Information before the analysis
Beethoven composed
this symphony in the years 1803-1804. On the top of the first page of the
original score he wrote the name Bonaparte, and on the bottom he wrote his own.
Presumably he considered Napoleon [Bonaparte (1769-1821)], a
great commander and statesman, however when he came to know that on the 18th
of May, 1804 he was crowned emperor, he gave a new title for his symphony:
Eroica Symphony.
What does the word eroica mean? – it – heroic,
heroically; music – (should be performed with) heroic pathos.
Beethoven dedicated his
composition to his benefactor, prince Lobkowitz.
Its first open performance was on the 7th of April, 1805, conducted
by Franz Clement.
This symphony was
composed in the beginning of Beethoven’s second – we could say: fulfilling –
phase.
Beethoven considered this one
of his best symphonies. It is a leap of quality among his compositions. The
first musical piece with poetic content. He is thirty-three years old at this
time. Once in 1802 he said the following: “I am not
satisfied with my compositions thus far. I shall take a new path.”
What did Rossini, Gioachino Antonio (1792–1868)
said after listening to the symphony in Wien in 1822? – He said but one word: “Wonderful!”
It is also worth to
note what Beethoven once said: ”It shan’t be played
for a tired audience!” Today it tries the
listener’s attention. Its playtime is usually 60 minutes. /depending on the
conductor’s tempo./
The III. symphony
is Beethoven’s most significant masterpiece. In the history of music, it is
like Michalengelo’s David (Donatello,
1504), among sculptures. This symphony begins a new page, a new chapter in
musical history.
Analysis
Analysis of the I. movement.
Movement form: sonata form.
Tempo designation: Allegro con brio,
time signature: 3/4
I. Exposition
The exposition
begins with two forte orchestral chords sounding
on the whole orchestra.
The first theme consists of two parts.
a/ The first part sounds on
cellos, and it cannot be seen as a complete melody – this is the movement’s main motif.
b/ The second part sounds on
violins, and it is not a continuation of the first part’s melody. ♫ 007_Egy_elso_tema.wav
The main motif begins
again, followed by motif-weaving, and after a short transition the main theme appears again on the whole orchestra, but fulfillment is omitted here as
well.
In another
transition section Á (it could be a theme!) we hear the so called „dolce-motif” repeated four times, accompanied
by the fast-paced, rhythmic “violin-figurations”. Then this part is concluded
with “unison-passages”. (dolce)
The dolce-motif: ♫ 047_Elso_dolce_mot.wav
According to the
rules of the sonata form the second theme would follow. According to
musicologist Bence Szabolcsi, this is not a real second theme, only an ”elegiac final note”, which is repeated; we once
again feel the need of closure, but it does not happen.
The melody of the
elegiac final note: ♫ 048_Elso_elegikus.wav
After a transition,
the main theme’s rhythmic variant
follows, and it is concluded and followed by six dissonant chord-beats on the
orchestra.
The closing theme expresses pain – played by violins
and flutes –, to which there is a concluding section; the four orchestral
chords now also mean the conclusion of the exposition. We listen to it now: ♫ 049_Egy_zárótéma.wav
Now that we are
familiar with the exposition’s musical material (we have listened to each
musical section several times), when listening to it continuously we should pay
attention to the following:
§ the structure is
not according to the rules of the form.
§ The musical thought
does not develop into a theme.
§ There is no real
second theme, no definite closing theme.
§ Something begins in
the exposition, but it does not end.
Observation: Although Beethoven
prescribed the repetition of the exposition’s introductory line, conductors
today omit it. There are several reasons for this that should not be discussed
now.
II. Elaboration
The elaboration is
split into four musical blocks; these were marked with the letters A, B, C, and
D by German musicologist Lorenz, A.O. (1868-1939).
Contents of block “A”:
It begins with the
repetitions of the dolce-motifs, which is accompanied by an upward moving
“counterpoint-motif” consisting of seven notes.
Then we hear the moll variant of the main theme on string instruments (the repetition in bass has a somber tone), accompanied by a downward moving, fast paced “violin-figuration”,
followed by a conclusion.
