Symphony No. 3 "Eroica" in E flat major, Op. 55, 1st Movement - Beethoven (Score)

[@hephoria]

0:16 start of exposition 1:08 start of transition 1 1:33 start of transition 2 1:54 second subject of exposition 3:25 start of development 8:42 start of recapitulation 9:44 transition 1 of recap 10:08 transition 2 of recap 10:31 second subject of recap 12:17 new theme introduced? (transition) 12:35 re-introduction of theme 1 of development 13:40 main theme on horn

[@deboraition]

Well, damn, bless your soul to the highest of regards.

[@6DADADA]

God's work

[@hephoria]

@@6DADADA PLS THIS WAS FOR MY THEORY EXAM HAHAAHHA

[@6DADADA]

@hephoria just brought back bad memories haha I need this for a music history assignment

[@hatakewolf01]

not all heroes wear capes

[@swientokrzyskie-polandball4498]

Let me guess, you're doing Music homework

[@wesrobinson6475]

Swiento-Polski Mapper Yep...

[@carolinapadilla555]

we had to pick our favorite movement how did you know...

[@m1dk155]

@@carolinapadilla555 i

[@Ken-fg4wf]

caro same

[@ll_skrangeo8241]

@@Ken-fg4wf bro what is a movement im in percuusion and i have to do this shit so can you help me out

[@telemachus53]

6:00 one of the greatest moments of all times in music. It seems to foreshadow all the music written since. Going upwards from the bass: A-C_E-F-E-F-E-F.

[@brianswanson9881]

Hard to believe that I played this back in the 80's and just learning the Viola. I don't think I could play this now.

[@williamvasiladiotis2903]

I think this movement is my favourite piece by Beethoven, including the Ode to Joy

[@anonunknown7999]

8:36 That damned hornist! Can't he count? He's playing 4 bars early...

[@classicalmusicanalysis]

Ferdinand Ries would approve this comment! If you go to the end of the Development section in the analysis I made in my website ( www.classicalmusicanalysis.com/first-movement.html ) you can read how the story went!

[@anonunknown7999]

It's a quote from the first conductor of Eroica. He actually thought the horns had come in 4 bars early and said "That damned hornist! Can't he count?". Beethoven was in the room and was not happy with the conductor...

[@classicalmusicanalysis]

It is actually what Ferdinand Ries, Beethoven's secretary, said to him :) At least, that's what Ries says happened that day (Beethoven Remembered: The Biographical Notes of Franz Wegeler and Ferdinand Ries). You can read it here: en.wikipedia.org/wiki/Symphony_No._3_(Beethoven)#Development

[@anonunknown7999]

Ah yes you are right. It was Beethoven's secretary not the conductor. I had misread that Wiki page.

[@abrahamhudak7704]

That is Actually how the music is written the horn is supposed foreshadow the soon to come heroic theme, but, I believe that it was controversial when he first wrote it.

[@ssldnkn]

гп 0:17 1 пп 1:10 2 пп 1:27 3 пп 1:33 новая тема в 3 разделе разработки 6:12 кода тема C dur 13:40

[@eunaekim9216]

One of the few movements of any of the Beethoven symphonies (others are the fourth movements of the Fifth and the Ninth) that manages to be both victorious and forceful at the same time!

[@alphamale3141]

Even a music dilettante like me can see the beginning of the transition from the Classical Period to the Romantic Period in this First Movement. What an amazing/beautiful work.

[@elaineblackhurst1509]

More a move to post-Classical; to my ears, there is almost nothing of the musical aesthetic of the 19th century Romanticism of Schumann, Chopin, Mendelssohn, Liszt, Berlioz, et al in this radical evolution of the symphony.

[@loverosakam]

I have read your analysis, it's great, I like your analysis, so clear, and you even did such a great work to cut the music bars from bars so that we can learn it more clearly.

[@classicalmusicanalysis]

Chiang Rosa Thank you a lot for your kind words! I'm glad I can help people by analysing pieces!

[@circe1657]

I read your analysis on your classical music analysis website and am stunned how amazing it is. What an undertaking! Please accept my congratulations. I will be back to study it continuously. Thank you. What a great achievement.

