Milestones of Musical Romanticism 1
M. Zachary Johnson
March 23, 2005
-Beethoven's "Eroica"-
Beethoven's career as a composer is divided into three periods. In the first period, we find a somewhat immature Beethoven, who was still learning his craft, developing his technique, and finding a distinctive voice. The influences of Beethoven's idol, Mozart, and his teacher, Haydn, are very evident. By the end of his life, in the third period, he writes dark, sometimes bombastic, complex, and often inscrutable music.
It is in the second period that Beethoven the inimitable historical figure bursts forth into the history of music with a fully mature and distinctive voice. It is here that we find the works that serve as models for all future composers; it is here that we find the works that so dramatically raised the standards for musical composition: for strictness of integrity of structure, for rhythmic vigor, for finesse and drama in modulation, for brilliant orchestration and development; it is here that we find the works that the public falls in love with anew every generation; it is here that we first hear the intense, stormy, passionate, romantic Beethoven. It is with the works of the second period that Beethoven inaugurates the century of musical Romanticism.
The inauguration came suddenly and strikingly in 1803 with Beethoven's Third Symphony, the "Eroica" ("Heroic"). This symphony is somewhat longer than its predecessors: clocking in at about fifty minutes, the Eroica lasts twenty minutes longer than either of Beethoven's first two symphonies. The Eroica employs a slightly expanded orchestra--Beethoven added a third horn to the traditional instrumentation. But the real revolution here is in the musical complexity and emotional scope of the work.
The Eroica begins with two loud, sharply articulated ringing chords; the first movement and the whole symphony end with the same two chords. These "bookends" frame the composition.
"Most remarkable...in this [first] movement...is neither the formal pattern nor the abundance of ideas, but the way in which all the material is propelled constantly along, one theme seeming to unfold out of another in a steady dynamic growth which mounts from one climax to the next, driving with a sense of utter inevitability to the end." (Grout & Palisca, *A History of Western Music*)
The second movement is a funeral march, contrasting boldly in emotion with the vigorous, somewhat tormented joy of the first movement. The third is a racing scherzo. The fourth is a theme with variations; near the end, the constant forward momentum that has been building pauses for a long section of slower, peaceful variations; then the music returns to the faster tempo and pounds away to the ultimate resolution.
A superb recording of this work, performed by the Philadelphia Orchestra under the baton of Riccardo Muti, is available from EMI classics. The rhythmic vitality and energy never wavers in this rendition. The recording also includes the overture to Fidelio, Beethoven's only opera, and the "Consecration of the House" Overture--one of the most triumphantly proud, regal, and stirring overtures in the repertoire.
To purchase this recording and to see other recommendations in the "Milestones of Musical Romanticism" series visit:
http://www.TIADaily.com/php-bin/news/showArticle.php?id=995
Beethoven's career as a composer is divided into three periods. In the first period, we find a somewhat immature Beethoven, who was still learning his craft, developing his technique, and finding a distinctive voice. The influences of Beethoven's idol, Mozart, and his teacher, Haydn, are very evident. By the end of his life, in the third period, he writes dark, sometimes bombastic, complex, and often inscrutable music.
It is in the second period that Beethoven the inimitable historical figure bursts forth into the history of music with a fully mature and distinctive voice. It is here that we find the works that serve as models for all future composers; it is here that we find the works that so dramatically raised the standards for musical composition: for strictness of integrity of structure, for rhythmic vigor, for finesse and drama in modulation, for brilliant orchestration and development; it is here that we find the works that the public falls in love with anew every generation; it is here that we first hear the intense, stormy, passionate, romantic Beethoven. It is with the works of the second period that Beethoven inaugurates the century of musical Romanticism.
The inauguration came suddenly and strikingly in 1803 with Beethoven's Third Symphony, the "Eroica" ("Heroic"). This symphony is somewhat longer than its predecessors: clocking in at about fifty minutes, the Eroica lasts twenty minutes longer than either of Beethoven's first two symphonies. The Eroica employs a slightly expanded orchestra--Beethoven added a third horn to the traditional instrumentation. But the real revolution here is in the musical complexity and emotional scope of the work.
The Eroica begins with two loud, sharply articulated ringing chords; the first movement and the whole symphony end with the same two chords. These "bookends" frame the composition.
"Most remarkable...in this [first] movement...is neither the formal pattern nor the abundance of ideas, but the way in which all the material is propelled constantly along, one theme seeming to unfold out of another in a steady dynamic growth which mounts from one climax to the next, driving with a sense of utter inevitability to the end." (Grout & Palisca, *A History of Western Music*)
The second movement is a funeral march, contrasting boldly in emotion with the vigorous, somewhat tormented joy of the first movement. The third is a racing scherzo. The fourth is a theme with variations; near the end, the constant forward momentum that has been building pauses for a long section of slower, peaceful variations; then the music returns to the faster tempo and pounds away to the ultimate resolution.
A superb recording of this work, performed by the Philadelphia Orchestra under the baton of Riccardo Muti, is available from EMI classics. The rhythmic vitality and energy never wavers in this rendition. The recording also includes the overture to Fidelio, Beethoven's only opera, and the "Consecration of the House" Overture--one of the most triumphantly proud, regal, and stirring overtures in the repertoire.
To purchase this recording and to see other recommendations in the "Milestones of Musical Romanticism" series visit:
http://www.TIADaily.com/php-bin/news/showArticle.php?id=995
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