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Eroica Symphony

[e-roh-i-kuh]

noun

  1. the third symphony (1804) in E♭, opus 55, by Beethoven.



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The program opened with the relatively brief Hindemith suite before diving headlong into Ronald Stevenson’s adaptation of the Adagio from Mahler’s 10th Symphony and a nearly hourlong rendition of Beethoven’s “Eroica” Symphony, in a solo version by Liszt.

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What if Beethoven had written the “Eroica” Symphony with a scale of 19 notes, or Schoenberg had written tone rows with 23?

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If there is one piece that is most associated with Klemperer, it is Beethoven’s “Eroica” Symphony, a work he returned to constantly.

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Finished in November 1827, the piece dwells on Beethoven’s death earlier that year: It is in the same key as Beethoven’s “Eroica” Symphony, and it likewise centers on a funeral march, in C minor, whose shadow is cast off only in a finale that takes consolation, of a sort, in compositional virtuosity, delighting as it layers themes on top of one another.

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On this third Wee album are Alkan’s transcription of Mozart’s stormiest piano concerto and Liszt’s rewriting of Beethoven’s “Eroica” Symphony.

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