Morning journal and courier., 1885-12-07
rHKo. THOMAS CON cERrs.

The First of the Series To-Night-An
 Analytical Review of Beethovenss
 Symphony No. ErOlca, Opus 55, by
 M. Ste1nert.
 The frat in the series of Tlseo. Thomas concerts in this city, season of '85-6, under the management of the New Haven Concert
 association, takes place this evening at Carll's Opera House. The brilliant musical enter
 tainment to be given will undoubtedly be enjoyed by large, appreciative and cultiva. ted audience. The following is an andy tical review of Beethoven's symphony No. 3, Eroica, opus 55;
 This great work, the 'Heroie- Symphony, J was originally dedicated to Napoleon Bona parte. Beethoven, in thfs master composition, stands forth in his own colossal proportions and strangely blends power with tenderness strength with beauty, humor with pathos. Beethoven did not admire Napoleon in the light of military hero, but reverenced him for the manner in which, in few wears, he had by his own efforts become the most po- tent man in Europe and had restored France to order, from the chaos of revolution. When,
 however, Napoleon received the title of Elm
 peror from the French senate Beethoven's
 opinion of him changed and he cried out:
 After all he is nothing but an ordinary
 mortal; he will tread all the rights of men
 under foot to indulge his own ambition and
 become greater tyraut than anyone" Say ing which he tore off the first page of the score of this symphony, on which was in scr1bed the name Of BonapaFte, and threw it to the floor. He never again referred to the connection of this symphony with Napoleon until twenty-two years later, when it became known that Napoleon had died at St. Helena He then said: "I have already composed the proper music for that catastrophe" referring to the Funeral march, in s'Eroica."
 The first movement, allegro con brio, opeTs with two full chords followed at once by the theme, announced by the cello sup plemented by the violins and then by the flutes and clarionettes and at length by the horn. It is of an earnest and dramatic form and prepares the way for most artistic chords and harnonies. Herein the emotions are portrayed and We sec in our minds eye a most richly gifted nature in most restless commotion. Pleasure and woe, truth, def ance and an untanable pride interchange rapidly and all emanate from that chief source, manly strength. This strength, which is continuously enriched by all other sensations, is the predominant aim of this tone-painting. In fact it fairly rebels about the middle of this movement and becomes an all destroying power and one beholds in it's most defiant spasms an ami lator of worlds, Titan that strives with the gods.
 The second movement, adagio assai, is in the form of funeral march. It commences sotto voce with the strings, followed by the oboe and horns. In it that all devastating strength described above seems to propel it. self into tragic catastrophe The composer clothes this climax with the musical garb of a funeral march. A settled, manly sadness seems to breathe from it's strains. From this sadness springs forth new strength which permeates the listener.
 The scherzo allegro vivace is personifca- tion of hilarity of purely idyllic nature. In it the violins and oboes appear in their live the leading characters. Here the horns talk as with the human voice. They rise by de- grees in seriousness and poetry until they reach the most effective climax. Their notes, which are most touching and almost awful, seem to breathe forth feeling of in- fnitude and almost eternity, and their effect has never been equalled by any other com poser and never been surpassed by Beethoven himself.
 A set of variations forms the finale, and in the course of the movement the composer brings in as a theme an air from his own "Prometheus." This finale is in direct op- position to the first movement Here we find depicted the most tender feelings in plastic form. Here is represented the overpoweripg strength of love. In this finale love enters the human heart and drives forth all other sentiments. Once more the listener can al- most feel the pulsations of that strong heart, from which, even in it's deepest sadness, the gladness begotten by manly strength stands forth pre-eminent, and which, now united with true love, forms perfect man born in the image of God.