beethoven heroica

7/23/2019 Beethoven Heroica

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Genesis

Beethoven first noticed a 'ringing and buzzing' in his ears about the age of 26 or 27. An annoyance atfirst, his concerns grew as the condition persisted and two years later, around 7!!, he beganconsulting with doctors. "hough nu#erous treat#ents were prescribed, none see#ed to help.

$n the winter of %&&2 Beethoven sought the council of a new physician, (octor )ohann *ch#idt. $nthe course of his treat#ent, *ch#idt advised the co#poser to go easy on his hearing and thefollowing April would find Beethoven resting in the village of +eiligenstadt, on the outsirts of-ienna. "he at#osphere of the little village was both restful and conducive to wor and Beethoven'sstay there would prove productive. etters fro# this ti#e as well as biographical accounts indicatelife as usual. /als in the country, co#posing, negotiations with publishers and lessons, all in a0uiet and leisurely setting. 1nnown to anyone at that ti#e, was the anguish that was consu#ingBeethoven as the season wore on and his hearing had not i#proved.

$n late *epte#ber or early ctober, Beethoven felt co#pelled to draft a last will and testa#ent, adocu#ent that has co#e to be nown as the Heiligenstadt Testament. $t is addressed to his brothers3arl and )ohann, though )ohanns na#e is strangely absent with a blan space in its stead. As wewould e4pect of the docu#ent, Beethoven be0ueaths his belongings to his siblings but not until hewrites at length of his illness, pleading for understanding. +e goes on to reveal that he hasconsidered suicide but that his art has prevented hi# taing that course. "he language of the"esta#ent is fraught with pain and in reading it one can feel the despondency that possessed thewriter.

Beethoven was never to reveal this docu#ent to anyone and had it in his possession when he died.

By then it had been superceded by other wills and its value would turn out to be that of a snapshot inti#e.

/hat does a will have to do with the 5roica $ts revelation has helped to e4plain, psychologically,Beethoven's sudden and drastic stylistic change around %&. $##ediately following +eiligenstadtBeethoven's #usic suddenly beco#es #ore daring. "he learned rules of his teachers were cast asideas he struc out on a new path with the 5roica as the frontispiece of this change. /ithin wees,perhaps days, of signing the will, Beethoven 8otted down the first setches of the *infonia 5roica."hat his bold new style and the trau#atic events of the fall of %&2 occur at precisely the sa#e pointin ti#e is no #ere coincidence. "he +eiligenstadt "esta#ent and the 5roica are inseparably linedand #ay in a sense be the sa#e creation.

$n ctober of %&2 Beethoven retired fro# +eiligenstadt and returned to -ienna. *hortly after hisreturn, he was engaged as theater co#poser by theater owner 5#anuel *chianeder 9librettist andproducer of :ozart's Die Zauberflte; with the e4pectation he would co#pose an opera. "o that end,
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Beethoven and his brother 3asper 3arl too up residence in the theater in )anuary of %&.

/hen war# weather returned and *chianeder had not yet delivered the libretto, Beethoven tooleave of -ienna and #ade his way to Baden, as was his habit in spring. After a brief rest there he#oved to his su##er lodgings in a village called (o. ?.

(escribing the setting, "hayer co##ents..

@...it had gardens, vineyards or green fields in both front and rear. "rue, it was half anhours wal further fro# +eiligenstadt ...but to co#pensate for this, it was so #uchnearer the city was in the #ore i##ediate vicinity of that ar# of the (anube calledthe @canal@ and al#ost under its window was the gorge of the rottenbach, whichseparates (apoleon Bonaparte. "hese two entities, in the telling andretelling of the Eroicastory, have beco#e inseparable and it is only recently that the e4tent andsignificance of this association has been scrutinized. ur nowledge of the Bonaparte connectionoriginates fro# erdinand Cies, friend and student of Beethoven.

