Arguably, that’s a sign of inspired subtlety – of the work, not the pundits – and a tribute to its remarkable ability to summon a broad spectrum of deeply personal and highly diverse response among listeners. 92 is without such markers, and has drawn legions of commentators who felt compelled to explicate it. No such compulsion plagues the others – the “Choral” is guided by its text, the Fifth traces an emotional passage from grim determination to triumph, and Beethoven himself proclaimed his inspiration for the “Eroica” and labeled and described the movements of the “Pastoral.” But his Symphony # 7 in A major, Op. Of Beethoven’s “major” symphonies (that is, in the sense of innovation and prominence) the Seventh has aroused the widest spectrum of efforts to “interpret” its meaning. We conclude with a list of sources of further information. After noting some interpretive considerations, we then survey some recordings by historical pioneers, others displaying an extraordinary array of styles, yet others that I especially enjoy, the trend toward period authenticity, and piano and student renditions. In this article, we explore its genesis and reception, its wondrous rhythms and orchestration and each of its four movements. Beethoven's Symphony # 7 has been subjected to many bizarre interpretations.
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