[@classicalmusicanalysis]

SoWhat?Sixty! Thank you very much! That means the world to me!

[@Towershorts]

In this moment 1:00 music in death penalty Roblox 0:59 - start 0:16

[@allegravet]

What happened to the analysis? I'd like to read it but it says the page is not found...

[@chairsmissing]

Remember that Norman Bates used to jam this.

[@circe1657]

I have watched and read again on a regular size screen and reading is better. I do understand how to read a music score however not many people may. There are some tiny things that could make this experience easier. For example, I would paginate each page of the score as it appears on the screen. Page 1, Page 2 and so on. This would make your referencing much more clear. Also, in orchestra common language in terms of navigation rests on bars. I do not see it in this print, but modern scores indicate a bar number on the very top above mid bar line point and it usually goes in sequences of 5 ... 5, 10, 15 etc. So, I as a conductor would say: we start again on the page 3, bar 50 and all of the musician would be able to find it in few seconds. Please, don't take this as a critique, only as an observation. But I truly believe that using both pages and bar numbers would help you to communicate your analysis in more precise way. Using the audio timer is wonderful for You Tube purposes. However, using page and bar numbers would give you more option in regards to publishing your work in future. All the best.

[@classicalmusicanalysis]

Of course I don't take it as a critique! The other way around: it helps me to improve. I did it so in my website (putting the bar numbers), so don't worry about that :) The analysis I've written in the description isn't really helpful, but the one I'm finishing in my website is a lot better than this one, for sure!

[@circe1657]

Classical Music Analysis Nice. I am looking forward your website. Keep up the excellent work. Thank you.

[@ThePoliticalMusician]

It's nice to hear some music with a set of balls.

[@Irbacsnookie]

Lol I love this

[@elie2133]

not a great idea to put napoleon at the begining since even though beethoven first dedicated it to him he then undedicated it because napoleon... bombarded vienna... yea that same guy he dedicated his symphony was about to murder him.

[@ashenwolf98]

Pretty sure Napoleon attacked Vienna after the 5th Symphony was written, well after this one.

[@caleculating]

Chamith Akalanka he did tho! In the movies and in the original score you can see that he scratched napoleons name out until the paper tore; this was when he found out what a horrible dictator Napoleon actually was

[@bsrelates4419]

6:48 been looking for this as reference

[@sandrodasilva2900]

Hello, Roc. I'm trying to access your website , but looks like the page not found... I'm interesting in your music analysis. I'm looking forward to hearing from you ASAP. Thanks.

[@classicalmusicanalysis]

Hello Sandro, I stopped using it so I stopped paying for it too... Sorry!

[@bekleyenkisi4549]

14:20

[@aaronjones1666]

Development: 3:22

[@豬仔-m7t]

貝多芬／第三號交響曲第一樂章

[@dylanloew]

Fantastic analysis!

[@ethansvideos354]

This reminds me of the intro of Sycamore Junior High School + Session with Justin Chen

[@hyngrixOo]

1 часть 0:19 - главная партия 1 побочная партия сдвиг 2 побочная партия начало разработки кульминация 2 раздела эпизод разработки начало репризы начало коды 2 часть начало мажорное трио фугато в репризе 3 часть начало трио 4 часть начало 1 тема 2 тема

[@bjsofia7556]

1ч ГП 0:16 1ПП 1:10 2ПП 1:33 2ч 1тема 2тема тріо 3ч скерцо тріо 4ч вступ 1тема 2тема

[@circe1657]

Subscribed so I don't miss anything. Now, I'm trying to play the 1st violin on my violin ... omg, I'm so rusty. Thanks.

[@classicalmusicanalysis]

Happy to help!

[@JAMESBOND77778]

i Appreciate BEETHOVEN

[@johnathansmith3819]

I do not read music; I just love it. One thing though, its "language" is almost as important as Man's Language, developed for communication - from above as below - with a Higher Intelligence. Music must have follow suit in the same tracks though. When was Man capable of transliterating thoughts into integers called "letters" to convey coherent messages?