$n %& Beethoven co#posed his third sy#phony 9now nown as the Sinfonia Eroica;in +eiligenstadt, a village about one and a half hours fro# -ienna....$n writing thissy#phony Beethoven had been thining of Buonaparte, but Buonaparte while he wasirst 3onsul. At that ti#e Beethoven had the highest estee# for hi# and co#paredhi# to the greatest consuls of ancient Co#e. >ot only $, but #any of BeethovenDscloser friends, saw this sy#phony on his table, beautifully copied in #anuscript, withthe word @Buonaparte@ inscribed at the very top of the titlepage and @uigi vanBeethoven@ at the very botto#. /hether or how the intervening gap was to be filledout $ do not now. $ was the first to tell hi# the news that Buonaparte had declared


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hi#self 5#peror, whereupon he broe into a rage and e4clai#ed, @*o he is no #orethan a co##on #ortalE >ow, he too will tread under foot all the rights of #an, indulgeonly his a#bitionF now he will thin hi#self superior to all #en, beco#e a tyrantE@Beethoven went to the table, seized the top of the titlepage, tore it in half and threw iton the floor. "he page was later recopied and it was only now that the sy#phonyreceived the title '*infonia Eroica.' ro# Biographische Notizen ber Beethoven, .

/egeler and . Cies, %%

"his account has been a staple of Beethoven lore for #ore than a century. /hether or not the eventstranspired precisely as Cies relates we shall never now. /hat canbe gleaned fro# this anecdote isthat Beethoven did, at one ti#e, intend to dedicate his 'Grand *infonie' to >apoleon. "hat he tore upthe title page upon hearing bad news and ever after hated >apoleon and all things rench, is a bitsi#plistic. /here did Beethoven co#e upon the notion of a Bonaparte sy#phony

$n the past, one need not search for the i#petus for it was provided by Anton *chindler, occasionalfriend and personal secretary of Beethoven in his later years. *chindler, in his biography ofBeethoven, states...

"he A#bassador of the rench Cepublic to the Austrian 3ourt was at that ti#eGeneral Bernadotte, who later beca#e ing of *weden. +is salon was fre0uented by

distinguished persons of all rans a#ong who# was Beethoven, who had alreadye4pressed great ad#iration for the irst 3onsul of the Cepublic. "he suggestion was#ade by the General that Beethoven should honor the greatest hero of the age in a#usical co#position. "he idea soon beca#e a reality which the #aster, havingbattled with his political scruples, gave to the world under the title *infonia Eroica.

And...

"he first idea for the sy#phony is said to have gone out fro# General Bernadotte, therench A#bassador in -ienna, who estee#ed Beethoven very highly. "his $ heardfro# several of Beethoven's friends.

*chindler goes on to say of the rending of the title page...


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"he fair copy of the score with the dedication to the irst 3onsul of the renchCepublic, which consisted of the two words Napaleon Bonaparte, was ready to begiven to General Bernadotte for trans#ission to aris, when the news was received in-ienna that >apaleon had proclai#ed hi#self 5#peror of the rench. "he newsreached the co#poser through rince ichnowsy and erdinand Cies. >o soonerhad he heard the news than he seized the score, tore off the title page and threw it on

the floor. ro# Beethoven !s " #ne$ Him, A. *chindler, %6&

*chindler would see# to reasonably e4plain the conception of a Bonaparte sy#phony and tantalizeus with its near delivery to the rench 5#bassy e4cept for one detail. General Bernadotte was nowhere near -ienna in %&? and had not been since being 'ased' to leave in 7!%. +e had been anannoyance to the -iennese since his arrival and his office as A#bassador lasted a #ere few #onths.*ince *chindler was #istaen about 9or fabricated; the presence of Bernadotte in %&? there isliewise, no reason to believe the General proposed a Bonaparte sy#phony before or during the si4years he wasn't present. r, as *ir George Grove so succinctly put it, @A soldier lie Bernadotte wasnot liely to now or care about #usic@. $t should be noted that *chindler had not #et Beethoven

until %? so his accounts of events prior to that were second hand at best. 9>ote his co##ent, @"his$ heard fro# several of Beethoven's friends.@;

"his does not bring us any closer to e4plaining why Beethoven would dedicate a sy#phony to>apoleon. $nterestingly though, a year before Beethoven began wor on the Eroica, an incidentoccurred that invites #ore 0uestions about a >apoleon dedication. ranz +off#eister, a publisher,proposed to Beethoven that he write a sonata honoring >apoleon and the revolution. Beethoven's

response was e#phatic, @Hou #ust leave #e out, you won't get anything fro# #e.@ "he reason forBeethoven's displeasure, on this occasion, concerned Bonaparte's negotiations with the ope andserve to illustrate the co#poser's on going a#bivalence. >one the less, this invites the 0uestion,could Beethoven vehe#ently re8ect the proposal of a Bonaparte sonata and a year later turn out asy#phony in his honor

"he historical record does not provide any credible evidence that the sti#ulus for a Bonapartesy#phony was by way of suggestion. "his leaves us conclude the notion was entirely his own. /hilethis #ay see# to be a reasonable assu#ption we should bear in #ind that Beethoven did not feel anentirely unconditional ad#iration for the rench leader and vacillated between devotion and dislie.

