1. Beethoven & the Horn
An exploration of
Ludwig van Beethoven,
his creative genius,
and his use of the horn
in two major works.
By Sarah Nietupski

2. Sonata for Horn & Piano Op. 17
 Premiered on April 18, 1800 by Punto,
horn, and Beethoven, piano.
 Beethoven at age 29.
 Written in less than three weeks for a large
concert in Vienna.

3. Sonata for Horn & Piano Op. 17
Movement III
 In “Rondo” form – themes that repeat and can
be broken into a systematic form such as
“ABA.”
 “A” will be the first melody played by me.
 How many times do you hear “A” in this piece?

4. Answer:
 “A”
comes back 4-5 times in pieces, but 3
times total – trick question!
 Rondo: ABACA

5. Ludwig van Beethoven (1770-1827)
 Transitioned the world from the Classical
to Romantic Era.
 One of the world’s most inventive and
creative geniuses.
 First composition published around age
12.
 Early symphonies and works pushed the
boundaries of the Classical Era.

6. Beethoven’s Hearing Loss
 Began to notice deafness around 1796.
 Ruined his social life.
 Made more public in 1802 through
“Heiligenstadt Testament.”
 Used music to transcend painful emotions.

7. Symphony No. 3: Eroica
 Composed in 1803 and premiered in Vienna on
April 7, 1805.
 Ground-breaking piece for Beethoven and the
musical world as a whole.
 Originally dedicated to Napoleon Bonaparte until
he became the Emperor.
 Kicked off the beginning of a new age for
Beethoven – his “Heroic” Period.

8. Movements of the Eroica
 Movement one: Introduces theme of hero.
 Movement two: “Marche Funebre” – Memory of
Napoleon.
 Movement three: Post-mortem call of the hero
through the hunting horn trio section.
 Movement four: “Motto” of the hero.

9. Outstanding Qualities of the Eroica
 New level of composition for Beethoven.
 Music of growth than transcends pain and
finds heroism and triumph in life.
 One of the first symphonies to…
 Have extra-musical title (Eroica=Heroic)
 Have “forcefulness, expanded range and
evident radical intent.” (Grove Dictionary)
 Include three horns instead of two.

10. The Horn in the 18th & 19th Centuries
 Evolved in Austria-Bohemia Regions (not
France!)
 Popularity as a hunting horn spread, “regarded
as an essential status symbol without which a
nobleman’s court was not considered complete”
(Fitzpatrick).
 But there is a catch…

11. The Hand Horn
 No valves!
 1750-1830 (Death of Beethoven)
 1750: First time the performer used his or her
right hand to manipulate pitch.
 To this day, still a very virtuosic art.
Both the Eroica & Sonata Op. 17 were originally
played on hand horns.

12. Horns in Symphony No. 3
 Used to thematically signify heroism in the piece.
 “Instrument of the mounted hunt…all embody
the horn’s power to evoke the concepts of valor
and of the out-of-doors; and what instrument
could better call a picture of God marching into
the world than the horn?” (Fitzpatrick)
 No better instrument to signify triumph or
Beethoven himself than the call of the horns!

13. Third Movement: Scherzo & Trio
 Addition of three horns added force and dignity.
 “Call to the people awaiting a hero.”
Ex. French Revolution + Napoleon’s destruction.
 Listening #1: Valved horns & modern
instruments
 Listening #2: Hand horns & period instruments

14. Beethoven: A Creative Genius &
Musical Hero
 Symphony No. 3 as a metaphor:
 French Revolution
Beethoven as a man and hero,
overcoming fate to pursue his creative
genius.
 New life and growth manifests through
triumph and heroism.
Went on to compose six more phenomenal
symphonies and hundreds of other works.

15. Thank you for listening!
 Special thanks to Dr. Colleen Conway, Kerwin Leader,
Dr. Marty Marks, and Ann Konz for helping me make
this happen!
 Questions or comments?
“…only art it was that withheld me, ah it seemed impossible to leave
the world until I had produced all that I felt called upon me to
produce” – Beethoven, Heiligenstadt Testament, 1802.