Contents of block “B”:
It also begins with
the repetitions of the dolce-motif, but a countertheme
with broken rhythm also appears. The music becomes more energetic, the
dynamics become stronger, the tensions rise; we feel forces clashing, at the
end of which there is only heaps of chords present. The name of the elaboration
section: energetic section.
At the end of the
section the music becomes unbearable, because it develops into a dissonant climax, the resolution of
which happens at the beginning of block “C”.
Contents of block “C”:
The resolution is
the second theme,
which is instantly repeated. Despite the rules of the form, here it sounds in
the elaboration section. It is an extremely intimate, emotional melody, a true
partner of the main theme; later we can only hear it in the coda.
Next, the main theme’s bass-variants sound.
Then the second
theme sounds again, along with its motif-weavings.
Contents of block “D”:
The main theme sounds in rich orchestration, and it is
repeated several times. We soon reach the elaboration’s climax (this is not identical with the movement’s
climax!), then theme-shortening happens,
– the orchestra goes silent, only
the violins are present in pianissimo, when suddenly the main theme sounds on the horns, then an orchestral forte concludes block “D”, as well as the elaboration
section.
III. Reexposition
The horn at the end
of block “D” “announces” the coming of the reexposition. after an orchestral
forte the first theme sounds. After, the main
theme achieves its full, concluded version. It first sounds on the horns, then on flutes,
but we somehow have the feeling that we
still haven’t heard the final, concluding version.
After these the
musical material heard in the exposition is repeated, somewhat shortened. We
can see the difference in the flow-chart. See ppt page
#7!
IV. Coda
The coda can be
divided into two parts.
1. Preparatory
section
It begins with the
repetition of the main theme. We hear it in piano as well as in
forte.
Then the piano main
theme is accompanied by a countertheme-figuration, which is followed by the repetition
of the second theme. then the
countertheme-figuration appears for a moment, but it is immediately shortened.
Then we hear the main theme again (its melody prolonged
in time!).
2. Concluding
section
The main theme achieves its full,
concluded, now fulfilled melody (first strengthened by the horns, then by the wind
instruments), but we still feel this is not the final version. It is
accompanied this time by an upward moving violin-figuration, repeated twice.
Then we hear the
main theme’s repetitions again, while the dynamics gradually become more
powerful, and the orchestral sounding becomes richer. When the main theme sounds again, it marks the climax of the movement.
This version is the main theme’s true, final,
concluding version; it emanates true force, it shines with its full bright. All
musical happenings in the movement reach their solution, their peace here,
which is also an answer to the melody of the main theme in the beginning of the
movement.
After this the
concluding section is finished the same way the movement begun: with two
orchestral chords.
Analysis
of the II. movement
Movement form: free sonata form
Tempo designation: Marcia funebre (Funeral
march), Adagio assai, c-moll,
time signature: 2/4
the movement can be
divided into five sections.
The analysis is
done according to the sections:
The first - is the
exposition.
The second and
third -
is the elaboration.
The fourth - is the
reexposition.
The fifth - is the coda.
Exposition
/first section/
The movement’s main
theme is a funeral march, which sounds in two versions, two qualities – their
melody is different.
In the first
section the funeral march-1 ( Fm-1 ) sounds on strings,
then it is repeated on wind instruments. Then
the melody of Fm-1‘s consequent clause sounds with new melody modeling.
In the transition
section we hear the funeral oration
of cellos,
followed by the minor variant Gy-1. We hear the
funeral march’s consequent part again, then the minor variant, and as a
conclusion, the epilogue.
Elaboration
(The elaboration is
divided into two sections, but I name them second and third section as
described above.)
Second
section.
We first hear the funeral march’s lighter version which puts less emphasis on
pain and grief; this is funeral_march-2 ( Gy-2
), which is interrupted by orchestral forte and the oration of drums. We hear this melody again followed by
orchestral forte and concluded with a short transition.
Gy-1 sounds in c-minor,
while Gy-2 sounds in C-major; so the latter
expresses pain and grief less than its minor variant. (Contemporary music
regarded the c-minor tone mournful, and the g-minor as piercingly tragic.
