Bird-like twitterings and horn calls come from all directions, yet how perfectly balanced it all is and what a marvel of development! The scene by the brook with its drowsy re-iterated figure on the under-current of divided strings is the very Bourdon ever sounding in Nature herself.
Wagner has not forgotten this in his Woodland Murmurs. The dance of the villagers, founded on the old country dances, is full of humorous touches, the drowsy bassoon notes, the romp round, and into this almost without warning, breaks the storm. A remarkably controlled storm it is, too, free from any vulgarity. A lovely bit of blue sky showing at the end, leads straight into the shepherd's song of thankfulness, which although containing several interesting points, the triple pedal at the opening with its horn yodel, etc., is somewhat lengthy and not very interesting. Beethoven had once intended to introduce words and chorus here, "Lord, we thank Thee," and it seems a pity that this idea was not carried out.
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.