Beethoven - Piano Concerto No. 3 in C Minor

Beethoven's sketchbooks show that he was a very self-critical composer.  Ideas came readily to him,but he was never satisfied with the first blush of inspiration. He would think about, tinker with, write, write and rewrite to try and get the best out of his initial ideas. This critical musical mind also applied to most other composers, especially his contemporaries. Three composers that Beethoven held in great regard were Bach, Handel and Mozart.  Surprisingly, out of those three Beethoven thought Handel was the greatest, because he could write such profound music using simple means.  And in this concerto we see how Handel's influence molded one of Beethoven's musical ideas.

The concerto was composed in 1800 and premiered in 1803 with Beethoven as soloist. As usual with Beethoven, he had no time to write down the solo part so he wrote a few scribbles on music paper to help him remember the music and played it mostly from memory.  On the day of the concert he rose from his bed at five in the morning to copy out the parts for trombone and then made a hasty trip to the concert hall for rehearsals. The concert also had his 2nd symphony and his oratorio Christ On The Mount Of Olives on the program as well as a repeat of his 1^st Symphony heard at a previous concert.  This was a very busy time for the thirty-year old composer who was fresh from his studies.

I. Allegro con brio - The opening theme of the third piano concerto is in C minor, positively drenched in C minor. The string section plays the C minor triad ascending, and the C minor triad (plus a few passing notes all in the C minor tonality) descending.

The entire first movement is built on these few notes of C minor, a tribute to Handel and his inventiveness and frugality of notes.  But Beethoven also admired and championed the music of his older contemporary Mozart. He had heard Mozart play and had played for him in preparation to try and be his student. But Beethoven had to leave Vienna in a hurry because of his mother's fatal illness, and by the time he returned to Vienna Mozart was dead.  One of Beethoven's favorite pieces by Mozart was the Piano Concerto No. 24 in C Minor, played by Beethoven in public concerts.  Mozart's concerto also begins with the three notes of the C minor triad, but the two works are very different past that.

II. Largo - Beethoven breaks with convention by putting this movement in the key of E major, a key with 4 sharps that is far removed from C minor, which has 3 flats.

III. Rondo: Allegro - The piano begins the movement with a weak beat accented theme that reappears throughout the movement. There are touches of Beethoven’s humor and drama in the movement. After the cadenza, the music switches the mood and key to C major and the concerto ends brightly in that key. 

Beethoven - Piano Sonata No. 21 In C Major opus 53 'Waldstein'

In the European musical world of the late 18th and early 19th centuries, most composers had to rely on employment in the church or a royal patron to make ends meet. There were music publishers, but there were no copyright laws protecting a composer's published works. Other publishers could get a copy of them and print their own versions of them with no penalty. So for the few composers that could get published, there was usually a set fee for the composition in question with no royalties and no laws prohibiting publication by other publishers with no remuneration for the composer.

Count  Ferdinand von Waldstein

One of Beethoven's first important patrons was Count Ferdinand Waldstein, a German nobleman who made Beethoven's acquaintance in Bonn. It was Waldstein who put together a scholarship for Beethoven to go to Vienna in 1792. Beethoven had already been to Vienna for a short stay in 1787, ostensibly to have lessons with Mozart. Whether he actually had them or even met Mozart is not certain, but by 1792 Mozart was dead and Beethoven was to have lessons with Joseph Haydn. Count Waldstein wrote to Beethoven before he left on the trip:

Dear Beethoven! You go to realize a long-desired wish: the genius of Mozart is still in mourning and weeps for the death of its disciple. By incessant application, receive Mozart's spirit from Haydn's hands.

Piano Sonata No. 21 was written in the summer of 1804 at the height of Beethoven's most productive period of composition. 1804 was also the year that the Third Symphony In E-flat Major (Eroica) was completed. Beethoven remembered his first important patron and dedicated the sonata to Count Waldstein, hence the name that the sonata is most known by.

I. Allegro con brio -  Beethoven begins the sonata with a theme contained in the C major chord played at a quiet dynamic that combines with the energetic tempo that creates an underlying excitement to the opening:

These four measures are immediately repeated, but in the key of B-flat major.  Beethoven modulates this first theme group until a short transitional section in A major leads to the second subject.

Usual convention of second themes in sonata form has them in the key of the dominant, or 5th degree of the main key, which in this instance would be G major. Beethoven mixes it up be having the second theme in the key of E major.

The second theme group leads back to a repeat of the exposition.  The development section has themes go through many key changes along with compression of themes to one bar motives. The recapitulation has the first theme played verbatim, with material leading to the second theme being modified. The second theme is first heard in A major, then in the tonic of C major, which the movement ends in.

II. Introduzione - Adagio molto -  The original second movement for this sonata was removed because it was thought to make the sonata too long. Beethoven had the original movement published seperately as Andante favori.  Beethoven inserted a short introduction to the final movement. This introduction is 28 measures long, and leads directly to the rondo of the finale.

III. Rondo - Allegro moderato - Prestissimo - The beginning of the rondo emerges from the introduction pianissimo, in a melody that is played with the left hand crossing over the right hand accompaniment. The left hand supplies deep bass notes when it crosses back over:

After a brief section the melody returns, this time in octaves in the right hand as the left hand accompanies. The melody ends with a trill in the right hand, and as the trill continues with the thumb and index finger of the right hand, the melody returns an octave higher, played primarily by the little finger of the right hand:

This is quite difficult to do, as the top melody needs to be prominent over the accompaniment both of the trill and the rapid notes of the left hand. Beethoven was very aware of the difficulty of the trill, and in the manuscript of the sonata he left instructions that said:

For whom the trill is too difficult where it is connected to the theme, may make things easier in the following way: 

Or depending on their abilities, they can also double it. of these sextuplets, two are played against each quarter note of the bass. In general, it does not matter if this trill also loses some of its usual velocity: 

After the theme is played through three times, an episode in A minor erupts and leads back to the theme that is repeated three times in the same form as before. Another episode in C minor, this one lengthier than the first, is played. this leads to the return of the theme in chords in the keys of A-flat, F minor and D-flat major. Parts of the theme are now developed in different keys. This development leads back to the theme, this time played twice.  The next section extends the bars that are heard directly after the first hearing of the theme. After this, a section in G major leads to a changing of the tempo to prestissimo and the time signature to 2/2. The theme is varied and developed until a section that is supposed to be played in opposing octave glissandos in each hand:

On the pianos of Beethoven's time, the action was not as heavy as the modern piano so octave glissandos were more feasible. Even then, not much volume could be gotten from doing it, hence Beethoven marked them to be played pianissimo. On the modern piano with its heavier action, many pianists make various compromises in this section. In the video that is included in this post, the pianist Claudio Arrau plays the glissandos as written.  The main theme dominates the coda, and the sonata comes to a close in C major.

