Beethoven's piano music: Ode to Joy

  Sonatas

Every sonatas which Beethoven create has its own particular rewards to listener. Such like Pathétique (Op. 13) boomed up the musical world with the unprecedented violence of its expression. The Appassionata (Op. 57) created by Beethoven after he became deaf, and Beethoven said for his creation "Fate by the throat" as himself. Moonlight (or Sonata quasi una Fantasia, Op. 27 No. 2) is certain one of his sonatas which listener liked. Because of the first movement which where can atracted people when they first listen. Ludwig Rellstad, the music critic said that when he listened to the first movement as reflected of the surface of Lake Lucerne.               (Moonlight ; 1st movement)

 The gigantic Hammerklavier Sonata (Op. 106) rarely played because of its immense challenge of its pianist.

   Variations

Another interresting element of Beethoven's music is the variations. 

The variation started in witty works published when he stqrted sat down improved with his beloved keyboard. Like Eroica- (Op.35) and Diabelli Variations (Op. 120).

   Concertos

Finally he has his concertos which representing with the climax of Classical concerto but also serving the models of Romantic concerto. 

   From all of Beethoven's masterpieces, he has his own favourite songs. Those are sonatas. He think that the sonatas which he made are not such a song which can used in one day but throwed in another day. These sonatas are contain all of his mind, what he imagined, what he heaped, and all of these part are nature for him.
   From 32 sonatas which Beethoven's made are the big treasure of human. Beethoven's changed sonata from its old form. Beethoven imposes on the sonata his strong personality creating a new, impressive, form of art, in which his own life, with its joys and sorrows, is projected.
     The fundamental principle of organization of the Beethoven piano sonata is the tonality. We can say that Beethoven perceived tonality as the key to any composition, since it leads to the true understanding of the musical form.
      In what the structural architectonic of the Beethoven piano sonatas is regarded, there are no apparent patterns: out of the thirty-two sonatas written by Beethoven, twelve have four parts, thirteen have three parts and seven have two parts. Another interesting aspect is that of the diversity of de movement types and the order of succession. The sonatas Op. 26, 27, 54, 109 or 110 reveal this total liberty of dealing with the character of the constitutive pats and their order in the sonata form. But, no matter the movements or their order of succession, there can be established a general characteristic of the Beethoven piano sonata (and work in general) can be easily established: his great care to create a easily perceptible connection between the constitutive parts of the sonata.

Opera Fidelio

    For this presentation of material to Beethoven's only opera Fidelio, we have expanded on our new mode of presentation and are introducing with it a new level of in-depth treatment of one particular Beethoven work.

It features a thorough creation history, a compilation of all three versions of the work in table form, a plot description in form of a combination of 'synopsis' and description of the musical content, the libretto text of the 'standard' 1814 version, a collection of comments and criticism of the work as these emerged in music history, a section on interesting topical links and a listing of sources used.

We hope that this thorough introduction to Beethoven's Fidelio provides you with many incentives for further study, listening experiences and, at best, lively stage performances!

   Did you know that many of Beethoven's masterpieces were beheld when he being deaf in 40 years old? He being deaf because he was left by his close's people. He felt desperate and want to suicide. But, then he decide to keep worked however it's being very hard to him. With his deafness, he still composed many masterpiece. And, his attitude being a symbol not to discouraged even if his bigger power has missing. 
   In the end of 1814, Beethoven played Fidelio succesfully. Many of Wina congress's people watching this opera. Out of his succesfull, his hearing being severe. 
   In 1826, Beethoven had a high cold with kidney disease and being his death cause in March 26,1827.
   Here's his masterpieces wich being held when he missing his hearing:
- Fur Elise
- Sinfonia
- Flight of The Bumble Bee
- Mozart Strauss Beethoven
- Mondsheinsonate
- Ode to Joy
- Pathetique
- Minuet In G
- Can You Hear Me 

  Fur Elise 

   This occation, i will tell you what is the most popular Beethoven's masterpiece: Fur Elise or in English means for Elise. 
   Do you know that every big artist like Ludwig van Beethoven always find their experience for inspiration every masterpieces? And Fur Elise is the one of Beethoven's experience. He made this masterpiece and gave the title: Klavierstück in a-Moll or we can called melody for piano in A minor.
   And under the title, Beethoven add the words: "Fur Elise" or for Elise. Beside those words, there are another words,"April 27, as a memory from Ludwig van Beethoven". Beethoven keep this memory in his diary with title: spring in 1810. So, can you imagine who is Elise for Beethoven? 

