Classical music serves multiple purposes: it can evoke various emotions in the listener, be associated with specific occasions, or narrate a story. For Beethoven, integrating storylines into his musical compositions was important. Through the use of chords and notes, he portrayed struggles that both resonated with him and connected with the wider public. Whether it represented physical or social obstacles, many of Beethoven’s early works depict a protagonist who triumphs through perseverance and conviction. However, we observe a shift in this approach as Beethoven enters his later period.
The focus shifts from a protagonist’s quest for heroism to the debate of whether fate or free will determined their path. Beethoven’s eighth symphony’s concluding movement presents a similar struggle, albeit in a more humorous manner. Like the third symphony, the fourth movement of the eighth symphony introduces narratives involving human actions and characters, depicting bodies grappling and facing imminent danger. Both pieces are set in motion by a c-sharp note.
It can be inferred that there is a connection between the two works, as the tonal problem or antagonist in both is the same C-sharp. In fact, the finale of the eighth symphony, which portrays struggle, has a more humorous and ironic tone compared to the heroism in Eroica. Similar to the eighth symphony, Beethoven’s musical pieces often depict protagonists that reflect his own experiences. This explains why many of his definitions of heroism are based on personal struggles he has faced and overcome.
For example, Beethoven faced death at a young age, and for him, a hero must conquer death to be recognized as such, as suggested in his third symphony. Similarly, the constant battle between free will and predestination that is evident in much of his later work is humorously portrayed in the fourth movement of his eighth symphony. In this movement, the first theme starts quietly and unsure, echoing the theme of uncertainty in Eroica. However, this theme is abruptly interrupted by the loud c-sharp of the second theme.
Coming forth as a surprising and antagonistic shock, the fortissimo outburst disrupts the quiet surroundings of the first theme without being resolved or acknowledged in any musical way. This interpolation is clearly felt as an interruption that could be easily removed to allow for smoother music. It is generally understood as an expression of abrupt humor or an awkward block, emphasizing the loss of physical balance and the potential for a fall instead of the implied threat of tragedy found in Eroica. The inclusion of the c-sharp suggests something more akin to a trip, a tumble, or a pratfall.
The way Beethoven portrays the character’s downfall in this movement is almost like a mockery of the tragedy, highlighting their diminishing importance in heroism. The presence of the c-sharp note is more irritating in this symphony compared to the third symphony. Burnham describes it as follows: “Instead of viewing the initial c-sharp as a significant annoyance, I perceive it as a musical pratfall. Its abrupt beginning and sudden disappearance make it more of a potentially comedic interruption rather than a true threat. However, one could argue for the reactive strength of the theme that immediately follows.”
The text suggests that the appropriate portrayal is a combination of both perspectives: merciless amusement. Throughout the movement, the C-sharp note brings out some of the crude humor commonly associated with those who are hearing impaired. It can be seen as both an inability to hear and someone yelling at another person to get their attention. This is similar to a partially deaf individual reacting with irritation to a conversation they can’t understand, saying “What!?” Or someone getting frustrated with a deaf person for constantly repeating words, exclaiming “Hey!” Regardless of the situation, there seems to be an ongoing battle of communication between these two themes.
The second theme in this passage seems to be calling or summoning the first theme, although the first theme cannot hear. It is interesting to note the irony in this situation, considering Beethoven’s own deafness. The presence of the c-sharp note can symbolize deafness, especially Beethoven’s deafness, just like its use in the Eroica symphony. Instead of being a potentially tragic event that the main character must bravely overcome, here a conflict between interactions is seen as amusing. This movement introduces the initial occurrence of continuous mockery that Beethoven will use against heroism.
We are currently perplexed by the inexplicable loudness of the C# note. However, after many irritating conflicts, the persistent C# note eventually resolves into the F# minor in the coda. The initially unsure first theme heard in the exposition gradually gains prominence and confidence, ultimately transforming into the F major in the coda. The gradual convergence of these two themes, which is evident at the start of the development, symbolizes the merging of heroism and divinity.
In the coda, the themes are joined together and instead of sounding like two separate themes competing against each other, they now sound like one continuous theme. This F-major chord resembles the storyline of the skilled, crippled and alienated god of fire. Since they are so similar, it is reasonable to assume that the protagonist in the fourth movement of the eighth symphony can also be the fallen god Hephaestus. Hephaestus was thrown from mount Olympus by his mother for being crippled, but he avenged himself by imprisoning her. Later, he was begged by the other gods to return to Olympus in order to release his imprisoned mother.
