By Constantin Floros
With this research the writer «opened up a formerly locked door of Beethoven examine» (Martin Geck). The ebook offers conclusive solutions to questions that had occupied critics for greater than a century. It makes transparent what precisely Beethoven and his contemporaries intended by means of the time period «heroic». It proves that the «heroic-allegorical ballet» The Creatures of Prometheus is a key paintings for an realizing of the Eroica, and indicates that Beethoven linked the 1st Consul of the French Republic, Napoleon Bonaparte, with the legendary determine of the Titan Prometheus. The e-book attracts on interdisciplinary researches within the components of Greek Mythology, Napoleonic background and Comparative Literature.
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Extra resources for Beethoven's Eroica: Thematic Studies
As for the “concluding dance,” what is most striking, apart from the dotted rhythms, are the frequent caesuras (fermatas), which are surely dictated by the choreography. The coda, finally, again emphasizes the martial character of the danza eroica by its horn and trumpet fanfares. 41 Una tragica scena: the Death of Prometheus (No. ” As Ritorni has it: Prometheus’ children do not resist the thirst for fame and, having taken up weapons, want to take part in the [heroic] dance. But now Melpomene intervenes, presenting a tragic scene [una tragica scena] to the astonished youngsters by showing them with her dagger how death puts an end to the days of man.
In vain the pitying children try to hold her back: she kills Prometheus with her dagger. Nos. 10 to 16 But Thalia ends the mourning by a playful, jocular scene. She holds her mask to the faces of the weeping children, while Pan, at the head of his Fauns, who perform a comic dance, recalls the dead Titan to life, thus bringing the piece to its conclusion with festive dances Three things are to be said about this correlation: 1. Ritorni’s statements about the scenic events of the first, and about most of the “scenes” of the second act are so precise, and Beethoven’s cues in the drafts appear so informative, that, with a single exception, there cannot be any doubt about the attribution of Nos.
But now Melpomene intervenes, presenting a tragic scene [una tragica scena] to the astonished youngsters by showing them with her dagger how death puts an end to the days of man. While the children shudder, she rushes up to their dismayed father, reproaches him for having created these wretched beings for such misfortune and thinks death not too harsh a punishment for him. In vain the pitying children try to hold her back: she kills Prometheus with her dagger. Beethoven’s drafts in the Berlin Sketchbook prove that the music for this tragica scena is Piece No.