This sonata is one of the masterpieces of the piano literature, and was acknowledged as such in Beethoven's time. In the Allgemeine musikalische Zeitung, in a review published in January of 1806, part of the review states that:

...the first and last movements belong among the most accomplished, most brilliant, and most original pieces of this master, but are also full of wondrous whimsicality, and are very difficult to perform.

Beethoven - Piano Sonata No. 14 In C-sharp Minor, Opus 27, No. 2 'Moonlight'

The identification of works in classical music can be a problem for the casual listener. What key the work is in can help, but the most prolific composers of the past composed many different works in the same key. For example, Joseph Haydn wrote 108 symphonies with 19 of them in the key in C major. Opus numbers, a number that reflects the order in which composer's works were published, can be a help, but again using Haydn as an example, not all of his works had opus numbers. There is a catalog of his works done by musicologist Anthony van Hoboken that categorizes Haydn's music by categories listed in Roman numerals, with numbers that correspond with the chronological order of the work. Thus, the Hoboken catalog begins with the symphonies, numbered from Hob.I:1 to Hob.I:108. It is no wonder that many popular pieces by composers earned nicknames, as much to describe the music as to differentiate it from other pieces.

Ludwig Rellstab

Beethoven's 14th piano sonata didn't acquire the nickname of 'Moonlight" until 1832 when German music critic and poet Ludwig Rellstab thought the music sounded like moonlight shining off of Lake Lucerne in Switzerland. Within a few years, the name became attached to the sonata and remains to this day. Curiously, this sonata is one of the few that can be identified by the key it is written in, for out of 32 piano sonatas, it is the only one written in C-sharp minor by Beethoven.

I. Adagio sostenuto - With one of the most recognizable openings of any piece of music, the sonata begins unconventionally with a slow movement. Beethoven gives instructions in Italian under the tempo designation that roughly translates to: This piece needs to be played with the delicacy and without dampers. This means that the right pedal should be held down throughout, thus giving the music a slightly blurred and veiled effect, at least on the pianos of Beethoven's time that had shorter strings and less sustaining of sound. With the modern piano, keeping the pedal down throughout would result in too much harmonic overlap. Modern performers usually opt for more use of the pedal when the harmonies change. The first edition of this sonata is titled Sonata quasi una fantasia. In other words, a sonata that sounds like a fantasia, loose structured and almost improvisatory.  The music stays at a very low volume, with the loudest volume being piano.

With the right hand playing not only the triple accompaniment but the melody, it is not an easy piece to play effectively. The low volume and slow tempo along with the two-part writing in the right hand make it a challenge that is the opposite of a flashy, extroverted virtuoso piece. Whether it deserves the nickname of "Moonlight" or not, it is mood music of the most profound. 

II. Allegretto -  The middle movement is in D-flat major, the enharmonic equivalent of C-sharp major that is usually used to avoid writing in seven sharps. It can be thought of as a type of minuet or a slow scherzo. Either way, it is a buffer between the two outer movements. The middle section is punctuated with szforsandos that lend a scherzo effect to it. 

III. Presto agitato - Beethoven's overall plan of this sonata seems to be to turn the structure of a sonata on its head. This sonata was written in 1801 when Haydn was still alive and the makeup of sonata movements were usually fast-slow-fast, with the first movement being the most important. Beethoven's plan is slow-moderate-fast, with the final movement as the most important. The music returns to C-sharp minor with arpeggios that begin in the bass played against a staccato accompaniment. The movement begins with the first measures in the same key sequence as the first movement, but the atmosphere is totally different:

The effect of fierceness is obtained by Beethoven not by using extremes in volume. This movement is peppered with accents and szforsandos with short sections in forte and fortissimo, but mainly this is a movement in relatively quiet dynamics, which adds to the atmosphere of underlying tension that finally breaks free in the last bars. The Moonlight sonata  begins with a tone poem that is mysterious and poetic, adds a somewhat trifling middle movement that Franz Liszt described as a Flower between two chasms, and ends with a movement that borders on the edge of violence.

Beethoven - Piano Sonata No. 29 In B-flat Major 'Hammerklavier'

Beethoven composed the 29th piano sonata in 1817-1818, and it was around this time that he began to use his native German language instead of the more traditional Italian for his compositions. The sonata in German was called Große Sonate für das Hammerklavier, and although the 28th sonata was the first one to have a German title, this sonata has been known as the Hammerklavier for many years. The literal translation of hammerklavier is hammer keyboard.

The sonata belongs to  Beethoven's third compositional style period, and for many years the difficulties both technically and interpretively prevented it from being played.  Beethoven's piano student Carl Czerny studied all of the sonatas with him and could have played the Hammerklavier, but it was not in a public performance. Pride of place for the first public performance of which there is evidence goes to Franz Liszt who played it in Paris in 1836. Hector Berlioz wrote a review of the performance that said in part:

Liszt has explained the work in such a way that if the composer himself had returned from the grave, joy and pride would have swept over him. It was the ideal performance of a work with the reputation of being unperformable. Liszt, in bringing back a work that was previously not understood has shown that he is a pianist of the future.

This sonata is the only one in which Beethoven included beats per minute markings for the metronome, and the discussion is ongoing as to the validity of them. Due to the fast tempos indicated by Beethoven, there have been arguments suggesting that his metronome was in error, or that his deafness prevented him from actually hearing the work at the given tempo, while others say that other works that he left markings for were not excessive, and that he wanted the fast tempos. The question of tempo has lead to performances of about 40 minutes if the metronome markings are followed to performances on the other ends of the scale that are 50 or more minutes. As with any great masterwork, the artistry of the performer determines the value of the interpretation. There are recorded performances from both extremes that are very good, as well as performances that take more of the middle ground that are very good.