[@classicalmusicanalysis]

Hi Johnathan, I think this subject is a very interesting one. But, as a "music theory lover", I'm not specialized in written communication and script, and thus I don't know if I could be able to answer your question correctly. History of writing is vague and its origins are unclear. For what I've learnt, the first prototypical forms of written "letters" (they were more symbols than letters, though) are known to be made during the fourth millenium B.C, approximately. As a musician, I can relate what you've asked to music itself, and I would really recommend you a lecture Bernstein did at Harvard University about musical phonology (kzbin.info/www/bejne/g3Oai4KapcSSnbM). It it, he talks about the correlation between human's first guttural sounds and the way they influenced our firsts musical expressions. He also delves into the monogenetic theory of pidgins to explain the nature of music and its origins. I hope I've helped you in some way or another.

[@johnathansmith3819]

Classical Music Analysis - Of course. "Even the bad works for the good", and in this case, I have learned from your answer. You seem to believe that Man sort of came out of the cave and reached the 21st century. I do not. I believe Man was "made" after a careful design, and located in a position to start a Plan, that later on became frustrated by introducing death in his realm, and a subsequent total decay. Included in his design, Language and the expression of thoughts was included as 'standard', not acquired. In any case, thanks.

[@121ego]

+Classical Musical Analysis - Thanks for the suggestion; I listened to Bernstein's dissertation. Eloquent and impressive. He does not know at the time (discovered recently) that Language in the form of 'characters' representing sounds, then ideas/nouns, was discovered to have appeared circa 1600BC in caves, where Hebrew words spell message to their deity, naming His Name. The same Hebrews -later on - recall stories and wrote them, stating that "music was taught to Man..." coming from (one of the 'teachers') Tubal Cain, a close resemblance with the name of a particular instrument: the Tuba. These manuscripts also mention another instrument: the flute. I would understand his lack of knowledge, had he been Japanese, but I tend to believe Mr. Bernstein - as a Prodigy and a Master in Music as he was - was distracted with Philosophy rather than with Truth of things. My opinion though. I thank you again.

[@circe1657]

+johnathan smith Yes, indeed...

[@circe1657]

+121ego That seems to be the weakness of our species ... getting distracted rather than understanding the Truth. I like Tubal Cain & Tuba reference. Please, what do the scripts say about the flute? thank you

[@mid1429]

Had to watch this for college can I get the year of this peace.

[@grandpied]

I would like a year of peace, quiet and tranquility.

[@sunesmith9577]

Nice orchestral music with it all. Very masculine music with great drama and soft and gentle areas. But most great and violent music with lots of sound and orchestra. Love it. lovely

[@juli2august]

Why no repetition of the first part?

[@huntercuyler]

i was thinking the same thing!

[@elaineblackhurst1509]

Beethoven spent a huge time agonising over whether or not to add the double bar da capo marking (ie the repeat) at the end of the 1st movement exposition; he decided to do so, and it should therefore be respected.

[@circe1657]

What a great idea to use score with music. I admire your analysis but honestly it is very difficult to read a text of this size and length. But my lap top is very small so I'm going to try this on a bigger screen to see if it gets easier. What inspired you to take on this huge task please? Just wondering. I am a classical violinist and I hold 2nd major in conducting. Love Eroica. Great video, thanks.

[@classicalmusicanalysis]

Thanks for your feedback! As you say, the analysis I've written in the description is very dense and complex, but is just a little sneak peek of what I'm going to post to my future website (I think it'll be finished in less than a month). Since I discovered classical music some years ago, I've been a complete formal and harmonic analysis freak, and I just love to try to understand what's going on beyond what we hear. An analysis is nothing more than a simple basic approach to a piece, and it depends absolutely on one's point of view and interpretation. There's no such thing as an only correct analysis: there will be as much analyses as people exist. That's why I decided to post these videos: to get people to discover new pieces and to post my own analyses. I had seen some people do the same here on KZbin, so I thought it'd be a good idea to start this amazing project. As I've said, thanks for your interest! Be sure to stick around for when I finally finish my website.

