the king's speech beethoven 7th symphony

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Symphony no. 7, ludwig van beethoven’s symphony no. 7: a deep dive, introduction.

In the vast and venerable realm of classical music, few names shine as brightly as Ludwig van Beethoven. His contributions to the world of music are timeless, his compositions serving as foundational pillars for both contemporary and future musicians. Among his nine symphonies, Symphony No. 7 in A major, Op. 92, holds a special place, not only for its musical brilliance but also for the unique circumstances surrounding its creation.

Symphony No. 7 exemplifies Beethoven’s masterful talent in weaving together melodies, rhythms, and harmonies into a cohesive yet ever-evolving narrative. Its movements take listeners on a journey from the triumphant to the somber, the exhilarating to the introspective, capturing a myriad of human emotions along the way. This symphony, often dubbed as the “Apotheosis of Dance” by later critics, represents Beethoven’s genius in its purest form.

Historical Context

To truly appreciate Symphony No. 7, it is crucial to understand the historical tapestry against which it was composed. The early 19th century was a time of profound political and societal upheaval across Europe. Napoleon Bonaparte’s conquests had reshaped the political landscape, and the ideals of the French Revolution had begun to influence societal structures and individual thinking. Beethoven, who initially admired Napoleon for his democratic and anti-monarchical sentiments, grew disillusioned when Napoleon declared himself Emperor in 1804. This sense of betrayal was palpable in his compositions.

Beyond the broader European context, Beethoven’s personal life during this period was marked by significant challenges. The most heartrending among them was his worsening deafness. By the time he began working on Symphony No. 7 in 1811, his hearing had deteriorated considerably. Yet, rather than succumbing to despair, Beethoven channeled his emotions, both the joys and sorrows, into his music. The Symphony No. 7 can be seen as a testament to his indomitable spirit, a beacon of resilience and creativity amidst personal adversity.

The symphony was composed during Beethoven’s stay in the Bohemian spa town of Teplice, a respite sought in hopes of improving his health. Away from the urban hustle of Vienna, the serene environment of Teplice provided the maestro with the peace and tranquility conducive to musical creation. And so, Symphony No. 7 was birthed, blending the echoes of the world’s tumult with the whispers of Beethoven’s soul.

Overall Structure of Symphony No. 7

Ludwig van Beethoven’s Symphony No. 7 in A major, Op. 92, is methodically organized into four distinct movements, each offering a unique auditory experience. The decision to employ A major as the symphony’s primary key lends it a radiant and uplifting quality, contrasting starkly with some of Beethoven’s other works. The symphony beautifully balances the joyous and serene, the melancholic and introspective.

• Poco sostenuto – Vivace : Serving as the symphony’s introduction, this movement establishes the primary themes and sets the overall tone.
• Allegretto : Perhaps the most recognizable movement, its poignant and rhythmic qualities have made it a favorite among both enthusiasts and newcomers to classical music.
• Presto – Assai meno presto : This movement, with its swift tempo, introduces a playful yet profound dynamic, further exemplifying Beethoven’s mastery over musical narrative.
• Allegro con brio : The finale, characterized by its jubilant and triumphant spirit, provides a fitting conclusion to this musical journey.

Movement-by-Movement Analysis

First movement: poco sostenuto – vivace.

The symphony commences with a lengthy and profound introduction in the Poco sostenuto section. This segment gradually unfurls, introducing listeners to the symphony’s rhythmic motifs and thematic material. As it progresses to the Vivace portion, Beethoven employs an infectious rhythm that seems to dance and leap, captivating listeners with its energy and verve. This movement, while setting the symphony’s tone, serves as a testament to Beethoven’s ability to combine rhythmic intricacy with melodic beauty.

Second Movement: Allegretto

Arguably one of Beethoven’s most celebrated movements across all his symphonies, the Allegretto of Symphony No. 7 stands out for its hauntingly beautiful theme. This movement, with its recurring rhythmic pattern, evokes a sense of melancholy intertwined with hope. The theme’s simplicity, combined with its methodical variations, gives it a dance-like quality, albeit one steeped in introspection and reflection. Over the years, this movement has found its way into various facets of popular culture, testament to its enduring appeal.

