Beethoven: Symphony No. 7 | Jordi Savall & Le Concert des Nations

Beethoven’s Symphony No. 7 in A major, Op. 92, is probably his most luminous, most radiant, and altogether most upbeat symphony. Here it is performed by Le Concert des Nations conducted by Jordi Savall at the Philharmonie de Paris in 2021. What is special about this concert is that the orchestra is using period instruments. (00:00) Coming on stage (00:31) I. Poco sostenuto – Vivace (13:43) II. Allegretto (21:23) III. Presto (29:49) IV. Allegro con brio Ask a person on the street what their favorite Beethoven symphony is, and they’ll likely say the Fifth or the Ninth. But ask a classical musician, and a surprising number of times you’ll hear: The Seventh. “Here every impetuosity, every longing and ranting of the heart becomes a blissful exuberance of joy.“ Those effusive words came from the pen of composer Richard Wagner as he described the Symphony No. 7 in A Major, Op. 92 by Ludwig van Beethoven (1770–1827). Composed between 1811 and 1812, Beethoven’s Seventh provoked very different reactions from the beginning – it seems to have touched everyone deeply. The main themes in Beethoven’s 7th Symphony are triumph and tragedy – the tragedy having to do with the second movement, a sort of funeral procession. It was so well received at its very first performance that the audience called for it to be repeated. This movement is marked “Allegretto,“ which can be translated as “slightly fast.“ But for a funeral march? Surely its first audience must have perceived it as such. The premiere performance of Beethoven’s Seventh was at a benefit concert in Vienna for wounded soldiers and their families in December 1813. It came only two months after the Battle of the Nations near Leipzig. The German name is “Völkerschlacht“, it was one of the most catastrophic wars in human history. It also brought liberation from Napoleon’s forces. The sad, beautiful quality of the second movement makes it very different from the other three movements of Beethoven’s Seventh. Endlessly mournful, yet also uplifting, it is still played at funerals today. But the dense juxtaposition of dignified funeral marches and movements full of exuberant joy in Beethoven’s Seventh also caused alienation and even rejection among the composer’s contemporaries. “He’s ripe for the madhouse!“ wrote composer Carl Maria von Weber. Weber had just heard a performance of Beethoven’s Seventh Symphony, with its rollicking fourth movement. It can be amusing to read how the first listeners reacted to a composition that is today a classic. Weber wasn’t the only critical voice. Clara Schumann’s father, Friedrich Wieck, thought that “this symphony – particularly the first and the last movements – could only have been written in a state of inebriation.“ Fast-forward to now: Need a little lift? Then listen to the finale of Beethoven’s Symphony No. 7 in A Major, opus 92, marked “Allegro con brio“ (fast, with verve). Le Concert des Nations was founded in 1989 by the Spanish-Catalan soprano Montserrat Figueras and her husband, the Spanish-Catalan gambist, conductor, and musicologist Jordi Savall. The orchestra is known throughout the world for its expertise in historically informed performances. Since the 1970s, Jordi Savall has been considered one of the world’s leading viola da gamba performers and early music specialists. He is relentless in his quest for the perfect, authentic sound – one that literally rings historically true. © 2021 Karl More Productions Watch more concerts in your personal concert hall: =PL_SdnzPd3eBV5A14dyRWy1KSkwcG8LEey in our BEETHOVEN playlist: and in our SYMPHONIES playlist: Subscribe to DW Classical Music: #beethoven #symphony #orchestra