HEROIC BEETHOVEN

Ludwig van Beethoven (1770–1827)

The works of Ludwig van Beethoven (1770–1827) are usually described in terms of three historical periods: early (ending in 1802), middle (1803–1812), and late (1813–1827). These dates are approximate and are generally, but not universally, accepted. The middle period is also frequently referred as the “Heroic period;” because all three works on this program come from this decade, what follows is a general introduction.

Much of the academic discussion of Beethoven’s heroic style has been framed by a highly influential book — Beethoven Hero — by musicologist Scott Burnham. The book concentrates on three quintessentially heroic works: Symphony No. 3 “Eroica,” Symphony No. 5, and the incidental music to Goethe’s Egmont, particularly the Overture. Burnham’s first paragraph of the Introduction summarizes the importance of these works:

“For nearly two centuries, a single style of a single composer has epitomized musical vitality, becoming the paradigm of Western compositional logic and of all the positive virtues that music can embody for humanity. The values of Beethoven’s heroic style have become the values of music.”

OVERTURE TO EGMONT

8 minutes

The concert opens with one of Beethoven’s final “heroic” works, the Overture to his incidental music for a production of Goethe’s play Egmont. Beethoven composed about 45 minutes of short interludes and songs for a Vienna production of Egmont in 1809/1810, eight minutes of which are occupied by the overture. Count Egmont was a Dutch patriot of the sixteenth century who led a failed revolt against the Spanish occupiers of the Netherlands. His execution near the end of the play is followed by what Goethe specified as a “Victory Symphony,” which forecasts the eventual triumph of the Netherlanders over the Spanish. Beethoven uses this Victory Symphony music, in the key of F Major, as the coda which concludes the stormy overture, which is otherwise in the gloomy key of F Minor. In the words of Burnham in his chapter on Egmont,
“… there is no closure in music quite like that of the Beethovenian coda.”

PIANO CONCERTO NO 3 IN C MINOR, OP 37

40 minutes

The Third Piano Concerto is in C Minor, Beethoven’s favorite key for stress and struggle. It was premiered in 1803 near the beginning of the middle period, and may be thought of as a transitional work between his earlier classical style and the later heroic style of the “Emperor” Piano Concerto (No. 5). The Third Concerto, along with the “Emperor,” is the longest of Beethoven’s piano concertos.

Allegro con brio. The opening orchestral passage prior to the entrance of the soloist, lasting three and one half minutes, is the longest of any Beethoven concerto, and includes a rising theme at the one minute mark which can be heard in the final movement of the Fifth Symphony. The long delayed entry of the soloist is announced by rising scales followed by the principal themes of the movement. The solo cadenza, as usual near the end of the movement, was composed by Beethoven at a later date, probably around 1809.

Largo. The second movement has been called “the most highly developed slow movement in all Beethoven’s concertos” by renowned music writer Donald Francis Tovey. Its unconventional (for the time) key of E Major is the key farthest removed harmonically from the C Minor of the first movement, which creates an effect of heavenly serenity far removed from the C Minor struggles of the outer movements.

Rondo-Allegro. The energetic C Minor finale is in the standard rondo form of the time, with several alternating themes but with less development than in a sonata form movement. Following another cadenza, the very short coda moves to the key of C Major, the harmonic shift pursued to vastly greater effect in the Fifth Symphony.

SYMPHONY NO 5 IN C MINOR, OP 67

35 minutes

E.M. Forster opens Chapter 5 of his novel Howards End as follows: “It will be generally admitted that Beethoven’s Fifth Symphony is the most sublime noise that has ever penetrated into the ear of man,” which summarizes the influence this most popular of all symphonies has exerted since its 1808 premiere. The Fifth was the first symphony to shift its weight from the first, or the first two of its four movements to the finale. The finale is not only the longest movement, but the emotional and harmonic goal of the entire piece, which taken as a whole could be titled a “Victory Symphony.”

Allegro con brio. The most famous four notes in music, referred to as “fate knocking at the door,” begin the exposition, which is repeated. The exposition, development, recapitulation, and coda sections each comprise about 124 measures in the score, which affords the coda far more prominence than typical for a classical symphony. The movement begins in C Minor, tries unsuccessfully to attain C Major, and ends in C Minor.

Andante con moto. The slow movement is in the “expected” key of A Flat Major and is a series of variations on the opening theme. Trumpets and timpani enter with the key of C Major in two variations, but they die away inconclusively.

Scherzo: Allegro. C Minor returns as well as the knocking rhythm of the first movement in a passage Forster calls “the goblins.” A short trio section in C Major featuring the lower strings, is followed by “the goblins,” and dynamics shrink softer and softer to a single timpani note. With a huge crescendo and no break…

Allegro. The finale opens in triumphant C Major; the orchestra is augmented by three mighty trombones plus piccolo and contra-bassoon, all used for the first time in a symphony. This a sonata form movement with a repeated exposition, development, and a recapitulation which reacts the transition from the scherzo to the opening of the finale. The coda assures the absolute certainty of C Major triumph.