Beethoven Symphony No. 3 in E Flat  “Eroica”.

Much has been written about Beethoven’s symphonies, in particular about our featured work, the “Eroica” symphony, No. 3.   We are also aware of much documentation from the composer’s own hand in the form of letters to relatives and friends, where he states that with this symphony he “plans to embark upon a new road”.   It is true that this is a larger work than previously written, but the complexity of musical language and intent has, to a large extent been seen before, especially in his piano sonatas.   One is often mislead by what composers write about themselves.   Far more interesting aspects in coming to grips with this work, are to examine the man himself and the era in which he lived and wrote the piece.

The ideas that form the “Eroica” symphony were hatched, reworked and written to completion between 1801 and 1804.  The first performance took place in 1805.   I only mention these dates so as to give you some historical perspective on the timing of all this.   1776 had already happened here, and 1789 had already happened in France with slightly more drastic consequences for the ruling party.   A feeling of brotherhood, a dear concept to Beethoven, was sweeping Europe as embodied in the “liberté,  égalité,  fraternité” maxim of the French Revolution.    So, he dedicated this work to Napoleon Bonaparte, who had stood for this ideal as First Consul of France.   When Bonaparte crowned himself emperor, Beethoven, along with many like minded artists, was shattered at the loss of what he considered to be the savior figure of a new democratic Europe.   Let us consider this frustration number one.   Furthermore, Beethoven found himself, like so many composers of the time, dependent on the financial support of royalist patrons, whom he detested.  Let us consider that to be frustration number two.  It was in the presence of these aristocrats that Beethoven found himself an awkward, uncouth, social aberration, all the while hating them, all the while begging for support and all the while jeered at and ridiculed.   Let us consider this to be frustration number three.

Part of the same problem was his appearance, a sexually charged but unattractive man, spurned by the ladies to whom he made his amours known. Let us consider that to be frustration number four.  

Add to this the gnawing knowledge that he was steadily unable to hear the music he was composing, doubting in himself now, the single thing in life that had remained steadfast.  Frustration number five.

If one is to look back on the man, and what his music meant to him,  then we must realize that with every sway of the music and every angular,  tortuous thrust of power that is so much Beethoven’s signature,  that he does not ask you to listen,  nor even command you to listen,  he compels you to listen with earth shattering intent and intensity.   I hope you will enjoy this old chestnut with the vigour of renewed ears.

Thank you all for being here.

Prepared and written by Zane Dalal for subscription series audiences at the Dallas Symphony,  June 1996.   Delivery approx.  5 minutes.  Intended as gist for extemporized, “unread”, comments from the podium, prior to downbeat.