:aynard *olo#on has arrived at #ore prag#atic e4planation for the >apoleon dedication. $t

concerns plans on Beethovens part to #ove to aris.

Beethoven's pro8ected #ove to aris provides an apparently si#ple #otiveItheBonaparte*y#phony and the proposed dedication of the -iolin *onata, op.?7 toAda# and reutzer #ay have been intended to s#ooth Beethoven's entry into therench capitol. And the cancellation of the tour coincided rather closely with the final


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re#oval of Bonaparte's na#e fro# the "hird *y#phony. 9:. *olo#on, Beethoven,p.77;

inder#an #aes the sa#e point.

Beethoven's attitude towards Bonaparte was a#bivalent, but he conte#plated apossible #ove to aris around this ti#e, and he #ight have had so#e entirelyprag#atic reasons for dedicating the sy#phony to the rench leaderreasons thatvanished when he re#ained in -ienna.. 9/. inder#an, Beethoven, p.%6;

"he dedication of a %rand Sinfonieto Bonaparte would surely have brought favor and opened doors./hen the aris trip was clearly not going to #aterialize, Beethoven #ay well have realized it wouldnot be a good idea to stic around the Austro+ungarian 5#pire, having dedicated a sy#phony to thenewly proclai#ed 5#peror of rance. articularly when relations with the rench were deteriorating.

Additional evidence, supporting this practical e4planation, co#es to us again, fro# erdinand Cieswho wrote to *i#roc, the publisher, on ctober 22, %&, that

+e will sell the sy#phony to you for && Gulden. $t is in his esti#ation the greatestwor which he has written until now. Beethoven played it for #e recently, and $ believethat heaven and earth #ust have tre#bled at this perfor#ance. +e wants very #uch todedicate it to BonaparteF if not, since obowitz wants it for half a year and is willingto give ?&& Gulden for it, he will title it Bonaparte.

rince obowitz wanted e4clusive rights to the *y#phony for si4 #onths and would have e4pectedthe dedication for such a generous pay#ent. Apparently still eager to honor >apoleon, Beethoven hit

upon the idea of dedicating it to the rince and entitling it to Bonaparte. erhaps he still held agli##er of hope for aris. $t was while he was considering this option that he received the news of>apoleon's coronation. "he '5#peror' received neither title or dedication. $n the end, the dedicationwould go to rince obowitz and Beethoven would title the wor Eroica.

"his does not, by any #eans, resolve the Bonaparte 0uestion and tie it up in a neat little pacage."he evidence that >apoleon's na#e was re#oved is undeniable. /hat is not clear is why >apoleon


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was considered in the first place and, in the eleventh hour before its first perfor#ance, why wasBeethoven apparently searching for an out As we consider this 0uestion, we should bare threethings in #ind. ne, Beethoven was always i#petuous, taing bold actions at a whi# and laterreversing hi#self 8ust as easily. "wo, Beethoven was nown to have withdrawn an intended orpro#ised dedication at the slightest provocation 9e4a#pleF the reutzer sonata was originallyintended for George Bridgetower but withdrawn over a co##ent about a wo#an;. And three, less

than four years prior to the switching of the dedication, the Austrian Ar#y had been defeated by>apoleon and the peace afforded by the ensuing treaty was dwindling to the point of certain war. $tsi#ply would not have been e4pedient for Beethoven to honor a potential ene#y with a dedication.

irst erfor#ances

rince obowitz paid for si4 #onths use of the Eroicaand by all accounts, he got his #onies worth.erdinand Cies states in Biographische Notizen ber Beethoven, that @it was given in his palaceseveral ti#es@. (uring the rehearsals, leading to these perfor#ances, Beethoven found hi#self in auni0ue position. +e had a captive orchestra and plenty of ti#e to fine tune the Eroica.

