Beethoven: "Eroica" Symphony #3 - Immortal and Beloved

2/14/11 – Beethoven: Symphony #3 in E-flat major “Eroica”

Music should strike fire from the heart of man, and bring tears from the eyes of woman. – Ludwig Van Beethoven

            Like I said in a post predating the actual “Album a Day” project, I could have easily spent 9 slots on the entire collection of Beethoven’s Symphonies.  I consciously avoided the 5^th and 9^th, being the most familiar ones and picked one that I knew I should know, but I couldn’t match a theme with the name right off the bat.  Now that I’m listening through it, I recognize it, and now know what to associate the melody to.

            The first movement, naturally, embodies the heroic qualities that give this work its nickname.  Though originally stated in the celli, the theme is a triumphant, bold statement, almost always designated to the French horn sitting over a strong tonic chord.  The brass and timpani get a greater workout than in most symphonic works, particularly of this era.  Beethoven’s music in general, and this piece from his “middle period” in particular, combine practices and aspects of both the waning Classical period and the Romantic period just starting to come into its own.  While the timbres and textures seem more often than not classical in nature, the harmonic language seems often to stretch forward toward the romantic.

            While not as iconic as the valiant 1^st movement, the somber 2^nd movement is equally emotional and contains many of the same qualities of the first.  The darkness that encompasses this slow funeral march cracks briefly as the development switches to a relative major, but its return is more satisfying.  The piece laments, often at the top of its lungs – never out of anger, but out of anguish.  It’s no wonder that it was such a popular piece at funerals for heads of state and the like… until Samuel Barber and his Adagio for Strings came along that is…

            The relatively short waltz-y 3^rd movement almost feels like an intermezzo – not connected much to the two previous movements to the point it feels like an interruption.  On its own merits, it’s a bouncy little piece propelled by a rhythmic string section , more of a throwback to the classical era than a precursor to romanticism, but fun and delightful nonetheless.  Actually, come to think of it, it breaks up some of the drama from the 2^nd, so perhaps it isn’t as out of place as I originally thought.  The levity it brings to the table actually works well.

            The final movement starts off more or less where the third leaves off – with an interesting pizzicato introductory theme followed by some light two voice contrapuntal theme and variations.  As Beethoven plays with the simple theme, it develops into the same dramatic fashion and flair that were so predominant in the opening movement.  The final coda brings that passion and fire up another level.  While the orchestration used here is not too extremely creative, his thematic and melodic elements reinforce the stately nature of this “heroic” work.

            In conclusion, it is fascinating to look at Beethoven’s middle works from a purely academic standpoint – it’s like watching an entire shift in the western musical world occurring all at once.  This piece has elements of brilliance that supersede its classical roots, but does not quite develop into the next step.

Tomorrow – Songs in the Key of Life (Stevie Wonder)

Next week – Bernstein: Symphony #3 “Kaddish”