Beethoven’s Seventh and Eighth Symphonies: Dualistic Polarity and Eventual Unity
Beethoven’s Seventh and Eighth Symphonies: Dualistic Polarity and Eventual Unity

Summary/Abstract: Beethoven’s Seventh and Eighth Symphonies already forecast the integrated tonal architecture and cyclical structures of his third stylistic period (1815–1826). In particular, the composer highlights descending bass lines and third-related pitch centers, such as C and C♯. As a result the linear movements in all four movements of each work are intricately interwoven. In addition, the Finale of Mozart’s E♭ Symphony K.543 apparently influenced the harmonic organization of the Finale in Beethoven’s Seventh. Whereas Beethoven’s Seventh accentuates the stylistic links between its outer movements (i and iv), his Eighth stresses connections between its first and third movements. As Beethoven’s work on the Eighth progressed, certain second intervals as f–e and g–f, in addition to a–b♭ and b♭–c–a gained increasing prominence, culminating in the metamorphoses of Haydn’s Symphony No. 88 in the Finale.

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