Great! Bernstein explains with simple words the important moments of the symphony so that it is fascinating for professional musicians as for just music lovers.
12:37. That is not a brand new theme. If you take the bass line of the first 16 bars from Theme 1, only the important notes, and transpose your excerpts a whole step up, you will arrive at a chord progression and rhythmic pattern much similar to the development theme.
Why we associate the "Eroica" with the portrait of Beethoven near his end? He was a 34 year young man, always in love with several womans, burn of passion inside, depressed by his ear illness but very far from the end of his days, when coleric attacks were permanent. So I find good to put a smiled doggy face to his famous pic.
We associate everything by beethoven with this portrait, because it's a great portrait. And that portrait isn't even from anywhere near late in his life!
Pablo, you are stupid to deface this famous portrait of our greatest composer. You should be ashamed of yourself to dishonor the image of a great and accomplished man. Take it off immediately and restore the proper portrait of this great man.
Also, you are missing an important factor as to why there are so many transitional passages. The reasoning is because everything in that section foreshadows either a progression or element of Theme 2. Also, the "battle cry" you speak of is really just an inverted version of the first transitional passage.
@@yohannbiimu I'm going to assume that you are not goofing around. The word is "elegiac." It is an adjective that comes from the noun "elegy." Elegies were poems written by the ancient Greeks, then later by the Romans and even later by many European poets. The poems were serious, even sad, meditations on death or on the impermanence of things. So "elegiac" means approximately "serious or sad, and meditative."
Bernstein is just flirting with himself here. He has no true insight into Beethoven or his works. He just blabbers off to make himself feel like he's smart. Just about anything you hear him say about beethoven specifically is something that can either be universally applied to ALL composers, or is just straight up untrue or an unfair assessment.
bob, you are not even smart enough to be pedantic. You paint yourself to be such an expert, yet you don’t understand what is going on. These mini-lectures were produced 50 years ago in the late 1960’s (around the Beethoven bicentennial), and were meant to introduce musical scholarship to non-musicians. As such, they are immensely entertaining and informative, especially given Bernstein’s flair for showmanship. If you don’t like Leonard Bernstein, don’t listen to him, but, unless you yourself have spent 50 years conducting many of the World’s greatest orchestras, written your own symphonies and other classical pieces, and written several immensely successful Broadway musicals, you can keep your disparaging, ignorant, and meaningless opinion of Maestro Bernstein to yourself.