Third Movement: Presto – Assai meno presto

In stark contrast to the preceding Allegretto, the third movement bursts forth with an exhilarating Presto, teeming with liveliness. This segment is structured as a scherzo and trio, with the scherzo’s theme characterized by rapid strings and jubilant energy. The trio section, Assai meno presto, offers a brief respite, slowing the tempo and introducing a more lyrical theme. However, the scherzo soon returns, restoring the movement’s spirited vigor.

Fourth Movement: Allegro con brio

The symphony’s finale is a musical tour de force, encapsulating the essence of Beethoven’s genius. Allegro con brio, translating to ‘lively with spirit’, lives up to its name, presenting listeners with a whirlwind of thematic variations and rhythmic dynamism. This movement serves as a triumphant conclusion, showcasing Beethoven’s unparalleled ability to craft musical narratives that resonate deeply with human emotion and experience.

Beethoven’s Innovations in Symphony No. 7

While Ludwig van Beethoven’s body of work is replete with groundbreaking innovations, Symphony No. 7 stands as a testament to several of his pioneering musical techniques. This piece is not just a product of his genius, but also an embodiment of his vision to elevate and evolve the symphonic form.

Rhythmic Motifs: One of the standout features of Symphony No. 7 is Beethoven’s emphasis on rhythm. Unlike many compositions of his era that primarily focused on melody, this symphony sees rhythm playing a central role. The repeated rhythmic patterns, especially in the first and last movements, provide an infectious energy that propels the entire piece forward.

Dynamics and Contrasts: Beethoven’s use of dynamics in this symphony is both nuanced and dramatic. He artfully maneuvers between pianissimo and fortissimo, creating a soundscape of tension, anticipation, and release. These contrasts are not just present between movements, but often within individual sections, offering listeners an intense emotional experience.

Extension of Traditional Symphonic Form: Symphony No. 7 showcases Beethoven’s penchant for pushing boundaries. While he retains the classical four-movement structure, he plays with traditional forms, introducing elongated developments and unexpected modulations. This results in a piece that is familiar yet strikingly original, setting the stage for the future evolution of the symphonic genre.

Reception and Legacy

Premiered in 1813 at a charity concert for wounded soldiers, Beethoven’s Symphony No. 7 was met with immediate acclaim. The vivacious rhythms and the evocative second movement struck a chord with the audience, making it a resounding success. Such was its popularity that the Allegretto was demanded as an encore at its premiere.

Over time, the symphony has only grown in stature. Renowned composer Richard Wagner famously described it as the “Apotheosis of Dance”, a tribute to its rhythmic core. This sentiment was echoed by many, with the symphony being praised for its vitality, joy, and emotional depth.

The legacy of Symphony No. 7 extends beyond the concert hall. Its influence on subsequent composers is undeniable, with many drawing inspiration from its structure, themes, and innovations. Beyond classical music, the symphony has permeated popular culture. Notably, the Allegretto found its way into films like “The King’s Speech”, introducing Beethoven’s genius to new generations.

Today, Symphony No. 7 remains a staple in orchestral repertoires worldwide, a timeless piece that continues to inspire, move, and captivate audiences, affirming Beethoven’s place as one of music’s greatest luminaries.

Symphony No. 7 in Popular Culture

Given its stirring melodies and profound emotional resonance, it’s no surprise that Beethoven’s Symphony No. 7 has permeated various facets of popular culture. Here are some notable instances where Symphony No. 7 has left an indelible mark:

• Film: One of the most famous uses of Symphony No. 7 in cinema is in the critically acclaimed film “The King’s Speech”. The powerful Allegretto plays a pivotal role in a key scene, elevating the movie’s emotional impact.
• Television: Elements of the symphony have been featured in several television programs, often underscoring dramatic or pivotal moments, thereby showcasing the universality of Beethoven’s musical language.
• Advertisements: The evocative themes of Symphony No. 7 have found their way into advertising campaigns, testifying to their enduring appeal across diverse audiences.
• Video Games: As video games have emerged as a dominant cultural medium, developers have often turned to classical music to enhance their narratives. Beethoven’s Symphony No. 7, with its sweeping melodies and intricate rhythms, has featured in this realm as well.

