Hero

Japanese: 《英雄》 - えいゆう

...Each of Beethoven's nine pieces (1800-24) contains its own unique concerns. His works include the Second (1802), which introduced the scherzo; the Third (1804), which features a dramatic expansion of the formal scale, especially in the development and codas, the laborious development and variation techniques using a wide variety of motives, and a grand concept that give the piece a monumental air; the Fifth (1808), which features many innovative elements, such as the unification of all the movements by an opening motive, the organic connection between the movements and a design that places the climax in the final movement, and the introduction of the trombone, an instrument originally reserved for churches and theaters; the Sixth (1808), Pastoral, which has a title-like nature and consists of five movements (3rd to 5th are consecutive); and the Ninth (with Chorus) (1824), which features a soloist and chorus in the final movement to sing the hymn of the spiritual ideals of the era and also makes effective use of percussion instruments. In particular, the absolute and programmatic character of the piece, the unification of the entire piece with a single motive, and the introduction of new instruments and voices had a decisive influence on subsequent symphonic works.

From Beethoven

...Although it is generally believed that the First and Second Symphony, Op. 36 (1802) were influenced by Haydn and Mozart, the seeds of his later original talent can be seen in these two works. It was certainly with the Third/Eroica, Op. 55 (1804) that he established a large form that had never been achieved in the history of symphonies and fully demonstrated his originality, but by this point he had already composed 22 of the 32 piano sonatas with opus numbers, and various innovations in sonata style had borne fruit in many masterpieces (Pathétique Sonata, Op. 13, 1798; Fantasia Sonata, Moonlight, Op. 27-2, 1801; Pastoral Sonata, Op. 28, 1801; The Tempest, Op. 31-2, 1803; Waldstein, Op. 53, 1804). The "Heroic Symphony" was the first piece in which he began to apply these experiences to orchestral works.

*Some of the terminology that refers to "Hero" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

Japanese:

…　ベートーベンの9曲(1800‐24)はいずれもそれぞれに特有の問題意識をはらんでいる。スケルツォを導入した《第2番》(1802)，特に展開部やコーダにおける形式的規模の飛躍的拡大，多種多様な動機による展開労作と変奏技法，そして雄大な構想，これらが曲に記念碑的な風格を与えている第3番《英雄》(1804)，冒頭動機による全楽章の統一，楽章間の有機的な連係と頂点を終楽章に置いた設計，本来教会や劇場専用の楽器であったトロンボーンの導入等々，革新的な要素の多い第5番《運命》(1808)，あるいは標題性をはらんだ全5楽章(3～5は連続)の第6番《田園》(1808)，そして終楽章で独唱と合唱を登場させて時代の精神的理想をうたいあげ，さらに打楽器群を効果的に使用した《第9番(合唱付)》(1824)など，革命期の新しい市民層の意識を背景とした作品群がある。特に絶対音楽的性格と標題音楽的性格，単一動機による全曲の統一，新しい楽器と声部の導入などは，以後の交響的作品に決定的な影響を及ぼした。…

【ベートーベン】より

…一般に《第1交響曲》《第2交響曲》作品36(1802)はハイドンやモーツァルトの影響下にあるという評価が強調されがちであるが，これら2作品にも，のちの独創的才能の芽生えをみることができる。交響曲史上前人未到の大形式を打ち立て，独創性を十分に発揮するのは確かに《第3番･英雄交響曲(エロイカ)》作品55(1804)からであるが，すでにこの時点で作品番号をもつ全32曲のピアノ･ソナタのうち22曲まで作曲しており，ソナタ(様式)における種々の革新が多くの傑作(《悲愴ソナタ》作品13,1798，幻想曲風ソナタ《月光》作品27の2,1801，《田園ソナタ》作品28,1801，《テンペスト》作品31の2,1803，《ワルトシュタイン》作品53,1804)で実を結んでいたのである。　そうした経験をオーケストラ作品に生かし始めたのが《英雄交響曲》なのである。…

※「《英雄》」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典第２版について | 情報

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