$t was during these rehearsals that Beethoven was able #ae significant revisions and corrections,

including a decision concerning the repeat in the first #ove#ent. /hen the sy#phony was firstco#pleted, Beethoven thought the Allegro #ight prove too lengthy if the custo#ary repeat wasincluded. +e had it played through, with and without the repeat and concluded it should stay.Additionally, a substantial nu#ber of corrections were #ade during the obowitz rehearsals as thescore that Beethoven was using 9and re#ained in his possession throughout his life; ste##ed fro#an inattentive copyist. "he #a8ority of these corrections involved ties, slurs, accidentals, etc. J As aside note, the issue of errors in the Eroicais long fro# being settled. Bathia 3hurgin, an in essayentitledE&ploring the Eroica' !spects of the Ne$ (ritical Edition , 4ford 1niversity, !!%, enu#eratesa #ultitude of errors still found in current editions of the Eroicascore. *ince so#e of the errors arefar fro# #inor, a critical edition should prove to be e4citing listening. K

Cies who was present, at the first rehearsal, gives the following a#using accountI

Beethoven has a wiced tric for the hornF a few bars before the the#e co#es inagain co#plete, Beethoven lets the horn indicate the the#e where the two violins stillplay the chord of the second. or so#eone who is not fa#iliar with the score thisalways gives the i#pression that the horn player has counted wrong and co#e in atthe wrong place. (uring the first rehearsal of this sy#phony, which went appallingly,


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the horn player, however, ca#e in correctly. $ was standing ne4t to Beethoven and,thining it was wrong, $ said, '"hat da#ned horn playerE 3an't he count properly $tsounds infa#ously wrongE' $ thin $ nearly had #y ears bo4ed Beethoven did notforgive #e for a long ti#e.@ Biographische Notizen ber Beethoven, . /egeler and .Cies, %%

+u#orous though it #ay be, the passage referred to #aes bold use of har#ony and it did not sit wellwith listers of that ti#e. /ell into the nineteenth century it was 'corrected', in perfor#ance andpublished scores. 5ven /agner found it disturbing and altered the original. 9*ee the :usic Analysissection of this site for a discussion and e4a#ples of the passage.;

f the obowitz perfor#ances there is a surviving report in the for# of a letter by Georg Griesinger,to Breitopf and +Lrtel, ebruary, %&M. $n it we can see that Griesinger has not actually heard thesy#phony but is relaying news.

@..."his #uch $ can, however, assure youF that the sy#phony has been heard atAcade#ies at rince obowitz's and at an active #usiclover's na#ed /irth, withunusual applause. "hat it is a wor of genius, $ hear fro# both ad#irers anddetractors of Beethoven. *o#e people say there is #ore in it than in +aydn and:ozart, that the *y#phonyoe# has been brought to new heightsE "hose who areagainst it find that the whole lacs rounding outF they disapprove of the piling up ofcolossal ideas.@

A perfor#ance, of which little is nown, occurred in )anuary %&M and is now referred to as the /Nrth

perfor#ance. Griesinger #aes #ention of it in the above letter to Breitopf and +Lrtel."he!llgemeine )usi*alische Zeitung, for ebruary , %&M, speaing of the /Nrth perfor#ance,described the Eroicaas...

@a daring, wild, fantasia, of inordinate length and e4tre#e difficulty of e4ecution."here is no lac of striing and beautiful passages in which the force and talent of theauthor are obviousF but, on the other hand, the wor see#s often to lose itself in utterconfusion. $t begins with a powerfully scored Allegro in 5 flat, followed by a uneral:arch in 3 #inor, treated fugally towards the end. "he *cherzo and inale are both in5 flat. "he writer belongs to Beethoven's war#est ad#irers, but in the present worhe finds very #uch that is odd and harsh, enor#ously increasing the difficulty ofco#prehending the #usic, and obscuring its unity al#ost entirely.@


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n April 7, %&M, the general public heard the Eroicafor the first ti#e at the "heatre An (er /ien. $twas billed as @a grand sy#phony in (sharp J5flatK.@ As #ight be e4pected of a first hearing of sucha bold new wor, reaction during and after the concert was #i4ed. "he Eroicawas longer than anysy#phony heard up to that ti#e and having it at the end of a long progra# was too #uch for oneconcert goer to endure who yelled out, @$'ll give another reutzer if it will 8ust stop.@