Ludwig van Beethoven’s Symphony No. 7 in A major, Op. 92, is more than just a musical composition; it’s a journey that encapsulates the range of human emotion, from the depths of introspection to the pinnacles of joy. Crafted in the face of personal adversity and set against a backdrop of societal change, this symphony stands as a testament to Beethoven’s enduring genius and his indomitable spirit. Its influence on subsequent generations of musicians and its permeation into popular culture affirm its timeless appeal and relevance. As listeners, we are fortunate to have this masterpiece as a testament to the unparalleled power of music.

References & Recommended Listening

• Lockwood, Lewis. Beethoven: The Music and the Life . W.W. Norton & Company, 2005.
• Kinderman, William. Beethoven . Oxford University Press, 2009.
• Solomon, Maynard. Beethoven . Schirmer Books, 1998.
• Beethoven: Symphony No. 7 – Berlin Philharmonic, conducted by Herbert von Karajan.
• Beethoven: Symphony No. 7 – Vienna Philharmonic, conducted by Leonard Bernstein.
• Beethoven: Symphony No. 7 – London Symphony Orchestra, conducted by Sir Simon Rattle.
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Beethoven’s 7th Symphony in Movies and TV

How many movies and tv shows feature beethoven’s 7th symphony.

Westworld (2018) X-Men: Apocalypse (2016) Mr. Robot (2015) The King’s Speech (2010) Knowing (2009) Love Exposure (2008) The Man from Earth (2007) The Fall (2006)

Irreversible (2002) Photographing Fairies (1997) Mr. Holland’s Opus (1995) Immortal Beloved (1994) Parade of the Planets (1984) Zardoz (1974) Lola (1961) The Black Cat (1934)

Answer: A lot!

And these are only the ones that use the  2nd movement  of the symphony, the Allegretto.

Other parts of the symphony have been used in Carl Sagan’s “Cosmos,” Wes Anderson’s “The Darjeeling Limited,” “Seinfeld,” “Boardwalk Empire,” and “The Charlie Brown Easter Special.”

Beethoven’s 7th Symphony, 2nd movement, Allegretto:

The king’s speech (2010).

Most famously, the Allegretto accompanied the climactic final speech scene in The King’s Speech .

In the film, Colin Firth plays Prince Albert, who must take the throne as King George VI. Afflicted with a speech impediment, he must work to overcome his stammer and deliver a crucial speech to England as it entered World War II.

The King’s Speech went on to win four Oscars, including Best Picture and Best Actor.

Mr. Holland’s Opus (1995)

In Mr. Holland’s Opus, the music teacher and composer Mr. Holland (played by Richard Dreyfuss ) discovers that his newborn son is deaf. The next day, he teaches his music appreciation class about Beethoven and his deafness. Beethoven’s Allegretto underscores the scene to haunting effect.

Richard Dreyfuss was nominated for Best Actor for his role as Mr. Holland. The film has gone on to be a powerful and inspiring piece about the impact that teachers (especially music teachers) have on their students.

Immortal Beloved (1994)

In a film about Beethoven himself, how could Immortal Beloved not feature the Allegretto to underscore a tragic scene. In the film, Beethoven adopts his nephew Karl and pushes him to be a great pianist. Karl turns out to be a mediocre musician, but Beethoven either doesn’t know or doesn’t care. The Allegretto plays as Karl tries to end his own life.

Karl ends up missing (he is both a bad pianist and a bad shot) and injures himself instead. Immortal Beloved, featuring Gary Oldman as Beethoven, is a fascinating and moving (if slightly inaccurate) exploration of Beethoven’s life and motivations.

