Symphony No. 3 (Beethoven)

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finale pleased less, and that "the artist often wanted only to play games with the audience without taking its enjoyment into account simply in order to unloose a strange mood and, at the same time, to let his originality sparkle thereby". An exhaustive review of the work in a leading music journal made an observation that may still be familiar to first-time listeners: "this finale is long, very long; contrived, very contrived; indeed, several of merits lie somewhat hidden. They presuppose a great deal if they are to be discovered and enjoyed, as they must be, in the very moment of their appearance, and not for the first time on paper afterwards." A review of an 1827 performance in London wrote that this particular performance "most properly ended with the funeral march, omitting the other parts, which are entirely inconsistent with the avowed design of the composition".

1992: 1190: 2033:. Not only I, but many of Beethoven's closer friends, saw this symphony on his table, beautifully copied in manuscript, with the word "Bonaparte" inscribed at the very top of the title-page and "Ludwig van Beethoven" at the very bottom ... I was the first to tell him the news that Bonaparte had declared himself Emperor, whereupon he broke into a rage and exclaimed, "So he is no more than a common mortal! Now, too, he 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 had to be recopied, and it was only now that the symphony received the title 542: 2130:

abundant scratchings in the bass, with three horns and so forth, a true if not desirable originality can indeed be gained without much effort. ...The third, very small group stands in the middle; they admit that the symphony contains many beautiful qualities, but admit that the context often seems completely disjointed, and that the endless duration ... exhausts even connoisseurs, becoming unbearable to the mere amateur. To the public the symphony was too difficult, too long ... Beethoven, on the other hand, did not find the applause to be sufficiently outstanding.

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pattern would be consistent with that found later in the development, in which the climactic moment leads to a new lyrical theme that launches an extended section. Moreover, the downward motif theme (m. 45) is developed significantly in the next section while the lyrical theme (m. 83) does not appear. The early modulation to B

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The second movement especially displays a great emotional range, from the misery of the funeral march theme, to the relative solace of happier, major-key episodes. The finale displays a similar emotional range, and is given a thematic importance then unheard of. In earlier symphonies, the finale was

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One reviewer at the premiere wrote that "this new work of B. has great and daring ideas, and ... great power in the way it is worked out; but the symphony would improve immeasurably if B. could bring himself to shorten it, and to bring more light, clarity, and unity to the whole." Another said that

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The first rehearsal of the symphony was terrible, but the hornist did, in fact, come in on cue. I was standing next to Beethoven and, believing that he had made a wrong entrance, I said, "That damned hornist! Can't he count? It sounds frightfully wrong." I believe I was in danger of getting my ears

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to arrive at the "unusually late" lyrical theme. An alternative analysis holds that the second theme begins earlier at m. 45 with the downward motif. In this view, the traditional harmonic progression of the exposition ends at m. 82, with the new lyrical theme at m. 83 beginning an extension. This

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The finale in particular came in for criticism that it did not live up to the promise of the earlier movements. An early reviewer found that "he finale has much value, which I am far from denying it; however, it cannot very well escape from the charge of great bizarrerie." Another agreed that "he

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Musical connoisseurs and amateurs were divided into several parties. One group, Beethoven's very special friends, maintains that precisely this symphony is a masterpiece.... The other group utterly denies this work any artistic value ... hrough strange modulations and violent transitions ... with

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Thus, the first three movements can be viewed as symphonic-length "variations" on the Opus 35 theme, ultimately anticipating the theme's appearance in the fourth movement. Moreover, Beethoven's choice to begin the symphony with a theme adapted from the bass line is also paralleled in the fourth

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Commenters have also observed that the sonata form and orchestration transitions would be fully preserved by cutting the third group (m. 83–143). However, others have observed that form and orchestration would also be fully preserved if the second and third subjects of the second group were cut

853:, including a new scalar figure in bars 165-173 and a fugato derived from the main theme of the second group (mm. 236-246). The music eventually breaks into a 32-bar passage (mm. 248–279) of sforzando chords including both 2-beat and 3-beat downward patterns, culminating in crashing dissonant 800:

The third theme of the second group eventually leads to a lyrical theme (m. 83), whose second half of the theme eventually builds to a loud melody (m. 109) that draws upon the earlier downward motif (m. 113). The climactic moment of the exposition arrives when the music is interrupted by six

