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The Symphony No. 3 in E ♭ major, Op. 55, (also Italian Sinfonia Eroica, Heroic Symphony; German: Eroica, pronounced [eˈʁoːikaː] ⓘ) is a symphony in four movements by Ludwig van Beethoven. One of Beethoven's most celebrated works, the Eroica symphony is a large-scale composition that marked the beginning of the composer's innovative ...
[2] [3] Plantinga theorizes that a source may be Clementi's Piano Sonata in F minor, Op. 13, No. 6 (composed in 1784), where the first seven or eight notes of the Eroica theme can be matched, with a simpler rhythm, with the beginning of the third movement (in a minor key), and later to the melody in a major key (the Eroica theme is in a major ...
His Eroica Symphony, Emperor Concerto and Grand Sonata are all in this key. Beethoven's (hypothetical) 10th Symphony is also in E-flat. But even before Beethoven, Francesco Galeazzi identified E-flat major as "a heroic key, extremely majestic, grave and serious: in all these features it is superior to that of C." [1]
In the Classical period, C major was the key most often chosen for symphonies with trumpets and timpani. Even in the Romantic period, with its greater use of minor keys and the ability to use trumpets and timpani in any key, C major remained a very popular choice of key for a symphony. The following list includes only the most famous examples.
However, some of these works were also given descriptive sub-titles by Beethoven himself: for example, he sub-titled the 3rd Symphony "Eroica", and the 6th Symphony "Pastoral". Others were given nicknames by publishers or others: for example, the Piano Sonata No. 14 is called "Moonlight" and the Piano Trio No. 7 is known as the "Archduke".
The four-bar phrases that open these pieces are almost identical in most musical aspects: key, harmony, voicing, register, and basic as well as harmonic rhythm. Another less immediate connection exists with the main theme, also in A ♭ major, of the Adagio movement in Schubert's piano sonata in C minor, D. 958. Indeed, Schubert may have ...
This article lists symphonies that are numbered and have an additional nickname, and symphonies that are primarily known by their name and/or key. Also various compositions that contain "symphony" or "sinfonia" in their name are included, whether or not strictly speaking they adhere to the format of a classical symphony.
In measure 264, a new theme is introduced in the development, foreshadowing the compositional structure of the first movement Eroica. [2] [5] A shorter version of the first theme is heard in the recapitulation, cut short by a sudden modulation to E♭ major, before the secondary material, once in B♭ major, is now in the home key of G minor. [4]