X-Men: Apocalypse (2016)

In X-Men: Apocalypse, an ancient mutant (named Apocalypse) emerges from hibernation and seeks to bring about a new world order. Apocalypse invades Dr. X’s mind and uses his machine to launch every nuclear warhead on the planet, destroying all the weapons they could fight him with.

X-Men Apocalypse was the final film of the X-Men prequel trilogy, starring James McAvoy, Michael Fassbender, and Jennifer Lawrence, and with Oscar Isaac as Apocalypse.

Beethoven’s 7th Symphony, 1st and 4th movements

The other movements of the symphony have also been used in films and TV, but to highlight excitement or energy rather than sadness. The first movement was used in Carl Sagan’s “Cosmos” and the “Charlie Brown Easter Special,” and the last movement was used in Wes Anderson’s “The Darjeeling Limited” and “Seinfeld.”

This clip from the Carlie Brown Easter Special features the main melody of the first movement of the symphony. It is performed on flutes and other woodwinds instead of the full orchestra as Beethoven wrote it. The flutes lend this version a lighter, Spring-ier sound.

Beethoven’s 7th Symphony is one of the composer’s most popular works, both because of its excellent music and because of how often it is used in films and TV shows.

The second movement alone has been used in over 16 major films and TV series since 1934.

The first and fourth movements of the symphony have also been used in many films and TV shows, including: Carl Sagan’s “Cosmos,” Wes Anderson’s “The Darjeeling Limited,” “Seinfeld,” “Boardwalk Empire,” and “The Charlie Brown Easter Special.”

Listen to a full performance of the symphony below, or join the Fort Collins Symphony on August 12th, 2022 for a live performance at Timberline Church in Fort Collins, Colorado. Tickets and more information are available on our Beethoven Festival concert page.

Beethoven’s 7th Symphony:

Performance by Carlos Kleiber and the Concertgebouw Orchestra of Amsterdam.

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A guide to Beethoven's Symphony No. 7

We investigate Beethoven's Seventh Symphony and how the composer declares the 'glory of light' through darkness

Stephen Johnson

Vienna, 8 December 1813

After the titanic adventures in sound-colour, form and dramatic expression of Symphonies Nos 5 and 6, the Seventh might initially seem a return to safer, more classical ground. Except that Beethoven doesn’t really do ‘safer’ – not by this stage in his career, anyhow.

Madness and rhythmic patterns:

Composed after a much-needed restorative spa holiday in 1811, Symphony No. 7 sounds like what Beethoven would later call a ‘return to life’. The key of A major is often associated with light and buoyancy (Mendelssohn’s Italian , Schubert ’s Trout Quintet), but here the sheer physical energy – expressed in dancing muscular rhythms and brilliant orchestration – can, in some performances, border on the unnerving. Confronted with one particularly obsessive chain of repetitions (possibly the spine-chilling final crescendo in the first movement), Beethoven’s younger contemporary Carl Maria von Weber pronounced him ‘ripe for the madhouse’.

But there’s nothing mad about the way Beethoven draws together the seemingly diverse dance rhythms in this work. Just over a minute into the substantial slow introduction, the woodwind intone a rhythmic pattern: DA de-de – in classical metric terms, a ‘dactyl’.

This same pattern pulses expectantly in the audacious sustained one-note transition to the Vivace , then springs to life in its main theme. The wonderful veiled Allegretto that follows is haunted by the same rhythm, the Trio of the scherzo repeats it like a playground game, while the finale is positively possessed by it, right up to the ferocious elation of the final bars.

• A guide to Beethoven's Symphony No. 5
• Beethoven's Symphonies: What did the 9th century think?

Just before the end, for the first time ever in an orchestral work, Beethoven uses the marking fff – fortississimo : ‘louder than as loud as possible’. There are times listening to this astonishing finale that one wonders if it wasn’t here that Stravinsky got the idea for the ‘Sacrificial Dance’ from the Rite of Spring – except that it is life, not death, that triumphs.

