Symphony No. 7, 4th movement: Allegro con brio Duration of performance: c. 7 minutes

Form scheme 4th movement

Beethoven's contemporaries admired this movement "with awe".

bars 1-12

A rousing Finale. The movement opens with a main theme in an inverted rhythm, the stress lying on the weak part of the 2/4 time. The theme is played in the 1st violins; celli, double-bass, brass and drums scan on the 2nd beat in sforzando. As an introduction the basic dactyl rhythm is presented, separated by drum beats.

bars 24-36

The 1st theme of the bridge is derived from the A-major scale. A 2nd bridge theme follows, formed from the head of the main theme, combined with the scale of the bridge.

bars 74-92

The secondary theme is introduced in an original way, in C-sharp minor. Beethoven does not keep to the rules but uses his intuition freely. This secondary theme is remarkable for its piano - forte contrast, in which the forte accent is placed on the weak part of the bar.

bars 146-161

At first the development is based on the main theme. An ascending 6th (in the 4th bar) assumes independence in course of the elaboration.

bars 162-173

Beethoven uses the final interval of the 4th bar of the main theme to form a new theme. The Coda is introduced by the dactyl motif from the beginning of the movement. Themes that have already been stated are recapitulated in a colourful, constantly expanding way, first of all the 2nd bridge theme. A longer passage is formed only from the 1st bar of the main theme.

bars 409-451

The 1st bridge theme offers final possibilities of expansion - the theme that was formed from a scale and ends in a series of 3rds floating up and down - just the result of a branching off.

bars 451-465

With a theme formed from the main theme the movement ends in an ecstatic rapture.

Search for links to this page