Nashville Symphony May 15
Heroism, Vengeance, and Innovation: Exploring Beethoven, Barber, and Meyer
Greek myths are the theme of this concert! Beethoven wrote a set of variations called “The Creatures of Prometheus” and used the main theme as the melody of his final movement of the Eroica symphony. Brush up on your knowledge of Prometheus with these videos:
https://youtu.be/duzoedPyySk?
https://youtu.be/nOewVh0umdM?
https://youtu.be/U_u91SjrEOE?
Greek myths continue to inspire with Barber’s Madea. Although this video is long, it is so good! Have your teenagers brush up on their knowledge by watching this:
https://youtu.be/b7WH30_8vos?
If you have younger students, Greek tales that were some of our favorites come from D’Aulaire’s book and Nathanial Hawthorne. I did find this anthology that has D’Aulaire’s account of Jason and Madea and also a chapter on Prometheus: https://archive.org/details/
Beethoven’s “Eroica”: A Symphony that Changed Music History
When Beethoven composed his Third Symphony in the early 1800s, audiences had never heard anything quite like it. The symphony was originally dedicated to Napoleon Bonaparte, whom Beethoven admired as a symbol of liberty and heroism. But when Napoleon declared himself emperor, Beethoven famously scratched Napoleon’s name off the title page in anger. The work instead became known simply as the “Eroica,” meaning “heroic.”
The symphony marked a turning point in classical music history. Earlier symphonies were elegant and balanced, but Beethoven expanded the emotional and structural possibilities of the orchestra. The Eroica was longer, louder, more dramatic, and more psychologically intense than anything audiences expected. Many historians consider it the beginning of the Romantic era in music.
What to Listen for in Beethoven’s Symphony No. 3
Movement I — Allegro con brio
https://youtu.be/jfDprp0NlQ4?
The symphony begins with two startling chords that sound almost like a loud call to attention. Immediately afterward, the cellos introduce the main theme. Beethoven develops this musical idea in surprising ways throughout the movement.
Listen especially for:
- The rich cello opening theme
- An unexpected entrance from the French horn later in the movement
- A contrasting theme featuring the flute and oboe
- Sudden dynamic changes and dramatic tension
This movement feels adventurous and unpredictable, as though Beethoven is pushing the orchestra into entirely new territory.
Movement II — Funeral March
https://youtu.be/Ec0EOTl53L8?
The second movement is one of the most famous funeral marches ever written. Instead of triumphant heroism, Beethoven explores grief, loss, and reflection.
Listen for:
- A beautiful and expressive oboe solo
- Conversations between the flute and bassoon
- Powerful timpani moments
- Dark musical passages that even hint at ideas Beethoven would later use in Symphony No. 5
The movement moves between mourning and moments of hope before fading into solemn reflection.
Movement III — Scherzo
https://youtu.be/mJPqrtFYqvc?
After the heaviness of the funeral march, Beethoven surprises listeners with energy and motion. The scherzo feels lively, restless, and almost playful.
Listen especially for the horns, which dominate much of the movement with bold and thrilling calls. Beethoven uses the horn section almost heroically here, giving the music a hunting-call excitement and brilliance.
Movement IV — Finale
https://youtu.be/XivQ61hDERs?
The finale is built on a theme Beethoven loved so much that he used it in several different works, including his ballet The Creatures of Prometheus and a set of piano variations.
The movement unfolds as a set of ten variations on the Prometheus theme. Rather than simple repetition, Beethoven constantly transforms the melody into something new—sometimes humorous, sometimes grand, and sometimes deeply emotional.
Listen for:
- The playful introduction of the theme
- Sudden contrasts in mood
- Virtuosic orchestral writing
- The triumphant conclusion that finally resolves the symphony’s emotional journey
Samuel Barber’s
Medea
: Music of Rage and Revenge
If Beethoven’s Eroica explores heroism, Barber’s Medea’s Meditation and Dance of Vengeance explores something much darker.
The piece is based on the ancient Greek myth of Medea, made famous in the tragedy by Euripides. Medea has sacrificed everything for her husband Jason, only to be betrayed when he abandons her for another woman. Consumed by grief and rage, Medea plans terrible revenge.
Barber originally wrote this music in 1946 as a ballet score for legendary dancer and choreographer Martha Graham. The ballet was first called Serpent Heart and later renamed Cave of the Heart. Eventually Barber transformed the music into the concert work we hear today.
You can watch the ballet here:
https://youtu.be/1oLbnkvsjvM?
Jump to timestamp 18:34 and hear Martha Graham herself talk about the music and ballet!
What to Listen for in
Medea’s Meditation and Dance of Vengeance
https://youtu.be/jCGVjXWOZCM?
The piece begins quietly but uneasily:
- Trembling strings create an uncomfortable atmosphere
- The xylophone chatters nervously
- Flutes and piccolo introduce eerie motives
As the work progresses, tension steadily increases. Barber marks the score with expressive directions such as “mysterious,” “anguished,” and “moving ahead,” guiding the orchestra deeper into Medea’s emotional turmoil.
Listen for:
- The haunting English horn melody
- Percussion effects from bass drum, side drum, and xylophone
- Repeating piano rhythms that build suspense
- Sudden eruptions of orchestral violence
The final “Dance of Vengeance” becomes almost demonic in intensity. By the end, the orchestra sounds wild and frenzied, perfectly capturing Medea’s storm of hatred and revenge.
Barber’s score demonstrates how orchestral music can communicate psychological drama without a single spoken word.
The timpani player’s part is really interesting! Watch this video and see how he is using the pedal to raise the pitch at the same time he is playing:
https://youtu.be/0rPoJR8t7zQ?
(The pitch and rhythm remind me of the Addam’s Family theme!)
Edgar Meyer and the Double Bass Concerto
While Beethoven and Barber represent towering figures of the past, Edgar Meyer represents a living American musical voice. Meyer is internationally celebrated as one of the greatest double bass players of our time, known for blending classical music, bluegrass, folk traditions, and American roots music into a unique musical language.
Unlike violin or piano concertos, double bass concertos are relatively rare. The double bass is usually heard supporting the orchestra from the background rather than standing in front as a solo instrument. Meyer has helped transform perceptions of the instrument through his extraordinary technical skill and musicianship.
His Concerto No. 2 for Double Bass in B showcases the surprising agility and lyrical beauty of the bass. Although there are currently no widely available recordings of this concerto, audiences can listen for several characteristic elements of Meyer’s style:
- Rapid and highly virtuosic bass passages
- Rhythmic energy influenced by American folk traditions
- Warm lyrical melodies
- Intricate conversations between the solo bass and orchestra
- Creative textures and unexpected harmonies
Meyer’s work reminds audiences that classical music continues to evolve. Just as Beethoven once shattered expectations with the Eroica, contemporary composers like Meyer continue pushing musical boundaries today.
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