The Mysteryous Girl

   This melody is very popular and legendary for every people who listen it. However they know the clasical music or not. And for one fact again, this melody was populer because the character of Elise in this melody. Who is Elise exactly? 

   Klaus Martin Kopitz, the art experts from Berlin, has solved the mystery of Elise. 

Few years ago, Kopitz done his book wich the theme is: Beethoven from people side in his era. And of course Kopitz needs some sourches to done his book. So, he search from beethoven's diary, mails, poets, and some memories. He found in his diary women who near him entire his life. And the one of those women is Elisabeth Rockel.

For Elisabeth

   Elisabeth Rockel born in 1793 is the sister of Joseph Rockel, the composer who accompany Beethoven in his opera named: Fidelio. After this opera, Joseph and Beethoven become closer and closer. And of course his sister Elisabeth, who called as Elise become closer to with Beethoven. Elise is a cherfull girl. She is talented in music. And in her maturity she became a singer.

    Spring 1810, Elise moves to Bumberg to work as a singer in theatre in Bumberg. She became famous in Bumberg and has many popular fans too, like E.T.A. Hoffmann. Kokpitz found that in Beethoven's diary there are word said,"as a memory". Kokpitz guess that Beethoven possible will be splited with Ellise. And because they two are closer friend, Beethoven didn't dedicate his masterpice for " Miss Rockler" but "Elise".

The Closer Friend of The Composer

   And insterestingly, Elise herself who told how they two become a closer friends, without any ashamed. Elise told that beethoven want to twit her, "Beethoven never stop to twit me, with hie ordinary style like people from Rhein river."

   Finally, Elise married with Johann Nopomuk Hummel. But, it never broke the relationship between Beethoven and Elise. Elise was visitid Beethoven a few days before his died, March 1827. As a habbit in that era, Elise cut a little of Beethoven's hair for her. And of course Beethoven gave her his last stationary.

    

  It's because i like violin, and i'm trully, madly with violin, now i choose violin and orchestra for discussion this occasion.

 VIOLIN and ORCHESTRA

1. Romance for Violin and Orchestra No. 2 in F major, Op. 50

    Was written in 1789 and published in 1805. This orchestra was written between Romance No.1. And both of two were Beethoven's most popular works.

2. Romance for Violin and Orchestra No. 1 in G major, Op. 40

    This romance is the twin of romance no.2. But written 13 years later than romance no.2. And published in 1803. 

  These romance talk about the lovers in love. Their ashamed to show how much the love to each other. But finally the boy with his courage, told his girl how fallin him with her.  Feels of ashamed, scared, happy, and tight are poured in one violin orchestra.

3.  Violin Concerto in D major, Op. 61

      Was written in 1806 and premiered in 23 December 1806 in the Theater an der Wien in Vienna. This concert is different with those two romance. It is dedicated to his collegue Franz Clement. 

1st movement: Allegro ma non troppo (D major)

2nd movement:  Larghetto (G major)

3rd movement: Rondo. Allegro (D major) 

7. Symphony No.3 in E flat major (Op. 55)

 Also known as Itallian ‘heroic’. Is landmark musical that created of the compposer “middle-period”. Is a widely composed as a mature expression clasical style of the latest eighteen century and also defiding an romantic style of the latest nineteen century. This composed clompeted in 1804 and first perfomed in April 7th,1805.

   1st movement: Allegro con brio

  In ¾ on sonata-allegro form. Open with two E flat major during the whole orchestra, First theme is intreduce by cello, and then fifth bar of melody, and a cromatic note and finish by the violin.  After the first theme is played by various instruments, the movement transitions to a calmer second theme that leads to the development section. The development, like the rest of the piece, is characterized by remarkable harmonic and rhythmic tension due to dissonant chords and long passages of syncopated rhythm. Most remarkably, Beethoven introduces a new melody in the development section, breaking the classical tradition that the development section only works with existing material. The development section leads back into the recapitulation; notably, the horns appear to come in early with the tonic melody while the strings are still playing the dominant chord. The movement ends in a long coda that re-introduces the new melody of the development section. Overall, the noble character of the movement has led to its being called a portrait of the hero celebrated by the work.