"he!llgemeine )usi*alische Zeitungreviewed the perfor#ance three wees later,

@At any rate this new wor by Beethoven has great daring ideas, and, as can bee4pected fro# the genius of this co#poser, is very powerfully carried out. But thesy#phony would gain i##ensely 9it lasts a full hour; if Beethoven would decide toshorten it and introduce into the whole #ore light, clarity and unity...."here is, fore4a#ple, a funeral #arch in 3#inor which is then developed fugally. >ow every fugal#ove#ent pleases inas#uch as it brings order out of apparent confusion. But if, asnow, its coherence escapes even the #ost attentive ear after repeated hearings, it#ust appear peculiar even to the unpre8udiced listener. :oreover there were very fewpeople who lied the *y#phony.@ !llgemeine )usi*alische Zeitung, :ay, %&M.

A wee earlier, the periodical Der +reimthige, was only a little #ore ob8ective in its reporting and hadthis to say,

@ne party, Beethoven's #ost special friends, contend that this particular sy#phonyis a #asterpiece, that this is e4actly the true style for #usic of the highest type andthat if it does not please now it is because the public is not sufficiently cultivated in

the arts to co#prehend these higher spheres of beautyF but after a couple ofthousand years its effect will not be lessened. "he other party absolutely denies anyartistic #erit to this wor. "hey clai# it reveals the sy#pto#s of an evidentlyunbridled atte#pt at distinction and peculiarity, but that neither beauty, true subli#itynor power have anywhere been achieved either by #eans of unusual #odulations, byviolent transitions or by the 8u4taposition of the #ost heterogeneous ele#ents....nthat evening, the audience and +. v. Beethoven, who hi#self conducted, were not#utually pleased with one another. or the audience the *y#phony was too difficult,too long and B. hi#self too rude, for he did not deign to give even a nod to theapplauding part of the audience. Beethoven, on the other hand, did not find theapplause sufficiently enthusiastic.@ Der +reimthige, 26 April, %&M.

After the flurry of perfor#ances in %&?&M, the Eroicawould be heard in -ienna but three #ore ti#esduring Beethoven's life. "he fact that Beethoven did not do well in his own city #ay have had to dowith his very presence. As noted by the Der +reimthigecorrespondent, Beethoven and his audiencewere antagonistic towards each other. erfor#ances elsewhere such as eipzig, were #uch #oresuccessful. Groves describes the reaction in eipzig...


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@when the *y#phony was brought forward there at the fa#ous Gewandhaus 3oncertson )anuary 2!, %&7, under the conductorship of ). G. *chicht...there was an unusualasse#blage of a#ateurs and #usicians at the 3oncertF a deep interest and stillnessprevailed during the perfor#anceF and the co##ittee were besieged with re0uests fora repetition, which too place a wee later, on the Mth ebruary, and again on the !th>ove#ber of the sa#e yearthree perfor#ances in ten #onths.@

ro#etheus

ne of the #ost perple4ing issues of the Eroica>apoleon connection has beenI why did Beethovenutilize a funeral #arch followed by a 8oyous scherzo and finale >ineteenth century co##entators

were at a loss to e4plain the see#ing contradiction of death and celebration in the conte4t of anho#age to Bonaparte. *everal scenarios were advanced though none were persuasive. 5ven /agnerweighed in on the 0uestion co##itting a considerable a#ount of in to paper.

Additionally, early writers noted the#atic si#ilarities between the Eroicaand Beethoven's ownballet,Die %eschpfe des ,romethus9"he 3reatures of ro#etheus; p ? as well as his -ariations,p M and 2 Ger#an 3ontradances /o ?. "hey were able to guide us passage by passagethrough the parallels to be found in the #usic but never touched upon the deeper inship betweenthe Eroicaand ro#etheus. "he distinguished Beethoven scholar /illia# inder#an, citing the worof 3onstantin loros, has now proposed the possibility that the whole of the Eroicasy#phony is anallegory for the ro#ethus legend. "hat is to say, the ro#etheus legend as portrayed inBeethoven's ballet.

