Name: «Eroica»
Start: 2024-06-12T00:00:00.000Z
End: 2024-06-13T00:00:00.000Z
Location: KKL Luzern

Admin

KKL Luzern

Orchestra

Luzerner Sinfonieorchester

Conductor

Michael Sanderling

Instrumentalist

Vadim Gluzman

Violin

«Eroica»

Lucerne

Switzerland

Konzertsaal

«Eroica»: Symphony No. 3 in E-flat Major, op. 55 ("Eroica") Beethoven (+1 More)

Public

Symphony No. 3

Violin Concerto in D Major, op. 35

Joshua Dos

Approved

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With the first two tutti chords of the “Eroica”, which strike like blows from out of nowhere, Beethoven opened up a whole new world in the symphonic genre. Confident and self-assured, he wrote to his publisher in 1802, “I am not satisfied with my previous works; from now on I want to tread a different path.” One could almost speak of a “zero hour” in classical symphonic music, the beginning of something entirely new, greater in expression, more expansive in its passion and more triumphant in its resolve. The title page reads “Sinfonia eroica” – a heroic symphony composed to celebrate the memory of a great man. The thematic material of the symphony seems to reveal his identity. It is partly taken from Beethoven’s ballet music, “The Creatures of Prometheus”, evoking the memory of the mythological Prometheus, the “forward thinker” who wants to bring about intellectual emancipation through education and freedom through art. It also evokes the ideal of the true, free and comprehensively educated human being. Beethoven found himself and his moral-aesthetic stance in this: “There is nothing nobler than to approach the Deity more closely than others and from there to spread the rays of the Deity across the human race. These rays still strike us directly today in every performance of the “Eroica”.

English

niederpeitschen, eröffnete Beethoven der Gattung Sinfonie eine neue Welt. Selbstbewusst und selbstsicher, wie er 1802 seinem Verleger schrieb: «Ich bin mit meinen bisherigen Arbeiten nicht zufrieden; von nun an will ich einen anderen Weg beschreiten.» Beinahe möchte man von einer «Stunde Null» in der klassischen Sinfonik reden: Ab hier beginnt etwas gänzlich Neues. Grösser im Ausdruck, umfassender in ihrer Leidenschaftlichkeit und siegreicher in ihrer Selbstgewissheit. «Sinfonia eroica» heisst es auf dem Titelblatt ‒ eine heroische Sinfonie also, komponiert, um das Andenken eines grossen Menschen zu feiern. Wer dieser Mensch ist, scheint uns das thematische Material der Sinfonie zu verraten: Es stammt zum Teil aus Beethovens Ballettmusik «Die Geschöpfe des Prometheus». Beschworen wird somit das Andenken an den mythologischen Prometheus, den «Vorausdenkenden», der mit Bildung die geistige Emanzipation und mit der Kunst Freiheit bringen will. Beschworen wird somit das Ideal des wahren, freien und umfassend gebildeten Menschen. Hier fand Beethoven ganz zu sich selbst und zu seinen moralisch-ästhetischen Prämissen: «Hö- heres gibt es nicht, als der Gottheit sich mehr als andere Menschen zu nähern und von hier aus die Strahlen der Gottheit unter das Menschengeschlecht zu verbreiten.» Diese Strahlen treffen uns heute noch unmittelbar bei jeder Aufführung der «Eroica».

Deutsch

«Eroica» by Beethoven, Tchaikovsky, P. I., čet. 13 jun. 2024, Od (2024/2024), Dirigent Michael Sanderling, KKL Luzern, Lucerne, Switzerland

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