Eroica

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!

Not so much film noir as film dusk, I spent the first ten minutes waiting for the set lights to be switched on. Having said that, Eroica is a beautiful to look at period piece about the first playing of Beethoven's Eroica or 'Napoleon' symphony (played by the wonderful Orchestre Revolutionaire et Romantique) for Prince Lobokowitz in Vienna. The film spans a day in the life of Beethoven in June 1804, examining not only his life and loves, but the lives of the musicians and the staff of the Palace in Vienna.

Much of the 'action' revolves around the audience of this magical performance. If only the Director had resisted the temptation to spin round the viewers as they watched! The film certainly flew by, but I was left wishing that this was only the start of the film and not the totality.

First I must clear up one thing. I have been a fanatic of Beethoven's music, life and words for nearly 40 years. I remember receiving a flimsy plastic 45 rpm-shaped record, which was timed at 33-1/3, in the mail advertising his music and the music of others. What I will not forget is hearing those first few bars. I will never ever forget that moment. Two crashing chords and straight into the first melody. It made a profound influence on the course for the rest of my life. I've since become a dilettante composer and enthusiastic champion of the music of this greatest of masters.

With that being said...I was brought into such a state of newfound discovery when I heard the Eroica again on this DVD. The Orchestre Revolutionnaire et Romantique somehow has made an old friend sound brand new again. With the size of the noticeable orchestra being smaller than we are normally accustomed, and with the pronounced accentuation of the individual instruments, the sounds and the development of the themes were fresh.

I enjoyed almost every performance in this film. It doesn't matter whose I didn't like. It really makes no difference. The presence of Ian Hart, Tim Pigott-Smith, Fenella Woolgar, Frank Finlay, Leo Bill, Trevor Cooper, the beautiful Claire Skinner, and mysterious Lucy Akhurst and gosh, even Victoria Shalet and Joseph Morgan made the whole affair quite an enjoyable experience and transformed this into a true ensemble of players.

The effect of the cameras moving about was a stroke of genius. The camera swirled as the thoughts of the people present and listening swirled around the room.

Enough cannot be said about IAN HART who really brought this together. Those of who the character of Beethoven so well should be pleased with his take. Here we have none of the scowling Beethoven smirks which plagued his later years. Here we still have a youthful, but adamant figure struggling to make his way into the world of Viennese society. Hart has cast a Beethoven in his prime though quite immediately after his "Heilegenstadt Testament" period of great sadness. He is young and he still bounce back and get back to the music. One instance of this bouncing back was quite remarkably placed near the end of the movie.

To lovers of Beethoven, lovers of the Eroica, lovers of great music, lovers of historical dramas and fine period pieces, I recommend this film without reservation.

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.