Beethoven spanned the two eras of Classicism and Romanticism. Classicism was, on one level, a preference for balance, while Romanticism was a rage for power. Beethoven used these opposing forces to reshape the symphony as a musicoemotional form, and this was probably the single most important achievement in the development of the Romantic Symphony. Beethoven was also noted for his expansion of the piano sonata and the string quartet. Biographers often emphasize Beethoven as a wretched human being, uncouth, bad-tempered, and often unfair in his business and personal relationships. His personality brought him into constant conflict with publishers, musicians, patrons, family, and friends. His music is highly dramatic, and he was noted for his innovations and the sublimity of his musical vision (Mordden 118-119). His power can be seen in his Symphony No. 3, also known as the "Eroica." This symphony also created a new element in the structure of the symphony ever after with the addition of the Scherzo as the third movement. Beethoven would develop this musical idea in one way in this piece and in a somewhat different way in later pieces, but here is found his seminal thinking on the issue and his working out of various problems in fitting this concept into the overall thrust of the work.
The work is first of all a paean to the Emperor Napoleon, as Beethoven makes clear in various writings and statements and in titles appended to elements of the work. The symphony was composed around 1803, and at the time Bonaparte was First Consul. Indeed, the work was originally entitled "Bonaparte," making the connection even more explicit. A number of questions have been raised as to why Beethoven dedicated his symphony to the man who had invaded Austria, and the answers are uncertain. An important statement made by Beethoven before this composition was completed was that he was not happy with his work to that time and that he meant no...