The Seventh Symphony begins in its title key of A major with a long introduction (“Poco sostenuto”), which almost has the importance of a separate movement. The second theme of this introduction—a capricious, tripping melody, first given out by a solo oboe—is not only one of the most captivating that Beethoven ever invented, but might very well be taken for an invitation to the dance or, perhaps equally well, for the caroling of a bird:
The principal theme of the main body of the movement (Vivace in A major), first announced by the flute, dominates the whole movement with its dotted dactylic rhythm. This theme, in its turn, might be a further invitation to the dance or again the piping of a bird.
The second movement, an Allegretto opening in A minor on a long-held, mysterious 6-4 chord of the tonic, is one of the most remarkable pages in all Beethoven. Here, if the dance simile is to be preserved, it must be a solemn, ritual dance. Thus the movement has been likened to a procession in the catacombs. But it has been likened as well to the love dream of an odalisque!
The third movement is a brilliant Scherzo, though marked only “Presto” (in F major). Twice it is interrupted by the fascinating strains of the somewhat less rapid Trio (“Assai meno presto” in D major), enshrining a melody that is said to be taken from a pilgrims’ hymn of Lower Austria:
