of Beethoven’s other symphonies such as the Third and the Fifth, which we now regard as great works but were initially resisted to some degree by the composer’s contemporaries, the Viennese audience immediately embraced the Seventh Symphony, and considered it among their favorite orchestral works.
This more Romantic orchestration is a long way from the criticism “too much of Harmoniemusik” leveled at the “classical” First Symphony. (Lockwood, Beethoven’s Symphonies, 166-167.) Colorful orchestration that favors woodwind solos and horn calls, particularly in the first and last movements, also serves the rustic character. Lockwood goes on to say that Beethoven’s 6/8 theme in A major in the first movement reminded the listeners of Scottish and Irish folk songs. (Lockwood, Beethoven’s Symphonies, 151.) But this rhythmic vitality is one characteristic of a larger factor that may account for the Seventh Symphony’s appeal to audiences who may have no training in music: its rusticity suggesting folk music. The Symphony is the Apotheosis of the Dance itself: it is Dance in its highest aspect, the loftiest deed of bodily motion, incorporated into an ideal mold of tone.As Lockwood says, the rhythmic events are so strong that they sometimes overshadow other musical elements. Richard Wagner exalted the lively rhythm with this often-quoted poetic description:All tumult, all yearning and storming of the heart, become here the blissful insolence of joy, which carries us away with bacchanalian power through the roomy space of nature, through all the streams and seas of life, shouting in glad self-consciousness as we sound throughout the universe the daring strains of this human sphere-dance.
The home key of A Major is not clear until the fifth measure of the Vivace section (3:33-3:59), with the flutes introducing the principal melody.The first movement opens with the longest introduction (0:03-3:50) of any of Beethoven’s symphonies. The key of A Major is the first chord of the symphony, but the opening moves throughout various keys, such as C Major, led by the oboes, and F Major, led by the flutes, until orchestral arrival on the dominant E Major. These third-related keys, and the rustic character supplied by woodwinds, are foreshadowed in the slow introduction of the first movement. The second movement is in A Minor and the third movement is in F Major, with the trio in D Major. Rather than using a relative minor key or keys that are related by a fourth or fifth, Beethoven chose to exploit keys separated by a third, particularly between the inner movements.
These characteristic Beethovenian moments of dramatic, blaring silences give way to major changes in the music, such as signaling structural changes in moving to the development section (8:23-10:32) and the coda (12:51-14:19), where rising chromatic figures suddenly stop before falling into the next section (8:23-8:34, 12:51-12:57). Following the introduction, the first movement Vivace moves forward with an unrelenting rhythmic motive (3:50-3:55):Rarely does this rhythmic figure cease, only doing so in order to create moments of great anticipation. The harmonic movement of the introduction mirrors fundamental key areas in each of the four movements, specifically: A major (first and last movement)—D major (trio of the third movement)—C major (second movement, B theme)—F major (third movement)—E major (beginning of the fourth movement).
The exposition and recapitulation, being 114 and 115 measures respectively, also balance around a lengthier developmental center of 97 measures.The second movement—Allegretto (14:43-24:08)—pulls back the frantic rush of the first movement into a melancholy march with a dramatic shift to the parallel key of A minor. Beethoven perfectly bookends the sonata form of the first movement with its introduction and coda, balanced at exactly 62 measures each. As with the use of silences, ascending and descending chromatic lines, often in the bass, lead towards and away from the different sections and key areas.
Not content with only creating simple variations on the theme, Beethoven further developed the theme by turning it into a fugue. The movement’s structure can be seen as a modified rondo or a hybrid between a theme and variations and a ternary form, with the outer sections carrying the theme and its variations, and the middle section providing a countering wistful themes in A major (18:19-19:38). Its appeal could possibly be due to Beethoven’s ingenuity in combining simple melodic lines, a consistent rhythmic motive, and unexpected harmonies, to draw the listeners into an aural journey of their own imagination.
The movement ends the way it began: a fading A-minor chord in winds with an abundance of the pitch e (23:57-24:08). After repeating the primary and secondary sections twice, the movement is brought to a close by returning to the main theme while gradually thinning out the orchestration and breaking apart the rhythmic motif, not unlike the end of the Marcia funebre movement of the Eroica Symphony. Also related to the first movement, Beethoven used ascending and descending chromatic lines, but here in the melody of the theme and variation, as heard here (15:43-16:33) played by the cellos and violas.
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