I have always thought how amazing it would have been to have attended the first playing of a Mozart composition, a Beethoven symphony or, perhaps, a Chopin sonata--to hear it with fresh ears within the context of its time. What a privilege!
"Eroica" transports the viewer to the first performance of Beethoven's "Eroica", which was a tribute to Napoleon. In attendance are a handful of lucky music lovers and the staff who attend the home of Prince Lobkowitz (Jack Davenport), Beethoven's host and benefactor. The audience includes some knowledgeable listeners, some friends of Beethoven, and some neophyte ears.
The direction is very intimate, allowing the camera to move around the salon as freely as the listeners. It rests on faces to register their dismay, surprise, confusion or elation. This new symphony defies conventions and, understandably, is not easily absorbed.
The film poses some questions. "Can music exist independently of politics?" The answer appears to be no, but in the end, Beethoven's symphony manages to honor its true inspiration, despite political changes, thus transcending politics. "What is genius?" An insightful deviation from norms?
The music reflects Beethoven's essence. It is romantic, moody, urgent, brooding, tempestuous. Beethoven, with his tragic life view, is a dark visage. He is a tool perfect for one thing--the expression of that artistic genius. Ian Hart certainly looks as we expect Beethoven to look, and he really seems to own the music as only its creator could.
One latecomer to the concert is Josef Haydn (Frank Finlay), representing the old guard. He recognizes, perhaps sadly, the revolution inherent in what he hears.
How wonderful to enjoy Beethoven's Third through such an immersive experience. Music lovers should find this film captivating.
"Eroica" transports the viewer to the first performance of Beethoven's "Eroica", which was a tribute to Napoleon. In attendance are a handful of lucky music lovers and the staff who attend the home of Prince Lobkowitz (Jack Davenport), Beethoven's host and benefactor. The audience includes some knowledgeable listeners, some friends of Beethoven, and some neophyte ears.
The direction is very intimate, allowing the camera to move around the salon as freely as the listeners. It rests on faces to register their dismay, surprise, confusion or elation. This new symphony defies conventions and, understandably, is not easily absorbed.
The film poses some questions. "Can music exist independently of politics?" The answer appears to be no, but in the end, Beethoven's symphony manages to honor its true inspiration, despite political changes, thus transcending politics. "What is genius?" An insightful deviation from norms?
The music reflects Beethoven's essence. It is romantic, moody, urgent, brooding, tempestuous. Beethoven, with his tragic life view, is a dark visage. He is a tool perfect for one thing--the expression of that artistic genius. Ian Hart certainly looks as we expect Beethoven to look, and he really seems to own the music as only its creator could.
One latecomer to the concert is Josef Haydn (Frank Finlay), representing the old guard. He recognizes, perhaps sadly, the revolution inherent in what he hears.
How wonderful to enjoy Beethoven's Third through such an immersive experience. Music lovers should find this film captivating.