English Commentary by Sergio Cánovas 

Beethoven’s Symphony No.7 was composed between the autumn of 1811 and the 13 of May 1812, while improving his health in the Bohemian spa town of Teplice. It was premiered on December 8, 1813 at the Universitätsaal in Vienna, conducted by the author himself in a benefit concert for the Austrian and Bavarian soldiers wounded in the Napoleonic battle of Hanau on October 30. Beethoven considered it his «most excellent symphony,» at the time and one music critic of the time reported, «this symphony is the richest melodically and the most pleasing and comprehensible of all Beethoven symphonies.» The concert was very well-received by the public and the performance was excellent having great professionals as instrumentalists. In Beethoven’s address to the participants, the motives are openly named: «We are moved by nothing but pure patriotism and the joyful sacrifice of our powers for those who have sacrificed so much for us.» The work as a whole is known for its use of rhythmic devices suggestive of a dance, such as dotted rhythm and repeated rhythmic figures. Wagner called it «the apotheosis of the dance», due to the dominance of these rhythmic elements.

The first movement is written in sonata form. Begins with a long, extensive introduction opened by sweet phrases of the woods against strong chords. Motifs which will become the basis of the themes are already presented in a majestic way. Several repetitions of the E note lead us to the main Allegro. The flute presents a joyful and vivacious theme with dotted rhythms. The second theme, derived from the main one, is more melodic but without much contrast. The themes are reexposed as it was usual at the time. Follows the development, based on the main theme with sudden dynamic changes and abrupt modulations. Then the themes are recapitulated in a varied way. When it seems a new development is starting, an intense coda ends the movement brilliantly.

The second movement consists of an unorthodox set of theme and variations. It begins with a solemn but simple melody presented by violas and cellos, later passed to the second violins while violas and cellos present a second, more elaborate melody derived from the first. Then first variation begins with the first violins taking the first melody while the second violins take the second. This progression culminates with the second variation, in which winds play the first melody while the first violin plays the second. A lyrical, bucolic second theme is suddenly presented by the clarinets in a contrasting section. The third variation consists of a varied recapitulation of the theme led by the clarinet. The fourth variation features a fugue on said material, concluding with a powerful climax. The bucolic second theme is briefly recapitulated. After some chords, the main melody is shortly reminisced in pianissimo before the movement ends with an expressive coda.

The third movement is an expanded ternary scherzo (A-B-A’-B’-A»-Coda). Opens with an abrupt and energetic theme full of playful twists and sudden changes of rhythm. The trio is based on an Austrian pilgrims’ hymn. The winds present a calm but solemn theme over a pedal note of the violins, shortly after rising in two strong tuttis. The rhythmic main theme is fully recapitulated with some few variations. It is followed by a repetition of the trio. Follows the scherzo theme in a new recapitulation. When everything seems to indicate that the trio will be repeated for the third time, it is drastically abbreviated as a turbulent coda.

The fourth movement is structured in sonata form. Opens with an intense main theme, full of strength and vigour. It is based on Beethoven’s own arrangement of the Irish folk-song «Save me from the grave and wise», No.8 of his Twelve Irish Folk Songs, WoO 154. The second theme is more melodic and calm, despite maintaining the rhythmic force of the main theme. As usual, both themes are fully reexposed. Follows the development section, full of a bacchic energy with the music’s dance-like rhythms, daring modulations and sudden changes of tempo and dynamics. The main themes are recapitulated in a varied way. Finally, the symphony ends with a brilliant coda of great rhythmic force. Musical analysis partially written by myself. Source: https://bit.ly/3sYyMgf To check the score: https://bit.ly/3AZueMu