    2nd movement: Marcia funebre: Adagio assai in C minor

   The second movement is a funeral march in C minor with a trio in C major. The movement contains multiple fugatos, and its solemnity has led to its being used in public funerals.

     3rd movement: Scherzo: Allegro vivace

    The third movement is a lively Scherzo. The trio features hunting calls from the three horns.

     4th movement :  Finale: Allegro molto

    The fourth movement is a set of variations on a theme that Beethoven had used several times before. The theme first was used in the finale of his ballet music for The Creatures of Prometheus (1800), the seventh of 12 Contradanses, WoO 14(1800-1802) and later as a set of piano variations, Op. 35. The themes subsequent use in this symphony has given the Op. 35 set the nickname "Eroica Variations". The variations here are structured in a similar manner to those Op. 35 in that its the bass line of the theme which makes the first appearance and is subjected to a series of strophic variations leading up to the full appearance of the theme itself.

8. Symphony No.4 in B Flat Major (Op. 60)

  is a symphony by Ludwig van Beethoven, written in the summer of 1806. It was premiered in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz. The Coriolan Overture and the fourth piano concerto were premiered in that same concert.

^{Dedicated to}  Count Franz von Oppersdorff, a relative of Beethoven's patron, Prince Lichnowsky. The Count met Beethoven when he traveled to Lichnowsky's summer home where Beethoven was staying. Von Oppersdorff listened to Beethoven's Symphony No. 2 in D Major, and liked it so much that he offered a great amount of money for Beethoven to compose a new symphony for him. The dedication was made to "the Silesian nobleman Count Franz von Oppersdorf".

^{The Instruments:}

The symphony is scored for flute, 2 oboes, 2 clarinets in B flat, 2 bassoons, 2 horns in B flat and E flat, 2 trumpets in B flat and E flat, timpani and strings.

   1st movement: Adagio-Allegro vivace 2/2

    2nd movement: Adagio, 3/4 in E flat major

   It has stacato with the violin, cello, and bass. On the open it sounds slow and soft, but slowly it become hard and fast. Lilke that til the end. It swing like sunset in summer.

   3rd movement: Allegro vivace,3/4

   Sounds like mars. Feelin happy in summer time. Many creature singing, dancing, and playing in summer.

    4th movement: Allegro ma non troppo, 2/4

   At the final, the composer make some fast playing and some crowd noise like crowding people.

9. Symphony No.7 in A major, Op. 92

  This symphony created in 1811, was the seventh of his nine symphonies. He worked on it while staying in the Bohemian spa town of Teplice in the hope of improving his health. It was completed in 1812, and was dedicated to Count Moritz von Fries.

At its debut, Beethoven was noted as remarking that it was one of his best works. The second movement Allegretto was the most popular movement and had to be encored. The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony.

First Movement

The first movement starts with a long, expanded introduction marked Poco sostenuto that is noted for its long ascending scales and a cascading series of applied dominants that facilitates modulations to C Major and F Major. From the last episode in F Major, the movement transitions to Vivace through a series of no fewer than sixty-one repeated E's. The Vivace is in sonata form, and is dominated by lively dance-like rhythms (such as dotted rhythms), sudden dynamic changes, and abrupt modulations. In particular, the development section opens in C Major and contains extensive episodes in F Major. The movement finishes with a long coda, which starts similarly as the development section. The coda contains a famous twenty-bar passage consisting of a two bar motif repeated ten times to the background a four octave deep pedal-point of an E. The critic and composer Carl Maria von Weber is said to have pronounced Beethoven "fit for a madhouse" after hearing this passage.

Second Movement

The second movement in A minor has a tempo marking of Allegretto ("a little lively"), making it slow only in comparison to the other three movements. This movement was encored at the premiere and has remained popular since. The ostinato (repeated rhythmic figure) of aquarter note, two eighth notes and two quarter notes is heard repeatedly. The movement begins with the main melody played by the violas and cellos. This melody is then played by the second violins while the violas and cellos play a second, but equally important, melody, a melody described by George Grover as "a string of beauties hand-in-hand". Then, the first violins take the first melody while the second violins take the second. This progression culminates with the wind section playing the first melody while the first violin plays the second. After this climax, the music changes from A minor to A major as the clarinets take a calmer melody to the background of light triplets played by the violins. This section ends thirty-seven bars later with a quick descent of the strings on an A minor scale, and the first melody is resumed and elaborated upon in a strict fugato.