408: 2084:) for two rehearsals of the work. The fee paid to Beethoven by Prince Lobkowitz would also have secured further private performances of the symphony that summer on his Bohemian estates, Eisenberg (Jezeří) and Raudnitz (Roudnice). The first public performance was on 7 April 1805, at the 1214:

on a theme. It lasts between 10 and 14 minutes. The theme was previously used by Beethoven in earlier compositions and arguably forms the basis for the first three movements of the symphony as well (see Thematic Origins below), and the movement can be roughly divided into four parts:

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and then by the strings, here is contemplative and wistful, bringing a greater sense of depth to what has been heard before. During the second half, another triplet accompaniment is introduced in the higher strings, while the melodies, played by the woodwinds, are made of syncopated

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the symphony was "for the most part so shrill and complicated that only those who worship the failings and merits of this composer with equal fire, which at times borders on the ridiculous, could find pleasure in it". But a reviewer just two years later described the

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argues that "there cannot be any doubt that Beethoven intended from the start" to use the same theme (and bass of the theme) that he had just fleshed out in the Opus 35 Variations. Thus, it is argued that Beethoven's initial conception for a complete symphony in

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chords (mm. 276–279). Commenters have stated that this "outburst of rage ... forms the kernel of the whole movement", and Beethoven reportedly got out in his beat when conducting the orchestra in Christmas 1804, forcing the confused players to stop and go back.

416: 1711:, involving a statement of the theme where the bass instruments play the first clause of the first half in a minor mode, before correcting themselves and moving to the major for the second clause. The variation also includes two virtuosic solo passages for the 1064:

The coda (m. 209) begins with a marching motif in the strings that was earlier heard in the major section (at mm. 78, 100) and eventually ends with a final soft statement of the main theme (m. 238) that "crumbles into short phrases interspersed with silences".

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is heard. Triumphant and heroic plunges are constantly heard on the tutti, with the triplet accompaniment from the previous variation still present, as the melody from the third variation, now victorious and energized, is heard on the brass.

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The trio section features three horns, the first time this had appeared in the symphonic tradition. The scherzo is then repeated in shortened form, except that very notably the second occurrence of the downward unison motif is changed to

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time (mm. 381–384). The movement ends with a coda (m. 423) – with Beethoven marking the word in the score which was unusual for him – that quickly builds from pianissimo to fortissimo, encapsulating the pattern of the whole movement.

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The original autograph manuscript does not survive. A copy of the score with Beethoven's handwritten notes and remarks, including the famous scratched-out dedication to Napoleon on the cover page, is housed in the library of the

2049:("Written for Bonaparte"), four lines below the Italian subtitle. Three months after retracting his initial Napoleonic dedication of the symphony, Beethoven informed his music publisher that "The title of the symphony is really 1861:

major that directly follows the sketches for the Opus 35 Variations, which has been identified as being intended for the Third Symphony. While the movement plan gives no explicit indication regarding the finale,

2013:. In the autumn of 1804, Beethoven withdrew his dedication of the third symphony to Napoleon, lest it cost him the composer's fee paid him by a noble patron; so, Beethoven re-dedicated his third symphony to 1232:

While writing, Beethoven found himself having to reconcile the succession of the variations form with the processional sonata form found in the first movement. Thus, the final movement can be analyzed as a

2017:– nonetheless, despite such a bread-and-butter consideration, the politically idealistic Beethoven titled the work "Bonaparte". Later, about the composer's response to Napoleon having proclaimed himself 1983:, has been noted. It was unlikely that Beethoven knew of that unpublished composition. A possible explanation is that Mozart and Beethoven each coincidentally heard and learned the theme from elsewhere. 2215:

symphony (with repetition of the exposition). Thematically, it covers more emotional ground than Beethoven's earlier symphonies, and thus marks a key milestone in the transition between Classicism and

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movement, in which the bass theme is heard as the first variation before the main theme ultimately appears. This again parallels the structure of the Opus 35 variations themselves. Finally, the loud E

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is then introduced instead (m. 284), beginning the second section of the development. This eventually leads to a near-doubling of the development's length, in like proportion to the exposition.

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in the strings (m. 154), followed by a stormy development passage ("a shocking fortissimo plunge"). A full re-statement of the first theme in the original key then begins in the oboe (m. 173).

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The symphony ends with a coda, which takes image on all previous sections and variations of the movement. At the end of the coda, there is a "surprise", which is when the dynamic changes from

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era. It is also often considered to be the first Romantic symphony. Beethoven first conducted a private performance on 9 June 1804, and later the first public performance on 7 April 1805.

