Volker Hartung leads the Cologne New Philharmonic in a new recording of Beethoven’s greatest work, the „Eroica“ Symphony in E-flat major, Op.55.
The French Revolution inspired the composer to write his third symphony in 1804, which he titled "Bonaparte." One day he had to read that his political ideal, the French consul, had crowned himself emperor. - Immediately, when he got home, Beethoven tore the title page off his symphony, and made another one for it, which bore the inscription: "Sinfonia Eroica."
The fact that Beethoven, despite his disappointment over the coronation of Napoleon as Emperor, left his symphony musically intact, is most plausibly interpreted by the fact that he still clung to Napoleon's ideals of the Revolution. The ideals of "Freedom, Equality, Brotherhood" he saw equally applying for Germany and Austria. But finally, he wanted to see it realized in the fight against Napoleon.
The work is a milestone work of classical-style composition; it is twice as long as the symphonies of Joseph Haydn and Wolfgang Amadeus Mozart - the first movement is almost as long as a typical Classical symphony. Thematically, it covers more emotional ground than Beethoven's earlier symphonies, and thus marks a key milestone in the transition between Classicism and Romanticism that would define Western art music in the early decades of the nineteenth century.
The second movement especially displays a great emotional range, from the misery of the funeral march theme, to the relative solace of happier, major-key episodes. The finale displays a similar emotional range, and is given a thematic importance then unheard of. In earlier symphonies, the finale was a quick and breezy conclusion; here, the finale is a lengthy set of variations and a fugue.
II. Marcia funebre: Adagio assai
The second movement from Beethoven's Eroica is a funeral march (in italian Marcia funebre) in C minor and consists of three parts at a relatively slow pace in Adagio. He reminds of the tradition of mourning celebrations during the French Revolution in 1789.
Live recording from Guerzenich Concert Hall in Cologne, Germany.
Available as well in HD-audio on all media-platforms as:
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