UCLA

ABSTRACT

This dissertation examines historical issues, performance practice, and practical application components of character/spirit, tempo, and tempo rubato in Beethoven’s Symphony No. 3, Op. 55 (Eroica). An important goal of this research is the connection between theoretical analysis and its practical application.

The three chapters of this dissertation address, in turn, three central performance elements related to the Symphony: character/spirit, tempo, and tempo rubato. Each section first provides an historical overview of the topic and identifies the range of issues that a performer might face. Then it addresses each issue from different perspectives – that of Beethoven himself, his students and followers, his antagonists, contemporaneous musicians and musicians of later generations. This study also attempts to connect the past with modern-day beliefs and practices by tracing the development of major performance paradigms from Beethoven’s time to the beginning of the 21st century.

After the theoretical-historical overview, the second half of chapters 2 and 3 attempts to address in detail, examples that a performer may encounter while working on the score, and provides recommendations grounded in performance and musicological knowledge for possible ways of addressing these issues.

This research was done by a practicing orchestral conductor (no comma) and aims to serve as a performer’s reference guide. My hope is that this study will help stimulate further theoretical and practical research leading to informed, stylistically aware, and interesting interpretations of Beethoven’s Eroica - a revolutionary, potent, and timeless work.