Third Movement

The third movement is a scherzo in F Major and trio in D Major. Here, the trio (based on an Austrian pilgrims' hymn^[5]) is played twice rather than once. This expansion of the usual A–B–A structure of ternary form into A–B–A–B–A was quite common in other works of Beethoven of this period, such as his Fourth Symphony and String Quartet Op. 59 No. 2.

Fourth Movement

The last movement is in sonata form. Donald Tovey, writing in his Essays in Musical Analysis, commented on this movement's "Bacchicfury". The coda contains an example, rare in Beethoven's music, of the dynamic marking ƒƒƒ (called forte fortissimo or fortississimo).

4. Symphony No.2 in D major,Op.36

     Was composed in summer 1802 in Heiligenstandt when he fighted to get his life's contol. And he wrote to his siblings which called The Heiligenstandt Testament. Its expressed about two attitudes we known in Beethoven's masterpieces, resignation in the face of death and revolt of man who loved other people in general.

      Because of that, this symphony cnmposed with slow introduction, Adagio molto, and composed in three movement.

      1st movement: Allegro con brio

        Built in sonata which great simplicity "leaving the impression of dignity, mature, and destiny."

      2nd movement:  Larghetto

        Considered to be one high-point of Beethoven's creation. With short coda(16 bars of sonata's segment)-like lay down in happiness and bliss.

     3rd movement: Scherzo, Allegro

       Is the dynamic segment with life. For the first in symphony's structre, the new movement appeared, different between the minuet in expretion and in same time make the composer to expressed their vision and feels.

    4th movement: Allegro molto 

      Is great depth, music, and harmonical complexity. 

5. Symphony No.6 in F major,Op.68

    Composed between the Symphony no.5 but different in theme. This symphony concluded the composer's love about nature. The big love of nature, The enjoyment for walking throughout in Heilligenstandt's forest, the fact of discovered nature's harmony. And makes Beethoven decided to composed this symphony.

    1st movement: Allegro ma non troppo

      This part has pure melody of countrycal instrument. 

    2nd movement: Andante molto moto - Szene am Bach (Adegan di sungai) 

      Is the beautiful scenery of nature, with pure music from the sky. In the end - coda - we found the onomatopeic's sounds of birds.

    3rd movement: Allegro - "Lustiges Zusammensein der Landleute" (Joyful reuni petani)

    4th movement:  Allegro - "Gewitter, Sturm" (The Tempest)

      Beethoven makes this movement has the storm effects, With the cemetry instrument(cello and twin bass-make the storm, staccato from the violin-make rain drop, and recorder-make ligthning and slash). After the storm, every creature in the world appear in the ground, make position in nature, wich transleted with recorder's sound, which came as the sunshine.

    5th movement: Allegretto - "Hirtengesang - Frohe und dankbare Gefunhle nach dem Sturm"

      Built as sonata with rondo, impressed with pure the natural scene. 

6. Symphony No.8 in F major,Op.93

    Is the shortest symphony because of called "The Litlle Symphony of F major". Composed same with the symphony no.7. 

   1st movement: Allegro vivace con brio

     In sonata with big lyrics rythm themes, without introduction, conferring a whole moment in festive allure.

    2nd movement: Allegretto scherzando 

      Dedication to his friend, Johann Nepomuk Melzel. Has entertained note, joking, a lyrical musical

theme, but still elegant.

     3rd movement: Tempo di Menuetto

       Based on Austrian dance's theme with clear floklorist twist, in slow motion, which evokes the atmospheres.

    4th movement: Allegro vivace

      Briliant stand of rondo-sonata and has funny character which same in 2nd movement. 

               

 Orchestral Music

    Beethoven was completed nine symphonies, which whole of music made by the expansion of tradisional clasical form. Here's some of his symphonies:

1. Symphony No.9 in D minor,Op.125

    Completed in 1824, is one of the best known works of Western clasical repertoire. This symphony is the greatest work of Beethoven and adapted for use as the European Anthem.

 

2. Symphony No.5 in C minor, Op.67

    Completed in 1804-1808, is one of the most popular and best-known composition in all of clasical music, and one of the often played symphony. It compose to 4 movements: an opening sonata, an andante, an a fast scherzo wichc leads attaca to the finale.