The sonata is in 4 movements:

I. Allegro - The opening movement is in sonata form, and has the incredibly fast metronome marking of half note = 138 beats per minute. The music begins with thundering B-flat major chords:

The first theme of the movement is derived from these chords and winds its way for some 34 measures until it comes to the opening B-flat major chords again, but they are only played for a measure until the music shifts to D major, an interval of a third above the home key.  The interval of a third and the relationships that evolve from it are part of the underlying structure of this entire sonata, and impart a different sound to the ear. After a short section of modulation, the second theme in G major begins, a key that is a third lower than the home key of B-flat.  This section continues and makes brief references to other keys along with trills before it leads back to B-flat, and the exposition is repeated. The beginning of the development section has the music transition to E-flat major for an extended section in counterpoint. The ensuing fugato is based on the first subject of the exposition and after a ingenious working through and modulations by descending thirds, the development begins to lead to the recapitulation, but not before it visits the keys of D major and the very odd key of B major. The recapitulation begins with B-flat major chords in the right hand and a descending figure in the left hand. Modulations bring the music to the key of G-flat major before a sudden return of the opening chords appears, this time in B minor. The music segues to the second theme that is now heard in the home key of B-flat major. Moving towards the end of the movement, trills in each hand are heard sandwiched between repeats of material heard earlier. The end of the movement leaves no doubt that it is in the key of B-flat major as it plays fortissimo in whole note octaves.

II. Scherzo: Assai vivace -  Beethoven opens the second movement with a parody of the first subject in the home key of B-flat of the initial movement. The metronome marking for this movement is also very fast, dotted half note = 80:

After the scherzo has its say, the music shifts to B-flat minor for a mysterious trio:

The hands alternate with the theme of the trio and the triplet accompaniment until the meter shifts to 2/4 time, still in the key of B-flat minor, at presto tempo. This short section ends with a cadenza in F major and a bar and a half of what sounds like a chuckle. The scherzo resumes and winds up with a stubborn B natural hammered out in cut time until the scherzo makes a quiet and brief ending.

III. Adagio sostenuto -  The third movement is legendary for its length, poignancy and difficulty. It varies in time of performance, but can take 20 minutes or more with some pianists. It was foreshadowed by Beethoven himself in the 2nd movement of his Piano Sonata No. 7 written 20 years before. It is in sonata form and begins in the key of F-sharp minor. The first bar of the movement was an after thought; Beethoven sent the one measure to his publisher as the manuscript was being prepared for publication and asked that it be used to begin the movement:

After slowly evolving, the first theme segues into the second theme in D major (the relationship of thirds continues in this movement as D major is a third below F-sharp minor). The development section makes free references to the first theme and is quite short. The first theme leads off the recapitulation, and the second theme is heard in the tonic of F-sharp minor. This transforms into F-sharp major, and the second theme is heard again in G major. The key of B minor makes a short appearance before the home key returns. The music goes slowly from minor to major until it comes to rest with a short arpeggiated chord in F-sharp major.

IV. Introduzione: Largo, allegro – Fuga: Allegro risoluto -  The abruptness of the end of the previous movement sets trhe stage for the phenomenal introduction of the finale of the sonata. In meticulous notation, Beethoven writes down his mental process of realizing the theme of the fugue that is to follow. With instruction in Italian to subdivide each quarter note into 4 sixteenth notes, and as the metronome marking of one sixteenth note = 76, this movement begins very slowly:

Ideas are presented and rejected; in G-flat major, B-flat major and G-sharp minor. Another episode that reaches fortissimo in A major gives way to trills and a lead-in to the presentation of the subject of a 3-voice fugue in B-flat major:

This may be a fugue, but it is a fugue under Beethoven's terms. While he uses many contrapuntal techniques, they are used with an intensity that is Beethoven's own. The Italian words he used at the beginning of the fugue translate to say Fugue in three voices with some license, he continued to make his own way artistically. 

The first performance below is by Claudio Arrau, one of the great pianists and Beethoven interpreters of the 20th century. His performance takes about 45 minutes, and he does not follow Beethoven's metronome markings. The second performance below is by Stephan Möller, a fine pianist who does take the sonata at Beethoven's metronome markings. His performance takes about 40 minutes. Each performance has its merits, and it is interesting to compare them. 

Claudio Arrau

Stephan Möller 

Beethoven - Rondo a Capriccio, Opus 129 'Rage Over A Lost Penny'

Late in 1827 there was an auction held in the city of Vienna, Austria. Beethoven had died in the spring of that year, and his belongings were being sold. The partner of Anton Diabelli, a music publisher in Vienna, attended the auction and purchased an unfinished manuscript of a piece for piano. Diabelli said that the manuscript had an inscription on it that read in German: Die Wut über den verlorenen Groschen, ausgetobt in einer Caprice that translates to English as Rage Over a Lost Penny, Vented in a Caprice.

The trouble is that the writing is not Beethoven's. Scholars believe it is the handwriting of Anton Schindler, Beethoven's friend and part-time secretary in his last years. Schindler was footloose and fancy free with his memories of Beethoven, and was not above forging documents and changing things to make himself look more important in Beethoven's life. He was the first to write a biography of Beethoven, and it has proven to be somewhat unreliable.

The opus number 129 was issued posthumously to the piece as it was published by Diabelli in 1828, but 1795 is the year written on the manuscript, so it is a piece from early in Beethoven's career when he was still taking Vienna by storm as a virtuoso performer on the piano. Beethoven himself put a title on the piece in Italian: Rondo alla ingharese quasi un capriccio which translates to Rondo in the Hungarian style, almost a caprice. Hungarian music was synonymous with Gypsy music at the time, and remained so until musicologists and musicians like Béla Bartók studied the folk music of the area.

But Diabelli knew a good story would help sell the music, and the work became one of Beethoven's most well-known. And the work is still known for the title written on the manuscript in a different hand as it suits the music very well.

This rondo is not a standard type of rondo where a set theme alternates between other episodes, as the rondo theme itself is varied with each repetition. And the tempo has very little respite from the Allegro vivace tempo designation at the beginning of the piece. Each episode and return of the rondo theme is at a frantic pace.

 

Beethoven - String Quartet No. 5 In A Major, Opus 18, No. 5

The beginnings of the string quartet, a standard ensemble in classical music that consists of two violins, viola, and cello, are difficult to determine. Some musicologists think the genre originated with the trio sonata of the Baroque era. Despite being called a trio sonata, many times more than three instruments played. The name 'trio' designates the number of voices and not necessarily the number of instruments. Indeed,  J.S. Bach wrote trio sonatas for solo organ where the three different parts were distributed between the hands and feet.

But the basic trio sonata was usually written for two solo melodic instruments and bass continuo, three parts and instruments. In many cases, there would also be in the ensemble a bass instrument such as cello or bassoon that played the single notes of the continuo part, along with the continuo played on an instrument capable of harmony such as a keyboard or lute, and the two melodic solo instruments. Musical styles changed and the practice of basso continuo was considered old fashioned so composers wrote out their music for specific numbers of instruments, with the string quartet becoming a standard ensemble.

