1. Beethoven: The Heroic Period

2. Heiligenstadt

8. [across the top] Nb: 1 Cues for the other instruments are to be written into the first violin part Sinfonia Grande Intitulata Bonaparte [1]804 im August del Sigr. Louis van Beethoven Geschrieben auf Bonaparte Sinfonia 3 Op. 55 [at the bottom] Nb: 2. The third horn [part] is so written that it can be played by a primario as well as a secundario

9. [across the top] Nb: 1 Cues for the other instruments are to be written into the first violin part Sinfonia Grande [written by copyist] Intitulata Bonaparte [scratched out violently, made a hole] [1]804 im August del Sigr [written by copyist] Louis van Beethoven [written by copyist] Geschrieben [in pencil, in Beethoven’s own hand] auf Bonaparte [in pencil, in Beethoven’s own hand] Sinfonia 3 Op. 55 [at the bottom] Nb: 2. The third horn [part] is so written that it can be played by a primario as well as a secundario

12. Beethoven’s expansion of sonata form in the Third Symphony

13. Opening two chords Deceptively simple theme for four measures

14. Repeat of opening theme, ff Three-note transition figure in woodwinds (oboe, clarinet, flute)

16. Second theme, alternating between woodwinds and strings

17. Extended crescendo, from pp to ff, coupled with increasing note values and expansion of range

18. Rhythmic energy, typical of Beethoven’s “heroic” works

19. New theme introduced in the development section

20. Horn entrance at “wrong” time, creating unexpected dissonance, immediately before recapitulation

21. “Apparent” ending of the movement, but then Beethoven slides down three notes to begin a greatly expanded coda, a “second development”

22. The real end of the first movement

23. Second movement: Marcia funebre C minor again—Beethoven’s “key of tragedy”

24. Third movement: Scherzo, beginning

25. Trio – begun by the horns

26. Acceleration, drive to the end

28. Finale [begins with prolonged dominant harmony] Introduction and theme

29. Fugal treatment of theme
Fugal treatment of theme. Counterpoint becomes important in Beethoven’s middle period, and even more so in his late works.

31. Closing chords, similar to opening chords of first movement, and chords that end each of the movements.