Eroica

"Everything's different as of today" said a weary Josef Haydn, and how right he was.

"Eroica" is the best film about Beethoven that I have seen. OK, I've only seen three others, one of which was made in the 70s and I can't remember the name of that one. The other two were "Immortal Beloved" which was good, and "Copying Beethoven" which was horrendous. What attracted me to this movie was the clever direction and how it was made watchable despite the entire work being played throughout. When I say "despite", don't get me wrong, I'm a composer and I loved the music, but to be able to base an entire film around the complete performance (OK then, a rehearsal) of a particularly long work whilst simultaneously retaining visual and cinematic interest is a tricky task, and the director rose to the challenge magnificently. Ian Hart was convincing (unlike Ed Harris's comically over-acted portrayal, although his makeup was very good) and one of a very professional cast indeed. Isn't Fenella Woolgar gorgeous? Such a sexy nose! And so to the music. What was interesting was the fact that although Elliot Gardiner's soundtrack was obviously not that of which we see, it WAS played on period instruments. The biggest clue being when hearing the valveless horns playing the few notes that were not to be found within the harmonic series (on an Eb crook) sounding a bit flatulent. It also helps to know that John Elliot Gardiner is really hot on period instruments. I personally prefer modern orchestral instruments, but nothing can be taken away from the superb performance by this ensemble. Also the synchronisation must have been extremely tricky because all the musicians in shot were actually playing the music together, whilst acting simultaneously (they would have had to, to gurn their faces like they did as if the music was something completely new, which it so obviously was).

But what really made the movie work was the silent reaction to the music of the surrounding gentry and servants. It really helped to bring tears to my eyes.

A fabulous two hours of my time spent. Heartily recommended!!!

Well, that would have made for a tough film to sit through, don't you think, guys?

Although it's true that that first read-through was probably pretty rough.

Here is a short quotation from Ries via Thayer, which shows how well the filmmakers did their homework:

"...Here it happened that Beethoven, who was directing (the Eroica) himself, in the second part of the first Allegro where the music is pursued for so many measures in half-notes against the beat, threw the orchestra off in such a way that a new beginning had to be made." In the first Allegro occurs a mischievous whim (bose Laune) of Beethoven's for the first horn; in the second part, several measures before the theme recurs in its entirety, Beethoven has the horn suggest it (the theme: LS) at a place where the two violins are still holding a second chord (the violins are suggesting a Bb7 chord -- the *dominant* of Eb Major, whereas the horn is playing the theme (a simple arpeggio) in Eb Major, a harmony which sounded quite "wrong" to 1803 ears!: LS). To one unfamiliar with the score this must always sound as if the horn player made a miscount and entered at the wrong place. At the first rehearsal of the symphony, __which was horrible__, but at which the horn player made his entry correctly, I stood beside Beethoven, and, thinking that a blunder had been made I said: 'Can't the damned hornist count" -- it sounds infamously false!' I think I came pretty close to receiving a box on the ear. (Much more dramatic to come *more* than "pretty close"!: LS) Beethoven did not forgive the slip for a long time."

Thayer goes on to describe yet another rehearsal which Lobkowitz arranged for another prince, Louis Ferdinand of Prussia:

"To give him (Louis Ferdinand: LS) a surprise, the new, and of course, to him utterly unknown symphony, was played to the Prince, who 'listened to it with tense attention which grew with every movement.' At the close he proved his admiration by requesting the favor of an immediate repetition; and, after an hour's pause, as his stay was too limited to admit of another concert, a second. (In other words, it was performed *three* times!: LS). The impression made by the music was general and its lofty contents were now recognized."

In any event, I adore this made-for-television gem! Two things that make this film great are:

1. We get to hear a period-instrument performance by one of the best such orchestras around!

2. We get to immerse ourselves in Beethoven's world for a few hours, all done very beautifully. (The scenes *following* the performance are delicious!) HIGHLY recommended.

LS

Eroica is a well done blending of film and symphony concert. Beethoven was a rebel pushing against the social status quo in his life and with his music. How we hear this symphony today is so completely different that it is nearly impossible to imagine how it seemed to those hearing this kind of music for the first time. This film helped me to do that.

I have had the great honor of performing this masterpiece when I was a student at Duquesne University, so it's always like coming home when I hear this piece. This film gave me an opportunity to visit it with fresh eyes and ears.

One thing I have to complain about is the usual one, the violas nearly always get short shrift when orchestras are filmed, but this is a small oversight in view of the entire movie.

Well done!

For some puzzling reason, I never really "got" the Eroica, but thanks to this marvellous production I (and hopefully many others) finally understand not only why the symphony was so important but also why it's so good! The basic idea of the film is that Prince Lobkowitz's orchestra is giving the first performance of the symphony for the prince and princess, the composer, and a few guests. After a shortish buildup to introduce the characters, the orchestra begins - and carries on for most of the film. As the music plays, we watch the characters listening, and occasionally hear their opinions. There is outrage when a trumpet comes in at the "wrong" time; smiles at certain musical turns of phrase; frowns at how loud it is. This superb film marries a great performance of a great work with an intelligent effort to put the whole thing in the context of its time. It isn't a film for people who already know all about the Eroica, but for a viewer who doesn't know Haydn from Howard Shore it must surely be enlightening.

Eroica is one of Beethovens most misunderstood compositions but this fantastic production depicts the first performance perfectly. Ian Hart plays the genius as he was, scruffy, un-kemt and bad tempered yet passionate about his music and suffering greatly. All the characters were well played, especially Haydn, and the music was sublime. Many of the happenings in the production, such as Reis shouting at the horn then getting told off, were based on true events. Pay close attention to the scene where the composer talks to the countess, when the countess refuses his proposal we can hear the beginning of the scherzo, as if it is being created by the pain Beethoven feels (aso a bit of irony because scherzo means joke in Italian). Wonderfully made and a delight to watch!!!!!!