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Gareth Jenkins said Beethoven was "doing for music what Napoleon was doing for society – turning tradition upside down" and embodied the "sense of human potential and freedom" of the

1900:) by way of intermediate versions found in one of Beethoven's sketchbooks. In the second movement, the combined tonality (melody and bass) of the Opus 35 theme's first four bars – E 2251:-like, communicates his despair; the third movement, the scherzo, is an "indomitable uprising of creative energy"; and the fourth movement is an exuberant outpouring of energy. 1846:

Variations due to the theme's re-use in the symphony. It is the only theme that Beethoven used for so many separate works in his lifetime, and each use is in the same key of E

916:–F) while others altered the second violin harmony to G (chord of the tonic), an error that eventually appeared in an early printed version. However, Beethoven's secretary, 1970:

chord that begins the Opus 35 variations themselves is moved here to the beginning of the first movement, in the form of the two chords that introduce the first movement.

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Composed mainly in 1803–1804, the work broke boundaries in symphonic form, length, harmony, emotional and cultural content. It is widely considered a landmark in the

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form, with two themes (the bass theme and melody theme) being varied alternately with each other. Fabrizio Della Seta lays out the themes as such in the table:

968:(A–B–A) that is typical of 18th-century funeral marches, albeit one that is "large and amply developed" and in which the principal theme has the functions of a 3160:, vol. 23, "On Permanent Concerts in Leipzig during the Previous Semiannual Winter Season" (1807), reprinted in translation in Senner et al. vol. 2, pp. 35–36. 2523: 2065:

Composed from the autumn of 1803 until the spring of 1804, the earliest rehearsals and performances of the third symphony were private, and took place in the

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Musically, the thematic solemnity of the second movement has lent itself for use as a funeral march, proper. The movement is between 14 and 18 minutes long.

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quickly returns to minor tonality, and these materials are developed throughout the rest of the section. This eventually gives way to a brief B-section in

3105: 3452: 2875: 2622: 3736:, BBC Radio 3. Videos of an analysis and complete performance of the symphony. The analysis is by Stephen Johnson and the symphony is performed by the 2938:, "A translation of Nathan Fishman's analysis of the sketches for the Third Symphony contained in the Wielhorsky sketchbook" (visited 20 May 2017). 1038:(m. 69) "for what may be called the Trio of the March", which Beethoven unusually calls attention to by marking "Maggiore" (major) in the score. 1747:

Variation 9: At this point, the tempo slows down to Poco Andante, and the piece becomes more serene and tranquil. The theme, first stated by an

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in the secondary dominant key of F which is when the B part of the outer scherzo is heard (m. 41). This is followed by a pianissimo restart in B

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appears at mm. 42–44, although it is not yet fully stabilized and entrenched. Here follows a group of three or two subjects: a lyrical downward

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The status of these groups is debated as to which is more important in the structure. In the traditional analysis, the three early motifs are

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hemiola chords (mm. 128–131). Later, and following the concluding chords of the exposition (mm. 144–148), the main theme returns in a brief

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vol. 3, "Vienna, 17 April 1805" (17 April 1805): 332. Reprinted in translation in Senner, Wayne M.; Wallace, Robin, and Meredith, William,

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Earp, Lawrence (1993). "Tovey's 'Cloud' in the First Movement of the Eroica: An Analysis Based on Sketches for the Development and Coda."

3371: 3967: 214: 2577:(audio recording, 1956–57, to accompany 1953 Decca recordings), re-released by Deutsche Grammophon ("Original Masters" series) in 2005, 1991: 1960:

s that echo later elements of the theme. That same tonality then appears unaltered as the scherzo's main theme (mvt. III, mm. 93–100).

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The symphony's second movement has been played as a funeral march at state funerals, memorial services, and commemorations including:

3713: 3079: 1838:, Op. 43, both of which were composed in the winter of 1800–1801. The next year, Beethoven used the same theme as the basis for his 2150:

and in Boston on 17 April 1810 by the newly founded Boston Philharmonic Society, both performances receiving fairly mixed reviews.

2014: 1828:, perhaps unlike Beethoven's other symphonies, was constructed back-to-front. The theme used in the fourth movement, including its 1689:

Variation 3: Where a new melody is introduced while the theme is still played on the bass. A brief transitional passage leads to: (

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Lewis Lockwood credits Nathan Fishman as being the first to identify this movement plan as being intended for the Third Symphony.