Early instances of works for 4 string instruments with no continuo were the sonate e quattro of the
Italian composer Allesandro Scarlatti, written in the early 18th century. From these early examples as well as others written by various composers, Joseph Haydn added his imagination and skill to form a standard that was popular with amateur musicians. Mozart was inspired by Haydn and added his genius to the form as well. It was the standards in artistry set by Haydn and Mozart in string quartet writing that inspired Beethoven to write his own string quartets.

Prince Lobkowitz

Beethoven's Opus 18 consisted of 6 string quartets that were commissioned by his patron Prince Joseph von Lobkowitz and were written  between 1798 and 1800. Beethoven purposefully issued his first string quartets in a set of six to emulate Haydn's practice of doing the same. Beethoven was an ambitious young composer and may have wanted to invite comparison of his quartets with those of Haydn. Beethoven took his role as the new kid on the block very seriously, and he considered the premiere of his string quartets as a right of passage.

The String Quartet No. 5 In A Major of the set was intentionally modeled on a quartet by Mozart (K.464) that was in the same key and followed the same general outline. It is in 4 movements:

I. Allegro - The first theme is a light tune that is contrasted by a second group of themes that delves into the minor and is punctuated by motives that follow one another in counterpoint. There is a summing up before the exposition is repeated. The development section begins with a variant of one of the motives of the second theme group until the first theme is then dealt with. Beethoven seamlessly leads into the recapitulation. A short coda ends the well constructed and tuneful first movement.

II. Menuetto - A graceful minuet has a bit of individuality thrown in by the way of dark minor rumblings towards the end of the first statement.  The trio throws the ear a curve by accenting the third beat in the measure.

III. Andante cantabile - Mozart's example of a set of variations is also followed by Beethoven in the third movement, but the music is all Beethoven. The theme is a simple one in D major that rises and falls, with not much to recommend it as the basis for a set of variations:

The first variation begins with the solo cello and the other instruments enter in contrapuntal fashion.
The second variation has the first violin play an elaborate version of the theme while the other instruments offer a simple accompaniment.
The third variation has the second violin chatter a simple accompaniment while the other instruments comment on the theme.
The fourth variation is a contemplative variation on the theme that is high lighted by passages in the minor.
The fifth variation picks up the pace as the cello oompahs the bass line while the viola and second violin play a rhythmic variant of the theme. The first violin plays trills above them, and joins them a few times.
A coda continues to comment upon the theme in a slower pace until the music rises to a forte. After a brief pause, the first violin slowly plays the theme, the other have their final say, and the music ends pianissimo.

IV. Allegro - The final movement begins with a theme that finds the instruments chasing each other until the second theme group begins in a more hushed tone. The development takes up the first theme and takes it afield in key and mood. Parts of the secondary theme group are interjected until the recapitulation begins. A coda deals with themes once more before the music ends very softly and rather suddenly.

Beethoven - Six Gesänge, Op.75

The music of Beethoven changed the art of music forever. His music was revolutionary in his use and development of sonata form, the symphony, chamber music and piano sonata, but his music was also evolutionary in the sense that it grew out of the musical traditions of the past. He knew very well the traditions according to the music written by Haydn and Mozart, and he expanded upon them and infused them with his own craftsmanship and art. There is hardly a genre of music that doesn't show his influence.

One area of his art in which he struggled was music for voice. That is not to say his did not write vocal music of beauty and depth, such as his early and very popular song Adelaide, opus 46 but he admitted that composing for voice was not one of his greater interests. As he said himself in a letter:

Whenever I hear music in my inner ear it is always the full orchestra that I hear. When writing vocal music I invariably have to ask myself: Can it be sung?

But even in a genre that was not his strongest, Beethoven was innovative, for he is given credit with composing the first song cycle written by a major composer, the set of six songs of Opus 98, An die ferne Geliebte (To The Distant Beloved) written in 1816. The six songs of opus 75 are a set of independent songs written in 1809. The first three are to texts by Johann Goethe, one of Beethoven's favorite writers. The two giants met each other in  1811, and Goethe had this to say about Beethoven:

His talent astounded me; nevertheless, he unfortunately has an utterly untamed personality, not completely wrong in thinking the world detestable, but hardly making it more pleasant for himself or others by his attitude. Yet he must be shown forgiveness and compassion, for he is losing his hearing, something that affects the musical part of his nature less than the social. He is naturally laconic, and even more so due to his disability.

1) Mignon - Kennst Du Das Land (Do You Know The Land?)
Goethe's novel Wilhelm Meisters Lehrjahre (Wilhelm Meister's Apprenticeship) was written in 1796. In short, Mignon is a young woman that Wilhelm Meister becomes infatuated with. In the novel, Mignon sings this song to Wilhelm after he has taken responsibility for her welfare. Mignon falls in love with Wilhelm and sings this song.
 
Do you know the land where the lemon blossoms grow,
In the dark leaves the golden oranges glow,
A gentle wind blows from the blue sky,
The myrtle silent and the laurel tall?
Do you know it?
It is there! it is there!
Go there then I go with you, O my beloved!

Do you know the house, its roof on tall pillars?
The hall shines, the chamber shimmers,
And marble statues stand and look at me:
What has been done to you, poor child?
Do you know it?
It is there! It is there!
Go there then I would be with you, O my protector.

Do you know the mountain with the misty shrouds?
The mule is seeking passage through the clouds;
In caves dwells the dragon's ancient brood;
The rock falls steeply and over it the flood!
Do you know it?
It is there! It is there!
Go there lies our way! O Father, let us go!

2) Neue Liebe, neues Leben (New Love, New Life)
Written during the time Goethe was involved with Elizabeth Sheneman, a.k.a. Lily. They were deeply in love and were engaged, but the marriage was called off.

Heart, my heart, what does that mean?
What is changing you so much?
What a strange new life!
I do not recognize you.
Everything you loved is gone,
Gone is what troubled you,
Gone your hard work and your rest;

Johann Goethe

How did this happen?

Does this bloom of youth shackle you,
This lovely form,
full of good quality
with infinite power?
I want to quickly escape,
to take courage and flee,
but in only a moment
I am led back to her.

With this magic thread,
that cannot be torn
the dear maiden
holds me tight against my will.
In her magic circle
I must now live.
The change, oh, how great!
Love, love, let me go!

