Beethoven Symphony No.3 (贝多芬第三交响曲)

Ludwig van Beethoven's Symphony No. 3 in E flat major (Op. 55), also known as the Eroica (Italian for "heroic"), is a musical work marking the full arrival of the composer's "middle-period," a series of unprecedented large scale works of emotional depth and structural rigor.^[1][2]

The symphony is widely regarded as a mature expression of the classical style of the late eighteenth century that also exhibits defining features of the romantic style that would hold sway in the nineteenth century. The Third was begun immediately after the Second, completed in August 1804, and first performed 7 April 1805.

贝多芬降E大调 第三交响曲 《英雄》 

贝多芬降E大调，第三交响曲《英雄》，此曲完成于1804年春，本欲献给法国第一位执政者拿破仑，但当得知拿破仑将于五月十八日即位皇帝时，贝多芬立刻将总谱写有题词的封面撕下，并愤怒地高喊："这是一个独裁者!"后来出版时他将标题改为"为纪念一位伟大的英雄而作"。这部作品于1805年在维也纳初演一举成功，从此贝多芬蜚声于欧洲乐坛。

这部作品是贝多芬最著名的代表作之一，是第一部打破维也纳交响乐模式，完全体现英雄性格的作品。作品贯穿着严肃和欢乐的情绪，始终保持着深沉、真挚的感情，呈现出强烈的浪漫主义气氛。贝多芬本人曾声称他最喜欢的交响乐就是这部第三交响曲。 

The piece consists of four movements:

1. Allegro con brio
2. Marcia funebre: Adagio assai in C minor
3. Scherzo: Allegro vivace
4. Finale: Allegro molto

The performance time is about 50 minutes.

First movement

The first movement, in 3/4, is of the Sonata-Allegro form. The movement opens with two large E flat Major chords played by the whole orchestra, thus firmly establishing the tonality. The first theme is introduced by the cellos, and by the fifth bar of the melody, a chromatic note (C♯) is introduced, thus establishing the harmonic tension of the piece. The melody is finished by the first violins, with a syncopated series of G's (which forms a tritone with C♯ of the cellos). After the first theme is played by various instruments, the movement transitions to a calmer second theme that leads to the development section. The development, like the rest of the piece, is characterized by remarkable harmonic and rhythmic tension due to dissonant chords and long passages of syncopated rhythm. Most remarkably, Beethoven introduces a new melody in the development section, breaking the classical tradition that the development section only works with existing material. The development section leads back into the recapitulation; notably, the horns appear to come in early with the tonic melody while the strings are still playing the dominant chord. The movement ends in a long coda that re-introduces the new melody of the development section. Overall, the noble character of the movement has led to its being called a portrait of the hero celebrated by the work.

第一乐章，灿烂的快板，降E大调，3/4拍子。奏鸣曲形式。这一乐章在当时是自交响曲诞生以来最宏伟壮大的乐曲，它外形精致、巧妙，变化无穷。

Second movement

The second movement is a funeral march in C minor with a trio in C major. The movement contains multiple fugatos, and its solemnity has led to its being used in public funerals.

第二乐章，葬礼进行曲，甚慢板，c小调，3/4拍子。这个乐章具有鲜明的赋格曲效果，响彻着嘈杂的战斗声和凶猛的骑兵嬉游曲。本乐章极为著名，经常单独演出。 

Third movement

The third movement is a lively Scherzo. The trio features hunting calls from the three horns.

第三乐章，诙谐曲，活泼的快板，降E大调，3/4拍子，整个乐章围绕着开始部分的弦乐主题而展开，力度逐渐加强，显得乐曲充满悠闲自得的气氛，令人沉醉。 

Fourth movement

The theme of the fourth movement with its bass line.

The fourth movement is a set of variations on a theme that Beethoven had used several times before. The theme first was used in the finale of his ballet music for The Creatures of Prometheus (1800), the seventh of 12 Contradanses, WoO 14(1800-1802) and later as a set of piano variations, Op. 35. The theme's subsequent use in this symphony has given the Op. 35 set the nickname "Eroica Variations". The variations here are structured in a similar manner to those Op. 35 in that the bass line of the theme makes the first appearance and is subjected to a series of strophic variations leading up to the full appearance of the theme itself.

第四乐章，终曲，甚快板，降E大调，2/4拍子。乐章的主题采用贝多芬早年的普罗米修斯主题，并以短的经过部和发展部共同构成自由变奏曲形式。