Grove's dictionary of music and musicians

778 SYMPHONY
the muaic. The step to the third Symphony is
however immense, and at last shows this branch
of composition on a level with his other works
of the same period. It is surrounded on both
sides by some of his noblest achievements.
Op. 47 was the Sonata in A for violin and
pianoforte, known as the
' Kreutzer.' Op.
53 is the Sonata in C major, dedicated, to
Count Waldstein. Op. 54 is the admirable
little Sonata in F major. Op. 55 is the Symphony,
and op. 57 the Sonata known as the 'Appassionata.
' It appears that Beethoven had the
idea of writing this symphony as early as 1798,
but the actual work was probably done in the
summer and autumn of 1 803. There seems to be
no doubt that it was written under the influence
of his admiration for Napoleon. His own titlepage
had on it ' Sinfonia grande. Napoleon Bonaparte,
and, ' as is well known, the name ' Eroica ^
was not added till Napoleon became Emperor ;
after which event Beethoven's feelings about him
naturally underwent a change. To call a great
work by the name of a great man was quite a
different thing from calling it by the name of a
crowned ruler. However, the point remains the
same, that the work was written with a definite
purpose and under the inspiration of a special
subject, and one upon which Beethoven himself
assuredly had a very decided opinion. The result
was the richest and noblest and by far the biggest
symphony that had ever yet appeared in the
world. It is very possible that Beethoven meant
it to be so ; but the fact does not make the step
from the previous symphonies any the less remarkable.
The scoring throughout is most
freely distributed. In the first movement
especially there is hardly any one of the numerous
subjects and characteristic figures which has not
properties demanding different departments of
theorchestra toexpress them. Theyare obviously
conceived with reference to the whole forces at
command, not to a predominant central force
and appendages. The strings must necessarily
have the greater part of the work to do, but the
symphony is not written for them with wind as
a species of afterthought. But it is still to be
noticed that the balance is obtained chiefly by
definite propositions and answers between one
group and another, and though the effect is
delightful, the principle is rendered a little
obvious from the regularity of its occurrence.
The second movement is specially noticeable as
reaching the strongest pitch of sentiment as yet
shown in an orchestral slow movement. In the
earliest symphonies these movements were nearly
always remarkably short, and scored for fewer
instruments than the first and last. Frequently
they were little better than ' intermezzi, ' attached
on both sides to the more important allegros.
Even Mozart's and Haydn's latest examples had
more grace and sweetness than deep feeling, and
frequently showed a tendency to formalism in the
expression of the ideas and in the ways in which
the ornamental Jioriture were introduced. In
the Eroica the name Marcia ' funebre ' at once
defines the object ; and though the form of a
march is to a certain extent maintained, it is
obvious that it is of secondary importance, since
the attention is more drawn to the rich and noble
expression of the finest feelings of humanity over
the poetically imagined death of one of the
world's heroes, than to the traditional march
form. The music seems in fact to take almost
the definlteness of speech of the highest order ;
or rather, to express the emotions which belong
to the imagined situation with more fulness and
comprehensiveness, butwith scarcely lessdefiniteiiess,
than speech could achieve. In the third
movement appears the first of Beethoven's large
orchestral scherzos. Any connection between it
and the typical Minuet and Trio it is hard to see.
The time is quicker and more bustlmg ; and the
character utterly distinct from the suave grace
and somewhat measured paces of most of the
previous third movements. The main points of
connection with them are firstly the general outlines
of form (that is, the principal portion of the
. Scherzo corresponding to the Minuet comes first
and last, and the Trio in the middle)and secondly
the humorous element. In this latter particular
there is very great difference between the 'iiaif
and spontaneous fun of Haydn and the grim
humour of Beethoven, sometimes verging upon
irony, and sometimes, with evident purpose, upon
the grotesque. The scherzo of the Eroica is not
alloyed with so much grimness as some later
ones, but it has traits of melancholy and seriousness
here and there. The effect in its place
is chiefly that of portraying the fickle crowd
who soon forget their hero, and chatter and
bustle cheerfully about their business or pleasure
as before ; which has its humorous or at least
laughter-making ironical side to any one largeminded
enough to avoid thinking of all such
traits of humanity with reprobation and disgust.
The last movement is on a scale more than equal
to that of all the others, and, like them, strikes
an almost entirely new note in symphonic finales.
The light and simple character of Haydn's final
rondos is familiar to every one ; and he was
consistent in aiming at gaiety for conclusion.
Mozart in most cases did the same ; but in the
G minor Symphony there is a touch of rather
vehement regretfulness, and in the C major of
strength and seriousness. But the Finale of the
Eroica first introduces qualities of massivencss
and broad earnest dignity to that position in the
symphony. The object is evidently to crown
the work in a totally different sense from the
light cheerful endings of most previous symphonies,
and to appeal to fine feelings in the
audience instead of aiming at putting them in
a cheerful humour. It is all the difference
between an audience before the revolutionary
epoch and after. The starting-point of the
movement is the same theme from the Pro-