7th Symphony in A major, Opus 92.
Dedicated to Count Moritz von Fries.
Poco sostenuto—Vivace—Allegretto—Scherzo—Finale.
This Symphony was completed in May, 1812, but was not performed until December, 1813, at a Concert undertaken by Maelzel for the benefit of the wounded soldiers at the Battle of Hanau, October 30th, which Concert also contained Beethoven's Battle Symphony. In form, the Symphony contains nothing unusual. In subject, it is full of romance and colour from beginning to end.
Opening with a long introduction, which is almost a movement in itself, this contains a strong marching figure, and runs into the Vivace by the means of a half cadence. The Vivace, a rhythmical movement in 6-8 time, is full of a verve and vitality which seems to reach its fullest power on the horns and wind instruments with their tucketting rhythms.
The Coda amounts to a second development, and the whole movement goes with a splendid swing from beginning to end.
Rhythm but of another kind is also paramount in the elegiac pageant-like movement designated Allegretto, but curiously enough marked by Beethoven himself at 76, by Maelzel's newly-invented metronome. It is a highly coloured pageant, seen through a veil of mist, typified by the wonderful six-four chord on the wood-wind with which it commences and concludes. The structure of the Scherzo (here marked Presto) has a strong relationship with its splendid fire and strong duple time effects to that in the 6th Symphony. The romance of the Trio with its wonderful low horn work is equally fine, and the movement is broadened out to considerable length by the return of the Trio and of the Presto, thus making it a kind of Rondo—A, B, A, B, A—to say nothing of the humorous juxta-position of the two near the end.
The Finale is also planned on the big scale, colossal in force and mighty in stride. There is a curious perversity of scale in the First Subject as though Beethoven was no longer satisfied with the ordinary major. The marvellous stride of the Bass at the end is not the least amazing of the features in this wonderful movement. Perhaps, this symphony holds together as one complete whole more than any other. It gives one the impression of having been written uninterruptedly from the first movement to last.