Beethoven

Ultimately, however, it was the simple fact that Beethoven "invariably elevated the subjective into the universal," by means of his "architectural strength and endless concern with type and logic," that was the basis of his greatest influence on the Romantic composers (Matthews 216). Whilst it might not were the universal nature of Beethoven's expression that appealed for the Romantics, it was the formal strength of his work that made that expression offered to them. The simple fact that they may well have chosen to interpret it as, primarily, subjective expression was 1 of the items that distinguished romantic from classical composers.

None of the kinds of Beethoven's influence operated in complete independence during the others--though they sometimes worked against every other. In some cases, their interdependence was of minor importance. The Beethoven mystique, for example, may perhaps were compounded of "gross exaggeration in all ways," but, it nevertheless had its own reality, and met "a various aesthetic need" between Romantically influenced audiences whose experience on the music was strongly affected by such "subjective and associative factors" as were component with the Beethoven myth (Newman 386). In other cases, the relationship in between kinds of influence produced undesirable results.

 

Beethoven did, of course, get rid of the dedication to Napoleon in the Eroica when he later discovered how modest interest the emperor had in egalitarianism. But, as Matthews points out, "the incentives" behind the third symphony, "whether Bonaparte, or heroism in general, or merely an inner artistic compulsion, are understandable" (155). All sorts of listeners, those who appreciated the technical innovations and those who may perhaps have no interest within the nature Beethoven's expansion of symphonic form, could detect inside Eroica its "unmistakable ethical aura" (Kerman and Tyson 382).

What happened in the Eroica was that Beethoven increased the size in the movements without having altering the classical proportions, i.e., "the placing of the climax [and] the ratio of harmonic tension to resolution" (Rosen 394). So that you can do this, however, it was required to turn towards the treatment of brief motifs, for example could be discovered in Haydn's music. Extended complete melodies, including Mozart used, would need to be expanded, having a consequent slowing on the development from the movement--and a resulting boredom for listeners. What Beethoven had grasped the following was that these small motifs could "easily type a tissue of periods essentially significantly larger than Haydn's with a correspondingly slower harmonic motion" (Rosen 394). Just as the sonata form had originally replaced counterpoint in order to allow for lengthier pieces that had been not boring, Beethoven's reworking with the sonata principles allowed for an expansion in the classical type on the symphony.

Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: Norton, 1972.

Paradoxically, the source of Beethoven's increasing classicism in his late period may possibly had been the challenge that he felt within the new generation of composers. "On some level he was responding to strong musical currents, which have been soon to come flooding on the surface," as the late works of Weber and Schubert, and also the first productions of Chop

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