3) Aus Goethes Faust - Mephistos Flohgesang (Mephisto's Song Of The Flea)
Taken from Goethe's Faust, Part One. Mephisto sings his sarcastic song in a cellar where a group of men are drinking and singing songs. Russian compoer Modest Mussorgsky also set this text (in Russian translation).

There was once a king,
who had a large flea,
whom he loved as much
as his own son..
He called his tailor,
The tailor came up;
"Here- make clothes for this knight
And measure him for pants! "

In velvet and silk
was the flea dressed in,
with ribbons on the clothing,
and a cross on the front.
He was immediately made a Minister,
And had a big star.
And all his kin
became members of court as well.

Lords and ladies of the court,
They were greatly afflicted,
The Queen and her maidens
were chomped and bitten,
and they did not dare swat
or scratch them away.
But we smash and crush them
as soon as they bite!

4) Gretels Warnun (Gretel's Warning)
A poem written by Gerhard Anton von Halem

With his eyes, music and song
handsome young Christel wooed.
So fresh and slim no other boy
was as nice.
No, no one was
so much fun
or held me in his heart.
And he was aware of it,
put pressure to bear
until he had his way.

There were other boys in the village,
as young and beautiful as he;

Gerhard Anton von Halem

But the girls wanted him
to makes eyes and flirt with.
They didn't stop
Flattering him
until they won his heart.
To me he turned cold,
Then he fled,
and left me here,
and left me here in pain.

With his eyes, music and song
seem like a dream.
His kiss that penetrated deep in my soul,
has cost me my happiness.
Look at my fate,
my sisters all .
If a rat has set his eye on you,
don't trust him.
Oh look at me, look at me,
Oh look at me, and flee!

5) An den fernen Geliebten (To My Man Who is Far Away)
The final two songs were set to texts by Christian Ludwig Reissig, who was an army captain that had been wounded in the Napoleonic Wars. He asked contemporary composers to set some of his texts to music and Beethoven agreed to show respect and sympathy for the wounded man.
Once sweet calm and peace
Dwelt in my heart,
Now yearning colors every joy
Since we have parted. The hour of your leaving
was so dull and hollow.
The evening song of nightingales Your dear soul, love’s words address
with this plea:
Oh friend, whom I chose on this earth,
Do not forget me. If by moonlight some random breeze
makes your hair flow free,
That is my spirit begging you:
Do not forget me. when the moon was full,
Have yearned for me as zephyrs blew,
Their music has conveyed
my fond Adieu.

6) Der Zufriedene (The Contented One)

Luck has made me

neither rich nor great;

yet I am content,

as if I had the fairest lot.

A friend after my own heart

has been granted me;

for kissing, drinking and joking

is also his element.

With him, merrily and wisely,

are many bottles emptied!

For on life's journey,

wine is the best horse.

If this luck of mine

now sours and becomes forlorn,

then I will think: no rose

blooms thorn-less in the world.

Beethoven - Seven Bagatelles, Opus 33

The Romantic vision of Beethoven with wild eyes and disheveled hair hunched over his writing desk illuminated by an almost spent candle as he scribbled out serious masterpiece after serious masterpiece, is about as far from the truth as it gets. Beethoven was an early riser and did most of his composing in the morning.  He spent many of his afternoons wandering about in the countryside with his sketchbook in his pocket so he could capture any ideas that would come to him.  He spent his evenings in various activities such as reading or in the local tavern, but seldom composing.

The raw material for his compositions that were contained in his sketchbooks were mulled over, added to or subtracted from as his artistic taste dictated. Many of his longer works went through a long period of gestation and revision before they came to their final form. While Beethoven's craft and skill as a composer is evident, his frame of mind did not always lean towards storming the heavens.

Beethoven had a sense of humor that worked its way into his compositions. Sometimes the long and serious works had moments of humor, as is heard in the third movement of the Sixth Symphony In F Major 'Pastorale', where the orchestra mimics a village band, or the imitation of an oomp-pah-pah band in the quite serious 4th movement of the Ninth Symphony In D Minor.  The piano sonatas also have their humorous moments (and movements) as well.  Sometimes Beethoven's sense of humor took over a complete piece, as happened in some of the Bagatelles For Solo Piano, opus 33. 

The term bagatelle is of French or Italian origin and means something of little value, a trifle, and was first used as early as 1717 by the French Baroque composer François Couperin. Beethoven wrote three sets of bagatelles, a total of 24 with opus numbers as well as an additional 6 individual bagatelles without opus numbers. One of the without opus number bagatelles is arguably one of Beethoven's most well known pieces, Für Elise.  His first set of bagatelles opus 33, was written in 1802-1803 and contains seven works. It would be a mistake to take the term bagatelle literally. These are short pieces, but they aren't all fluff and stuff. Pieces like these were Beethoven's laboratory; he used them to experiment in writing for the instrument he knew very well:

I. Andante grazioso, quasi allegretto -  Written in the key of E-flat major, the first bagatelle of the set is graceful, though somewhat heavily seasoned with grace notes in the melody. A short middle section in a minor key provides contrast, after which the first section is repeated.

II. Scherzo. Allegro -  It is not certain if all seven of the pieces in this opus were written between 1802-1803, but this scherzo follows a general pattern of music Beethoven labeled as 'scherzo' at about the same time. Piano sonata Opus 14, No. 2 In G Major of 1799 includes a scherzo as the final movement. Symphony No. 2 In D Major, Opus 36 written in 1803 also has a scherzo movement.  Beethoven followed the experiments of Haydn in writing scherzos, but Beethoven's were quite unique. This scherzo is in C major and begins with a rhythmically quirky figure:

With sudden changes in dynamics, a mix of slurred notes and staccato notes and rests, Beethoven trips the ear as we try to grasp the pulse of the music. This first section is repeated, and just as the listener is beginning to get the feel of the rhythm Beethoven changes things abruptly with a section in A minor that has the melody played in octaves in the right hand to a triplet accompaniment. Like a swelling ocean wave a crescendo from piano to fortissimo spans a 3-bar section, and rapidly dies down to piano, only to do it again before the end of the minor section. The minor section is repeated, and the opening scherzo returns. The trio is of a more mellow mood, as runs of thirds in the right hand spell out the simple theme. The trio repeats, after which the scherzo returns but with some syncopation thrown in for good measure. A short coda begins to wind down the music, but the final bars hammer out a C major chord in the right hand alternating with a low C in the left.  The accents shift for a few bars until the music ends on the low C in the second beat of a measure.

