Beethoven: Symphony No. 7 in A major, Op. 92 [Kleiber & VPO] (with Score)
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- Опубликовано: 23 июл 2024
- Ludwig van Beethoven:
Symphony No. 7 in A major, Op. 92 (with Score)
Composed: 1811 - 12
Conductor: Carlos Kleiber
Orchestra: Vienna Philharmonic
00:00 1. Poco sostenuto - Vivace (A major)
13:38 2. Allegretto (A minor)
21:44 3. Presto (F major) - Assai meno presto (D major)
29:59 4. Allegro con brio (A major)
Ludwig van Beethoven completed this work in 1812, but withheld the first performance until December 8, 1813, in Vienna. It is scored for pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, plus timpani and string choir.
1812 was an eventful year for the very famous, seriously deafened Beethoven. July was especially noteworthy. At Teplitz he finally met Goethe (1749-1832), but was disappointed to find (he felt) an aging courtier who was no longer a firebrand or kindred democrat; worse yet, a musical dilettante. A week before that only meeting of German giants, Beethoven had written the letter to his mysterious "immortal beloved" that was discovered posthumously in a secret drawer. Then, toward the end of the year, he meddled unbidden in the affairs of his youngest brother, Johann, who was cohabiting contentedly with a housekeeper. Somehow, he found time to compose the last of his ten sonatas for violin and piano and to complete a new pair of symphonies -- the Seventh and Eighth -- both begun in 1809. He introduced the Seventh at a charity concert for wounded soldiers, and repeated it four nights later by popular demand.
Richard Wagner called Symphony No. 7 "the apotheosis of the dance," meaning of course to praise its Dionysian spirit. But this oxymoron stuck like feathers to hot tar, encouraging irrelevant and awkward choreography (by Isadore Duncan and Léonide Massine among others) and licensing the music appreciation racket to misinterpret Beethoven's intent as well as his content. Wholly abstract and utterly symphonic, the Seventh was his definitive break with stylistic conventions practiced by Mozart, Haydn, and a legion of lesser mortals who copied them. He stretched harmonic rules, and gave breadth to symphonic forms that Haydn and Mozart anticipated. If, in his orchestral music, Beethoven was the last Austro-German Classicist, he did point those who followed him to the path of Romanticism.
While the poco sostenuto introduction begins by observing time-honored rules of harmony, within 62 measures it modulates from A major to the alien keys of C and F major, then back again! The transition from solemn 4/4 meter to 6/8 for the balance of an evergreen vivace movement (in sonata form) further exemplifies Beethoven's conceptual stretch.
Coming from the 20-minute funeral march of his earlier Eroica Symphony, Beethoven created an allegretto "slow" movement. He established a funerary mood (without its being specifically elegiac) through the repetition of a 2/4 rhythmic motif in A minor, the most somber key of the tempered scale. A minor serves more than an expressive function, moreover; it readies us for the reappearance of F major in a tumultuous five-part Scherzo marked Presto. Two trios go slower (assai meno presto), in D major -- a long distance harmonically in 1812 from the work's A major tonic. The beginning of a third trio turns into a short coda capped by five fortissimo chords.
A major finally returns in the final movement. Here more than anywhere else in his orchestral music, Beethoven became a race-car driver. As in the "slow" movement, the rhythm is 2/4, but sonata-form replaces ABA. And there's a grand coda longer than the exposition, the development, or the reprise, which, furthermore, begins in B minor! But modulations bring it back to A major in time for a heart-pounding final lap with the accelerator pressed to the floor. (www.allmusic.com/composition/...) 
Видеоклипы
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![Beethoven: Symphony No. 3 in E-flat major, Op. 55 "Eroica" [Böhm & VPO] (with Score)](/img/tr.png)
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What makes this symphony so captivating is the driving half tone motifs found throughout, especially in the basses and celli, especially in the last movement coda...oscillating back and forth from E to low Eb...only Beethoven could write such stuff!
This Symphony deserves a lot of love. We all know the second movement. The moment in the fourth movement using the triple forte dynamic is so beautiful.
Yeah it is ashamed it doesn't sound much like a fff in this recording, no real differentiation from the ff in the first mvt.
Also not much difference btw the ff and sf in the first mvt.
It gets tons of love lol I've heard it's actually Beethoven's second most performed symphony.