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Leonard Bernstein said the first two movements are "perhaps the greatest two movements in all symphonic music", in the recording

904:. In the 19th century, this was thought to be a mistake; some conductors assumed the horn notes were written in the tenor clef (B 797:

motif (mm. 57–64) in strings with a variation; and a section beginning with rapid downward patterns in the violins (mm. 65–82).

3513: 2988: 1744:. It builds up to a climax again; the orchestra pauses on the dominant of the home key, and the theme is further developed in: 1045:

return to the A theme. However, the first theme in C minor (m. 105) begins modulating in the sixth bar (m. 110), leading to a

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The opening A-section in C minor begins with the march theme in the strings, then in the winds. A second theme (m. 17) in the

3957: 3477: 3437: 3335: 3291: 3270: 3252: 2701: 2398: 2121:(1765–1807) that received better reviews than Beethoven's symphony. One correspondent describes the first reactions to the 1808:

and completed the composition in early 1804. The first public performance of Symphony No. 3 was on 7 April 1805 in Vienna.

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Reviews of the work's public premiere (on 7 April 1805) were decidedly mixed. The concert also included the premiere of a

1832:, originate from the seventh of Beethoven's 12 Contredanses for Orchestra, WoO 14, and also from the Finale to his ballet 3942: 1193: 1078: 984: 866: 755: 626: 545: 3899: 3764: 3148:, vol. 1, "Miscellaneous News, Vienna, 2 May 1805" (1805): 174, reprinted in translation in Senner et al. vol. 2, p. 18 2811: 1876:

The first movement's main theme (mm. 3–6) has thus been traced back to the bass line theme of the Opus 35 variations (E

3225:

This 1st ed. comprises 18 parts, and contains corrections made by Beethoven. Wien Kunst-u. Industrie-Comptoir, PN 512.

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Measure numbers in this article follow the traditional system, in which the measures of first endings are not counted.

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said that this symphony "knows which way you think the music is going and veers triumphantly in the wrong direction."

3089: 2836: 2673: 1796:. A flurry of sforzandos appear, and the finale ends triumphantly with three large E-flat major chords on the tutti. 1700:, a fugue that starts quietly and suspensefully on the strings as it builds up to a dramatic and urgent climax. (See 1160: 733:

in the dominant, later moving between dominant and tonic. The main theme is finally restated with full orchestra in

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major. The first theme is then transferred to wind instruments, then fragmented, moving through other keys with the

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said that the first movement expresses Beethoven's courage in confronting deafness; the second movement, slow and

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simply as "the greatest, most original, most artistic and, at the same time, most interesting of all symphonies".

3962: 3737: 3184: 3170: 3132: 3590: 3723: 3174:, vol. 9, "News, Mannheim" (28 January 1807): 285–286, reprinted in translation in Senner et al. vol. 2, p. 19. 2775:

Sisman, Elaine R. (1990). "Tradition and Transformation in the Alternating Variations of Haydn and Beethoven".

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Variation 7: An incomplete variation, which begins with a simple restatement of the first half of the theme in

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The following table recounts multiple interpretations of the variations, although this list is not exhaustive:

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form. However, it can also be analyzed as having five parts, a combination of ternary, rondo, and sonata form:

3704: 3468:

President Kennedy Has Been Shot: Experience the Moment-to-Moment Account of the Four Days that Changed America

2368:, a film based in part on Ferdinand Ries' recollection of the symphony's 1804 premiere, was released in 2003. 1855:

The "Wielhorsky Sketchbook", Beethoven's principal sketchbook for 1802, contains a two-page movement plan in E

210:

symphony is a large-scale composition that marked the beginning of the composer's innovative "middle period".

3757: 2160: 1999: 3691: 3696:, article about the debate between the two men on fugal theory and practice during the symphony's gestation 2041:

An extant copy of the score bears two scratched-out, hand-written subtitles; initially, the Italian phrase

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early on before eventually returning to a more typical form in the tonic. The movement concludes in a long

3733: 3632:

Wen, Eric (February 2005). "Beethoven's meditation on death: the funeral march of the 'Eroica' symphony."