III. Allegretto - The third piece is in F major. The first phrase is in the home key, but Beethoven throws the ear another curve ball when the second phrase unexpectedly shifts to the key of D major. This section repeats. The next section begins with a very short development of the initial phrase before the initial phrase is repeated. This section also repeats. Another development section begins and leads back to the beginning material which is now decorated with grace notes. A short coda ends the work solidly in F major.

IV. Andante -  A graceful theme in A major begins the piece, and shifts to a contrasting section in A minor. The A major theme returns and is varied. The melody shifts to the bass, and a shor coda brings the music to a quiet ending.

V. Allegro ma non troppo - Written in C major, this is another scherzo in all but name. Ascending arpeggios bring the music to rest upon a high A after some hand crossing, after that both hands descend in triplets before the hands move in contrary motion. The right hand plays trills to the chords in the left hand.  The next section has both hands playing triplet figures along with long bass notes in the left and the melody in the right. The middle section is in C minor, with the melody in right hand octaves with low triplets in the bass. The C major scherzo begins again, but it not a verbatim repeat as Beethoven makes changes.  A coda of longer duration begins and ends the piece in C major.

VI. Allegretto, quasi andante - Written in D major, this piece carries the added instruction Con una certa espressione parlante (with a kind of speaking voice) along with the tempo indication. It is a gentle, lyrical and short bagatelle that ends not long after it begins.

VII. Presto -  After the gentleness of the preceding bagatelle, this one comes as a surprise. Written in A-flat major, the music begins with pianissimo thirds in the left hand for 4 measures in a beginning that may have been an experiment for what was to become a similar opening in the scherzo of Symphony No. 3 In E-flat Major 'Eroica'. The motive of this scherzo staggers into the picture in the right hand:

 The second section follows the same general pattern. The next section begins with a low note in the bass played fortissimo, with pianissimo arpeggios in both hands for eight measures.  This section has the added effect of Beethoven instructing the player to hold the damper pedal down the entire time, thus the bass note rings out while the arpeggios quietly spread over the bass, an effect that could only be done on the piano. The first section repeats with slight variations. The extended pedal music also repeats. One more time the first section repeats, again with slight variations.  Large chords played forte in both hands begin the coda, are then repeated in a different chord position and fortissimo. The right hand plays a variant of the opening motive under strongly accented chords and the movement comes to a quiet ending.

Beethoven - Piano Trio In D Major Opus 70, No. 1 'Ghost'

The form of the piano trio, usually for the combination of violin-cello-piano (but also any two instruments with piano) became popular in the home during the 18th century. In the 37-year span of 1760-1797 Joseph Haydn wrote 45 piano trios. The early ones were dominated by the keyboard with the other instruments more or less accompanying.  With his later piano trios Haydn began to balance out the three instruments until they were in almost equal partnership. Mozart wrote 6 piano trios and did even more than Haydn in balancing out the contribution of the three instruments.

Both older composers influenced Beethoven, who worked the form to perfection with his 12 trios. The most well-known of the piano trios for violin-cello-piano is the Piano Trio In B-flat Major Opus 97 'Archduke'  written in 1811.  Three years previous to that work he wrote the two piano trios of Opus 70.  The first trio of that opus is in D Major, and is close in popularity to the 'Archduke' .  This trio also has the nickname Ghost, taken from the atmosphere of the 2nd movement. The Ghost trio was Beethoven's return to the form after he wrote his first trios ten years before.  Unlike most of his other piano trios, this one is in only three movements:

I. Allegro vivace e con brio - The first movement begins with a declaration of equality between all three instruments as they all play the same motive over a 4-octave span:

This motive acts as an introduction, but it recurs in different guises through the first movement. After the introduction, a theme is heard in the cello. This theme is related to the introductory material and goes through a short development before another theme is heard first in the strings, and then the piano. The exposition is repeated. The development begins with the introductory material and dissects it into smaller pieces that goes through imitative statements between the instruments. The recapitulation reworks the introductory material to a different key before the first theme is heard. This theme is also reworked and expanded. The second theme is given a slightly different treatment until a short coda brings back the first theme once more until a fragment of the introduction closes this short sonata form movement.

II. Largo assai ed espressivo -  Written in D minor, this movement is the longest of the trio. The movement begins with a stark dialogue between strings and piano:

With foreign harmonies and unstable tonality, the movement is one of the most strange Beethoven ever wrote. There is evidence that at the writing of this trio Beethoven was also thinking about writing an opera based on Shakespeare's Macbeth, with the music of this movement based on sketches of music for the Witches' Scene.  With deep tremolos in the piano like a creeping spectre and sharply accented chords like the howling of a damned spirit, it is no wonder the nickname of Ghost has lasted for so many years. After one last howl, the music tries to settle into a more calm major key mood, but the end comes quickly with short and dry notes in the piano and pizzicato in the strings on the key note of D.

III. Presto -  The finale resembles the opening movement as both are rather short in length and begin with a short motive that returns:

But the final movement is in a much needed more humorous mood to balance out the 2nd movement. All tension is broken as the finale makes its way to the end.

Beethoven - Adelaide, Opus 46

Germany has a long tradition of Lieder (songs) that began as early as the 12th century with the sung poems of the troubadors as well as church music and folk song.  Late in the 18th century the Romantic Movement began in Europe, and flowered in Germanic countries somewhat later than other areas. Writers, poets and playwrights such as Goethe, Heine, Herder and many others attempted to create a synthesis of philosophy, art and science.  As the movement grew, so did the use of highly dramatic, emotional and psychological prose. But not all Germanic Romantic literature was serious. There was room for humor as well as tension, simple words that reflected the wonder of nature as well as author's soul-searching seriousness.

Lieder for solo voice and bass continuo that were written in the Baroque era gave way to songs written for voice with keyboard accompaniment. C.P.E. Bach was an early composer of this kind of lied which moved away from the complexity of polyphony and figured bass to a simpler style. Haydn, Mozart and other composers of the Classical era continued to develop the form, but lied was considered a lesser form in the late 18th century.

Before Beethoven arrived in Vienna in 1792 he had already written lieder in Bonn.  Beethoven had become a voracious reader, perhaps to try and make up for a poor general education. He came to know the early Romantic writers and set many poems to music.  With over 60 lieder, Beethoven showed at least a passing interest in the form. He carried on a young tradition of voice and piano compositions that led the way to the first true master of German Lieder, Franz Schubert.

