Ludwig van Beethoven's Symphony No. 3 in E flat major (Op. 55), also known as the Eroica, is a musical work marking the full arrival of the composer's "middle-period," a series of unprecedented large scale works of emotional depth and structural rigor.
The symphony is widely regarded as a mature expression of the classical style of the late eighteenth century that also exhibits defining features of the romantic style that would hold sway in the nineteenth century. The Third was begun immediately after the Second, completed in August 1804, and first performed 7 April 1805.
The piece consists of four movements:
First movement
The first movement, in 3/4, is of the Sonata-Allegro form. The movement opens with two large E flat Major chords played by the whole orchestra, thus firmly establishing the tonality. The first theme is introduced by the cellos, and by the fifth bar of the melody, a chromatic note (C♯) is introduced, thus establishing the harmonic tension of the piece. The melody is finished by the first violins, with a syncopated series of G's (which forms a tritone with C♯ of the cellos). After the first theme is played by various instruments, the movement transitions to a calmer second theme that leads to the development section. The development, like the rest of the piece, is characterized by remarkable harmonic and rhythmic tension due to dissonant chords and long passages of syncopated rhythm. Most remarkably, Beethoven introduces a new melody in the development section, breaking the classical tradition that the development section only works with existing material. The development section leads back into the recapitulation; notably, the horns appear to come in early with the tonic melody while the strings are still playing the dominant chord. The movement ends in a long coda that re-introduces the new melody of the development section. Overall, the noble character of the movement has led to its being called a portrait of the hero celebrated by the work.
Second movement
The second movement is a funeral march in C minor with a trio in C major. The movement contains multiple fugatos, and its solemnity has led to its being used in public funerals.
Third movement
The third movement is a lively Scherzo. The trio features hunting calls from the three horns.
Fourth movement
The fourth movement is a set of variations on a theme that Beethoven had used several times before. The theme first was used in the finale of his ballet music for The Creatures of Prometheus (1800), the seventh of 12 Contradanses, WoO 14 (1800-1802) and later as a set of piano variations, Op. 35. The theme's subsequent use in this symphony has given the Op. 35 set the nickname "Eroica Variations". The variations here are structured in a similar manner to those Op. 35 in that the bass line of the theme makes the first appearance and is subjected to a series of strophic variations leading up to the full appearance of the theme itself.
Dedication and premiere
Beethoven had originally conceived of dedicating the symphony to Napoleon Bonaparte. The biographer Maynard Solomon relates that Beethoven admired the ideals of the French Revolution, and viewed Napoleon as their embodiment. In the autumn the composer began to have second thoughts about that dedication. It would have deprived him of a fee that he would receive if he instead dedicated the symphony to Prince Franz Joseph Maximillian Lobkowitz. Nevertheless, he still gave the work the title of Bonaparte.
http://blogs.yahoo.co.jp/hk5studio/archive/2009/5/27
http://blogs.yahoo.co.jp/hk5studio/archive/2010/5/27
http://blogs.yahoo.co.jp/hk5studio/archive/2011/5/27
http://i.yimg.jp/images/auct/blogparts/Category300250White.swf?s=2&cl=4&cid=2084041489&lf=1&di=0&od=1&ti=HK8SOUNDS%2FCC&pt=1&dotyid=aucy%2Fp%2FDR53R3HaV9rsak.SeSlRxw--&sid=2219441&pid=878398084
The symphony is widely regarded as a mature expression of the classical style of the late eighteenth century that also exhibits defining features of the romantic style that would hold sway in the nineteenth century. The Third was begun immediately after the Second, completed in August 1804, and first performed 7 April 1805.
The piece consists of four movements:
1.Allegro con brio
2.Marcia funebre: Adagio assai in C minor
3.Scherzo: Allegro vivace
4.Finale: Allegro molto
The performance time is about 50 minutes.2.Marcia funebre: Adagio assai in C minor
3.Scherzo: Allegro vivace
4.Finale: Allegro molto
First movement
The first movement, in 3/4, is of the Sonata-Allegro form. The movement opens with two large E flat Major chords played by the whole orchestra, thus firmly establishing the tonality. The first theme is introduced by the cellos, and by the fifth bar of the melody, a chromatic note (C♯) is introduced, thus establishing the harmonic tension of the piece. The melody is finished by the first violins, with a syncopated series of G's (which forms a tritone with C♯ of the cellos). After the first theme is played by various instruments, the movement transitions to a calmer second theme that leads to the development section. The development, like the rest of the piece, is characterized by remarkable harmonic and rhythmic tension due to dissonant chords and long passages of syncopated rhythm. Most remarkably, Beethoven introduces a new melody in the development section, breaking the classical tradition that the development section only works with existing material. The development section leads back into the recapitulation; notably, the horns appear to come in early with the tonic melody while the strings are still playing the dominant chord. The movement ends in a long coda that re-introduces the new melody of the development section. Overall, the noble character of the movement has led to its being called a portrait of the hero celebrated by the work.
Second movement
The second movement is a funeral march in C minor with a trio in C major. The movement contains multiple fugatos, and its solemnity has led to its being used in public funerals.
Third movement
The third movement is a lively Scherzo. The trio features hunting calls from the three horns.
Fourth movement
The fourth movement is a set of variations on a theme that Beethoven had used several times before. The theme first was used in the finale of his ballet music for The Creatures of Prometheus (1800), the seventh of 12 Contradanses, WoO 14 (1800-1802) and later as a set of piano variations, Op. 35. The theme's subsequent use in this symphony has given the Op. 35 set the nickname "Eroica Variations". The variations here are structured in a similar manner to those Op. 35 in that the bass line of the theme makes the first appearance and is subjected to a series of strophic variations leading up to the full appearance of the theme itself.
Dedication and premiere
Beethoven had originally conceived of dedicating the symphony to Napoleon Bonaparte. The biographer Maynard Solomon relates that Beethoven admired the ideals of the French Revolution, and viewed Napoleon as their embodiment. In the autumn the composer began to have second thoughts about that dedication. It would have deprived him of a fee that he would receive if he instead dedicated the symphony to Prince Franz Joseph Maximillian Lobkowitz. Nevertheless, he still gave the work the title of Bonaparte.
http://blogs.yahoo.co.jp/hk5studio/archive/2009/5/27
http://blogs.yahoo.co.jp/hk5studio/archive/2010/5/27
http://blogs.yahoo.co.jp/hk5studio/archive/2011/5/27
http://i.yimg.jp/images/auct/blogparts/Category300250White.swf?s=2&cl=4&cid=2084041489&lf=1&di=0&od=1&ti=HK8SOUNDS%2FCC&pt=1&dotyid=aucy%2Fp%2FDR53R3HaV9rsak.SeSlRxw--&sid=2219441&pid=878398084