[@circe1657]

Roc Vela That's so cool. You are brilliant and I'm looking forward your work. I have looked at other channels and your Eroica was the best. All the best.

[@classicalmusicanalysis]

Thank you so much! It's so uplifting to recieve such nice comments, it really means a lot to me!

[@circe1657]

Roc Vela You are welcome. May I ask how have you fallen for score analysis? I admire that, not really a usual kind of hobby or passion. It was a pain to do it as an assignment. What are your objectives when you start your analysis please? You are right, there can be as many analysis as individuals writing them, yet there should be some unifying component. After all of the books for example do have couple of things in common. What I'm trying to ask is, do you follow some "how to do it?" or you work purely with your intuition? So interesting ..... thanks so much.

[@classicalmusicanalysis]

Well, when I say that there can be as many analyses as people exist, I'm referring to the way one can describe what she/he is hearing, but there are, needless to say, aspects that don't depend on our human perspective. For example, in functional tonal harmony, a combination consisting of the sounds we know as "C", "E", and "G", will ALWAYS be regarded as a C major chord, no matter if we're analysing a Bach partita, a Haydn symphony or a Schubert lieder, even though they can mean, in their right context, different things (it could be the tonic of C major, the dominant of F major, the bVI of E major...). But, this major chord of C could be seen for some people as "happy", "cheerful" or "majestic", while for some others it could sound "sorrowful", "sad" or "nostalgic". What I'm trying to say is that we humans have a very peculiar sensitivity for artistic expressions, and the value judgements we construct (stimulated either by the culture we live in, by the media, by our surroundings...) can be completely different. And not only that. For me or you, Beethoven's Ninth can be seen as an incredible masterpiece full of freedom messages of the classical period, but for the musicologist Susan McClary is an example of the contradictory impulses (an "horrifying recapitulation" which resembles a rapist unable to control himself) that have characterized our patriarchal culture. That's how different our points of view can be. So, in conclusion, music (thus any kind of sound) IS related to science and physics (wave lenght, the harmonic series, amplitude, intensity, timbre...) and so it can be analysed from this perspective, but our ways of assimilating it result in different opinions and thoughts. When I analyse a piece, I try to approach it in the most practical way possible and I intend to just write what I can be 100% sure of in terms of harmony and form (although I eventually end up writing my value judgements unintentionally).

[@seanm.9942]

Timestamp 6:30

[@jimmieisstillcool]

1:21, 1:55

[@oscarstephanedeniau1305]

14:36 Oh ! That Coda !

[@yuyuki4499]

第三號交響曲 貝多芬

[@Hanna-jt1sz]

8:50 13:40

[@peterjongsma2754]

Love being in the presence of greatness and reading incisive comments.Universal Language of Humanity.

[@classicalmusicanalysis]

I don't think music is a universal language, but rather a universal activity. Every culture/society in the world is known to produce musical activity (this is why it is universal), but each one of them does it differently, so it can't be a common language! We all speak, but we do it in different languages.

[@peterjongsma2754]

Roc Vela I mean any human listening to the Eroica would know it as heroic music regardless of culture or historical period. But I take your point.Each culture has it's own scales modes rhythms and harmonies.

[@classicalmusicanalysis]

Wait, what? You really think Inuit or Himba people will listen to it and say it "sounds heroic"??? Don't you know that those are completely subjective value judgements we've acquired from a process of enculturation?

[@peterjongsma2754]

Roc Vela Yes I believe that beauty is not relative. Beauty is not in the eye or ear of the beholder.Witness how the Japanese adore Beethoven.My recording of the Pastoral was by a Japanese orchestra. By the way which country are you in? Just curious.I'm in Sydney Australia.