One of Beethoven's most popular songs  is set to a poem by Friedrich von Matthisson, a poet of the Romantic movement.  The song was written after Beethoven settled in Vienna. It was published in 1797 and was dedicated to the poet. In 1800 Beethoven sent a copy of the song to Matthisson along with a letter:

Friedrich von Matthisson

MOST ESTEEMED FRIEND,- You will receive with this one of my compositions published some years since, and yet, to my shame, you probably have never heard of it. I cannot attempt to excuse myself, or to explain why I dedicated a work to you which came direct from my heart, but never acquainted you with its existence, unless indeed in this way, that at first I did not know where you lived, and partly also from diffidence, which led me to think I might have been premature in dedicating a work to you before ascertaining that you approved of it. Indeed, even now I send you "Adelaide" with a feeling of timidity. You know yourself what changes the lapse of some years brings forth in an artist who continues to make progress; the greater the advances we make in art, the less are we satisfied with our works of an earlier date. My most ardent wish will be fulfilled if you are not dissatisfied with the manner in which I have set your heavenly "Adelaide" to music, and are incited by it soon to compose a similar poem; and if you do not consider my request too indiscreet, I would ask you to send it to me forthwith, that I may exert all my energies to approach your lovely poetry in merit. Pray regard the dedication as a token of the pleasure which your "Adelaide" conferred on me, as well as of the appreciation and intense delight your poetry always has inspired, and always will inspire in me. When playing "Adelaide," sometimes recall 

Your sincere admirer, 
BEETHOVEN.

Beethoven's worrying about whether Matthison liked the song turned out to be for nothing. A collection of Matthison's poems was published in 1825 and in the introduction Matthison wrote:

Several composers have animated this little lyrical fantasy through music; I am firmly convinced however that none of them so threw the text into the shade with their melody as did the genius Ludwig van Beethoven in Vienna.

Adelaide was very popular in Beethoven's day and it went through many editions. As written, the song couild be sung by soprano or tenor voice, but it has been transposed to make it more suitable for other voices:

Adelaide
Alone does your friend wander in the Spring garden,
Mildly encircled by magic light
That quivers through swaying, blossoming boughs,
Adelaide!

 In the mirroring stream, in the snow of the Alps,
In the dying day's golden clouds,
In the fields of stars, your image shines,
Adelaide!

Evening breezes whisper in the tender leaves,
Silvery lilies-of-the-valley rustle in the grass,
Waves murmur and nightingales pipe:
Adelaide!

One day, o wonder! upon my grave will bloom
A flower from the ashes of my heart;
And clearly on every purple leaf will gleam:
Adelaide!

Beethoven - Symphony No. 3 In E-flat Major 'Eroica'

There has been much written about the 3rd Symphony of Ludwig van Beethoven, and rightly so. The work is a turning point in Beethoven's career as a composer and for western music in general. The music is daring, innovative and there is a large number of stories and anectdotes relating to the symphony's non-musical life. Without a doubt the main story of the work is the title 'Eroica' and the relationship of the music to the French leader Napoleon Bonaparte.

The standard story is that Beethoven, a man who was politically progressive, admired Napoleon, the man who ruled France after the Revolution and The Terror. Napoleon was himself was progressive in the sense that he sought to reform the French legal system through what came to be known as the Napoleonic Code.  The Code became very influential for all of Europe due to the influence Napoleon had on countries he had conquered as well as other countries that were allied with him.  Basically the Code did away with privilege of birth, granted freedom of religion and said that government jobs should go to those most qualified. It attempted to revamp a legal system in France that was a hodge-podge of feudal traditions and laws that varied from area to area.

Beethoven wanted to dedicate a work to Napoleon early on, and there is evidence that was what he intended to do, but circumstances made him change his mind. Beethoven's pupil Ferdinand Ries related the incident concerning the dedication:

In 1803 Beethoven composed his third symphony (now known as the Sinfonia Eroica) in Heiligenstadt, a village about one and a half hours from Vienna....In writing this symphony Beethoven had been thinking of Buonaparte, but Buonaparte while he was First Consul. At that time Beethoven had the highest esteem for him and compared him to the greatest consuls of ancient Rome. Not only I, but many of Beethoven's closer friends, saw this symphony on his table, beautifully copied in manuscript, with the word "Buonaparte" inscribed at the very top of the title-page and "Luigi van Beethoven" at the very bottom. Whether or how the intervening gap was to be filled out I do not know. I was the first to tell him the news that Buonaparte had declared himself Emperor, whereupon he broke into a rage and exclaimed, "So he is no more than a common mortal! Now, he too will tread under foot all the rights of man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!" Beethoven went to the table, seized the top of the title-page, tore it in half and threw it on the floor. The page was later re-copied and it was only now that the symphony received the title 'Sinfonia Eroica.'

Title page of the Third Symphony with Napoleon's name scratched out

This is the only contemporary reporting of the incident by an eyewitness, and Beethoven's reaction may have been much more vocal and violent than Ries portrays. Beethoven's temper was legendary, and the relative calmness in Ries' retelling doesn't fit the anger and disappointment Beethoven probably felt after his hero falling off the pedestal.

But modern scholarship has found that Beethoven may have changed his mind about the dedication for a more mundane reason; if he dedicated the work to one of his patrons (along with a specific amount of time that the dedicatee had exclusive ownership of the work) he would be monetarily rewarded. There was no possibility of that if he dedicated it to Napoleon.

There is also a link between the symphony and the Heiligenstadt Testament, a will Beethoven wrote in 1802 while he was resting in the town of Heiligenstadt. By this time Beethoven was suffering the effects of  deafness, and a doctor suggested he needed to go to the small town and rest.  His hearing problems were getting worse, and the thought of losing his hearing drove him to despair, all of which can be read in the will he wrote in Heiligenstadt. He came to terms with his growing deafness and dedicated himself even more fervently to his art. This resulted in stylistic changes in his music that began in 1803. The Third Symphony was the turning point in his style, and while there is proof that Beethoven had Napoleon in mind while he was writing the symphony (at least the first and second movements), it may well be that the actual hero of the title is Beethoven himself.