/Mozart composed two symphonies in the latter./)
Third
section. It begins with the beginning of Gy-1’s melody, but it is interrupted. It is
followed by the funeral march’s
consequent part accompanied by a counter-theme. This short third section is
dominated by the development of the theme and the counter-theme. The method of
development is fugato.
At the end of the
section the so called “bass-march” sounds
on deep string instruments, and after a short
transition the new section begins.
Reexposition /This is the fourth
section./
It begins with the
melody of Gy-1. The whole exposition is
not repeated, only its core. Compare the lines in the flow chart. The sounding
is richer, the motif-weaving is more complex, more artistic; in its whole the
music is extremely potent.
Coda (fifth section)
Preparatory musical
section introduces the free version of Gy-2, then the motif of the funeral march’s consequent
part prepares the conclusion of the coda.
Gy-1 starts again, but
its melody is interrupted several times before it reaches the end (it is like
speech on a voice choked with sobbing). Finally, as a last painful sigh, the
whole orchestra concludes the fifth section and the movement.
III. movement
Movement form: Scherzo
Tempo designation: Allegro vivace, time
signature: 3/4
A./ The scherzo’s
theme consists of two short musical parts.
The first, a murmuring
sound on violins is the introduction.
The murmuring turns
into folk-like dance, which is the second part of the theme.
After the scherzo–theme ends, it is
repeated. Then a new melody and theme sounds.
The scherzo’s music
consists of this theme and the development of its motifs. Its attributes are:
amusing, cheerful, happy tuned, but also energetic.
B./ The middle part is
the trio. It has a lyrical tone and it sounds on horns.
It consists of a single melody. The development is similar to the one in the
scherzo.
A./ In the third part
of the scherzo the scherzo–theme returns. We hear the same as what we heard in
the first part, only shorter, and concluded by a coda.
IV. movement
Movement form: it cannot be
precisely defined as there is no first, second and closing theme in it; it
builds on a single, rhythmic melody and its bass.
Notation: main
melody – D;
bass melody – B.
The form – if it
has to be described – would be: “freely built
paired variants”. writes Dénes Bartha in his book titled: Beethoven kilenc szimfóniája.
Tempo designation: Allegro molto, time
signature: 2/4
Musical material: the main melody and mainly the variants of the bass-melody.
The movements
introductory music lacks melody, but is quite energetic, also theatrical. After
the introduction the bass-melody sounds
on deep string instruments (here, it can be
heard the clearest!), which is repeated
instantly, then during the short conclusion forte chords sound.
Right after we hear
the first variant of the bass motif,
with a counterpoint on violins; this short section is repeated, then the
already heard conclusion follows..
Then comes the bass-motif’s another, second variant, which again comes with
a counterpoint; this section is also
short and is also repeated. After, again the already heard conclusion follows.
Pay attention to
how the conclusions – both in tone and dynamics – fit into the theme and
variations!
Next, the main melody with its slightly
dance-like rhythm sounds for the first time, then it is repeated, and at the same
time evolves into its full form on whole orchestra. The conclusion follows.
After a transition we reach the third
version of the counter-themed bass-melody, which is in fugato development; then the free variation of the main melody follows,
twice.
After another transition, a variation of the
bass-melody follows, that may sound to
our ears as familiar, reminiscent of recruiting music and rhythm – it is
concluded.
Next, we hear the
main melody on flute, then some motivic
material; then the bass-melody’s mirror version sounds (this is its fifth
variation), to which quick violin passages
give a counterpoint.
It is soon
accompanied by the main melody’s variant. The method of development is double
fugue. The music becomes richer, it reaches its dynamic climax, and then a long
held fermata marks the end of the section.
After this the main melody’s majestically slow, lyrical variation follows. This
development is extremely intimate, full of emotions, which is repeated on strings with richer orchestration. Then another
variation of the main melody sounds, which is different in its rhythm from the
ones before, and it is repeated.
Afterwards, Beethoven
sounds the main motif on the whole orchestra, and with the glorious,
reverberation of the horns elevates it to the rank of hymns as well as to the
movement’s climax.
After this some motivic material follows, the orchestra
goes silent. A new motif sounds on
the oboe and the violins,
then the sounding gradually becomes more powerful and the music reaches a dissonant climax.
