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Updated: June 16, 2025
The "Sinfonia Eroica," the "Choral" only excepted, is the longest of the immortal nine, and is one of the greatest examples of musical portraiture extant.
The voluptuous strains of a stomach-dance coming from the music-hall next door were mingled with the funeral march of the Eroica. People kept coming in and taking their seats, and turning their glasses on the audience. As soon as the last person had arrived, they began to go out again. We'll go to another concert." Christophe frowned: but he made no reply and followed his guide.
It was best for the great genius to devote himself wholly to his divine art, and to create those masterpieces which will always endure. In 1804 Beethoven completed one of his greatest symphonies, the "Eroica." He made a sketch, as we have seen, two years before. He had intended it to honor Napoleon, to whose character and career he was greatly attracted.
Two marches of Chopin, and the death-march of Siegfried, the haunting suggestion of a soul's preparation for departure in Schubert's Unfinished; the Death of Aase, the Pilgrim's Chorus, one of Mozart's requiems, and that Napoleonic funèbre from the Eroica these, with others, grouped themselves into an unearthly archipelago towering cliffs of glorious gloom, white birds silently sweeping the gray solitudes above the breakers....
Clever Minx. Clever paws." Mamma passed and looked at them. Her face shrank and sharpened under the dropped wing of her hair. She must have heard what Mark said. She hated it when Mark talked and looked like that. She hated it when you played her music. Beethoven, then. The "Sonata Eroica" was bound up with "Violetta," the "Guards" and "Mabel" Waltzes and the "Pluie des Perles."
It may be so. It is but a matter of opinion. We have nothing from Beethoven himself upon the point, unless we may suppose, that, when, four years later, he printed upon the programme, at the first performance of the "Pastoral Symphony," "Rather the expression of feeling than musical painting," he was guarding against a mistake which had been made as to the intent of the "Eroica."
As she squeezed past, she stopped to tell him that Wagner had spoiled her for all other music. She had been to hear Beethoven's "Eroica" Symphony once more, but it had seemed to her like a pious book.
He felt concerning the "Keltic" that there was hardly a bar in it that he wanted changed, that he had scarcely ever written any thing so rounded, so complete, in which the joining was so invisible. He played it con amore, and it grew to be part of himself as no other of his works ever did. Technically, it was never hard for him, whereas he found the "Eroica" exhausting, physically and mentally.
Leaning against the trunk of a lime tree, his eyes fixed upon the network of leaves and branches above him, he sketched the plan of his oratorio "The Mount of Olives"; also that of his one opera "Fidelio," and the third Symphony, known as the "Eroica." He wrote to a friend, "No man loves the country more than I. Woods, trees and rocks give the response which man requires.
For, the former has his Promethean strokes, all unpremeditated, compelled by the inner sequence, as when Beethoven strikes the prophetic drum in the grim Scherzo of the Fifth Symphony; or in the Eroica when the horn sounds sheer ahead, out of line with the sustaining chorus; or when Bach leaps to his harmonic heights in organ fantasy and toccata; or Mozart sings his exquisite clashes in the G Minor Symphony.
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