Garrett Hale

A0125684Y
MUH 2115: Music and Context before 1800
Dr. Wallace
22/11/14
Concert Report: Eroica

On November 14, 2014 I had the great pleasure of hearing the YST Conservatory
Orchestra perform at the Victoria Concert Hall under the direction of Gbor TakcsNagy. The program consisted of the overture to Beethovens Egmont, Op. 84 (18091810); Rachmaninovs Piano Concerto in F-sharp minor, Op. 1 (1891), featuring soloist
and YST student Wang Qiying; as well as Beethovens heroic Symphony No. 3 in E flat
major, Op. 55, Eroica (1804). This combination of Beethovens late Classical/early
Romantic style with Rachmaninovs dark Russian Romanticism made for an interesting
and varied program. Overall, the orchestra played with great enthusiasm and performed
each piece with a impressive amount of musicality.
Eroica served as the musical focal point of the program. At nearly an hour in
length, it was the longest symphony in existence at the time of its creation, and still
maintains that same level of magnitude to this day. Its sheer size is heightened by the
incredible amount of thematic material Beethoven used to compose the symphony. I am
well-acquainted with the both the symphonys score and its history, having learned much

in my recent research. As such, there were a number of expectations I had for the work.
The first is that the orchestra necessary to perform such a gargantuan work needs to be
quite large, just as Beethoven would have premiered the work. Indeed, the standard
wind, brass, and percussion sections were joined with an enlarged string section,
providing the ensemble with the strong sonic core necessary for the Eroica. Second,
and probably most important, is that the energy and power produced by this large
orchestra needed to mirror that which is laid out by Beethoven in his writing. A huge
range of dynamics, colors, textures, and emotions are portrayed in the writing, and so
the orchestra must react in turn, producing these elements in great magnitude.
The symphonys second movement, entitled Marcia funebre (funeral march), is
probably the most emotionally driven movement of the Eroica. Unlike any composer
before, Beethoven uses this movement to present raw human emotions of sorry and joy
in a new way, a more romantic way. In the opening of the movement, the main theme is
presented by the first violins, who are asked to play sotto voce, literally under voice.
Here Beethoven is presenting a single mourner observing the funeral march. The theme
is then taken over by poignant solo oboe voice, which is later joined with the sounds of
other mourning woodwinds. By doing this, Beethoven is composing not just music, but
writing a deeply expressive story. Contrasted with this sorrowful theme is the
movements grandiose second section, written in the parallel major key. Beginning first

with a duet with flute and oboe accompanied by an ostinato triplet figure in the low
strings, the grand melody is soon taken over by the violins and later the brass in a
magnificent fanfare-like pronouncement of joy in memory of the deceased hero. The
movement ends as it began: quietly. In the coda of the movement, the first theme is
heard once again in the first violins, the original mourner. However, this time the theme
is fragmented and is successively broken down, as if the mourner cannot maintain the
theme between pangs of sorrow. Then, with one final outburst of grief from the winds
and strings, the movement closes.
In his third symphony, Beethoven has brought a large amount of emotional and
thematic material in a way no composer had done before. He tells a story using music
that cannot just be played, but also must also be felt, by the orchestra. In this particular
performance of the Eroica, I felt that the orchestra did indeed feel the emotions
ingrained within the music and was impressed by the power and musicality that they
performed with. The performers more than met my musical expectations and performed
what I believed to be a very successful performance of the magnificent Eroica
Symphony. Their dedication to the music has inspired me to greatly anticipate the day
when I will have the honor to perform such a monumental work.