Beethoven's Third Symphony, originally entitled "Bonaparte", now bears the title "Eroica" ("Heroic"). Napoleon promised an Enlightened Europe but ultimately Beethoven was disillusioned by him. This handbook treats the politics, aesthetics, reception, and musical meaning of this decisive work, which, because of its unique design, powerfully expanded the potential of symphonic expression. Beethoven's ideals, derived largely from the writings of Friedrich Schiller and clearly perceived already by the composer's contemporaries, are readily apparent in the music.
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The admirable Cambridge Music Handbooks series now offers more than 40 titles, each devoted to a single piece of music and each by a different author. Among the wide range of works represented (from Monteverdi's Vespers to the Beatles) is an especially fine volume on Berg's Violin Concerto. The task for the Eroica must have been especially daunting, but Thomas Sipe offers a notably thorough consideration of the symphony in the space of about a hundred pages.
Readers might do well to concentrate on the last chapter ("Interpretation"), which lays out a convincing reading of each movement of the Eroica. Among the many ideas touched on is Sipe's provocative theory that Beethoven is able "to delineate form not with periodic regularity but with overpowering syntactic necessity." Focus in the earlier chapters on historical background to the French Revolution leads to considerations of the relationship between Beethoven and Napoleon, to whom the symphony was originally dedicated, and of political utopianism. Sipe incorporates this into his larger theme of heroism, with particular emphasis on the classical figures of Prometheus and Hector. An earlier chapter ("Reception") summarizes two interpretations of the Eroica by M. Miel (on the Homeric model) and Richard Wagner (an idealized vision of redemption through love).
Sipe also offers well-chosen examples showing the gradual shift in musical analysis from programmatic considerations to the more objective, almost scientific style we are used to today. Readers will benefit from having scores (easily available from Dover) on hand to consult. --William R. Braun
Review
"Sipe's admirable contribution...is unique in offering `little by way of specific analytic remarks'(p. ix). This volume offers a great deal: valuable historical background, reception history, aesthetic theory, and a close reading of the `Eroica'. In addition, it provides a rich compendium of `Eroica'-related materials. The author is to be congratulated for focusing renewed attention on the interpretive value of understanding Beethoven's intense interest in classical literature, particularly Homwer, and in aesthetic theory, particularly Schiller. No doubt Sipe's contribution will encourage others to pursue this important area of inquiry." Jenny Kallick, Notes
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11 of 14 people found the following review helpful:
5.0 out of 5 stars
Very in-depth,
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This review is from: Beethoven: Eroica Symphony (Cambridge Music Handbooks) (Paperback)
This is the most in-depth book on the Eroica I have found. It goes into great detail about not only the symphony itself, but also with all political and influential histories surrounding the great symphony and it composer. A must for anyone studying The Eroica
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Inside This Book
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First Sentence:
Thus wrote Thomas Paine in February 1791, aroused by the scatting, prescient critique of the French Revolution Edmund Burke published in the previous year. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
motivic organicism, sinfonia eroica, rounded binary form, marcia funebre, sentimental poetry, dominant pedal, aesthetic education, minor episode, third symphony, funeral march Key Phrases - Capitalized Phrases (CAPs): (learn more)
Basso del Tema, Imperial Court, French Revolution, Max Franz, Napoleon Bonaparte, First Consul, Leipzig Allgemeine, Peter Schleuning, Archduke Karl, Die Horen, Friedrich Schiller, Lewis Lockwood, Maynard Solomon, Ninth Symphony, Third Coalition, Berliner Allgemeine Musikalische Zeitung, Emperor Franz, Eulogius Schneider, Ferdinand Ries, French Republic, Perhaps Beethoven, Prince Lichnowsky, Sulzer's Allgemeine Theorie, Twelve Contredanses, Wilhelm von Lenz New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Thus wrote Thomas Paine in February 1791, aroused by the scatting, prescient critique of the French Revolution Edmund Burke published in the previous year. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
motivic organicism, sinfonia eroica, rounded binary form, marcia funebre, sentimental poetry, dominant pedal, aesthetic education, minor episode, third symphony, funeral march Key Phrases - Capitalized Phrases (CAPs): (learn more)
Basso del Tema, Imperial Court, French Revolution, Max Franz, Napoleon Bonaparte, First Consul, Leipzig Allgemeine, Peter Schleuning, Archduke Karl, Die Horen, Friedrich Schiller, Lewis Lockwood, Maynard Solomon, Ninth Symphony, Third Coalition, Berliner Allgemeine Musikalische Zeitung, Emperor Franz, Eulogius Schneider, Ferdinand Ries, French Republic, Perhaps Beethoven, Prince Lichnowsky, Sulzer's Allgemeine Theorie, Twelve Contredanses, Wilhelm von Lenz New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 45
books:
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14
books
cite this book:
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- Thayer's Life of Beethoven, Part I by Elliot Forbes on 11 pages
- Naive and Sentimental Poetry by F. Schiller on 7 pages
- On the Aesthetic Education of Man (Dover Books on Western Philosophy) by Friedrich Schiller on 4 pages
- The Letters of Beethoven by Ludwig Van Beethoven in Back Matter (1), Back Matter (2), and Back Matter (3)
- The Life of Beethoven by Anton Schindler in Back Matter (1), Back Matter (2), and Back Matter (3)
See all 45 books this book cites
- Beethoven: The Music and the Life by Lewis Lockwood in Back Matter (1), Back Matter (2), and Back Matter (3)
- Beethoven: The Music and the Life by Lewis Lockwood in Back Matter (1), Back Matter (2), and Back Matter (3)
- Beethoven and His World by Scott Burnham on page 46, and page 329
- Beethoven after Napoleon: Political Romanticism in the Late Works (California Studies in 19th Century Music) by Stephen Rumph in Back Matter (1), and Back Matter (2)
- Metaphor and Musical Thought by Michael Spitzer in Back Matter
See all 14 books citing this book
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