Beethoven symphony no.3 in e flat 'eroica'

Date

1804

Overall form

Like mozart 41, finale of eroica in much more weighty than in earlier symphonies. this idea of a symphony moving towards its final mvt is important in the romantic era. middle mvts are somewhat different in tone but retain the 4 mvt pattern

1st mvt/sonata

Sonata form is hugely expanded. Made much more dramatic. He takes a simple arpeggio theme but gives it a heroic, weighty feel through the orchestral presentation and dramatic journey. After diatonic opening, there is an unexpected C sharp in bar 8. This ‘problem’ leads to the modulation in Db (enharmonically the same as C#) before getting back to e flat. This mvt ends with a simplified diatonic version of the theme - ‘problem’ of c sharp has been overcome. Horn comes in a few bars before recap trying to play the main theme in the tonic against the dominant harmonies. This ‘mistake’ apparently caused some of the first listeners to assume that the horn player had made a mistake - similar to the humour used in Haydn’s symphonies. Somewhat jarring effect. In development there is a moment of violence - lands on neopolitan 6th chords but adds major 7th to it then hammers it out in full orchestral tutti. This then subsides to gentle theme in E minor but there is a lot more turbulence to come as this is a long way from the home key of E flat.

2nd mvt

slow and sombre funeral march. very different in tone to usual andante 2nd mvts. expanded ternary form with considerable development along the way - brief b section in the major

3rd mvt/minuet

fast and aggressive scherzo - long way from standard minuet

4th mvt/finale

complex and highly developed set of theme and variations. includes fugue and change of tempo to presto towards the end. mvt starts with variations just on the bass line before starting variations on the actual theme

development of orchestra

no larger than that of the classical period however used in a much more forceful wayhar

harmony and tonality

monumentalisation of diatonic harmony with dramatic use of chromaticism. the c# in the opening mvt which turns into a problem, leading to the enharmonic modulation and then the overcoming of the problem in the final mvt. also the neopolitan chord in the development with the major 7th.

drama/programme

dedication to napoleon was changed now in favour of a more generalized homage to heroism. idea of the symphony depicting the struggles and triumphs of a heroic protagonist.

melody/theme

use of simple diatonic themes made up of short, clear motifs. this is typical of beethoven and mature classical