![]() In the Seventh, however, such melodic features, if exist at all, are pushed (maybe deliberately) to the far back of Beethoven’s focus. It may be because, on a subconscious level, I was drawing contrasts between this work and all of Beethoven’s previous symphonies, which almost all carry memorable tunes and melodies, not to mention its immediate predecessor, the Pastoral symphony, of which the whole musical meaning builds on melodic motifs and phrases to express his feelings while submerging himself into the beauty of nature. To be completely honest, in the early years of listening to this piece, the endless and seemingly obsessive repetition of those rhythmic motifs throughout each movement sounded a bit annoying to me. ![]() ![]() What’s extraordinary about this work, in Sir George Grove’s words, is in “the originality, vivacity, power, and beauty of the thoughts, and in a certain romantic character of sudden and unexpected transition which pervades it.” And one of the key characteristics that contribute to the “vivacity” and “power” here is its heavy use of rhythmic devices. ![]() 7 was composed in 1812, four years after his “ Pastoral” symphony. Portrait of Beethoven, by Joseph Willibrord Mähler in 1815īeethoven’s Symphony No. ![]()
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