Malcolm Arnold's Symphony No. 7 was mostly written at the home of fellow composer Sir William Walton on the Italian island of Ischia, and completed in Dublin (where Arnold lived from 1972 to 1977) in September 1973. The work was commissioned by the New Philharmonia Orchestra, which premiered the work under Arnold's direction on May 5, 1974, at London's Royal Festival Hall. Arnold dedicated the symphony to his children Katherine, Robert, and Edward, whose names, turned into musical notes, are used in the work's three movements.

One might speculate that a work dedicated to one's children would be light-hearted or affectionate in tone. On the contrary—Arnold's Symphony No. 7 is one of his angriest, most aggressive and extreme works. An impassioned theme in the high strings, with percussive accompaniment, opens the first movement Allegro energico. A contrasting theme starts in the lower strings, moves to the winds and horns, and dominates the development section. Late in the movement a strange, sardonic march breaks out. The music turns even more harsh and ominous, and the movement concludes with three crashing chords dominated by a cowbell (which returns in the other two movements).

More restrained themes, one in the woodwinds, the other in the trombones, open the slow second movement. Two trumpets take over as an enigmatic tom-tom rhythm starts to dominate the music. A crescendo builds, the three cowbell strokes are heard again, and a quiet bassoon, over quivering strings, closes the movement. The third movement—in which, according to the composer, "destructive forces are conquered by reason"—begins with a strong theme in strings and woodwinds, and a more questioning idea in the flute and oboe. As the music dies down, a harp emerges with something of an Irish dance (perhaps inspired by Arnold's new home), backed by quiet dissonant brass. A flute joins in, and a second distinctly Irish theme takes over. The Irish music contests with harsher ideas. After an aggressive climax, the three cowbell strokes are heard one last time, and a series of big tonic chords end the work on a defiant note.

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