@@orientaldagger6920 Dynamics are not absolute. It is entirely reasonable to play a fortissimo passage in a long movement at the same decibel level as a forte passage in the same movement, because the context might be different. And in the case of pieces involving many different instruments, a passage with all the instruments playing would easily have a bigger sound than one with only a few instruments, and in those two cases, even if both passages might be marked forte, it doesn't necessarily mean they have the same decibel level, similarly even if one is marked forte while th eother is marked fortissimo, it still doesn't necessitate a difference in decibel levels. Also, sforzando in the classical period and even later on was commonly used to indicate a significantly pronounced accent. In many of Beethoven's work, especially his scherzos, one might find multiple sforzando marks in a row. Sforzando is for emphasis, and does not corrospond to the relative dynamic level as forte or piano: while one might say that forte is generally louder than piano, sforzando rejects even that sort of rough generalization.
TL;DR: Dynamics are not absolute and doesn't reflect decibel levels. Context matters.
@@19divide53 My point was the only spot where Beethoven marks a fff should sound different than anywhere else. Here it never happens. For that give Previn/LSO a try.
Great version! Excellent sound and interpretation!
I think this piece sounds like Mozart would live longer about 55-56 years old to compose a symphony.
I think it sounds very similar like Dvorak's symphonies. I think Dvorak inspired by it.
This is pure Beethoven and Beethoven alone...the creative genius that he was!
At 33:53 did Shostokovich qoute this passage for the opening of his 5th symphony. It sounds really simillar
Great version of a classic in the vast ocean of western classical music!
I love the 4th movement most
1st and 4th are incandescent of course 🔥🔥🔥
and 2nd and 3rd@@vittoriomarano8230
I love the 2cond moviment
Legendary one.
Yes. It's very interesting, especially the second movement. I actually like all four movements.
@@loveclassicalmusicalot The second is indeed interesting, that’s why it is so famous. But the whole piece symphony worth to be listened, especially the joyful first movement. Btw you have the same name than me :O
6:37 20:05 18:57 21:45
4:22 - Timpani 1
37:43 - Timpani 2
0:00
2:10
1:29
2:38
3:50
4:39
5:10
5:53
8:20
10:40
11:55
12:30
13:02
13:38
14:24
15:07
15:49
16:37
18:03
18:58
19:48
20:07
20:50
21:44
22:06
23:57
24:53
26:02
27:19
28:44
30:00
30:29
31:12
31:36
33:43
34:02
35:15
36:42
35:55
Interesting that at 21:34 even though both violins are marked arco they still play pizzicato. Maybe they used a different edition of the score?
There seemed to be deviating sources for theses final bars. I remember when Jonathan del Mar published his critical edition for Bärenreiter, this bar was marked pizzicato at first. But he changed it back to arco for the 2nd edition no 10 years later. I have not read the critical commentary so I can't say what is correct. But when someone who publishes an Urtext Edition goes back and forth on such an issue, it could not have been as clear.
1 3:38
2 17:33
3 26:00
Upon hearing this symphony, Weber suggested Beethoven should probably be committed-Lol. It certainly embodies a demonic energy and drive wonderfully captured in this performance.
11:15 is deep
33:59 Shostakovich
3:53
6:37
21:30 aren't the strings supposed to olay that last bit with arco ?!?? 😮 Don't revel against Beethoven. He is the rebel of rebels.
I've seen scores where it's pizzicato.
36:58
😘😘😘😘😘😘😘
Finale is way too slow :(
17:58
Pourquoi avec partition ?
Hein ?
I understand most great composers are the humble ones who live their lives with extreme determination. But what drove Beethoven to reach this point? He used to be a pianist in his early years. But I think its when he lost his hearing was when he became more humble. He went from a grand pianist to a contained composer. Its interesting how one could never leave music.
Have you heard the Große Fuge?
Beethoven was everything but humble.
contained?! what!????!!!?????
Beethoven wasn't humble at all! He kicked mediocre people from his way.
Karajan or Kleiber?
Carlos Kleiber
@@ceciliacastillo2568 agree.
Szell, Previn.(LSO)
Great version! Excellent sound and interpretation!
6:36
13:10
30:27
16:12
37:45
Great version! Excellent sound and interpretation!
Have you ever heard a bad version of this?
@@orientaldagger6920 what?
@@GUILLOM I meant yes this is a good version but I haven't really heard a bad recording of this. It seems to bring out the best in an orchestra. Those high notes from the horns, the nice use of the flute, etc all very colorful.
@@orientaldagger6920 yeah I haven't heard a version that I don't like either