3136:, vol. 7, "Vienna, 9 April" (1 May 1805): 501–502, reprinted in translation in Senner et al. vol. 2, p. 17 2549: 2237: 1834: 1189: 1167:, first by the strings (mm. 115–119) and then by the full orchestra (mm. 123–127). This is followed by a 1074: 980: 862: 751: 622: 541: 3200:, vol. 9, "Review" (18 February 1807): 321–333, reprinted in translation in Senner et al. Vol. 2, p. 30. 842:

section (m. 154), like the rest of the movement, is characterized by harmonic and rhythmic tension from

697:) is introduced, thus introducing the harmonic tension of the work. The melody is finished by the first 3952: 3947: 3912: 3886: 3870: 3865: 3855: 3850: 3839: 3818: 3802: 2588: 2114: 2070: 1805: 584:, with typical performances between 12 and 18 minutes long depending on interpretation and whether the 3188:, vol. 9, "News, Prague" (17 June 1807): 610, reprinted in translation in Senner et al. vol. 2, p. 34. 613:, and shares many attributes of that earlier symphony which precedes this one by a decade and a half. 3606: 2029:. At that time Beethoven had the highest esteem for him, and compared him to the greatest consuls of 1176: 843: 20: 2080:, shows that the prince hired twenty-two extra musicians (including the third horn required for the 826:

had been present in early drafts of the symphony, as was the indecisive nature of the second group.

3017: 2296: 2212: 2066: 610: 218: 187: 3212:, vol. 5, pt. 1, p. 123, "Review of Royal Academic Concert on 30 April 1827" (1827), available on 2183: 894:

At the end of the development, one horn famously appears to come in early with the main theme in E

3674: 3588:

Schleuning, Peter (1987). "Beethoven in alter Deutung der 'neue Weg' mit der 'Sinfonia eroica.'"

3497: 2505: 2393: 2208: 1980: 1196: 1081: 987: 869: 758: 629: 548: 3657: 3604:

Sheer, Miriam (Autumn 1992). "Patterns of Dynamic Organization in Beethoven's Eroica Symphony."

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In writing this symphony, Beethoven had been thinking of Bonaparte, but Bonaparte while he was

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Several modern scholarly editions have appeared in recent decades, including those edited by

2147: 2097: 2018: 1975: 1736:

Variation 8: Another fugue, now it is bright and energized, as this time it is in the tonic (

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a quick and breezy conclusion; here, the finale is a lengthy set of variations and a fugue.

1733:, before an almost immediate switch back to the minor mode in order to bring the piece into: 3786: 3579:

Lockwood, Lewis (October 1981). "Beethoven's Earliest Sketches for the 'Eroica' Symphony."

3213: 2696:. Translated by Frederick Noonan. Arlington, Virginia: Great Ocean Publishers. p. 69. 2341: 200: 49: 2203:

The work is a milestone work in classical music; it is twice as long as the symphonies of

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At this point, the traditional "bounds of ceremonial propriety" would normally indicate a

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major chords, played by the whole orchestra, that establish the tonality of the movement.

592:

introductions in Beethoven's first two symphonies, the movement opens with two very loud E

8: 2935: 2085: 1792:

all of a sudden by a huge crash on the whole orchestra, as the tempo abruptly changes to

839: 643:

The exposition has three thematic groups with varying interpretations of functionality.

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Burnham, Scott (1992). "On the Programmatic Reception of Beethoven's Eroica Symphony."

3315: 2897: 2364: 2289: 2006: 849:

The first section of the development is based around various thematic explorations and

813: 773: 585: 529: 100: 3047:

Account record currently on display in the exhibition at the Lobkowicz Palace, Prague.

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Schleuning, Peter (1991). "Das Uraufführungsdatum von Beethovens 'Sinfonia eroica.'"

3534: 3473: 3466: 3433: 3331: 3287: 3248: 3238: 3085: 2832: 2807: 2697: 2669: 2570: 2313: 2278: 2244: 2010: 1873:– including its first three movements – emerged directly from the Op. 35 Variations. 1839: 1211: 1054: 3663: 3510: 2219:

that would define Western art music in the early decades of the nineteenth century.

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Alternatively, the first movement's resemblance to the overture to the comic opera

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with that reintroduces the new theme first presented in the development section.

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starts in the tonic E♭ major as expected, but then features a sudden excursion to

3517: 3274: 3117: 2957: 2509: 2492: 2334: 2254: 2216: 2187: 2093: 2077: 816: 532:

repeat in the first movement, the performance time is between 41 and 56 minutes.

