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Eroica: first movement
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Form scheme
1st movement |
The Eroica is the first large-scale symphony of musical history. Looking at the
length we can see that the 1st movement alone equals the length of a whole Haydn or Mozart symphony.
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Diagram of the basic scheme |
The basic model of the sonata form consists of 3 parts:Exposition (presenting of themes),
Development (elaboration of themes).
Recapitulation (restatement of themes).
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bars 1-14
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Two powerful beats of the E-flat major chord open the work. The introduction prepares the thematic material. In the Eroica the introduction has been condensed to these two majestic chords. This E-flat major triad forms the basic substance of the whole part; the main theme is a melodic fragmentation of an E-flat major triad , carried on from pianissimo to forte (after the branching off of a motive).
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bars 15-36
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The bridging passage, i.e. the part between main theme and secondary theme, consists of three new ideas. The first is a simple three-note phrase (G-F-E).This motive is taken up by other instruments - oboe, clarinet, flute and finally the violins. |
bars 37-45
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A dialogue of the woodwinds gains new tension in the second idea of the bridge, in a gentle contrapuntal play of the contrasting movement.
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bars 45-56
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The third idea of the bridge has an almost aggressive effect.
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bars 57-64
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The secondary theme in B-flat major brings peace, a soft-pulsing melody, recurring in the woodwinds as well as in the strings.
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bars 65-83
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How much Beethoven pushed aside contemporary traditional patterns so as to gain new forms of expression can be seen in the closing group. The theme - gained from the fragmentation of the basic chord - is given a different accent: the original 3/4 time is now stressed on the second beat and with the introduction of an inverted dominant seventh chord it ends in a series of one-two-one-two-one-two beats. An act of unprecedented rhythmic boldness - the use of duple time within a piece of triple time.
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bars 83-108
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The development elaborates the themes already exposed. In no other Beethoven symphony does the development take such a central place of the composition. At first the main theme and the third idea of the passage confront each other.
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bars 109-131
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Before introducing the first new theme of the development (not occurring in the exposition) the music moves to a climax. The power of the whole orchestra is displayed in a fortissimo F-major chord, with the second (E) added to the F. The the strings modulate to E minor and to a new theme (the first development theme) that is introduced on the oboes.
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bars 132-143
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Beethoven’s polyphonic power asserts itself again. The main theme is contrasted by a second development theme.
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bars 144-151
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The greatest harmonic boldness occurs at the beginning of the recapitulation, defined as a "misplacement" in musical history. Beethoven uses E-flat major and B-flat major at the same time - those two harmonies which, as tonic and dominant, form the major musical tension of this symphony.
While the horns play E-flat - G - B-flat, the strings intone B-flat - A-flat (the major tones of the dominant seventh chord - the full chord would be: B-flat - D - F - A-flat). Tonic and dominant have been used simultaneously.
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bars 152-166
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After the recapitulation the Coda carries on another process of development , using the main theme and the two new themes of the development section. A new level of musical perfection has been reached.
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