![]() ![]() The exposition ends with a striking scale passage that reminds me of a spring-driven clock being wound up. The main theme is marked by an energetic "dah-dit-dot" rhythm which haunts every corner of the movement, including a secondary theme that first appears in C-sharp minor. Then a lively sonata breaks forth and runs itself breathless with joy. The first movement begins with a long, slow introduction that consists, mainly, of decorative scales and introductory-sounding chord progressions, though a charming and noble melody also appears a couple times. (This bit of music-criticism-by-sound-bite is repeated at least as often as the symphony itself.) Beethoven's 7th does for a bright, sunny major key what Beethoven's 5th did for a dark, stormy minor key: it stretches the limits of orchestral sound to create a richly inventive, extroverted work that flat-out owns its corner of the symphonic repertoire. Beethoven himself called it one of his best works and if I hear Wagner's "apotheosis of dance" catch-phrase for the symphony too many more times I might scream. ![]() Beethoven's 7th Symphony in A major was first performed in 1813, and was immediately so popular that the second movement had to be encored. ![]()
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