It isn’t all joyous assertion, of course. Like TS Eliot, Beethoven realised that it is darkness that ‘declares the glory of light’. The voluptuous nocturnal world of the Allegretto opens on a minor-key wind chord which, after the glowing A major that ends the first movement, feels like the deft extinguishing of a light.

Beethoven expands his tonal universe as never before in a symphony, allowing the bright A major to be continually undermined by a remote (and, in context, darker) F major – if that sounds technical, the effect in performance is fully visceral. But ultimately, the Seventh Symphony is testimony to Beethoven’s enduring ability to find energy and hope amidst inner and outer desolation, and as such it’s indispensible.

• A guide to Beethoven's Symphony No. 2
• How did Beethoven cope with going deaf?

Recommended recording:

Riccardo Chailly achieves the near-impossible, combining the classicising insights of period-style performers with the tonal richness and expressive gravity of old-school master interpreters such as Otto Klemperer or Carlos Kleiber. The rhythms are crisp and vital, the colours gorgeous, the expression intense and broad-ranging, and all is captured in superb recorded sound.

Gewandhausorchester Leipzig/Riccardo Chailly Decca 478 3496

Words by Stephen Johnson. This article first appeared in the December 2015 issue of BBC Music Magazine.

Read reviews of the latest Beethoven recordings here

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Journalist and Critic, BBC Music Magazine

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Beethoven's music in 'The King's Speech' a magical match

• Updated: Jan. 17, 2011, 7:20 p.m. |
• Published: Jan. 17, 2011, 6:20 p.m.
• David Stabler | Special to The Oregonian/OregonLive

There's a moment in the film

that absolutely soars. It comes near the end when poor Bertie has been crowned as

after his brother abdicated to marry Wallis Simpson.

Superbly played by

, Bertie (his family nickname) dreaded public speaking because of a speech impediment. He was horrified when he had to ascend the throne in 1937 because he knew what the job entailed. Two years later, he gave a major speech that BBC Radio broadcast throughout the empire, announcing Britain's entry into World War II. The speech serves as the climax of the film. We've seen him humiliate himself on a number of previous occasions, unable to get the words out.

The film lets time drag as we see Bertie struggle with clicks and stutters to form the words. It's excruciating and I found myself tensing up each time.

But now he's the king and after working intensely with Lionel Logue, an Australian speech therapist, beautifully underplayed by Geoffrey Rush, Bertie is about to give the speech of his life. The stakes couldn't be higher. Britain needs a leader to take it to war.

The buildup begins as he and Logue walk Buckingham Palace's endless corridors toward the broadcast room, passing dozens of broadcasters who wish him well. At last, they enter the room with the microphone. They're alone. Logue throws open the window -- he believes fresh air helps -- as Bertie tries to compose himself.

The countdown begins -- four blinks of a red light followed by steady red. Bertie's fear is agonizing to watch.

And then this: As Firth struggles at first, we hear the ominous chugging of musical chords. Moments later, the calm, gentle Allegretto of Beethoven's Seventh Symphony spreads over the pulsing rhythm. The melody is smooth, unruffled, an aural metaphor for Bertie's aspirations.

With Logue silently prompting him through the difficult spots, the sweet, melancholic music unfolds, building in intensity, then subsiding, lasting exactly as long as the speech.

Nevermind the irony of hearing German music during a speech about going to war with Hitler. The scene brims with feeling between patient and therapist, who went on to became lifelong friends. It's a magnificent moment. If ever music and intention matched, this is it.

Moments later, at the movie's coda, we hear more Beethoven: the ethereal slow movement of the "Emperor" Piano Concerto. It too, is a perfect fit.

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Program Notes: Beethoven Symphony No. 7

Blog , March 30, 2011

Our April 9-10 Season Finale includes Beethoven’s popular Symphony No. 7.  Read on to learn about this piece… 

Although Beethoven’s Seventh Symphony in A Major may not be quite as famous as his Fifth or Ninth, it recently starred in this year’s Oscar winner for Best Picture, The King’s Speech. Those who saw the film will remember the climactic scene: the king addresses millions of citizens over the radio, hesitantly, but passionately and firmly. The music that underscores the scene is the second movement (Allegretto) of this symphony. Although contextually it seems out of place (the ultimate Austro-Germanic composer to underscore a speech about Britain going to war with Germany?), musically it was appropriate: profound and somber. With its ostinato (repeated rhythmic phrase) – long-short-short-long-long – it was a good musical fit for the gravity of the scene and the king’s halting conviction.

