The Suite No. 7 is in 4 movements:
I. Overture - The work opens with an overture in name and spirit, as the movement's themes are of a decidedly operatic nature. It is a serious and dramatic movement balanced by contrasting lighter themes, but it never really shakes its somewhat tragic feeling. For the observant listener, the dramatic ending is a conscious or unconscious tribute to Lachner's good friend of so many years previous, Franz Schubert, as the orchestra repeats the main theme of the movement with the final statement sounding eerily similar to the triplet accompaniment of one of Schubert's most famous songs, Der Erlkönig.
II. Scherzo - A fine scherzo with a bouncing theme and a contrasting middle section.
III. Intermezzo - Finely written lyrical music, an example of Lachner's craft that was much admired by Schumann.
IV. Chaconne e Fuga - Some of the movements within Lachner's orchestral suites are romantic-era versions of the dances that made up the collections of Baroque era suites. The chaconne of this movement is an example. The origins of the chaconne can be traced back to Spain, but by the Baroque era the dance had become a type of instrumental piece where variations are played over a repeating bass. Lachner follows the short chaconne with a fugue. One of Lachner's music teachers was Simon Sechter, a teacher who lived long and taught many composers besides Lachner. Schubert took a few lessons from him before Schubert died in 1828, and Anton Bruckner was also his student. Sechter was a task-master with his students and also himself as Sechter wrote around 5,000 fugues in his lifetime. Lachner learned his lessons well, as his skills in counterpoint are heard in this fugue