Eroica Movie Analysis

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Eroica movie analysis

 After the viewing of the “Eroica” film directed by Simon Cellan Jones and published by the London BBC in 2003 as a proposal for the realization of this guided activity, we can see that this film is loaded with historical and scientific documentation recreating the moment,situations, dialogues, etc. occurred before the first interpretation of the third symphony composed of Beethoven. This symphony was thus called in honor of Napoleon and was considered the beginning of musical romanticism since by its compositional characteristics it breaks with those of classical symphony.

In the film, the musical fact is exposed by all the elements and factors that cover the work in its historical context. The musical fact, according to Dahlhaus, are the links between the reception and interpretation of the work and the text, which in this film are in detail with the elements that surround him.

The film also shows us that Beethoven’s emotional world influences the musical fact. Like the musical works of romanticism, it has a climate point that is shown in the conversation held between Josephine von Deym with Beethoven, which marks a turning point in the narrative.

The social context is described in the film by the hierarchical society of the time, the musicians were in a higher category to that of a servant with honest salaries and residence in modest houses, we see at the beginning of the film the difficulty of some musiciansTo get to the essay derived from economic or health problems. A position above, we find the concertino, followed by the copyist and then the director. All of them were at the service of a wealthy patron, in this case it is Prince Lobkowitz.

The stylistic context is excellently described in the film, we see a classicist aesthetic mentality, an acoustically in which everything equal to the aesthetic tastes of the time:

  • Formally symmetrical music with equal phrases and melodic.
  • Easy recognition of tone and cadence themselves. Tonal bases of his movements: my greatest best- do my older bemol- Mi Mayor.
  • Perfect perfect chords without too many dissonances.

 

The formal structure of classical symphony with four movements will be used as a film structure. It has an introduction before the beginning of the essay, which describes the social context and the use of dialogues, among the four movements, will provide additional information.

  • Allegro with Brio. (Funeral marcia)
  • Adagio Assai. (Scherzo)
  • Allegro Vivace. (Finale)
  • Allegro Molto.

The instrumentation used in this symphony:

  • Woods: flutes – oboes – clarinets in sib – bassoon
  • Metals: tubes in me – trumpets in me
  • Rope: timbales in me and yes
  • Rope: Violin I – Violin II – Viola – Violoncello – double bass

 

The language used by Beethoven and its capacity in the use of technical resources (counterpoint, instrumentation, harmony, etc.) They find ful.

L’Orchestre Revolutionnaire et Romantique is in charge of the interpretation of the symphony directed by Sir John Eliot Gardiner, illogical for a first trial of the symphony, but fulfills an aesthetic role within the film.

Beethoven prioritizes its extraordinary musical and creative skills to the socio -political concept of the moment exposing a controversy and a daring for its part, which describes the political context. This work as a tribute to Napoleon was not well received by all.

The point of view and intentions of the film director will establish part of the musical fact as contradiction to Dahlhaus. We have very documented conversations and spaces during the transition from the film as well as the compliments towards Beethoven is notable.

As Dahlhaus says “The history of symphony, in the S. XIX would lack orientation if the support of a consubstantial interpretation of the heroic ”.

We can conclude that the film we have seen is not just a private concert of the time with the symphony that historically marked a before and after, but makes an exhibition with all the components that surround the musical fact.

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