I’ve grown with “Eroica” over the last 65 years. Neil Armstrong took a giant leap for mankind but with his 3rd symphony Beethoven got there before him. This astounding creation is without precedent and will last forever. Thank you for your illuminating talk which helps reveal some of the secrets of the Eroica. Leonard Bernstein has done a fascinating talk on it also. The remarkable power of music is its ability to communicate emotional states of mind without a word of explanation. With true masterpieces you hear them and feel them. Inevitably we talk and discuss music which can indeed be helpful as was your talk, but then, we sit quietly and allow it to possess us. A paradox indeed.
@thethikboy
3 жыл бұрын
I resist programmatic interpretations of Beethoven symphonies - even the sixth - because he was a genius of absolute music - a new paradigm for future generations of composition.
@carlosbauza1139
2 ай бұрын
Excellent. Illuminating.
@georgey3372
Жыл бұрын
Excellent discussion! Exactly what I was looking for. Thank you!!
@alexanderreinhardt3780
4 ай бұрын
I've always felt that the moment at 21:44 is where Beethoven pays homage to Mozart by quoting the Hostias from his Requiem Mass.
@andyxyz01
Жыл бұрын
Hi Chairat. You proposed 3 possibilities for the beginning of the second subject in mvt I: measure 45, measure 57, and measure 83. You are objectively wrong in choosing measure 83 as the beginning of the second subject because the correct beginning is certainly measure 45. There are two reasons: first, second subjects are in contrasting keys from the key of the piece, usually the dominant key. This piece is in Ebmaj, so the correct dominant should be Bbmaj. In fact, from measures 45-49, we have a tonality of F7 to Bbmaj, clearly exemplifying a V7-I cadence in the key of Bbmaj. Second, (this is obviously an oversimplification, but) Beethoven often employs a “soft” second subject to contrast against the “hard” first subject; for example, look at t he first mvts of 5 Symphony, 23 Sonate Appassionata, 32 Sonate. Also, when the key is in a major key, the second subject often points “downward” to contrast with a first subject that points “upwards”; for example, look at 1 Symphony, 22 Sonate Waldstein, and 29 Sonate Hammerklavier. This is true for the gesture at measure 45, which points “downward,” differentiating itself from the “upward” pointing first subject.
@corinnechicheportiche8072
3 жыл бұрын
Interesting to use the Liszt piano transcription ! As a pianist, it feels more confortable to follow :D Great video, thank you !!!!!!
@manelvidiella8004
Жыл бұрын
For me the first movements is not about a heroe having a battle, Beethoven did not make this symphony programatic. For me it is the Heroe fighting the adversity and Trauma, in the point of maxim struggle,before going to e minor. It is a great defeat though being close to thriumpc (c major chord) and the string in stacatto represents the vanishing of the heroe, then e minor theme, and slowly the eroic theme returns remembering why he should still fight Please share your view!!
@juliensalemkour5708
9 ай бұрын
There’s more than a key change to indicate the 2nd subject. 45 and 57 are transitional episodes, B major is far from established here.
@caterscarrots3407
5 жыл бұрын
Isn't a hemiola a 2:3 polyrhythm? I don't see any triplets.
@mbradley5683
4 жыл бұрын
Caters Carrots a hemiola is hard to describe, but is more like a “poly-pulse” within one rhythm, so it doesn’t require any compound rhythm
@PLTConductorComposer
4 жыл бұрын
If you want to think about it the 3 sets of two beats are the 'triplet', the barlines the unheard (but *definitely* present) two-of-three.
Пікірлер: 15