Session 9 Notes.docx

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Department
Music
Course
MUSC 1116
Professor
Brian Robison
Semester
Spring

Description
Session 9: Beethoven’s Napoleon Symphony Beethoven’s Symphony no. 3 in E­Flat major, op. 55 – “Eroica” • Fugato (vs. Fugue) o • Review: Sonata­allegro form, Exposition, Development, Recapitulation, Coda • 1708­1802: Beethoven transformed his style or Second­style period (became more  balanced, mature, richly developed artworks) • Third Symphony in E­Flat or “Eroica” o Finale is closely derived from the Opus 35 Variations ­ "Prometheus" (also has  two fugato sections) o Has great length; vast arches of musical space and wide range of keys o First Movement: Heroic is felt in musical images that evoke grandeur,  conflict, and nobility of spirit o Slow Second Movement: A fallen hero is mourned and brought to final rest o Scherzo and Trio: Return to the chromatic mystery of the opening ideas o Finale: Evokes a “promethean” hero who brought wisdom and the arts and  sciences to the world  According to Lockwood, the finale is "the springboard for the plan of  the symphony, the fixed point against which Beethoven elaborated the  other movements" o Beethoven dedicated it to Napoleon but then after Napoleon became emperor  and the ideals of the Revolution faded, Beethoven dedicated it to Prince  Lobkowitz and crossed out the words “titled Bonaparte” o According to Lockwood, the hero of Beethoven's symphony no. 3 is not a  single figure, but a composite of heroes of different types and different  situations o Subtitle of symphony says that the symphony is “composed to celebrate the  memory of a great man.”  o The subject is not any specific individual but the idea of the “memory of a  great man”. The work offers an elaborated set of perspectives on the idea of  the heroic, including the hero’s death. o Among the characteristics that distinguish Beethoven's symphony no. 3 
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