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Symphony No. 7, 4th movement: Allegro con brio
Duration of performance: c. 7 minutes
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bars 1-12
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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.
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bars 24-36
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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.
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bars 74-92
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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.
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bars 146-161
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At first the development is based on the main theme. An ascending 6th (in the 4th bar) assumes independence in course of the elaboration.
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bars 162-173
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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.
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bars 409-451
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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.
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bars 451-465
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With a theme formed from the main theme the movement ends in an ecstatic rapture.
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