$n the various Gree versions of the legend, ro#etheus is punished by being chained to a rocwhere upon an eagle eats his liver every day only to have it regenerate each night. After years ofsuffering ro#etheus is finally freed. $n the version staged by Beethoven and the dance #aster*alvatore -igano, ro#etheus is put to death for his transgression and is later reborn.

"racing the se0uence of certain events in the ballet and co#paring the resulting scenario to theprogression of #ove#ents in the Eroicawe arrive at a convincing fit. inder#anI

@loros's wor has shown that the lins between the ballet and the sy#phony are#ore substantial than has usually been assu#ed. loros traces various rhetorical andfor#al parallels between the opening Allegro con brio of the sy#phony and, inparticular, the eighth piece of the ro#etheus #usic, the '(anza Eroica'. *till #orei#portant is the affinity of the two following pieces of the ballet, the '"ragica scena'9no. !; and 'Giuocosa scena' 9no. &, in which the dead ro#etheus is restored to life;,to the progression fro# the :arcia funebre to the scherzo in the sy#[email protected], /illia# inder#anF 4ford 1niversity ress, !!7


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n the creative ti#eline ,rometheus, -p ./and Eroicaall flow fro# one to the ne4t and the sy#bolicele#ents of ro#etheus transfer to the Eroicaconvincingly. "hat the Eroicacould be a sy#phonice4pansion of the ro#etheus ballet, with the #ain character sy#bolizing the tortured and#isunderstood artist, is #ore than plausible. "he parallel heroic, tragic, 8oyous would see# #ore

than coincidental and ulti#ately #ore satisfying than speculating why Beethoven illed >apoleonthen resurrected hi#.

Portrait of Beethoven around 1804-05, the time of the Eroica.

Joseph Mhler

$nspiration fro# /ithin

Given the Eroica's title, herowarrior interpretations are inescapable. >apoleon was the first to carrythat sword and now that the Bonaparte connection has been shown to be tenous, other heros havebeen proposed. /ith due regard to the estee#ed authors of those scenarios, they see# to be on a0uest for a legend to fit the sy#phony. Alfred 5instein co##ented, @/hy are there a dozen or #oreprogra##atic interpretations for the Eroicanone of which is right or even convincing @ 9A.5instein,%reatness in )usic0

Are we too 0uic to attribute the herois# of the Eroica, in whole or in part, to anyone other thanBeethoven An alternative e4planation of the 'hero ele#ent' can be arrived at by consideringBeethoven's own circu#stances 8ust prior to writing the Eroica. "he #onths leading to the creationof the Eroicawere a ti#e of crisis for Beethoven and there were two personal issues that occupiedhi# at that ti#e that could e4plain the heroic nature of the Sinfonia Eroica.

/hen Beethoven arrived in -ienna in 7!6, he began a rapid rise to noteriety as a perfor#er and lateras a co#poser. Coughly concurrent with his arrival in that city he started to e4perience trouble withhis hearing, a condition that worsened with ti#e.

1nder the guidance of +aydn, Albrechtsberger,


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$n the autu#n of %&2, while resting in +eiligenstadt, Beethoven drafted a tortured letter in the for# ofa will that has co#e to be nown as the +eiligenstadt "esta#ent. $n this docu#ent, he be0ueaths hisbelongings to his brothers but writes #ostly of the realization that his hearing was worsening andwould liely leave hi# co#pletely. +e reconciled hi#self to a dis#al future and did so through aninstru#ent intended to prepare for death. "hough he struggled for the words, his fears were laid torest.

*oon after his return fro# +eiligenstadt, Beethoven approached his wor with renewed energy. +isphilosophy and style of co#position underwent a transfor#ation and his #usic fro# that point onpossessed a new dyna#ic. /ithin wees of returning to -ienna, he began his first setches fortheEroica. 3learly, the "esta#ent had been a #eans of e4corizing his fears but the Eroicawouldbeca#e an e#pasioned codicil, e4pressed in a language that Beethoven spoe with elo0uence. $t iseasy to sur#ise how the yearning to strie out on a new path and the will to overco#e his loss ofhearing would #erge into a single e4pression of resolve. *elf deter#ination and triu#ph overadversity #ay well be the progra# of the Eroicawith Beethoven as hero.

beethoven heroica

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