storale" and "Eroica,"
besides a large number of concertos, sonatas, songs, and other
occasional pieces. However gloomy the externals of his life, his
creative activities knew no cessation.

The "Sinfonia Eroica," the "Choral" only excepted, is the longest of
the immortal nine, and is one of the greatest examples of musical
portraiture extant. All the great composers from Handel to Wagner have
attempted what is called descriptive music with more or less success,
but never have musical genius and skill achieved a result so admirable
in its relation to its purpose and by such strictly legitimate means as
in this work.

"The 'Eroica,'" says a great writer, "is an attempt to draw a musical
portrait of an historical character--a great statesman, a great
general, a noble individual; to represent in music--Beethoven's own
language--what M. Thiers has given in words and Paul Delaroche in
painting." Of Beethoven's success another writer has said: "It wants
no title to tell its meaning, for throughout the symphony the hero is
visibly portrayed."

It is anything but difficult to realize why Beethoven should have
admired the first Napoleon. Both the soldier and musician were made
of that sturdy stuff which would and did defy the world; and it is not
strange that Beethoven should have desired in some way--and he knew
of no better course than through his art--to honor one so
characteristically akin to himself, and who at that time was the most
prominent man in Europe. Beethoven began the work in 1802, and in 1804
it was completed, and bore the following title:

Sinfonia grande

"Napoleon Bonaparte"

1804 in August

del Sigr

Louis van Beethoven

Sinfonia 3.

Op. 55.

This was copied and the original score dispatched to the embassador for
presentation, while Beethoven retained the copy. Before the composition
was laid before Napoleon, however, the great general had accepted the
title of Emperor. No sooner did Beethoven hear of this from his pupil
Ries than he started up in a rage, and exclaimed: "After all, then, he's
nothing but an ordinary mortal! He will trample the rights of men under
his feet!" saying which, he rushed to his table, seized the copy of the
score, and tore the title-page completely off. From this time Beethoven
hated Napoleon, and never again spoke of him in connection with the
symphony until he heard of his death in St. Helena, when he observed