The Third Symphony is in four movements:

I. Allegro con brio - There is no doubt that the symphony begins in E-flat major as two loud E-flat major chords are played by the full orchestra to begin the movement. The first theme also reeks of E-flat major as the notes within the theme that is played in the cellos and basses spell out the notes of the E-flat major chord until a C-sharp is thrown into the mix. This theme is expanded and passed to different instruments of the orchestra. A second, gentler theme is played by the woodwinds. While these two themes are the primary ones in the movement, they are more like sign posts for the listener to help keep track of what's going on, for there are other short themes in the movement. A transition section segues seamlessly to the repeat of the exposition. The development begins with gentle references to themes already heard, but the music soon becomes highly dramatic as a snippet of the first theme grows in volume and complexity. The second theme makes an appearance and leads into a short fugal section that flows into loud, highly accented chords by the orchestra. Beethoven stretches and builds on themes to an extent that defies description. The music gets quiet, as the transition to the recapitulation nears. As the violins quietly saw away, the infamous early entry of the horn that plays a fragment of the first theme appears, something that baffled most listeners in Beethoven's time.  Even his student Ferdinand Ries accused the horn player of playing the theme too early in the first rehearsal of the work:

Beethoven has a wicked trick for the horn; a few bars before the theme comes in again complete, Beethoven lets the horn indicate the theme where the two violins still play the chord of the second. For someone who is not familiar with the score this always gives the impression that the horn player has counted wrong and come in at the wrong place. During the first rehearsal of this symphony, which went appallingly, the horn player, however, came in correctly. I was standing next to Beethoven and, thinking it was wrong, I said, 'That damned horn player! Can't he count properly? It sounds infamously wrong!' I think I nearly had my ears boxed - Beethoven did not forgive me for a long time.

The orchestra comes together for the recapitulation and Beethoven begins to vary the first theme.  Themes are repeated and modulated until the music reaches the coda, but a coda unlike any written before. This coda continues to vary and develop themes and lasts nearly as long as the exposition. The movement ends as it began with loud chords for full orchestra. This movement usually takes between 17 and 18 minutes to play if the exposition repeat is taken. Beethoven requested that the exposition be repeated (which was not always automatically done) for the sake of balance.

II. Marcia funebre: Adagio assai - If the first movement can be viewed as a tribute to a hero, the second movement is the death of the hero. After the Funeral March of Chopin's 2nd Piano Sonata, Beethoven's is the next most famous. It begins in C minor, always a very dramatic key for Beethoven, with the 1st violins playing the lowest note in their range, followed by the lugubrious first theme that is sparsely accompanied by the other strings.  The melodic line of funeral marches are usually rhythmically diverse, and Beethoven's is no exception:

After the oboe expresses its grief with the theme, another theme in the major is played that sheds some rays of light on the dark proceedings, but not for very long. The music meanders into darkness and back to the first theme. A tragic outburst occurs, and the music transitions to a section in C major that gives some little comfort to the sorrow. While this section is in contrast, there is still an underlying tension to the music as two notes are played against three. The section reaches a climax, and after a short transition the music returns to the first theme, but quite soon it transitions to F minor and a fugue is played that thunders through the orchestra. The fugue comes to an end, and a fragment of the first theme is played, after which a section of great resolve and power is played until it too succumbs to the grief of the first theme. The second theme returns for a short while, until the music brightens in a short section before the first theme, fragmented and decaying like the corpse of the hero it honors, is buried after one last howl of grief in the sliding grace notes of the low strings.

III. Scherzo: Allegro vivace - The scherzo of the third symphony must have confused audiences as much as the previous movements, for it runs through the orchestra at the brisk pace of Allegro vivace and is even more rhythmically ambiguous. It is written three in a bar, but in such a brisk tempo the measures fall into groups of two, sort of an optical illusion for the ear:

The accents on off beats that Beethoven sprinkles throughout the movement add to a rhythmic complexity that is not readily apparent in the simple note values he uses. In the trio, Beethoven uses three horns instead of the usual two. The horns play off each other while the rest of the orchestra gives a comment after their phrases. The scherzo returns with changes, with perhaps the strangest change being in the syncopated section that is played a second time in Alla breve, or two in a bar instead of three. The ear thus staggered, the scherzo continues on its merry, quirky way until the thunderous end is reached.

IV. Finale: Allegro molto - For the last movement, Beethoven defies tradition and writes a set of variations. But these are no ordinary variations, for the bass of the actual theme is heard first and is varied. The true theme is heard in the oboe over the previously heard bass and the music makes more sense. Beethoven had used the theme in two previous works; a ballet The Creatures Of Prometheus and a work for piano solo Variations and Fugue for Piano in E♭ major that are also known as the Eroica Variations. The theme is repeated and varied, but the bass itself returns for its own variation, a fugue that uses a portion of it. The main theme returns in variations in high spirits and speed until the music winds down and changes tempo to Andante. Woodwinds play a lyrical version of the theme, with a section for oboe accompanied by rippling triplet arpeggios on the clarinet. The two against three rhythm is reinforced as lower strings join one clarinet in the triplet accompaniment. The horns nobly play the theme as the rest of the orchestra accompanies. The theme begins to change until the music grows quiet in a short dialogue between woodwinds and strings. With no warning, the music shifts dynamics to a double forte and the tempo increases to presto. Fragments of the theme are bounced around the orchestra. The timpani emphasizes the repeated E-flat major chords as they thunder to finish the movement.

The Third Symphony was premiered in 1805 in Vienna. The reaction was mixed to say the least. As reviewed in the contemporary Viennese magazine Der Freimüthige:

One party, Beethoven's most special friends, contend that this particular symphony is a masterpiece, that this is exactly the true style for music of the highest type and that if it does not please now it is because the public is not sufficiently cultivated in the arts to comprehend these higher spheres of beauty; but after a couple of thousand years its effect will not be lessened. The other party absolutely denies any artistic merit to this work. They claim it reveals the symptoms of an evidently unbridled attempt at distinction and peculiarity, but that neither beauty, true sublimity nor power have anywhere been achieved either by means of unusual modulations, by violent transitions or by the juxtaposition of the most heterogeneous elements....On that evening, the audience and H. v. Beethoven, who himself conducted, were not mutually pleased with one another. For the audience the Symphony was too difficult, too long and B. himself too rude, for he did not deign to give even a nod to the applauding part of the audience. Beethoven, on the other hand, did not find the applause sufficiently enthusiastic.

The Eroica Symphony went on to become one of the most played and studied symphonies ever written. It's depth of emotion, craftsmanship and innovation guarantee it an honored place in the history of western music. It is a work that can be heard in different ways for different people, as Arturo Toscanini the famous Italian conductor said when he talked about the first movement of the symphony:

To some it is Napoleon, to some it is a philosophical struggle, to me it is allegro con brio.

Whether listened to from an historical, emotional, or purely musical perspective, Beethoven's Third Symphony is a masterpiece.