[@classicalmusicanalysis]

First of all, the fact that in Japan Beethoven is performed quite regularly doesn't mean that all Japanese people adore him; there are so many other musical (and cultural) traditions there. And what you're saying is due because of a process of Westernization: Europeans have influenced Japan lifestyle and cultures throughout the centuries. The first ones to travel there were probably a group of three Portuguese traders in the sixteenth century, and since then a lot of merchants began trading with Japan and brought Western technology and introduced their religion (Christianity, of course). The majority of those merchants were Dutch, and their books stimulated interest in Western learning or "rangaku" (literally "Dutch learning"). The Meiji government formed in the 1860s, which mirrored European politics and decided to be a modern nation-state that could face European imperialist powers (thus the Empire of Japan was created), promoted and normalized Westernization in science, art, lifestyle and religion (they lifted the ban on Christianity and adopted the Gregorian calendar). This Westernization continued during the twentieth century (economic modernization ) and even does it nowadays (globalization). So, in conclusion, the fact that is due to this process of Westernization, and that's why classical western music or "common-practice music" is performed there. That DOES NOT MEAN all cultures enjoy this kind of music and, even less, can say it sounds "heroic". Japan is an exceptional case, in which some of their musical activities include our Western ones; but don't tell me that Himba people have the same value judgements than us, cause that's just wrong! Their musical activities aren't the same as ours, so their perception is not the same! I'm not saying that your opinion of "beauty is objective" is wrong at all (although I don't think so, I respect it), but you can't say these cultures and societies enjoy Beethoven the same way we do just because you believe in true beauty. I assure you, as a musicologist, that if you play this symphony to Himba people they won't say anything remotely close to "heroic". You may then say that "Beethoven's Eroica is objectively beauty but Himba people don't understand it", but that is an incredibly racist, and positivistic (in the evolutionary sense) idea.

[@shutingleung8143]

thank you!

[@punmaster2271]

its annoying that there are no bar numbers

[@classicalmusicanalysis]

Sorry about that, I'll try to put the bar numbers in future videos. In my analysis of this movement, though, I've linked the bars with this video (www.classicalmusicanalysis.com/first-movement.html)

[@anonunknown7999]

What's wrong, can't you count to 691?

[@saskia7053]

0:16 - 1:09

[@mhkuang]

Missing the exposition repeat. Inexcusable, especially in a recorded performance.

[@classicalmusicanalysis]

Well, I mean, that's a respectable opinion. Guess Herbert von Karajan and the Berliner Philharmoniker didn't think like you.

[@mhkuang]

In this day and age where everyone is in a quest for authenticity and scrutinizing every note, every dynamics and tempo marking that Beethoven may or may not have written, the exposition repeat was clearly something Beethoven wrote and expected to be observed. I will cut HVK the slack that in his days that repeat is more often ignored as observed.

[@atomicmrpelly]

Herbert von Karajan was a hack.

[@teodoragradinaru8572]

My favorite part is 00:00-14:59 😅

[@03101958]

En el final del movimiento, la primera trompeta no debe tocar el sol agudo, no está escrito, porque las trompetas en mi bemol, según el tratado de Berlioz, no conseguían tocar con seguridad esta nota... no se corrige a un grande y no se piensa lo que hubiera hecho este grande...

[@classicalmusicanalysis]

Roberto Alejandro Perez Hola Roberto, ¿exactamente a cuál compás te refieres? Piensa que las trompetas son instrumentos transpositores, es decir, aunque en la partitura salga un sol, se oirá un Si bemol (están en Mi bemol).

[@03101958]

En el compás 7 de la página 34, la primer trompeta toca do, mi, sol (agudo), sol (agudo) - o si prefiere: mi b, sol, sib agudo, sib agudo... esto es una práctica de principios del siglo XX tratando de corregir las limitaciones de los cornos y las trompetas naturales, muchas de estas alteraciones fueron sugeridas por Felix Weingarten en su libro excelente sobre las sinfonias de Beethoven... Hay comentarios muy interesantes sobre esta nota en el libreto que acompaña la grabación de Harnoncourt de las Sinfonias, pero me parece que la imposibilidad de dar la nota es más plausible... abrazo

[@classicalmusicanalysis]

Roberto Alejandro Perez Vaya, qué interesante! Gracias por tu comentario, Roberto, nunca lo había oído.

