Beethoven: The Heroic Period

							   Beethoven:
The Heroic Period
                                     [across the top]
                                  Nb: 1 Cues for the
                                   other instruments
                                    are to be written
                                         into the first
                                            violin part
                                     Sinfonia Grande
                                Intitulata Bonaparte
                                   [1]804 im August
                                              del Sigr.
                               Louis van Beethoven
                                         Geschrieben
                                       auf Bonaparte
                                    Sinfonia 3 Op. 55
                                      [at the bottom]
    Nb: 2. The third horn [part] is so written that it
can be played by a primario as well as a secundario
[across the top]
Nb: 1 Cues for the other instruments
are to be written into the first violin part
Sinfonia Grande                                [written
by copyist]
Intitulata Bonaparte [scratched out violently,
made a hole]
[1]804 im August
del Sigr.                             [written by
copyist]
Louis van Beethoven                            [written
by copyist]
Geschrieben                  [in pencil, in
Beethoven’s own hand]
auf Bonaparte                    [in pencil, in
Beethoven’s own hand]
Sinfonia 3 Op. 55
[at the bottom]
Beethoven’s expansion of sonata form
       in the Third Symphony
Opening two chords
Deceptively simple theme for four measures
Repeat of opening theme, ff
Three-note transition figure in woodwinds (oboe,
clarinet, flute)
Second theme, alternating between woodwinds and
strings
Extended crescendo, from pp to ff, coupled with
increasing note values and expansion of range
Rhythmic energy, typical of Beethoven’s “heroic”
works
New theme introduced in the development section
Horn entrance at “wrong” time, creating
unexpected dissonance, immediately before
recapitulation
“Apparent” ending of the movement, but then
Beethoven slides down three notes to begin a
greatly expanded coda, a “second development”
The real end of the first movement
Second movement: Marcia funebre
C minor again—Beethoven’s “key of tragedy”
Third movement: Scherzo, beginning
Trio – begun by the horns
Acceleration, drive to the end
Finale [begins with prolonged dominant harmony]
Introduction and theme
Fugal treatment of theme. Counterpoint becomes
important in Beethoven’s middle period, and even
more so in his late works.
Closing chords, similar to opening chords of first
movement, and chords that end each of the
movements.