Symphony No. 7 in A Major, op. 92 Ludwig van Beethoven (1770-182/) EETHOVEN began the sketch for this work in 1809 but brought it to a close only in 1812, hearing it successfully performed tor the first time in the following year. He considered it one of his best productions and indeed the bright ((Seventh״, so richly endowed with serenity and radiant humour, has at all times and everywhere met with the greatest popularity. . The Symphony begins with an ample ana festive introduction, elaborated almost to the extent of an independent movement. This m- troductlon is followed by the principal first movement, a «Vivace» whose main theme in 6/8 time is exceptionally impressive through its pointed dancing rhythms. The second part, an Allegretto, is an inspired piece of music. in a It lias always been a favourite with the musical public and we know from memoirs and news, papers of the time that it was regularly re- quested «da capoa at first performances. From the somewhat melancholy theme of marchlike character rises a counter-theme which passes from the violas and violoncellos to the violins. It is in D Major. The Allegretto fades away with the first march motif alternatively taken up by various Instruments. The third movement, a Presto, again calls forth all the high spirits of unrestrained mirth. It consists of three sections full of rhythmic buoyancy. Long-held tones of the violins are characteristic of the Interlude that appears twice in the progress of the Presto. The Finale, an «Allegro con brios is a powerful outburst of rhythmic energy. Its chief melody is simple but impressive in its driving unrest. Together with the foregoing parts It motivates Richard Wagner's definition of this work as an «Apo. theosis of the Dance»־ NOTES ON THE SECOND CONCERT Symphony in E flat Major, "The Eroica" op. 55 Ludwig van Beethoven (1770-1827) BEETHOVEN originally dedicated his third symphony, completed in 1804 to the then Consul Napoleon. When the «Emperor» be- came sovereign, the republican-minded com- poser withdrew his dedication and gave the work the non-committal title of «In memory of a Hero». Much has been said and written about the «Eroica» but better than any description of its contents is it to allow this colossal work to make its direct musical effect on the hearer. The famous principal theme of the first move- ment gains significance through its terrific energy. In the manifold characterisations to which it is submitted in the working-out, the idea of «struggle» remains constant. Even in the heroic opening movement the dark pictures are not less richly painted than the jocund. It is ever one of Beethoven’s most successful artistic methods to stress the conflict between the powers of darkness and ‘light and thus make the latter s victory all the more impressive. The celebrated, long-spunt-out Marcia fundbre creates a world of music of its own. Its C minor plaint belongs to the most heart-rending tone-poems in the whole of musical literature. After its sounds cease, the tragic features of the work cease also. And with the gracious and kindly Scherzo the work! of light is opened. In the Trio of this movement, hastening by in the quickest and most transparent of passages, we hear the horns in those famous tones which are so agreeable to the listener and so trying to the players! The quick closing-movement is, like the first, sustained by an impressive theme which is elaborated in a number of variations. In its development a second soulful theme plays an ever greater role and, appearing in the Andante, induces a reflective spirit and thus makes the fol- lowing jubilant Finale even more powerful in its effect. (Continued on page 10)
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