Introduction
Beethoven’s 7th symphony, composed by Ludwig van Beethoven, was performed by the Royal Concertgebouw Orchestra and the Budapest Festival Orchestra, conducted by Iván Fischer in Amsterdam (Concertgebouworkest). The concert was held in the orchestra pit; the orchestra was located in the center and surrounded by the audience. The orchestra utilized cellos, drums, flutes, oboes, violins, French horns, and trumpets. The arrangement included cellos, drums, flutes, oboes, piccolos, and first and second violins, ranging from farthest to nearest from the conductor. The audience listened attentively to the orchestra’s performance throughout its entire duration and responded to the concert with a standing ovation.
Analysis
First Movement
The first movement begins with the tempo, which moves from andante to allegretto at [0:35]. Then, the ritardando is incorporated as the tempo returns to andante at [0:50] shortly after that. The keys then reduce from major to minor at [1:20]. The orchestra played consonant chords further into the movement [6:30], progressively increasing to dissonant chords [11:00]. Towards the end of the movement, such instruments as flutes and oboes give off a duple meter until the orchestra cooperates in accelerating the tempo to an allegro. The whole movement has a predominantly homophonic texture.
Second Movement
The second movement starts with slow and steady consonant chords consisting of duple meters, which are played only by violins and cellos. This section of the movement continues for three minutes as it intensifies to a faster tempo and louder chords at [17:10]. Brass and woodwind instruments joined in shortly after at [17:25]. The tone later descends from high to low from [19:40] to [19:50].
The cellos and violins refer to the consonant chords played previously at [20:50]. The orchestra then cooperates again at [21:35], playing heavier notes at a faster tempo. The orchestra plays sudden subdominant chords leading up to the dominant chords, which is the least expected to produce a similar result. This is an example of repetition in the movement that is surprising for the audience, as it is sudden. The texture of the second movement is homophonic as well.
Third Movement
A rhythmic pattern of short-short-short long starts the third movement at [24:40], which is followed by a series of short beats. In this section, short beats are the strong ones, and long beats are the weak ones. Each rhythmic pattern intensifies compared to the previous one. This gives the audience a sense of anticipation and suspense. The pattern at [25:35] uses fewer beats but is louder than the previous one to maintain the same feeling.
The softer tone is performed in a solo by the oboe musicians, then played at [27:00]. The flute musician has his solo towards the end of the piece at [29:30] until the orchestra cooperates to create a dramatic tone at a high pitch at [29:40]. Violins, cellos, and drums maintain a feeling of anticipation throughout the movement, with the intervals getting faster between each tone. At the end of the movement, the orchestra plays three subdominant chords leading up to the last dominant chord signaling the end. The texture of the movement is homophonic, as is the case with the first and second movements.
Fourth Movement
The fourth movement starts with an allegro tempo played by violins, while the French horns and trumpets lurk beneath the music towards the end of each pattern. Strong, short beats from the orchestra create the dramatic and thrilling tone. The tempo increases to an allegretto at [35:40], which creates a strong emotional response of anticipation and tension from the audience. The tempo does a ritardando to allegro and later turns to accelerando back to allegretto. This continues for several minutes, from [37:15] to the end of the piece. The violin musicians signify the start of accelerando. The last movement was homophonic in texture as well.
Conclusion
All the symphony pieces were performed flawlessly due to the orchestra musicians’ and the conductor’s coordination and high skills. The symphony is long but incorporates notes that draw the audience’s attention each time it is needed. The audience experiences a wide range of emotions, from dramatic to thrilling, which prevents them from getting bored with the performance.
The most exciting part of the work is when the notes go up to dominant and dissonant chords, creating a melodramatic tone and expressing an anxious feeling. These moments were numerous in the symphony and created suspense that made the audience want to know what would happen next. The symphony creates a plot that goes up and down, unfolding unexpectedly and surprisingly. All the pieces incorporate drama and joy, making the work gripping and emotional for the audience. The concert ended with great applause from the audience, proving that the symphony had a significant emotional impact on them.
Work Cited
Concertgebouworkest. “Beethoven – Symphony No. 7 – Iván Fischer.” YouTube, Web.