         1st movement: Allegro Con Brio                                         

 

    2nd movement: Andante Con Moto

    3rd movement: Scherzo: Allegro

    4th movement: Allegro

3. Symphony No.1 in C major,Op.21

    Completed in 1801, dedicated to Baron Gottfried van Swieten, an early patron of the composer. Same as Symphony No.5, Symphony No.1 has 4 movement too.

1st movement: Adagio molto-Allegro Con Brio, 4/4-2/2

2nd movement: Andante Con moto- 3/8 in F major

3nd movement: Menuetto

4th movement: Adagio

Personal and family difficulties

 

       Beethoven's love life was hampered by class issues. In late 1801 he met a young countess, Julie ("Giulietta") Guicciardi through the Brunsvik family, at a time when he was giving regular piano lessons to Josephine Brunsvik. Beethoven mentions his love for Julie in a November 1801 letter to his boyhood friend, Franz Wegeler, but he could not consider marrying her, due to the class difference. Beethoven later dedicated to her his Sonata No. 14, now commonly known as the "Moonlight" Sonata.

       His relationship with Josephine Brunsvik deepened after the death in 1804 of her aristocratic first husband, the Count Joseph Deym. Beethoven wrote Josephine 15 passionate love letters between late 1804 to around 1809/10. Although his feelings were obviously reciprocated, Josephine was forced by her family to withdraw from him in 1807. She cited her "duty" and the fact that she would have lost the custodianship of her aristocratic children had she remarried to a commoner. After Josephine married Baron von Stackelberg in 1810, Beethoven may have proposed unsuccessfully to Therese Malfatti, the supposed dedicatee of "Für Elise"; his status as a commoner may again have interfered with those plans.

       In the spring of 1811 Beethoven became seriously ill, suffering headaches and high fever. On the advice of his doctor, he spent six weeks in the Bohemian spa town  of Teplitz. The following winter, which was dominated by work on the Seventh symphony, he was again ill, and his doctor ordered him to spend the summer of 1812 at the spa Teplitz. It is certain that he was at Teplitz when he wrote a love letter to his "Immortal Beloved." The identity of the intended recipient has long been a subject of debate; candidates include Julie Guicciardi, Therese Brunsvik, Josephine Brunsvik, and Antonie Brentano.

Beethoven visited his brother Johann at the end of October 1812. He wished to end Johann's cohabitation with Therese Obermayer, a woman who already had an illegitimate child. He was unable to convince Johann to end the relationship, and appealed to the local civic and religious authorities. Johann and Therese married on 9 November.

      In early 1813 Beethoven apparently went through a difficult emotional period, and his compositional output dropped. His personal appearance degraded – it had generally been neat – as did his manners in public, especially when dining. Beethoven took care of his brother (who was suffering from tuberculosis) and his family, an expense that he claimed left him penniless.

       Beethoven was finally motivated to begin significant composition again in June 1813, when news arrived of the defeat of one of Napoleon's armies at Vitoria, Spain, by a coalition of forces under the Duke of Wellington. This news stimulated him to write the battle symphony known as Wellington's Victory. It was first performed on 8 December, along with his Seventh Symphony, at a charity concert for victims of the war. The work was a popular hit, probably because of its programmatic style that was entertaining and easy to understand. It received repeat performances at concerts Beethoven staged in January and February 1814.     Beethoven's renewed popularity led to demands for a revival of Fidelio, which, in its third revised version, was also well-received at its July opening. That summer he composed a piano sonata for the first time in five years (No. 27, Opus 90). This work was in a markedly more Romantic style than his earlier sonatas. He was also one of many composers who produced music in a patriotic vein to entertain the many heads of state and diplomats that came to the Congress of Vienna that began in November 1814. His output of songs included his only song cycle, "An die ferne Geliebte," and the extraordinarily expressive second setting of the poem "An die Hoffnung" (Op. 94) in 1815. Compared to its first setting in 1805 (a gift for Josephine Brunsvik) it was "far more dramatic... The entire spirit is that of an operatic scena."

Custody struggle and illness

       Between 1815 and 1817 Beethoven's output dropped again. Beethoven attributed part of this to a lengthy illness (he called it an "inflammatory fever") that afflicted him for more than a year, starting in October 1816. Biographers have speculated on a variety of other reasons that also contributed to the decline, including the difficulties in the personal lives of his would-be paramours and the harsh censorship policies of the Austrian government. The illness and death of his brother Carl from consumption may also have played a role.