This symphony was premiered in December 1813, at a benefit concert for soldiers wounded in the fight against Napoleon’s army. Unlike some of Beethoven’s works, it was immediately popular, and was repeated several times in the weeks following its premiere. The second movement especially appealed to audiences, and it was not unusual for it to be performed as a separate work during the 19 th century. Written in the standard four-movement form, Symphony No. 7 begins with a slow expanded introduction, which is followed by a Vivace in sonata form, in a dance-like triple meter. The second movement is in A minor, which – unlike a more distant key like F# minor or E, keeps the Allegretto closely bound to the more exuberant movements around it. The third movement, Presto, is almost like a rondo, with the A-B juxtaposition recurring several times (instead of the more usual A-B-A). The finale, Allegro con brio, is in an furiously energetic 2/4 meter, with a recurring emphasis on the second beat of the measure (it’s hard to miss at the beginning of the movement).

Beethoven’s famous rhythmic ingenuity is a pillar of this symphony. Many critics emphasized its wild energy in their writings; Richard Wagner wrote of this piece that “the Symphony is the Apotheosis of the Dance itself: it is Dance in its highest aspect, the loftiest deed of bodily motion, incorporated into an ideal mold of tone.” This piece is scored for a typically “classical” orchestra, with pairs of woodwinds and brass; Beethoven’s writing for the horns is especially dramatic and dynamic. Overall, the rhythm of this symphony, its dance-like and sophisticated rhythms, and the famous second movement make it one of Beethoven’s most interesting and powerful symphonic works.

Take-home points:

• The second movement was used in the soundtrack to The King’s Speech
• The second movement was often performed separately in the years following the symphony’s premiere
• Beethoven allegedly considered this one of his best pieces, and it was one of his most popular

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Intro 2 Music

Music = People = Communication

11.3 Beethoven – Symphonies No. 5, No. 7, & No. 9

What was Beethoven’s Heiligenstadt Testament?

THE FIFTH!    

P.D.Q. Bach (A.K.A. Peter Schikele)

Strong unison statement of the motif at the beginning.

Symphony No. 7 – used in The King’s Speech – patience

His hearing loss did not deter Beethoven from his composing.  He continued with his work and in fact, composed many of his greatest works after he had already grown almost completely deaf.

Audiation  is  the process of both mentally hearing and understanding music, even when no music is present. In essence, audiation is thinking in music or thinking about music in a way that brain is able to give meaning to the sounds. You could compare this to a skill that many of us possess – that of thinking in words!

In 1824, after Beethoven had lost his hearing in its entirety, he conducted the first performance of his  Ninth Symphony .   However, his hearing loss continued to agitate him until his death in 1827, although he did believe that when death did come for him, “I will hear in heaven.”  Source

From NPR   Ode to Joy: A Call to Action

O friends, no more of these sounds! Let us sing more cheerful songs, More songs full of joy!

Played by a chamber group.

Symphony No. 9 – Begin at 1:00

From a poem by Schiller…  Fourth Movement –  Ode to Joy      Melody moves mainly by steps.

A (half cadence)  Praise to Joy the God descended, Daughter of Elysium

B (full cadence)  Ray of mirth and rapture blended, Goddess, to thy shrine welcome.

C         By thy magic is united what stern custom parted wide. All …

D (full cadence) … mankind are brothers plighted where thy gentle wings abide.

“Ode to Joy” is the official anthem of the European Union.

https://musescore.com/user/128132/scores/137387

Characteristics of Romanticism  (PPT)  

http://faculty.atu.edu/dbarber/Intro/Romanticism.htm

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Beethoven and The King's Speech

Thursday 8 May 2014, 14:36

Laura Sinnerton

Tagged with:

• classical music

Composed between 1811 and 1812, Beethoven’s Seventh Symphony received its premiere in 1813 at a benefit concert in Vienna for injured soldiers.

