Symphony #7 - A Question

[Peter]

Originally posted by MCS:
I thought that was an interesting anecdote which shed favorable light on the character of signore Rossini.

Mary (who has a soft spot for Italians)

Thanks Mary - that was certainly very poignant. On the whole Beethoven was not in sympathy with Rossini or the upcoming Romantic composers. Regarding Hummel, I've already recommended 2 piano concertos of his in another post - English Chamber Orchestra with Stephen Hough on Chandos (I particularly like the B minor). With Weber try his overtures - Philharmonia Orchestra, Wolfgang Sawallisch (EMI).

P.S I share your soft spot for all things Italian, the most Romantic country in the world!

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'Man know thyself'

[Rod]

Originally posted by Peter:

P.S I share your soft spot for all things Italian, the most Romantic country in the world!

What! Even more romantic than Newcastle-upon-Tyne?!

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"If I were but of noble birth..." - Rod Corkin

[Rod]

Originally posted by Rod:

I recon what W would have really found strange in the 7th is the bizarre sustained passage for the basses towards the end of the last movement after the part when the strings are passing around a little phrase (excellent effect when the 1st & 2nd violins are divided left and right). This passage is barely musical but creates a great sence of drama and tension. Subllties such as this were obviously lost on Weber.

I don't know if anyone knew what the hell I was talking about with my remark above, I should have gone to music school, but I was listening to the 7th yesterday which reminded me of yet another similar passage that must have baffled contemporaries - towards the end of the first movement, a repeated figure in the bass (basso ostinato, I checked my dictionary this time!) just before the final climax. W must have thought B was a total 'loon' listening to this!

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"If I were but of noble birth..." - Rod Corkin

[PDG]

Originally posted by Rod:
I don't know if anyone knew what the hell I was talking about with my remark above, I should have gone to music school, but I was listening to the 7th yesterday which reminded me of yet another similar passage that must have baffled contemporaries - towards the end of the first movement, a repeated figure in the bass (basso ostinato, I checked my dictionary this time!) just before the final climax. W must have thought B was a total 'loon' listening to this!

Of course, this stirring menace in the bass was also used to good effect in the final bars of the 1st movement of the 9th Symphony. Come to think of it, the scherzo of the 9th wouldn't be totally out of place in the 7th - it has that galloping rhythm which seems to run throughout the 7th.

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PDG (Peter)

[Peter]

Originally posted by Rod:
I don't know if anyone knew what the hell I was talking about with my remark above, I should have gone to music school, but I was listening to the 7th yesterday which reminded me of yet another similar passage that must have baffled contemporaries - towards the end of the first movement, a repeated figure in the bass (basso ostinato, I checked my dictionary this time!) just before the final climax. W must have thought B was a total 'loon' listening to this!

Sir Henry Wood described the bass ostinato passage in the finale as 'sawing away regardless' down on a low E-D# where they stay for 21 bars - incidentally the low D# was not available to bass players in 1813.

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'Man know thyself'

[This message has been edited by Peter (edited 03-28-2001).]