Volltext Seite (XML)
Beethovens Symphony No. 7 in A major, Op. 92 was written in 1812, at the time when the Napoleonic War was raging. (This fact has led some commentators to espouse the far-fetched theory that this event had some influence in the conceptual content of the work.) The work was premiered in Vienna the following year. The occasion was a benefit concert for disabled Austrian and Bavarian soldiers who tried to cut off Napoleons retreat but were defeated at Hanau. Beethoven himself conducted the performance, “hardly, perhaps,” says Grove, “to its advantage, considering the symbolical gestures described by [Ludwig] Spohr, since he was by then very deaf, and heard what was going on around him with great difficulty.” Spohrs account of the event is interesting: “At this concert, I first saw Beethoven conduct. Offen as I had heard of it, it surprised me extremely. He was accustomed to conveying the marks of expression by the most peculiar motions of his body. Thus at a sforzando he tore his arms, which were before crossed on his breast, violently apart. At a piano he crouched down, bending lower the softer the tone.At a crescendo he raised himself by degrees until at the forte he sprang up to his full height; and, without knowing it, would often at the time shout aloud.” Marked Poco sostenuto, the introduction to the first movement is of striking beauty, yet based simply on the major scale, setting the Stage for a movement of tremendous force and energy. The main body of the movement is marked Vivace and is built upon a sonata form. The main theme is ushered in on the pitch of E, exchanged from one Instrument to another 61 times before finally opening up to its full development. The movement concludes with an elaborate coda in which fragments of the main theme are heard with its characteristic rhythm, steadily growing from a pianissimo to a powerful fortissimo at the close. The march-like Allegretto, again with a steady rhythm, provides a major contrast. Originally Beethoven had intended this movement for the third “Rasumovsky” String Quartet, but rightly expanded it for this symphony. Following the development of several counter-melodies, the clarinet announces a new melody that dispels the somber mood preceding it. The opening theme returns as the movement concludes. The third movement, a Scherzo marked Presto, is a charming example of lightness and grace. The main theme is full of humor and receives buoyant development. In the Trio (Assai meno presto) the violins hold a high pitch against a pleasant melody said to be an old pilgrim chant of Southern Austria. The first part of the scherzo is repeated, as is the hymn, leading to the coda and joyful conclusion of the movement. In the Finale the symphony reaches its peak with an unceasing pulse and sense of ecstatic joy. Both the first and second themes are truly frenzied and contagious, forcefullv driving to a remarkable coda of inimitable invention. It is an exuberant climax to a work of great power, beauty and charm. © 1997 Columbia Artists Management Inc. Dresden Philharmonic First Violin Heike Janicke Prof. Wolfgang Hentrich Concertmaster Siegfried Koegler Christoph Lindemann Jürgen Nollau Volker Karp Gerald Bayer Prof. Roland Eitrich Heide Schwarzbach Antje Bräuning Marcus Gottwald Johannes Groth Alexander Teichmann Juliane Heinze Uta Heinze Friederike Seyfert Second Violin Heiko Seifert Christoph Polonek Principal Cordula Eitrich Günther Naumann Erik Kornek Reinhard Lohmann Viola Marzin Steffen Gaitzsch Dr. phil. Matthias Bettin Andreas Hoene Andrea Dittrich Constanze Sandmann Jörn Hettfleisch Christiane Liskowsky Viola Christina Biwank Hanno Felthaus Principal Beate Müller Steffen Seifert Lothar Fiebiger Steffen Neumann Heiko Mürbe Hans-Burkart Henschke Andreas Kuhlmann Piotr Szumiel Joanna Sacharczuk Cello Matthias Bräutigam Ulf Prelle Principal Victor Meister Petra Willmann Thomas Bäz Rainer Promnitz Karl-Bernhard von Stumpff Clemens Krieger Daniel Thiele Rie Yamauchi-Held Double Bass Prof. Peter Kraufl Olaf Kindel Principal Berndt Fröhlich Norbert Schuster Bringfried Seifert Thilo Ermold Donatus Bergemann Matthias Bohrig Flute Karin Hofmann* Mareike Thrun Birgit Bromberger Götz Bammes, piccolo Oboe Johannes Pfeiffer* Norma Undine Röhner-Stolle Guido Titze Jens Prasse Clarinet Prof. Hans-Detlef Löchner* Fabian Dirr* Henry Philipp Dittmar Trebeljahr, Klaus Jopp Bassoon Michael Lang * Joachim Huschke* Robert-Christian Schuster Hans-Joachim Marx, Contrabassoon Horn Jörg Brüchner* Michael Schneider* Johannes Max Dietrich Schlat Friedrich Kettschau Carsten Gieflmann Trumpet Andreas Jainz* Kaspar-Laurenz Martig* Csaba Kelemen Roland Rudolph Trombone Prof. Olaf Krumpfer* Johann-Michael Steinkühler* Dietmar Pester Bass Trombone Peter Conrad Tuba Jörg Wachsmuth Percussion Prof. Alexander Peter * Gido Maier Oliver Mills Harp Nora Koch * Principal Music Director Designate Anselm Rose Administration Martin Bülow Orchestra Supervisor Matthias Albert Herybert Runge Henry Cschornack Dariusz Wrobel COLUMBIA ARTISTS MANAGEMENT LLC Tour Direction: R. Douglas Sheldon, Senior Vice President Karen Kloster Tour Coordinator Nathan Sealzone Managerial Assistant Elizabeth Ely Torres, Program Coordinator Ann Woodruff, Tour Manager Renee O’Banks, Backstage Peggy Langille, Hotel Advance Madelaine Collinson, Conductor Driver Sintec-Tur Air & Cargo Maestro Travel & Touring Hotel Arrangements INTERNATIONAL SERIES 2 0 0 4 - 2 0 0 5