Considering what it was intended for, it was always going to be a crowd pleaser and was popular from the start.

However, typically for Beethoven, crowd pleasing didn't mean sappy, half-baked, middle-brow froth.

The Seventh is a roller coaster of a journey, both musically and emotionally, and a work of utter genius in my humble opinion.

Regular readers may be aware that Beethoven is part of my holy square of B’s (Beethoven, Bach, Brahms and Britten), and this symphony is my absolute favourite to play.

My favourite movement is the second movement, the Allegretto. I find this to be one of the most stirring movements in Beethoven’s symphonic writing.

The music is exceedingly sombre but has an unrelenting drive forward, and courts both darkness and light.

It is deeply personal, but at the same time feels gargantuan in its expression.

This movement encapsulates the image we have of Beethoven, the sense of great struggle, passion and beauty.

Such beauty, not of the physical kind (the poor man seemed to suffer an eternal bad hair day), but of the intangible beauty that you can only sense and glimpse.

Without a doubt, even without realising it perhaps, you will know this movement.

The Allegretto of the Seventh Symphony has been used in numerous TV shows, commercials and films.

The Fall, a beautiful film from 2006, used the music as the backdrop of its completely wordless, black and white, opening scene, setting the dramatic tone of the film from the off.

The Allegretto’s most famous leading role to date however was probably in The King’s Speech (2010).

Colin Firth as the king gives his big war speech without a hint of a stutter and it is the Allegretto that accompanies him.

The music perfectly mirrors the king’s personal struggle, and the magnitude of the events happening in Europe.

Richard Wagner called Beethoven’s Seventh Symphony the ‘apotheosis of the dance’ and it would be very difficult to argue with that statement.

If you can keep still during the last movement, you really are a bit odd.

Pianist John Lill

Friday’s concert will also be an exceptionally special event, as it is our opportunity to celebrate the 70th birthday of the wonderful pianist, John Lill.

John is always such a joy to work with, a perfect gentleman, and I’m very much looking forward to hearing his Brahms Piano Concerto No 1 (another one of my B’s!).

The length and breadth of John Lill’s career is outstanding. Since winning First Prize at the 1970 Tchaikovsky Competition, he has remained steadfastly at the forefront of his field.

He combines his Visiting Professor role at the Royal College of Music with an enviable schedule of recitals and concertos with the world’s finest musicians.

Conductor Laureate, Tadaaki Otaka

Under the baton of our Conductor Laureate, Tadaaki Otaka , this will be a very special concert at St David’s Hall so I hope you can join us.

John Lill joins the orchestra for Brahms’s Piano Concerto No 1 on Friday 9 May at St David’s Hall, Cardiff.

For more information, visit the orchestra’s website  or call the orchestra’s Audience Line on 0800 052 1812.

This week's weather set to take a turn for the worse

Wednesday 7 May 2014, 14:04

The humble Mumbles Pier

Friday 9 May 2014, 10:20

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Video Track 3: The King's Speech - Beethoven, Symphony no. 7

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The Significance of Beethoven’s 7th in The King’s Speech

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In the 2010 film, The King’s Speech, directed by Tom Hooper, Beethoven’s 7th Symphony plays a pivotal role in enhancing the narrative and emotional depth of the story. The film, which won multiple Academy Awards including Best Picture, explores the struggles of King George VI as he overcomes his speech impediment with the help of his speech therapist, Lionel Logue.

Setting the Tone

Beethoven’s 7th Symphony, specifically the second movement, is prominently featured throughout the film. The composition sets the tone for many significant moments, creating a powerful and emotional atmosphere that resonates with the audience.

The slow and melancholic nature of the second movement, known as the Allegretto, perfectly captures the internal struggles and vulnerabilities of King George VI. The music reflects his journey towards finding his voice and overcoming his insecurities.

