Musical Analysis: Beethoven Symphony 3, 4th movement: Finale
Beethoven Symphony No 3 "Eroica", IV. Finale - Allegro Molto
7 April 1805
Ludwig Van Beethoven
Austria

    Some pieces of music seem to stir the mind and mysteriously raise it to a higher level of self-awareness and confidence. Not everyone reacts in the same way to a piece of music; but one piece of music that raises my spirits and gives me a feeling of grandeur is the fourth movement, the grand finale, of Ludwig Van Beethoven's third symphony. The symphony was written at a time when Beethoven reached full maturity as a musician and has changed the notion of a symphony forever, raising the form to a new level of size, ambition, and individual personality (Swafford).

Tempo
    The song is written at an allegro molto speed, which is lively, fast, and bright (around 140 beats per minute). At times it slows down, especially during the end for a quiet reiteration of the theme. On particularly grand parts the tempo also slows down to half as fast as it was before, providing extra beats so every note can be properly emphasized and the remaining space filled out by other instruments for a feel of grandeur.

Rhythm
    The song has a beat of 2/4. The rhythm is very complex, changing constantly as the song moves forward. Sometimes on fast parts, all else will abruptly halt as a note is drawn out, allowing for some breathing space and preventing the song from feeling overwhelming or rushed. The song is fond of repeating itself, which means there are many sections with the same basic rhythm, although the notes change, spiraling downward or upward. Though there are plenty of quiet sections with pattering notes, I get the general impression of a rhythm that is full and fast, appropriate for the finale of one of Beethoven's greatest symphonies.

Pitch
    Pitch varies much less than in some extreme works of classical music (like Felix Mendelssohn's Violin Concerto: Finale). In fact, the lowest and highest notes of the main theme are only separated by four notes. The melodies and harmonies are being played at different octaves, but no terrific variation nor giant leaps in pitch occur during the song--something that helps to keep it from feeling too jarring and tying the whole song together well. The coda arguably is the richest when it comes to pitch, as the supporting instruments scurry up and down the scale and the main instruments reach their highest notes.

Melody
    The melody becomes very recognizable due to the song's structure as a set of variations on a nine-measure theme. This theme is repeated loudly and softly, slowly and quickly, for a total of ten times throughout the piece. After a short introduction at the beginning the theme is played for the first time, and its reiteration comes just before the coda (the passage that brings the piece to an end). Violins and flutes generally provide the melody, but there is also a soft, reflective oboe solo that begins the final formal section and replays the theme.

Harmony
    Harmony is provided by many instruments (this is a symphony, after all). Double basses and cellos add low notes that, while not as noticeable as the flutes and violins playing the melody, make the song richer and give it more weight. Horns provide a harmony on the higher notes and during the oboe solo. Harmony especially helps during the times the song switches to a minor key, the deep notes giving a sense of urgency and sometimes even of judgment. Harmony on songs like this one are easy to take for granted when present, but you notice when they are not there.

Timbre
    Timbre is often soft without any terribly sharp contrasts, helped by the large number of wind instruments that take center stage. The violins also lend their graces to keeping notes from getting percussive and allowing for a smooth quality. The softness is especially notable during the oboe solo. During the heroic moments, however, horns and trumpets give a brassier feel to the music.

Dynamics
    The song starts out loudly but abruptly fades to quiet plucking notes. The song is flexible, switching deftly from grand, loud variations to quiet ones without any jarring abruptness. Beethoven also has no qualms about switching between major and minor keys in this piece--sometimes it will only stay in one or the other for a few dozen measures or less. The ending begins cautiously, with a string of repeating notes by one or two  giving way to a grand unity of all the instruments. Michael Lewanski notes, "Though there are a few moments of hesitation, the coda transforms the movement's introductory vortex into a celebratory din, as the orchestra affirms Beethoven's triumph, and, it would not be an exaggeration to say, begins the next 200 years of music" (Lewanski).

    Surprisingly enough, despite the deep esteem with which it is held today, this finale--and the entire symphony--received a mix reception at its time. It debuted in an age when the traditional symphony was short and often lighthearted, leading many critics to complain of the change. However, the piece has been reassessed since then and is now considered one of the finest works of classical music, with some ranking it as Beethoven's greatest symphony, greater even than his fifth or ninth. While I have not yet made up my mind yet as to which of Beethoven's symphonies is the best, his third, enriched immeasurably by this finale, makes it a strong contender.

References:
Swafford, Jan. “Beethoven: A Guide to the Symphonies: London Symphony Orchestra.” London Symphony Orchestra, 2024, www.lso.co.uk/beethoven-a-guide-to-the-symphonies/.
Lewanski, Michael. “On Beethoven’s Eroica Symphony.” Michael Lewanski, Conductor, Michael Lewanski, conductor, 29 Jan. 2015, www.michaellewanski.com/blog/2015/1/29/on-beethovens-eroica-symphony.