Hephaestus, similar to Beethoven, possessed a unique talent. Although he was a skilled craftsman, his unsightly appearance and physical disability prevented him from finding a partner, much like Beethoven. This description likens the constant urging of the gods for Hephaestus to return to the incessant and annoying sound of the c-sharp. Furthermore, the comedic effect is accentuated by the f-sharp minor finale of the coda. Specifically, there is an image of the gods erupting into laughter as they witness Hephaestus walking. This moment coincides with the main theme reaching the c-sharp note; and suddenly, Beethoven introduces the theme in a burst, transitioning into F-sharp minor.
In this passage, E-sharp takes on the role of the leading note in the new key. The trumpets then aggressively attack this note until they successfully persuade Hephaestus to return to Olympus. Once this matter is resolved, the radiant second subject reenters the scene. While Ganymede may be highly regarded, it is Hephaestus who serves as the original cupbearer of the gods. Despite his physical disabilities and his dirty appearance from working with crafts deep underground, he remains strong and unyielding. As a result, the basses also join in singing this theme. The blessed gods cannot help but burst into laughter upon seeing him awaken in his own dwelling place.
The laughter of the gods has all of mount Olympus where to scatter itself, and to gather again into the last long series of joyous shouts. Beethoven may or may not have used this movement to represent Hephaestus’ banishment, but for a fictional character that shared the same isolation, lack of a spouse, and uniqueness I definitely think so. Through all of the persistence and struggle that Hephaestus went through, the gods awarded him with Aphrodite, something that I see Beethoven admired and wished would get the same fortune.
The humor in this work arises from conflict, whether it is related to hearing impairment or limited mobility. Similar to the Eroica, a narrative about disability is initiated by a “tonal problem,” specifically a c-sharp that can be associated with either mobility impairment or deafness. However, the two symphonies portray the shared narrative in contrasting ways. It is possible to perceive the final movement of the 8th symphony as an ironic reversal of the 1st movement of the 3rd symphony: what was once potentially tragic now becomes comedic, and what is abnormal is normalized through unending laughter. In artistic representations, individuals with disabilities are generally constrained to conform to a few familiar stereotypes or “cultural scripts.” One of these widely recognized scripts is that of the heroic overcomer, where individuals with disabilities become the main characters in inspiring stories that depict the triumph of the human spirit over adversity. If we were to personify the third symphony as an individual with a disability, it would be seen as enacting this familiar cultural stereotype.
According to Norden, one way to approach the subject is through what he calls the comic misadventure. This involves a disabled person being victimized by able-bodied individuals or experiencing trouble due to their impairment, either self-inflicted or inflicted by others. The purpose of this portrayal is for comedic effect. Throughout literature and film, there has been a long tradition of using certain disabilities, like hearing impairments, as a comedic device.
If we were to imagine Beethoven’s eighth symphony finale as a person with a disability, it would be considered a comic misadventure. Essentially, Beethoven uses this movement to satirize the heroism portrayed in his Eroica.
In the third symphony, there is a serious exchange between two themes that fully represents heroism. The unconfident first theme arises and prevails against the second theme. In the fourth movement, this heroism is mimicked to depict the struggle as nothing more than a petty clash between the two themes. Beethoven adds his deafness into the movement to further enhance the comical view he saw of himself. I believe the motive behind Beethoven’s reasoning for including such a comical movement was to ease the unsettling internal struggle he was experiencing while writing the eighth symphony.
To look back on one’s changing beliefs can be humorous. In the fourth movement of Beethoven’s late period, he grapples with conflicting views of heroism and free will versus divinity and predestination. Similar to the beginning of his heroic period, Beethoven portrays a constant struggle, with the first theme starting feeble against the second theme, symbolizing the notion of predestination.
As the development progresses, the clashes between these two begin to blur. Beethoven may have realized over time that his amalgamation of perspectives was becoming clearer, though not entirely flawless. The perpetual state of confusion in the finale underscores Beethoven’s belief in bridging the divide between the divine and heroism.
Beethoven’s fourth movement in his eighth symphony is a remarkable masterpiece that plays with the listener’s expectations. Just when you think the movement is finished, he introduces a coda. And just as you believe the coda has concluded, there emerges another section or even another coda. Eventually, when you do reach the end, Beethoven surprises us with twenty-three measures of final chords – not just one, but fifteen of them! These chords serve as the ultimate resolution and seem to declare, “Yes! It’s finally over!” However, Beethoven contradicts himself and says, “No it’s not!” Finally though, he confirms that it is indeed over. That’s it! Done! Once again, Beethoven masterfully toys with our expectations throughout this extraordinary piece.
Beethoven conveys his ongoing struggle to find meaning in life, allowing aggressive and disintegrative forces to enter musical form. He combines comedy and tragedy to create a concept of heroism that encompasses all aspects of human experience – birth, struggle, death, and resurrection – which everyone can relate to. In the eighth symphony, Beethoven has blended fantasy, comedy, struggle, and divinity to portray the essence of being human.