Then we hear the silent conversation of the violins and wind
instruments which prepares the conclusion of the movement: the
volume gradually becomes lower, we can barely hear it in the end, when the
closing orchestral chords begin with full force.
I n w o r d s
The symphony’s
message is more than the greatness of a single man; it is not about “a single
person’s life”, it is not in memory of one man but it carries universal
thoughts for the audience; and this is true for each movement.
Think about how
each movement of the symphony has its own characteristics, thus they are
different both in their nature and their music and they cannot be reconciled
with “a single person’s” personality. It is important to pay attention to the movement’s
tempo designation, e.g. I. movement: Allegro con brio; II. movement Marcia
funebre etc.
This music is for
and about the constantly struggling, constantly living man. The struggling man
for whom the ethics and his own consciousness orders that each and every act
should serve democracy, progress, and the freedom of his fellow man the best.
For now we should
be satisfied with the meaning of the word eroica: heroic symphony, “… the hymn of heroism and heroic behavior” – writes Professor
Dénes Bartha.
Music critics denominated two
of Michalengelo’s sculptures to describe the mood of the I. and II. movement.
The I. movement: David,
the biblical hero who defeated; the
II. movement: Pieta.
(pieta
– Italian word, meaning: pain – this is
how sculptures representing Virgin Mary’s grief upon holding Christ after taken
off of the cross are called. Michelangelo created three such compositions.)
I. movement (David)
The movement is
about the struggling man – homo luctator –, his heroism, and heroic behavior;
about the will to fight, about human willpower and about standing one’s ground;
about the victory of life’s true values, at the end of the movement, in the
coda. Fundamentally it is about, however, that all things in line must be
fought for: for justice, for freedom, for democracy, for the success of human
rights, for prosperity, and perhaps for happiness as well. There was a need to
fight in Beethoven’s time, and there is a need to fight today. Many claim: life
is about struggling. The “struggling man” is expressed the best in the
elaboration section.
It is safe to state:
the content and message of the music is topical and true today as it was when
it was composed. This is why it does not diminish as time passes, and this is
why it is valid for the man of today just as it was valid two hundred years
ago.
Struggling man is
often faced with disappointment, failure, lack of understanding; yet he faces
each challenge for the noble and just cause; he is diverted by no obstacle. This
is also included in the first movement’s music and message.
What does the main
theme’s variant, confirming answer mean at the end of the movement? The first
movement’s melody that sounds for the first time in the exposition – let us
call it first variant – is downward
moving at the end; it emanates a hopeless, pessimist mood.
The same melody,
main theme in the coda – let us call it confirming
variant –, although only because of one note difference it gains new
meaning. This melody is full of power; it emanates a hopeful, optimistic mood.
It advocates that human effort and struggling always have their meaning, their
result. The struggling man gains his fellow men’s respect and appreciation.
See also:
PowerPoint page #11!
The second movement (pieta)
Musical content: slow,
solemn funeral march. It is about grief and pain. We could ask: Is there a
person who was never touched by the feeling of grief and pain upon losing a
close or loved fellow man? There is only one answer: NO!
Musicologist
still cannot precisely determine whose death inspired Beethoven’s staggering,
mournful music. Napoleon, who was alive upon the composition of the symphony,
cannot be considered. As we all know he died in 1817 on Saint Helena after
seven years of confinement. /The symphony
was composed in 1802./
Death
is the mutual fate of mankind; it means the end of earthly life. The body comes
to nothing, it is nature’s law, but something remains. We, people living today
claim: No man ceases to be with the last day of his life; the values of his
life live on, they surpass the date of his passing.
Something
new begins, depending on how much one did or could have done for it. The acts
of “Great” kings’ reign are still spoken of even after thousands of years.
Napoleon
lives on among the greatest of history
and military science.
Beethoven
was and remains the uncrowned lord of music.
And
what they have achieved through their life’s heroic battles are still present
and still impress; not only on the anniversaries of their commemoration.
During the analysis I mentioned that the funeral march-1– Gy1 – is about feelings of grief and pain, while
funeral march-2 – Gy2 – emphasizes the uplifting feeling of power
gained from grief itself; it raises our determination to keep on living.