       Carl had been ill for some time, and Beethoven spent a small fortune in 1815 on his care. After Carl died on 15 November 1815, Beethoven immediately became embroiled in a protracted legal dispute with Carl's wife Johanna over custody of their son Karl, then nine years old. Beethoven, who considered Johanna an unfit parent because of her morals (she had an illegitimate child by a different father before marrying Carl, and had been convicted of theft) and financial management, had successfully applied to Carl to have himself named sole guardian of the boy. A late codicil to Carl's will gave him and Johanna joint guardianship. While Beethoven was successful at having his nephew removed from her custody in February 1816, the case was not fully resolved until 1820, and he was frequently preoccupied by the demands of the litigation and seeing to Karl's welfare, whom he first placed in a private school.

      The Austrian court system had one court for the nobility and members of the Landtafel, the R&I Landrechte, and many other courts for commoners, among them the Civil Court of the Vienna Magistrate. Beethoven disguised the fact that the Dutch "van" in his name did not denote nobility as does the German "von" and his case was tried in the Landrechte. Owing to his influence with the court, Beethoven felt assured of the favorable outcome of being awarded sole guardianship. While giving evidence to the Landrechte, however, Beethoven inadvertently admitted that he was not nobly born. The case was transferred to the Magistracy on 18 December 1818, where he lost sole guardianship.

      Beethoven appealed, and regained custody. Johanna's appeal to the Emperor was not successful: the Emperor "washed his hands of the matter." During the years of custody that followed, Beethoven attempted to ensure that Karl lived to the highest moral standards. Beethoven had an overbearing manner and frequently interfered in his nephew's life. Karl attempted suicide on 31 July 1826 by shooting himself in the head. He survived, and was brought to his mother's house, where he recuperated. He and Beethoven were reconciled, but Karl insisted on joining the army, and last saw Beethoven in early 1827.

     The only major works Beethoven produced during this time were two cello sonatas, a piano sonata, and collections of folk song settings.

Patronage
While Beethoven earned income from publication of his works and from public performances, he also depended on the generosity of patrons for income, for whom he gave private performances and copies of works they commissioned for an exclusive period prior to their publication. Some of his early patrons, including Prince Lobkowitz and Prince Lichnowsky, gave him annual stipends in addition to commissioning works and purchasing published works.

Beethoven's patron , Archduke Rudolph

Perhaps Beethoven's most important aristocratic patron was Archduke Rudolph, the youngest son of Emperor Leopold II, who in 1803 or 1804 began to study piano and composition with Beethoven. The cleric (Cardinal-Priest) and the composer became friends, and their meetings continued until 1824. Beethoven dedicated 14 compositions to Rudolph, including the Archduke Trio (1811) and his great Missa Solemnis (1823). Rudolph, in turn, dedicated one of his own compositions to Beethoven. The letters Beethoven wrote to Rudolph are today kept at the Gesellschaft der Musikfreunde in Vienna.

In the Autumn of 1808, after having been rejected for a position at the royal theatre, Beethoven received an offer from Napoleon's brother Jérôme Bonaparte, then king of Westphalia, for a well-paid position as Kapellmeister at the court in Cassel. To persuade him to stay in Vienna, the Archduke Rudolph, Prince Kinsky and Prince Lobkowitz, after receiving representations from the composer's friends, pledged to pay Beethoven a pension of 4000 florins a year. Only Archduke Rudolph paid his share of the pension on the agreed date. Kinsky, immediately called to military duty, did not contribute and soon died after falling from his horse. Lobkowitz stopped paying in September 1811. No successors came forward to continue the patronage, and Beethoven relied mostly on selling composition rights and a small pension after 1815. The effects of these financial arrangements were undermined to some extent by war with France, which caused significant inflation when the government printed money to fund its war efforts.

The Middle period

Beethoven's return to Vienna from Heiligenstadt was marked by a change in musical style, and is now designated as the start of his "Middle" or "Heroic" period. According to Carl Czerny, Beethoven said, "I am not satisfied with the work I have done so far. From now on I intend to take a new way." This "Heroic" phase was characterised by a large number of original works composed on a grand scale. The first major work employing this new style was the Third Symphony in E flat, known as the "Eroica." This work was longer and larger in scope than any previous symphony. When it premiered in early 1805 it received a mixed reception. Some listeners objected to its length or misunderstood its structure, while others viewed it as a masterpiece.