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Updated: June 16, 2025
Paris will certainly object to losing the bones of such a genius. Chopin's acoustic parallelisms are not so concrete, so vivid as Wagner's. Nor are they so theatrical, so obvious. It does not, however, require much fancy to conjure up "the drums and tramplings of three conquests" in the Eroica Polonaise or the F sharp major Impromptu.
Truly I had to deal with a kind of 'Dionysius the Tyrant. A man who did not acknowledge Beethoven's genius beyond his Second Symphony, a man who looked upon the Eroica as the acme of bad taste on the master's part; who praised Mozart alone, and next to him tolerated only Lindpaintner: such a man was not easy to approach, and I had to learn the art of making use of tyrants for one's own purposes.
As I have already said, Bulow was invited in the course of the winter to give a pianoforte recital at a concert at which I promised to produce the Sinfonia Eroica. With his usual audacity he chose Liszt's piano arrangement of the Tannhauser Overture, a work as brilliant as it is difficult, and therefore a somewhat hazardous undertaking.
Revolutionary feelings were not wholly dead, but they now vented themselves merely in gibes. On the night before the coronation the walls of Paris were adorned with posters announcing: The last Representation of the French Revolution for the Benefit of a poor Corsican Family. And after the event there were inquiries why the new throne had no glands d'or; the answer suggested because it was sanglant. Beyond these quips and jests the Jacobins and royalists did not go. When the phrase your subjects was publicly assigned to the Corps Législatif by its courtier-like president, Fontanes, there was a flutter of wrath among those who had hoped that the new Empire was to be republican. But it quickly passed away; and no Frenchman, except perhaps Carnot, made so manly a protest as the man of genius at Vienna, who had composed the "Sinfonia Eroïca," and with grand republican simplicity inscribed it, "Beethoven
He was continually attempting to approximate the other's grand, pathetic tone, his broad and self-righteous manner. His music is full of but slightly disguised quotations. The trumpet-theme that ushers in Mahler's Fifth Symphony, for instance, appears the result of an attempt to cross the theme of the funeral march of the "Eroica Symphony" with the famous four raps of Beethoven's Fifth.
There is a general belief that the mistake made by the managers of the symphony concert in Central Music Hall night before last was in not opening the concert with Beethoven's "Eroica," instead of making it the last number on the programme. We incline to the opinion, however, that, in putting the symphony last, the managers complied with the very first requirement of dramatic composition.
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