Bence Szabolcsi
musicologist wrote about this movement, more precisely about its message: “…even this terse grief is full of life and power. Thus
only those mourn who really feel life’s taste, who knows he is stronger than
death.”
And maybe it is
also about something we call apotheosis.
Third movement
Beethoven uses the
term scherzo even in the II. symphony. He firmly refuses the minuet’s mood
reminiscent of dancing, which he did not find to be worthy for classical
symphonies.
For him the scherzo
is carefree happiness, joy, serenity, the closest to our human nature, just
like dance itself.
There were some who
suggested that only the I. and II. movement shall be played from the symphony.
Some suggested that the III. and II. movement should be transposed, as the
scherzo’s mood aesthetically collides with the mood of grief.
Beethoven did not
think it this way; he placed the scherzo right after the sounds of grief. Why?
We cannot be sure.
My opinion is: we
are human, we are touched by happiness and sorrow equally. A költő is így
vall e kérdésben: „Mindig szép az élet,
ha simogat, ha sújt./Ma véresre korbácsol, de holnap tán balzsamot nyújt.”
The philosopher of
the era thought similarly when he discussed that grief should also be moderate,
as excessive sorrow turns against life, and so it is unnatural.
Today it is
completely accepted within the symphony for the mood of grief to be succeeded
by the scherzo. The contradiction is only apparent; the moods don’t
disharmonize, as the joy, happiness after grief is part of life’s reality.
Fourth movement
Just like in the
“Venetian era” of opera, where the audience expected the events of the opera to
“lieto fine” – end happily, it became a practice
in symphonies as well that the concluding movement cannot be dramatic, its
music cannot be similar to that of the previous movements; it has to be
something different. And this difference is seen in that the final movement is
the release in mood of the previous three. We could say: happy day.
This fourth
movement is a fine example of this, since it adapts to the artistic principles
of the era, as well as to the symphony’s requirements of content and structure.
It does not carry a deep message, but concludes the symphony in a carefree way.
Many interpret that
in this movement Prometheus, the mythological hero is set to music. Beethoven composed
the ballet entitled The Creatures of Prometheus in 1801, which he called
“heroic, allegorical ballet”. (Allegory).
Bekker, Paul (1882-1937) German
composer and critic believed that in the eyes of Beethoven the torch-carrier
Prometheus is also a hero, the hero of light, culture and enlightenment. We can
almost be sure that Beethoven thought of Prometheus “the hero” as someone close
to his personality and to the message of his music.
Prometheus gr
- a.m. prudent, foreseeing, caring
A
character of Greek mythology, who to help and please mankind stole the fire
from Mount Olympus, for which Zeus punished him; he is chained to Caucasus
Mountain, where a vulture continuously rips out his constantly renewing liver.
Aeschylus,
Greek dramatist wrote a trilogy, the first part of which is Prometheus Bound,
where he is described as a hero and martyr of culture, who is the great
benefactor of mankind.
Pieces
of the fine arts were fond of to depicting his punishment and release.
The
mythological story is more complex and there are several other content in it; I
only tried to grasp its core..
(Révai
Lexikon, volume XV., p. 714., 1922.)
Index
allegory greek-latin – the
literary meaning is not relevant here: art: the depiction of a moral ideal, the
personification of abstract notions in a perceptible way
< vissza
dolce it – softly, gently
< vissza
heroic greek-latin – heroic,
brave
hérosz greek-latin – 1./ in
Greek mythology: demigod; 2./ hero
heroism (greek: “hero”): aesthetic
quality; a form of majesty, that
manifests through a deed that requires moral or physical strength, heroism,
tenacity, self-denial or self-sacrifice.
In music we
call the extremely elevated, dynamic and dominant musical theme heroic.
According to József Szigeti: “…the tragic hero always goes through
the most difficult of conflicts, and while nearing the borders of tragedy he
advances towards victory or defeat; whether he achieves victory or fails, his
figure is radiant with glory.”
József Szigeti
(1921 –, philosopher, aesthete, places the
aesthetic qualities in the sectors of this chart as follows:
potent english(<latin) 1. suggesting, stimulative
2. compelling, irresistible in effect, has the force to make sy believe < vissza
All
these questions can be read and studied further in the Lexicon of Aesthetics.