[@03101958]

De nada, casualmente, hoy estábamos escuchando en una clase en la Escuela Superior de Música de Lisboa donde trabajo y antes de este pasaje paré la grabación y comenté ese compás... cuando lo escuchamos no lo podíamos creer, todo al revés de lo que había hablado... pero, de las diferentes opiniones surgen algunas conclusiones... salud y felicitaciones por haber colocado este video muy interesante y útil al alcance de todos. A nivel de tempo, articulaciones, fraseo, dinámicas, la versión es muy buena y clara... SALUD!

[@classicalmusicanalysis]

Roberto Alejandro Perez Gracias de nuevo, Roberto, me encanta saber que mis vídeos ayudan y sirven para algo!!! Un saludo

[@nadatawakkol97]

0:16

[@X-ave]

Amazing end

[@Antuancinho]

8:36 here it is when Western Music changed forever...!

[@elaineblackhurst1509]

Hyperbole is not helpful - but you’re quite right, it’s a magical moment, one of many in this radical evolution of the symphonic form.

[@香江-n7y]

Is it 1963 version?

[@Ludwig55555]

YES

[@mmurray8765]

wrong picture.It/he was anti Napoleon

[@JAMESBOND77778]

정확한 사실은 처음에는 나폴레옹 좋아했는데 나중에는 안좋아했슴 따라서 반은 맞고 반은 아님

[@emocionanime.7989]

excelente

[@davidecaputo8528]

Scommetto che stai facendo i compiti di musica

[@maxfourmy7596]

@9:27 for me

[@maxfourmy7596]

10:30

[@diegoaguilard.5015]

14:01

[@yoramilan]

please continue

[@classicalmusicanalysis]

Hi Yoram Ilan, do you want me to continue the description and analysis of this piece or do you want me to continue uploading?

[@yoramilan]

I meant continue the description and analysis of this piece. Pls DO

[@classicalmusicanalysis]

+Yoram Ilan Thanks for your interest, Yoram. But as it happens, KZbin's video descriptions have a limited lenght of (if I'm not wrong) 5000 characters. It really bothers me cause I have to write a separated analysis of each piece, and then the time marks I put when doing an analysis (2:15, 4:23, 11:30, etc...) aren't useful anymore. I'm thinking of creating a personal website to post my videos, analysis, recommendations... If you could wait a little longer I'm sure I'll post a full, bar-by-bar analysis of this movement there.

[@circe1657]

Absolutely agree. Tube is not set up for special work of this magnitude. Don't give up. This is excellent.

[@classicalmusicanalysis]

Hi Yoram, I'm sorry I didn't talk to you and I'm sorry I said my analysis would be posted earlier, but I've finally made my website. You can read the analysis I've made here: www.classicalmusicanalysis.com/first-movement.html). Again, sorry and thanks for your patience!

[@Sen-Twelves]

4:03 :)

[@giulioluzzardi7632]

Tune a Guitar 1 semi-tone down and improvise over this . That's home-work.

[@ndrew_B]

6. the dollar

[@unkangkr]

Wer macht hier gerade Musik Hausaufgaben???

[@salem_serials2563]

1ч Аллегро кон брио (ми бемоль мажор)

[@nomindz]

Music homework weeee

[@ethannguyen9257]

James is Napoleon

[@ericnguyen9955]

I REMEMBER NAPOLEON BONAPARTE

[@StellaDrula]

Barbie in the pink shoes 🩷

[@jordanb9161]

This is what F. Scott Fitzgerald was listening to when he died

[@asby2154]

What person puts a midroll in the middle of a symphony

[@annilueth2387]

does anybody watch barbie and The red ballet shoes 😅🙈

[@sukasukakite]

Disini karena twitter

[@alexsolkin6887]

this tempo is incorret the tempo corret is the waltz.

[@danielleeast5857]

whos here from the japanese and korean versions of nodane cantabile

[@何玟-k8i]

第三號交響曲 貝多芬

[@sergio-feferovich]

8:29

[@miaoh1975]

4:03

[@dioneexox]

14:00

[@alexismendiola9956]

13:13

[@무능한촌]

13:30

[@alexander-sb1oi]

6:00

[@Lucy-ew9eh]

6:11

[@mandarbamane4268]

0:16

[@ethansvideos1690]

0:27

[@rob.yle10]

1:20