The Allegretto movement begins with a hauntingly beautiful melody played by the strings, which gradually builds in intensity as more instruments join in. This gradual progression mirrors the emotional journey of the characters in the film, creating a sense of anticipation and tension.

Emotional Impact

The use of Beethoven’s 7th Symphony in The King’s Speech adds a layer of emotional depth to the film. The music evokes a sense of empathy and connection with the characters, allowing the audience to experience the inner turmoil and triumphs alongside them.

As King George VI delivers his pivotal speech at the end of the film, the swelling crescendos and powerful melodies of Beethoven’s composition heighten the emotional impact of the moment. The music serves as a symbol of strength and resilience, emphasizing the significance of the king’s triumph over his speech impediment.

The use of music in film has the power to evoke strong emotions and enhance the storytelling. Beethoven’s 7th Symphony, with its rich harmonies and dynamic range, creates a powerful emotional connection with the audience, making the film even more impactful and memorable.

Historical Context

Beethoven’s 7th Symphony was composed in 1811-1812, during a time of political and social upheaval in Europe. The symphony reflects the spirit of the era, with its emotional intensity and revolutionary musical techniques.

The King’s Speech is set in the 1930s, a period marked by the rise of fascism and the looming threat of World War II. By incorporating Beethoven’s 7th Symphony, the film draws a parallel between the challenges faced by King George VI and the turbulent times in which he lived.

The use of a classical composition from a different time period adds a layer of depth and universality to the film. It reminds us that the struggles faced by the characters in The King’s Speech are not limited to a specific era, but are timeless and relatable.

Artistic Choices

The decision to use Beethoven’s 7th Symphony in The King’s Speech was a deliberate artistic choice by the filmmakers. The music serves as a metaphor for the king’s struggle and eventual triumph, elevating the storytelling and adding a timeless quality to the film.

The use of classical music in film is not uncommon, but the specific selection of Beethoven’s 7th Symphony demonstrates the filmmakers’ commitment to capturing the emotional essence of the story. The symphony’s universal appeal and emotional resonance make it a perfect fit for the themes explored in The King’s Speech.

The filmmakers also made a conscious decision to use the second movement of Beethoven’s 7th Symphony, as it best suited the emotional arc of the film. The Allegretto’s somber and introspective nature aligns with the struggles and vulnerabilities of King George VI, creating a seamless integration between the music and the narrative.

1. Why did the filmmakers choose Beethoven’s 7th Symphony specifically?

The filmmakers chose Beethoven’s 7th Symphony for its emotional depth and universal appeal. The composition’s slow and melancholic nature perfectly captures the internal struggles and vulnerabilities of King George VI, enhancing the storytelling and creating a powerful emotional connection with the audience.

2. How does Beethoven’s 7th Symphony enhance the storytelling in The King’s Speech?

Beethoven’s 7th Symphony sets the tone for many significant moments in the film, creating a powerful and emotional atmosphere. The music reflects the journey of King George VI as he overcomes his speech impediment, adding depth and resonance to the story. The symphony’s use during the pivotal speech scene emphasizes the king’s triumph and resilience.

3. What is the historical significance of Beethoven’s 7th Symphony?

Beethoven’s 7th Symphony was composed during a time of political and social upheaval in Europe. Its emotional intensity and revolutionary musical techniques reflect the spirit of the era. In The King’s Speech, the symphony’s inclusion highlights the parallels between the challenges faced by King George VI and the turbulent times in which he lived.

Beethoven’s 7th Symphony plays a significant role in The King’s Speech, enhancing the narrative and emotional impact of the film. The composition’s slow and melancholic nature sets the tone for the struggles and triumphs of King George VI, while its historical context adds depth and resonance to the story. The artistic choice to incorporate Beethoven’s music demonstrates the filmmakers’ commitment to capturing the essence of the characters and their journey. The use of Beethoven’s 7th Symphony in The King’s Speech is a testament to the power of music in storytelling and its ability to evoke powerful emotions in the audience.