Thus Paul Affelder dismisses the irreconcilable range of all the past imagery as proof of its futility. Writing in 1935, Donald Francis Tovey dismissed the вЂњsad nonsenseвЂќ of вЂњa long time ago,вЂќ and proclaimed the Seventh вЂњso overwhelmingly convincing and so obviously untranslatable that it has for many generations been treated quite reasonably as a piece of music, instead of an excuse for discussing the French Revolution.вЂќ Nowadays, most analysts seem content to follow ToveyвЂ™s approach. The uprising is suppressed, but the people are not quieted hope smiles cheeringly and suddenly the voice of the people pronounces the decision in harmonious agreement.ДЄlexander Wheeler Thayer asserted that вЂњsuch balderdash disgusted and even enraged BeethovenвЂќ and that in 1819 вЂњhe dictated a letter вЂ¦ in which he protested energetically against such interpretations of his music.вЂќ

вЂ¦ The magistrates are now scarcely able to quiet the wild tumult. Innocency weeps the judge pronounces a harsh sentence sympathetic voices mingle in laments and denunciations. The sign of revolt is given there is a rushing and running about of the multitude an innocent man, or party, is surrounded, overpowered after a struggle and haled before a legal tribunal. Karl Iken, editor of the Bremer Zeitung and a contemporary of Beethoven, who wrote an extensive concert program that depicted a political revolution in great detail, beginning: Even fellow composers jumped in вЂ“ Robert Schumann envisioned a peasant wedding, Hector Berlioz heard a вЂњronde des paysansвЂќ and, perhaps most famously, Richard Wagner characterized the whole as an вЂњapotheosis of the dance.вЂќ But even their fertile speculation had been trumped by a Dr. Marx, 1859), scenes from a masquerade (Alexander dвЂ™Oulibisheff, 1857) or a sequel to the Pastoral Symphony that вЂњconjures up pictures of the autumnal merry-makings of the gleaners and wine-dressers, the tender melancholy of love-lorn youth, the pious canticle of joy and gratitude for natureвЂ™s gifts and the final outburst when joy beckons again and the dance melodies float out upon the air and none stands idleвЂќ (Ludwig Bischoff, 1859). von Durenburg, 1863), a tale of Moorish knighthood (A. Just what does the Symphony # 7 mean? According to mid-19th century authorities, when the trend seemed to have peaked, it was a procession in an old cathedral or catacombs (Joseph dвЂ™Ortegue, 1863), a love-dream of a sumptuous odalesque (F.L.S. Arguably, thatвЂ™s a sign of inspired subtlety вЂ“ of the work, not the pundits вЂ“ 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 вЂ“ the вЂњChoralвЂќ is guided by its text, the Fifth traces an emotional passage from grim determination to triumph, and Beethoven himself proclaimed his inspiration for the вЂњEroicaвЂќ and labeled and described the movements of the вЂњPastoral.вЂќ But his Symphony # 7 in A major, Op. Of BeethovenвЂ™s вЂњmajorвЂќ symphonies (that is, in the sense of innovation and prominence) the Seventh has aroused the widest spectrum of efforts to вЂњinterpretвЂќ 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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