When was beethoven 7th symphony written
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2 Work 59 (the second of the so-called “Quartetta Razumovski”), was inspired by Beethoven while observing the starry sky, pondering “the music of the spheres.” Lockwood also mentions a related reference by Carl Cherney, which we find in the box set booklet of Beethoven’s string quartets by the Guarneri Quartet ( Brilliant Classics), where David Moncour writes that, according to Cherney, the wonderful second – slow – part of the Quartet for strings in Ε minor number. One can reasonably imagine that listening to this part at night in Delphi, with the stars shining on the firmament, can send us back into that “Kantian” entry in Beethoven’s diary in 1819, “The Moral Law within us and the starry Sky above us.” Already since the premiere of the play, in December 1813, it has”haunted” the audience of the time, “even those who have no musical education,” as a music critic wrote in 1817 (Lewis Lockwood, Beethoven’s Symphonies: An Artistic Vision, 2015). To the extent that the work reflects the artist’s emotional state and experiences, Beethoven seems to have found (at least temporarily) the “wings of Daedalus” in the composition of the 7th Symphony, as three of its four parts seem to express this apotheosis of the rush of life.īut what about the part of the symphony that’s left? This is, in order, the second, slow, part of it, the most dramatic, and perhaps the most famous, Allegretto in the history of music (after the Allegro con brio, the notorious first part of the 5th one). As he wrote to a friend in February 1812, “Heavens, help me bear it all: I am not Hercules who helped Atlas carry the world on his back, let alone carry him on his behalf,” concluding, with another reference to ancient Greek mythology, that “Daedalus faced the labyrinth with the invention of the wings that raised him high, in the air. However, apart from living in turbulent times, he was, as usual, in personal, emotional turmoil, for a variety of reasons. This great work was completed in 1812, when Beethoven was 41 years old and the most famous composer throughout Europe. We imagine the most orgiastic, Dionysian, dancing of all the Symphonies, Beethoven’s 7th, in this unique setting.
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The universal dimension and metaphysical dynamics of the ancient oracle suits the great composer. It was easy to see the gravity of the interpretation of The 7th Symphony in Delphi by Theodoros Kourentzis. In addition, the concert, organized by the Franco-German television station ALTE, in collaboration with German state television (ZDF), and with the participation of Megaron- the Athens Concert Hall, was attended by the dancer Sasha Waltz in a choreography designed specifically for the evening. The concert took place as part of the pan-European celebrations for Ludwig van Beethoven (1770-1827 – last year was the 250-year anniversary of his birth). 7 in Α major, project 92 at the Ancient Theatre of Delphi. The great musician would have been deeply moved on Sunday, June 6, when Theodoros Kourentzis conducted the MusicAeterna orchestra in Symphony No. Although Beethoven in this diary entry quotes the words of Litrow, not Kant, it is impressive that in the Kantian original we find a brilliant description of the feelings that one is overwhelmed by when he looks at the sky and reflects about his place in the universe.” “For Beethoven,” Lockwood continues, “this is not just a passing thought but a moment of reflection on a key issue as to how he saw the world. “It’s been known for a long time,” Lockwood writes, “that a few days before this diary entry, Beethoven had seen an article signed by astronomer Joseph Litrow, which ended with an excerpt from Kant’s “Criticism of the Practical Speech.” In other words, Beethoven copies the words of astronomer Litrow, who in turn copied Kant. In early February 1819, the always restless (and well-read) Beethoven notes in his diary: “The Moral Law within us and the starry Sky above us”… Kant!” As Lewis Lockwood, a Harvard musicologist and Beethoven’s biographer ( Beethoven’s Empire of the Mind, 2020), writes in The New York Review of Books, the three exclamation marks are Beethoven’s, followed by the name “Litrow,” who was director of an observatory.