175: 2934:, 3 vols. (Moscow 1962). Citation based on unpaginated translation available at 2694:

Beethoven Remembered: The Biographical Notes of Franz Wegeler and Ferdinand Ries

1668: 3740:, under Christophe Mangou. Listening notes for the symphony are also available 3726:

from SF Symphony's 'Keeping Score' with Analysis, Background and Commentary by

3649: 3616:(Spring 2006). "Who Died? The Funeral March in Beethoven's 'Eroica' Symphony." 3119:

The Critical Reception of Beethoven's Compositions by His German Contemporaries

2912:

Ludwig van Beethoven's Werke, Serie 2: Orchester-Werke, No. 17a, 12 Contretänze

2889: 2755: 2689: 2487: 2232: 1863: 1753: 1022: 917: 901: 793:(mm. 45–56) in canon between oboe, clarinet, flute, and violin; a short upward 716: 514: 351: 222: 2855:. p. Da Beethoven a Notker Balbulus: forme, stili e linguaggi a confronto 2578: 2179: 2009:, whom he believed embodied the democratic and anti-monarchical ideals of the 3936: 3031: 2530: 2293:

called it the greatest symphony, based on a survey of 151 conductors in 2016.

2259: 2107: 2074: 961: 854: 794: 790: 680: 602: 488: 3741: 1005:

Trio in major (mm. 69 - 104), False recapitulation of march (mm. 105 - 113);

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of the cellos and a diminished chord). This resolves to the dominant of the

62:

Beethoven's title page which shows his erasure of dedication of the work to

3613: 3556:

Downs, Philip G. (October 1970). "Beethoven's 'New Way' and the 'Eroica'."

3376: 2953: 2617: 2418: 2347: 2320: 2263:(1945). Some academics say the 'In Memoriam' sub-title refers to Beethoven. 2204: 2055:

Sinfonia Eroica ... composta per festeggiare il sovvenire di un grande Uomo

2030: 2026: 1930:– appears in slightly altered form as the funeral's march's second theme (E 1773: 1761: 1737: 1723: 1690: 1683: 1672: 1660: 1171:

motif characterized by descending fourths (m. 143), leading to the repeat.

1100: 1025: 965: 943: 850: 781: 563: 476: 289: 146: 2118: 1757: 1168: 684: 581: 374: 156: 71: 57: 3528: 2524:

Explore the Score – Beethoven: Symphony No. 3 in E-flat major, Opus 55,

3625:

Wade, Rachel (October–December 1977). "Beethoven's Eroica Sketchbook."

1741: 1146: 1122: 702: 3397: 2514:

Basic Books; Illustrated Edition, 5 December 2017, ISBN 978-1541697362

2057:("Heroic Symphony, Composed to celebrate the memory of a great man"). 3572:

Eiseman, David (1982). "A structural model for the 'Eroica' finale?"

3065: 2804:

Ludwig van Beethoven: le nove sinfonie e le altre opere per orchestra

1767:

Variation 10: The final variation, which is when the "full image" of

1663:, first appears and then is subjected to a series of ten variations: 1145:(m. 73), which is when the A theme is heard again, leading to a full 19:"Beethoven's 3rd" redirects here. For the direct-to-video movie, see 2350:

performed the entire symphony as the memorial concert for conductor

1183: 3780: 2788: 1829: 1156: 1057:

of the original second theme. The first theme reappears briefly in

258: 238: 63: 2073:. An account record dated 9 June 1804, submitted by the prince's 1816: 1730: 1719: 1708: 1697: 1652: 1096: 1058: 1050: 1042: 1035: 969: 939: 888: 806: 730: 706: 502: 496: 330: 309: 273: 2021:(14 May 1804), Beethoven's secretary, Ferdinand Ries said that: 2876:"Beethoven's Symphony no. 3 in E-flat Major: Thematic Analysis" 2089: 1679: 1164: 830:

instead (mm. 57–82), consistent with the traditional analysis.

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Richard Strauss: New Perspectives on the Composer and His Work

2627: 2248: 1712: 1648: 1046: 973: 676: 369: 364: 3675:"The Eroica Riddle: Did Napoleon Remain Beethoven's "Hero?"" 2053:". In 1806, the score was published under the Italian title 528:

Depending upon the conductor's style and observation of the

2896:. Translated by Hull, B. Constance (7th ed.). London: 2235:

discussed Beethoven's use of the horn and the oboe, in the

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in Vienna. A first published edition (1806) of Beethoven's

1748: 638:

Main theme of the first movement and its constituent motifs

252: 2806:(3. ristampa ed.). Pordenone: Edizioni Studio Tesi. 2146:

The symphony premiered in London on 26 March 1807 at the

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which accompany the melodic line. This directly leads to:

1195: