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91-730: St. James's Hall was a concert hall in London that opened on 25 March 1858, designed by architect and artist Owen Jones , who had decorated the interior of the Crystal Palace . It was situated between the Quadrant in Regent Street and Piccadilly , and Vine Street and George Court. There was a frontage on Regent Street, and another in Piccadilly. Taking the orchestra into account, the main hall had seating for slightly over 2,000 persons. It had

182-425: A tritone with C ♯ of the cellos and a diminished chord). This resolves to the dominant of the relative minor (G/C minor) before a short cadential codetta in E ♭ major. The first theme is then transferred to wind instruments, then fragmented, moving through other keys with the b motif in canon and interchanged with a hemiola in the dominant, later moving between dominant and tonic. The main theme

273-451: A Saturday 'Pop', but were so aware of the 'rhythmic gay sounds, thumping and shimmering away in a most enlivening manner', that they decided to go and hear Moore and Burgess instead. Samuel Arthur Chappell , one of the brothers in the Chappell & Co. firm of Bond Street music publishers, who concentrated on selling brass and woodwind instruments, together with his brother Thomas, devised

364-709: A chamber-work, some songs, and instrumental solos. The Hall became known for the "London Ballad Concerts", which began in the 1860s and moved in January 1894 to Queen's Hall. They "were started... by Messrs Boosey 'for the performance of the CHOICEST ENGLISH VOCAL MUSIC by the MOST EMINENT ARTISTS'." The Philharmonic Society of London, founded 1813, until 1869 gave its concerts in its rooms at Hanover Square, which had seating for only about 800. The Society decided to move permanently to St James's Hall, and

455-483: A complimentary additional concert, held at St James's Hall, was given to its subscribers at the end of the 1868–69 season. Charles Santley , Charles Hallé , Thérèse Tietjens and Christina Nilsson were the soloists. When the move was made, the Society remodelled its charges to obtain a wider audience and compete with the Crystal Palace and other large venues, and introduced annotated programmes. The Society remained at

546-418: A decade and a half. The exposition has three thematic groups with varying interpretations of functionality. The exposition begins with the cellos introducing the first theme . By the fifth bar of the melody ( m. 7), a chromatic note (C ♯ ) is introduced, thus introducing the harmonic tension of the work. The melody is finished by the first violins , with a syncopated series of Gs (which forms

637-415: A grand hall 140 feet (43 m) long and 60 feet (18 m) broad, the seating was distributed between ground floor, balcony, gallery and platform and it had excellent acoustics. On the ground floor were two smaller halls, one 60 feet (18 m) square; the other 60 feet (18 m) by 55 feet (17 m). The Hall was decorated in the 'Florentine' style, with features imitating the great Moorish Palace of

728-525: A limited number only"), went for seven shillings. The following year Dickens would have to cut a provincial tour short after collapsing showing symptoms of a mild stroke in Preston on 22 April 1869. When he had regained sufficient strength, he arranged, with medical approval, for a series of readings to partially make up to Chappell & Co. what they had lost due to his illness. There were to be twelve final performances, running starting on 11 January 1870 back at

819-468: A new scalar figure in bars 165-173 and a fugato derived from the main theme of the second group (mm. 236-246). The music eventually breaks into a 32-bar passage (mm. 248–279) of sforzando chords including both 2-beat and 3-beat downward patterns, culminating in crashing dissonant forte chords (mm. 276–279). Commenters have stated that this "outburst of rage ... forms the kernel of the whole movement", and Beethoven reportedly got out in his beat when conducting

910-590: A parody of a minstrel number is included in the same scene. In residence for the whole active life of the hall, the Minstrels had their permanent home there, but their interests often conflicted with those of the main hall. In January 1890, for instance, George Bernard Shaw wrote: At the Hallé orchestral concert... I was inhumanly tormented by a quadrille band which the proprietors of St James's Hall (who really ought to be examined by two doctors) had stationed within earshot of

1001-412: A performance venue and an auditorium filled with seats. This list does not include other venues such as sports stadia, dramatic theatres or convention centres that may occasionally be used for concerts. Brod Tambura Orchestra The Lark Balbriggan See also Broadway theatre for a listing of the theatres that support Broadway shows. Eroica Symphony One of Beethoven's most celebrated works,

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1092-490: A private performance on 9 June 1804, and later the first public performance on 7 April 1805. Symphony No. 3 is scored for: The work is in four movements : Depending upon the conductor's style and observation of the exposition repeat in the first movement, the typical performance time is between 45 and 55 minutes. The first movement, in 4 time , is in sonata form , with typical performances between 12 and 18 minutes long depending on interpretation and whether

1183-478: A rare performance of Richard Wagner 's Symphony. The content was planned against a 'permanent background' of Beethoven and Brahms. Helen Henschel refers to 'the famous Wagner cat' which inhabited the Hall. It was said to walk onto the stage during rehearsals whenever any work by Wagner was being played, but never otherwise. Shaw refers to both, noting that Richter's concerts were too expensive, and that Henschel's orchestra

1274-463: A reviewer just two years later described the Eroica simply as "the greatest, most original, most artistic and, at the same time, most interesting of all symphonies". The finale in particular came in for criticism that it did not live up to the promise of the earlier movements. An early reviewer found that "[t]he finale has much value, which I am far from denying it; however, it cannot very well escape from

1365-471: A short introduction on the tutti that begins with the mediant chord that transitions to the dominant seventh , the quiet theme, in E-flat major , first appears and then is subjected to a series of ten variations: The symphony ends with a coda, which takes image on all previous sections and variations of the movement. At the end of the coda, there is a "surprise", which is when the dynamic changes from pp on

1456-414: A short upward scale motif (mm. 57–64) in strings with a variation; and a section beginning with rapid downward patterns in the violins (mm. 65–82). The third theme of the second group eventually leads to a lyrical theme (m. 83), whose second half of the theme eventually builds to a loud melody (m. 109) that draws upon the earlier downward motif (m. 113). The climactic moment of the exposition arrives when

1547-413: A sudden excursion to F major early on before eventually returning to a more typical form in the tonic. The movement concludes in a long coda with that reintroduces the new theme first presented in the development section. The second movement is a funeral march in the ternary form (A–B–A) that is typical of 18th-century funeral marches, albeit one that is "large and amply developed" and in which

1638-534: A two-page movement plan in E ♭ major that directly follows the sketches for the Opus 35 Variations, which has been identified as being intended for the Third Symphony. While the movement plan gives no explicit indication regarding the finale, Lewis Lockwood argues that "there cannot be any doubt that Beethoven intended from the start" to use the same theme (and bass of the theme) that he had just fleshed out in

1729-573: A tyrant!" Beethoven went to the table, seized the top of the title-page, tore it in half and threw it on the floor. The page had to be recopied, and it was only now that the symphony received the title Sinfonia eroica . An extant copy of the score bears two scratched-out, hand-written subtitles; initially, the Italian phrase Intitolata Bonaparte ("Titled Bonaparte"), secondly, the German phrase Geschriben auf Bonaparte ("Written for Bonaparte"), four lines below

1820-422: Is a masterpiece.... The other group utterly denies this work any artistic value ... [t]hrough strange modulations and violent transitions ... with abundant scratchings in the bass, with three horns and so forth, a true if not desirable originality can indeed be gained without much effort. ...The third, very small group stands in the middle; they admit that the symphony contains many beautiful qualities, but admit that

1911-415: Is a set of variations on a theme. It lasts between 10 and 14 minutes. The theme was previously used by Beethoven in earlier compositions and arguably forms the basis for the first three movements of the symphony as well (see Thematic Origins below), and the movement can be roughly divided into four parts: While writing, Beethoven found himself having to reconcile the succession of the variations form with

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2002-412: Is between 5 and 6 minutes long. The A theme of the outer scherzo section appears pianissimo in the dominant key of B ♭ (mm. 7, 21), then piano in the secondary dominant key of F which is when the B part of the outer scherzo is heard (m. 41). This is followed by a pianissimo restart in B ♭ (m. 73), which is when the A theme is heard again, leading to a full fortissimo statement in

2093-402: Is finally restated with full orchestra in a and b before modulating to F major and the dominant B ♭ in group 2. The modulation to the dominant key of B ♭ appears at mm. 42–44, although it is not yet fully stabilized and entrenched. Here follows a group of three or two subjects: a lyrical downward motif (mm. 45–56) in canon between oboe, clarinet, flute, and violin;

2184-412: Is long, very long; contrived, very contrived; indeed, several of [its] merits lie somewhat hidden. They presuppose a great deal if they are to be discovered and enjoyed, as they must be, in the very moment of their appearance, and not for the first time on paper afterwards." A review of an 1827 performance in London wrote that this particular performance "most properly ended with the funeral march, omitting

2275-555: The Christy Minstrels and later the Moore and Burgess Minstrels, the Hall's resident minstrel troupe performed in one of the smaller halls located on the ground floor near the restaurant, below the main hall. Gilbert and Sullivan 's 1893 comic opera , Utopia, Limited , contains a joke in which the Court of St. James's is purposely confused with St. James's Hall and its minstrel shows, and

2366-545: The Eroica symphony is a large-scale composition that marked the beginning of the composer's innovative "middle period". Composed mainly in 1803–1804, the work broke boundaries in symphonic form, length, harmony, emotional and cultural content. It is widely considered a landmark in the transition between the Classical and the Romantic era. It is also often considered to be the first Romantic symphony. Beethoven first conducted

2457-450: The Eroica ) for two rehearsals of the work. The fee paid to Beethoven by Prince Lobkowitz would also have secured further private performances of the symphony that summer on his Bohemian estates, Eisenberg (Jezeří) and Raudnitz (Roudnice). The first public performance was on 7 April 1805, at the Theater an der Wien , Vienna ; for which concert the announced ( theoretical ) key for the symphony

2548-590: The Musical World observed: 'classical chamber music of the highest order is brought week after week within the reach of the shilling paying masses as it has now been no less than fifty-two times at St James's Hall.... swelling the total of the Monday Popular Concerts to no less than sixty-three within two years of their foundation.... Such a result is unparalleled in the history of musical entertainments.' George Bernard Shaw gives an interesting narrative of

2639-503: The Prince's Hall Piccadilly, but transferred to St. James's Hall until 1894, when they moved to Queen's Hall. In December 1893 Harry Plunket Greene and Leonard Borwick began their celebrated partnership in lieder recitals at the hall, which continued well into the new century. In 1895, the 16-year-old pianist Mark Hambourg gave a concert there under Henry J. Wood, in which he played three piano concerti. The First Internationale would use

2730-529: The exposition repeat is played. Unlike the longer adagio introductions in Beethoven's first two symphonies, the movement opens with two very loud E ♭ major chords, played by the whole orchestra, that establish the tonality of the movement. The conductor Kenneth Woods has noted that the opening movement of Eroica has been inspired by and modeled on Mozart's Symphony No. 39 , and shares many attributes of that earlier symphony which precedes this one by

2821-461: The "unusually late" lyrical theme. An alternative analysis holds that the second theme begins earlier at m. 45 with the downward motif. In this view, the traditional harmonic progression of the exposition ends at m. 82, with the new lyrical theme at m. 83 beginning an extension. This pattern would be consistent with that found later in the development, in which the climactic moment leads to a new lyrical theme that launches an extended section. Moreover,

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2912-473: The 'Pops' between 1888 and 1894. Shaw admired the Joachim Quartet, led either by Joachim himself or often by Mme Wilma Norman-Neruda (Lady Hallé) (and later still by Eugène Ysaÿe ), with ('modest') L. Ries (2nd violin), ('solemn') Herr Strauss (viola) and the ('gentle') cellist Alfredo Piatti . This was certainly the 'star turn' in that period. They frequently played full works, or even groups of works, at

3003-567: The 'Pops': their larger ensemble was often heard in the Beethoven septet . Among soloists heard in 1888-90 (the 31st and 32nd seasons) were Charles Hallé , Alma Haas (Beethoven op. 110), Agnes Zimmerman (Waldstein), Edvard Grieg , Bernhard Stavenhagen ( Schumann Papillons ), Arthur de Greef (Chopin), pianists; Joseph Joachim (Brahms), Mme Norman Neruda, (Bach concerto for 2 violins), violin; Bertha Moore, Charles Santley ( Erlkönig , To Anthea ), Marguerite Hall (Schubert, Brahms, Henschel), singers. The concerts were mixed, often consisting of

3094-536: The Alhambra. The Piccadilly facade was given a Gothic design, and the complex of two restaurants and three halls was hidden behind Nash's Quadrant. Sir George Henschel recalled its 'dear old, uncomfortable, long, narrow, green-upholstered benches (pale-green horse-hair) with the numbers of the seats tied over the straight backs with bright pink tape, like office files.' The Hall was built jointly by two music publishing firms, Chappell & Co. and Cramer & Co. , in

3185-502: The English premiere of his Fourth Symphony , Saint-Saëns conducted his Le Rouet d'Omphale and played his G minor concerto , and Max Bruch conducted his own Second Violin Concerto with Ladislas Gorski as soloist. In November 1893, a presentation was made to the Society's Secretary Francesco Berger in appreciation of ten years service. Soon afterwards, Queen's Hall opened its doors, and

3276-475: The French (14 May 1804), Beethoven's secretary, Ferdinand Ries said that: In writing this symphony, Beethoven had been thinking of Bonaparte, but Bonaparte while he was First Consul . At that time Beethoven had the highest esteem for him, and compared him to the greatest consuls of Ancient Rome . Not only I, but many of Beethoven's closer friends, saw this symphony on his table, beautifully copied in manuscript, with

3367-419: The Italian subtitle. Three months after retracting his initial Napoleonic dedication of the symphony, Beethoven informed his music publisher that "The title of the symphony is really Bonaparte ". In 1806, the score was published under the Italian title Sinfonia Eroica ... composta per festeggiare il sovvenire di un grande Uomo ("Heroic Symphony, Composed to celebrate the memory of a great man"). Composed from

3458-476: The Lord Mayor and Sherriffs on 20 April 1907. It opened on 25 April 1908 with a series of promenade concerts performed by the newly formed St. James's Hall Orchestra under the musical directorship of Mr. Lyell Taylor. 51°30′34″N 0°8′12″W  /  51.50944°N 0.13667°W  / 51.50944; -0.13667 Concert hall A concert hall is a cultural building with a stage that serves as

3549-507: The Opus 35 Variations. Thus, it is argued that Beethoven's initial conception for a complete symphony in E ♭ – including its first three movements – emerged directly from the Op. 35 Variations. The first movement's main theme (mm. 3–6) has thus been traced back to the bass line theme of the Opus 35 variations (E ♭ , B ♭ ↓, B ♭ ↑, E ♭ ) by way of intermediate versions found in one of Beethoven's sketchbooks. In

3640-486: The Philharmonic conductorship, the Society suggested to Richter that he might become its conductor, and the two series of concerts might be amalgamated under the Society's supervision. Richter did not accept the plan. In addition to Richter's series, there was also a nine-year winter series of subscription concerts established and conducted by George Henschel , including a full cycle of Beethoven symphonies in one year, and

3731-530: The Society in 1891 to perform the Saint-Saëns' C minor, and the Rubinstein D minor, concerti. Leonard Borwick and Frederic Lamond also performed there for the Society. Cowen gave many concerts of contemporary English composers such as Sullivan, Hubert Parry , Alexander Mackenzie , Charles Villiers Stanford , and of his own works. In 1892 Alexander Mackenzie succeeded Cowen. In the 1893 season, Tchaikovsky gave

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3822-462: The Society moved there in the following February. Hans Richter often conducted Richard Wagner concerts at St. James's Hall, beginning in 1877. These 'Orchestral Festival Concerts' (established regularly in 1879 by the violinist Hermann Franke ), which commenced after Easter, were among the chief rivals to the Philharmonic Society programmes. At the time of Arthur Sullivan's resignation of

3913-530: The Society's recovery from a financial crisis. Concerts were moved from Monday to Thursday evenings, to make way for the Monday Night Popular Chamber-Concerts, known as the 'Pops'. The 1881 season included two performances of Berlioz 's Roméo et Juliette ; Scharwenka gave the British premiere of his Piano Concerto No. 2, and Eugen d'Albert and Emma Albani appeared before the Society. Over

4004-540: The Society. Tchaikovsky returned in 1889 to conduct his Piano Concerto No. 1 with Wassily Sapellnikoff making his English debut (who three years later created a furor with the Liszt E flat concerto ); and Agathe Backer-Grøndahl and Eugène Ysaÿe also made their English debuts. In 1890, Dvořák conducted his Fourth Symphony . Paderewski , who gave four recitals at St. James's Hall for his début in 1890, returned there for

4095-486: The Society; and Hans von Bülow made his London debut, playing Beethoven's "Emperor" concerto and Bach 's Chromatic Fantasia and Fugue . In 1874, Pablo de Sarasate and Camille Saint-Saëns played there, and in 1875, August Wilhelmj . Other Philharmonic Society highlights of the next few years included performances by George Henschel , Xaver Scharwenka , Émile Sauret , Joseph Joachim and Edward Dannreuther . Changes of management were introduced in 1881 following

4186-585: The Swedish Nightingale, Jenny Lind , and under the baton of her husband, conductor Otto Goldschmidt , the Mass came to performance in April 1876 at St James's Hall, and a second performance was given a month later. Henry J. Wood performed the E minor organ concerto of Ebenezer Prout at the Hall with an orchestra under Joseph Barnby , in the late 1880s. Although the performance earned him much praise, he referred to

4277-448: The autumn of 1803 until the spring of 1804, the earliest rehearsals and performances of the third symphony were private, and took place in the Vienna palace of Beethoven's noble patron, Prince Lobkowitz . An account record dated 9 June 1804, submitted by the prince's Kapellmeister Anton Wranitzky , shows that the prince hired twenty-two extra musicians (including the third horn required for

4368-480: The band, at first subdued, broke out in a 'wild strain of brazen minstrelsy' during the final bars of the funeral march in the Eroica Symphony . After the movement was applauded a member of the audience began calling out that a complaint should be lodged, and won general approval, hear, hear , and people standing up to look at him. On one occasion Lady Henschel and her daughter went to hear Joseph Joachim play at

4459-446: The charge of great bizarrerie." Another agreed that "[t]he finale pleased less, and that "the artist often wanted only to play games with the audience without taking its enjoyment into account simply in order to unloose a strange mood and, at the same time, to let his originality sparkle thereby". An exhaustive review of the work in a leading music journal made an observation that may still be familiar to first-time listeners: "this finale

4550-413: The concert-hall. The heavy tum-tum of the basses throbbed obscurely against the rhythms of Spohr and Berlioz all the evening, like a toothache through a troubled dream; and occasionally, during a pianissimo , or in one of Lady Hallé's eloquent pauses, the cornet would burst into vulgar melody in a remote key, and set us all flinching, squirming, shuddering, and grimacing hideously.' Only a fortnight later,

4641-805: The concerts of 1885–87, and as guest conductors, Dvořák, Moritz Moszkowski and Saint-Saëns were heard in works written for the Society. Among the soloists were Tivadar Nachéz , Fanny Davies , Lillian Nordica , Ella Russell , Emma Nevada , Józef Hofmann and František Ondříček . Most notably Saint-Saëns's Symphony No. 3 (Saint-Saëns) written at the behest of the Society, and premiered there on 19 May 1886. F. H. Cowen succeeded Sullivan as conductor from 1888–92. In his first season Edvard Grieg played his Piano Concerto in A minor and Pyotr Ilyich Tchaikovsky made his first appearance before an English audience, introducing two works. Johan Svendsen and Charles-Marie Widor also conducted in that season, and Clara Schumann made her farewell performance to

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4732-411: The context often seems completely disjointed, and that the endless duration ... exhausts even connoisseurs, becoming unbearable to the mere amateur. To the public the symphony was too difficult, too long ... Beethoven, on the other hand, did not find the applause to be sufficiently outstanding. One reviewer at the premiere wrote that "this new work of B. has great and daring ideas, and ... great power in

4823-509: The downward motif theme (m. 45) is developed significantly in the next section while the lyrical theme (m. 83) does not appear. The early modulation to B ♭ had been present in early drafts of the symphony, as was the indecisive nature of the second group. Commenters have also observed that the sonata form and orchestration transitions would be fully preserved by cutting the third group (m. 83–143). However, others have observed that form and orchestration would also be fully preserved if

4914-603: The end of May 1858. According to Reeves' biographer, 'The hall itself met with general approval, but the arrangements for chorus and orchestra were severely condemned.' In the same year, one of the first complete performances of J.S. Bach 's St Matthew Passion to be heard in England was given there under William Sterndale Bennett , with Sims Reeves , Helen Lemmens-Sherrington , Charlotte Sainton-Dolby and Willoughby Weiss . The hall became known for its continuous production of blackface minstrelsy from 1862 until 1904. Known as

5005-423: The first theme in the original key then begins in the oboe (m. 173). The coda (m. 209) begins with a marching motif in the strings that was earlier heard in the major section (at mm. 78, 100) and eventually ends with a final soft statement of the main theme (m. 238) that "crumbles into short phrases interspersed with silences". The third movement is a lively scherzo with trio in rapid 4 time. It

5096-447: The flute, bassoon, and strings only to ff all of a sudden by a huge crash on the whole orchestra, as the tempo abruptly changes to Presto . A flurry of sforzandos appear, and the finale ends triumphantly with three large E-flat major chords on the tutti. Beethoven began composing the third symphony soon after Symphony No. 2 in D major, Opus 36 and completed the composition in early 1804. The first public performance of Symphony No. 3

5187-543: The following statement: It is scarcely necessary for Messrs. CHAPPELL and Co. to add that any announcement made in connexion with these FAREWELL READINGS will be strictly adhered to and considered final; and that on no consideration whatever will Mr. DICKENS be induced to appoint an extra night in any place in which he shall have been once announced to read for the last time. The stalls were priced at five shillings , balcony seats at three, and general admission at one shilling. A new amenity, sofa stalls ("of which there will be

5278-586: The hall as their meeting place. The Chappell ballad concerts were being managed by William Boosey in 1902, when the hall was owned by a private company. The controlling share was held by T. P. Chappell, chairman of Chappell's : he turned down a good offer to buy the hall because Boosey felt strongly about its old connection with the Saturday and Monday 'Pops' and the Chappell ballad concerts. But Chappell died in June 1902, and

5369-499: The hall until 28 February 1894, when it moved to the Queen's Hall. There were major events in 1870–71, when a Beethoven centenary season was held, with all nine symphonies performed. The bust of Beethoven by Johann Nepomuk Schaller was presented to the Society and collected (in Pest, Hungary ) by Sir William Cusins . It was exhibited at the Society's first concert in 1871, and a replica

5460-420: The hall. Dickens would give his last public reading here at 8:00 pm on the 15 March 1870. He died shortly thereafter on 9 June, having suffered another stroke. The Bach Choir , established in 1875 under a founding committee including Sir George Grove and Sir John Stainer , had as a primary aim the introduction to England of Bach 's Mass in B Minor . With a choir of between 200 and 250 voices, including

5551-530: The home of the Philharmonic Society and the Christy Minstrels and for the many famous conductors and performers who gave important performances there. The first performance at the hall was The Hymn of Praise , sung by the Vocal Association, under Julius Benedict . Sims Reeves sang Beethoven 's 'Adelaide' there (the first of many successes), accompanied by Arabella Goddard , in a concert at

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5642-548: The hope of attracting the growing audiences for fine musical performances that attended the Crystal Palace and the halls being built in the provinces. It stood empty for nearly a year after its opening. For almost half a century thereafter, the Hall was London's principal concert hall, to be succeeded by Queen's Hall in the 1900s and later by Wigmore Hall , the Royal Albert Hall and Royal Festival Hall . It became famous for its 'Monday Pops' concerts and Ballad Concerts, as

5733-614: The idea of the Monday Popular Concerts, which established the fame and popularity of the hall. George Bernard Shaw reported that the concerts at the hall contributed greatly to the spread and enlightenment of musical taste in England. Monday 'Pops' were held in the evening, and Saturday 'Pops' on Saturday afternoons. These were chamber-concerts. Their programmes were almost exclusively 'classical', and consisted of piano and organ recital, singers, violinists, string quartets and other chamber ensemble. They were managed by John Boosey , and later by William Boosey , together with Chappell. In 1861

5824-573: The instrument as 'that terrible box of whistles at St. James's Hall'. This had not seemed to bother Camille Saint-Saëns when he premiered his third Symphony there (in which two sections make extensive use of the organ) in 1886. Saint-Saëns was a fine organist, and was titulaire of Église de la Madeleine in Paris . If he had any objections to the organ of St. James Hall for the premier of his symphony, they do not appear in his writings. The Stock Exchange Orchestral Society, founded 1883, originally played in

5915-521: The main theme in E ♭ (mm. 394–395), while the strings continue playing the dominant chord . In the 19th century, this was thought to be a mistake; some conductors assumed the horn notes were written in the tenor clef (B ♭ –D–B ♭ –F) while others altered the second violin harmony to G (chord of the tonic), an error that eventually appeared in an early printed version. However, Beethoven's secretary, Ferdinand Ries , shared this anecdote about that horn entrance: The first rehearsal of

6006-495: The main theme ultimately appears. This again parallels the structure of the Opus 35 variations themselves. Finally, the loud E ♭ chord that begins the Opus 35 variations themselves is moved here to the beginning of the first movement, in the form of the two chords that introduce the first movement. Alternatively, the first movement's resemblance to the overture to the comic opera Bastien und Bastienne (1768), composed by twelve-year-old W. A. Mozart , has been noted. It

6097-445: The music is interrupted by six consecutive sforzando hemiola chords (mm. 128–131). Later, and following the concluding chords of the exposition (mm. 144–148), the main theme returns in a brief codetta (m. 148) that transitions into the repeat / development. The status of these groups is debated as to which is more important in the structure. In the traditional analysis, the three early motifs are transitional subjects to arrive at

6188-516: The next two years many choral works were given with the Philharmonic Choir, including works by Franz Liszt , Anton Rubinstein , Weber , Beethoven and Brahms. In 1883, Cusins retired as conductor, and for one season there was a team of honorary conductors. Antonín Dvořák conducted his Sixth Symphony (although it was referred to as "Symphony No. 1") in March 1884. Sir Arthur Sullivan conducted

6279-499: The orchestra in Christmas 1804, forcing the confused players to stop and go back. Rather than leading to the recapitulation at this point, a new theme in E minor is then introduced instead (m. 284), beginning the second section of the development. This eventually leads to a near-doubling of the development's length, in like proportion to the exposition. At the end of the development, one horn famously appears to come in early with

6370-551: The other parts, which are entirely inconsistent with the avowed design of the composition". The symphony premiered in London on 26 March 1807 at the Covent Garden Theatre and in Boston on 17 April 1810 by the newly founded Boston Philharmonic Society, both performances receiving fairly mixed reviews. The original autograph manuscript does not survive. A copy of the score with Beethoven's handwritten notes and remarks, including

6461-407: The other shareholders accepted a new offer without consulting Boosey, who was badly put out. Then Queen's Hall came into the market, and a friend of Boosey's acting in that interest pointed out that Queen's Hall would be worth much more if St James's Hall ceased to operate. Boosey realised that Messrs Chappell could benefit most by becoming lessors of Queen's Hall, and it was immediately arranged with

6552-405: The principal theme has the functions of a refrain as in rondo form. However, it can also be analyzed as having five parts, a combination of ternary, rondo, and sonata form: Musically, the thematic solemnity of the second movement has lent itself for use as a funeral march, proper. The movement is between 14 and 18 minutes long. The opening A-section in C minor begins with the march theme in

6643-405: The processional sonata form found in the first movement. Thus, the final movement can be analyzed as a double variation form, with two themes (the bass theme and melody theme) being varied alternately with each other. Fabrizio Della Seta lays out the themes as such in the table: The following table recounts multiple interpretations of the variations, although this list is not exhaustive: After

6734-450: The result that Chappell's controlled Queen's Hall from 1902 down to 1944. The 11-year-old violinist Franz von Vecsey made his English debut at St James's Hall in April or early May 1904. It continued in use until February 1905 when it was demolished. The Piccadilly Hotel was afterwards built on the site. A new St. James's Hall at Great Portland Street , (on a site previously occupied by St Paul's Church) had its foundation stone laid by

6825-420: The scherzo's main theme (mvt. III, mm. 93–100). Thus, the first three movements can be viewed as symphonic-length "variations" on the Opus 35 theme, ultimately anticipating the theme's appearance in the fourth movement. Moreover, Beethoven's choice to begin the symphony with a theme adapted from the bass line is also paralleled in the fourth movement, in which the bass theme is heard as the first variation before

6916-421: The second and third subjects of the second group were cut instead (mm. 57–82), consistent with the traditional analysis. The development section (m. 154), like the rest of the movement, is characterized by harmonic and rhythmic tension from dissonant chords and long passages of syncopated rhythm. The first section of the development is based around various thematic explorations and counterpoint , including

7007-454: The second movement, the combined tonality (melody and bass) of the Opus 35 theme's first four bars – E ♭ , B ♭ ↓, B ♭ 7(A ♭ )↑, E ♭ – appears in slightly altered form as the funeral's march's second theme (E ♭ , B ♭ ↓, A ♭ ↑, E ♮ ) (mvt. II, mm. 17–20), followed by two sudden forte B ♭ s that echo later elements of the theme. That same tonality then appears unaltered as

7098-473: The strings, then in the winds. A second theme (m. 17) in the relative major (E ♭ ) quickly returns to minor tonality, and these materials are developed throughout the rest of the section. This eventually gives way to a brief B-section in C major (m. 69) "for what may be called the Trio of the March", which Beethoven unusually calls attention to by marking "Maggiore" (major) in the score. At this point,

7189-433: The symphonic tradition. The scherzo is then repeated in shortened form, except that very notably the second occurrence of the downward unison motif is changed to duple time (mm. 381–384). The movement ends with a coda (m. 423) – with Beethoven marking the word in the score which was unusual for him – that quickly builds from pianissimo to fortissimo, encapsulating the pattern of the whole movement. The fourth movement

7280-412: The symphony was terrible, but the hornist did, in fact, come in on cue. I was standing next to Beethoven and, believing that he had made a wrong entrance, I said, "That damned hornist! Can't he count? It sounds frightfully wrong." I believe I was in danger of getting my ears boxed. Beethoven did not forgive me for a long time. The recapitulation starts in the tonic E♭ major as expected, but then features

7371-403: The third symphony to Napoleon, lest it cost him the composer's fee paid him by a noble patron; so, Beethoven re-dedicated his third symphony to Prince Joseph Franz Maximilian Lobkowitz – nonetheless, despite such a bread-and-butter consideration, the politically idealistic Beethoven titled the work "Bonaparte". Later, about the composer's response to Napoleon having proclaimed himself Emperor of

7462-407: The tonic key of E ♭ (m. 93). Later, a downward arpeggio motif with sforzandos on the second beat is played twice in unison , first by the strings (mm. 115–119) and then by the full orchestra (mm. 123–127). This is followed by a syncopated motif characterized by descending fourths (m. 143), leading to the repeat. The trio section features three horns, the first time this had appeared in

7553-470: The traditional "bounds of ceremonial propriety" would normally indicate a da capo return to the A theme. However, the first theme in C minor (m. 105) begins modulating in the sixth bar (m. 110), leading to a fugue in F minor (m. 114) based on an inversion of the original second theme. The first theme reappears briefly in G minor in the strings (m. 154), followed by a stormy development passage ("a shocking fortissimo plunge"). A full re-statement of

7644-411: The way it is worked out; but the symphony would improve immeasurably if B. could bring himself to shorten it, and to bring more light, clarity, and unity to the whole." Another said that the symphony was "for the most part so shrill and complicated that only those who worship the failings and merits of this composer with equal fire, which at times borders on the ridiculous, could find pleasure in it". But

7735-570: The winter of 1800–1801. The next year, Beethoven used the same theme as the basis for his Variations and Fugue for Piano in E♭ Major , Op. 35, now commonly known as the Eroica Variations due to the theme's re-use in the symphony. It is the only theme that Beethoven used for so many separate works in his lifetime, and each use is in the same key of E ♭ major. The "Wielhorsky Sketchbook", Beethoven's principal sketchbook for 1802, contains

7826-421: The word "Bonaparte" inscribed at the very top of the title-page and "Ludwig van Beethoven" at the very bottom ... I was the first to tell him the news that Bonaparte had declared himself Emperor, whereupon he broke into a rage and exclaimed, "So he is no more than a common mortal! Now, too, he will tread under foot all the rights of Man, indulge only his ambition; now he will think himself superior to all men, become

7917-502: Was Dis (D ♯ major, 9 sharps ). Reviews of the work's public premiere (on 7 April 1805) were decidedly mixed. The concert also included the premiere of a Symphony in E flat major by Anton Eberl (1765–1807) that received better reviews than Beethoven's symphony. One correspondent describes the first reactions to the Eroica : Musical connoisseurs and amateurs were divided into several parties. One group, Beethoven's very special friends, maintains that precisely this symphony

8008-517: Was on 7 April 1805 in Vienna. There is significant evidence that the Eroica , perhaps unlike Beethoven's other symphonies, was constructed back-to-front. The theme used in the fourth movement, including its bass line , originate from the seventh of Beethoven's 12 Contredanses for Orchestra, WoO 14, and also from the Finale to his ballet The Creatures of Prometheus , Op. 43, both of which were composed in

8099-403: Was placed at the front of the platform at every Philharmonic concert thereafter. The Society's Gold Medal incorporated an image of the bust. Another major event of 1871 was the original presentation of medals to ten distinguished musicians. In 1871, Charles Gounod conducted a concert of his music. In 1873 Brahms 's A German Requiem had its English premiere; Edward Lloyd first sang before

8190-525: Was too small. In 1868, famed Victorian author Charles Dickens presented a final series of "Farewell Readings," at the hall, which commenced on the evening of October 6, with a program devoted to "Doctor Marigold" (from the Christmas Story ) and "The Trial" from Pickwick . He had settled with his tour managers, Chappell & Co., on 100 readings for the princely sum of £8,000. Attendees would receive printed programs and Chappell's advertisements included

8281-474: Was unlikely that Beethoven knew of that unpublished composition. A possible explanation is that Mozart and Beethoven each coincidentally heard and learned the theme from elsewhere. Beethoven originally dedicated the third symphony to Napoleon Bonaparte , who he believed embodied the democratic and anti-monarchical ideals of the French Revolution . In the autumn of 1804, Beethoven withdrew his dedication of

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