Eroica

Synopsis: On June 9, 1804, Ludwig van Beethoven and his pupil Ries assemble a group of musicians to give the first performance of his Third Symphony, 'Bonaparte', to his patron Prince Lobkowitz and his guests, including hypercritical Count Dietrichstein, in Vienna. The piece provokes political arguments among players and audience as to whether Bonaparte is a tyrant, or, as Beethoven believes, a liberator. The composer is also rejected by his former love, the recently widowed Josephine von Deym, though the visiting elder statesman of composers Haydn pays him a strange compliment. Leaving the gathering, Beethoven confesses to Ries that he is losing his hearing and later he reads that Bonaparte has declared himself the French emperor. As a result he will lose all respect for Napoleon and will change the symphony's title to 'Eroica'.
 
IMDB:
7.6
Year:
2003
129 min
538 Views


There are some extra fellows

coming for today's rehearsal.

Please make sure that they're properly

turned out and given beer before we start.

Good morning, sir.

- Ries, you're here.

- I'm sorry I'm late.

Doesn't matter.

It gave me time to have a shave.

Don't want to look like a wild beast, do we?

And how are you today?

- Happy to find you in such good humor, sir.

- Why wouldn't I be?

Have you seen my good shirt?

I did ask the girl to press it.

Is this it?

They're complaining downstairs. They say

water's coming in through the ceiling.

I only had a wash.

What's the matter with them?

Do you still want to walk, sir?

I could try and find a carriage.

No. It's a lovely day. Let's walk.

The score's on the piano.

- Do you feel nervous, sir?

- What about?

- The new composition.

- No. Why would I feel nervous about that?

I feel invincible. I could conquer the city.

You'll succeed where Bonaparte has failed.

Bonaparte was sent to liberate us,

not conquer us.

To free us from tyranny.

He's got a rather aggressive way of doing it.

My friend Menzel says he'll be back.

No, they won't attack again.

We've signed a peace.

Anyway, that's not

what I was thinking about.

What were you thinking about?

- Good morning. Have you breakfasted?

- Yes, Mother.

People are running everywhere.

Is it music again?

Herr Beethoven is coming.

Come along, children.

- You'll be late.

- I can't play on an empty stomach.

- I'm sorry, Paul.

- Can you play?

Of course I can play.

I just can't get to the damn place.

I don't want to lose my job.

Welcome, dear Count.

We have a special treat for you today.

As a fellow enthusiast,

I think you'll find it rather thrilling.

- Haydn?

- Beethoven.

He has a new symphony. We shall be

the first people to hear it in the entire world.

Where's my E-flat crook?

I need it.

Come on. Give it to me.

No. No, don't. Don't.

Please. Let it go. Come on.

Thank you.

I booked another horn, as you requested, sir.

But won't two be enough?

There's a triadic harmony

in the scherzo, idiot.

How can you perform a harmony

in three parts with only two horns?

- I haven't read it, sir.

- That doesn't make you any less an idiot.

Isn't this magnificent?

I don't think anyone loves nature

as much as I do.

It's as if the trees take root in my heart.

I would have killed myself long before now

if it wasn't for this.

Carry on, you fellows. Carry on.

As soon as all are here, we'll begin.

Wranitsky - the leader.

Wranitsky, Count Dietrichstein.

How many years have you been

with the household? 18? 20?

Never says a word.

Shall we?

- Are we allowed to listen?

- Yes. Rights of man and all that.

We get to listen, for sure.

The prince thinks it's good for us.

- What sort of music is it?

- You can dance to it or you can pray to it.

One or the other. As a rule.

I'm very sorry, Your Highness.

He can hardly walk. I had to hire a carriage.

Don't mention it.

You were dutiful, I admire that.

Let your father rest awhile.

- What did it cost, Paul?

- A florin, Your Highness.

- You'll get it back.

- Thank you.

- Citizen Fisher.

- Citizen.

- You're late for the revolution, Otto.

- I'm always late.

Herr Beethoven,

I should go up the back stairs.

- But you are an artist.

- I'm just a horn player, sir.

We're artists. We go in the front.

Come on.

- The genius.

- You look well.

I don't think you've met Count Dietrichstein,

from Prague.

- Good morning.

- Ludwig van Beethoven.

This is my student Ries.

I hear you're a gifted pianist,

but I know nothing more. "Van" Beethoven?

Are you Dutch?

No. From Bonn.

And what rank? Landowner?

A landowner?

Do I look like a landowner?

- No, I'm a brainowner.

- "Brainowner. " That's good.

Fertile soil.

Our friend thinks his talent exempts him

from customs of deference.

- It does, doesn't it?

- It does, it does. Well, here it does, anyway.

- What's the matter?

- She's not here.

She'll come.

This will all be gone one day, you know.

It will all be swept aside.

Yes. So they say.

All the wealth repossessed by the people.

There won't be much left by then.

These concerts and that -

he's squandered the family fortune.

And to whom

is this third symphony dedicated?

I don't know. It says "Bonaparte" on the front.

- Bonaparte?

- Forgive me for mentioning the name.

I don't mind.

I'm a great lover of everything French.

The guillotine? The Terror?

That's all over and done with, surely. We

have much to learn from our friends in Paris.

Their society will go forwards,

whereas here we'll just stagnate

because we are nothing. We do nothing.

We make the best music in Europe.

Can music exist independently of politics,

Herr Ries?

- I couldn't say.

- Couldn't you?

I could.

Will the peace hold?

Or will the Russians

and the British drag us into war?

What do you think, Lobkowitz?

I don't really know very much about it,

my friend.

I'm not exactly up to the minute

with international affairs.

What are you giving us today?

Will we find it original?

It's original from beginning to end.

That's impossible, surely.

The fact is,

I've taken a new direction, Your Highness.

- A new direction?

- A new path.

I needed a new path through the woods.

Something was wrong with the old path?

Thank you.

- The fingering.

- Have you seen bar 34?

Most Serene Highness.

We've been working round the clock.

The piece is a monster.

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Nick Dear

Nick Dear (born 11 June 1955 in Portsmouth) is an English writer for stage, screen and radio. He received a BAFTA for his first screenwriting credit, a TV adaptation of Jane Austen's Persuasion. Dear graduated with a degree in Comparative European Literature from the University of Essex in 1977. Dear’s plays include Power and The Villains’ Opera at the National Theatre; The Art of Success, Zenobia and Pure Science for the RSC; In the Ruins at Bristol Old Vic and Royal Court, London (1990); and Food of Love at the Almeida. Adaptations include Gorky’s Summerfolk and Molière’s Le Bourgeois Gentilhomme at the National; Tirso de Molina’s The Last Days of Don Juan at the Royal Shakespeare Company; Arbuzov’s The Promise at the Tricycle; Henry James’ The Turn of the Screw at Bristol Old Vic; and Ostrovsky’s A Family Affair for Cheek by Jowl. Dear's screenplays include Persuasion, The Gambler, The Turn of the Screw, Cinderella, Byron, Eroica and Agatha Christie’s Poirot. Opera libretti include The Palace in the Sky at Hackney Empire and Siren Song at the Almeida. In 2005, Lunch in Venice appeared at the Shell Connections festival at the National Theatre. His plays Power (2003), and Summerfolk (1999) both premiered at the same venue. Power deals with the intrigue and tension of the court of the young Louis XIV of France. It has been produced at theatres in Portugal, Poland and Hungary, as well as the Finnish National Theatre (Kansallisteatteri). His play The Art of Success premiered at the Royal Shakespeare Company in 1986 in a production starring Penny Downie and Michael Kitchen, and was nominated for an Olivier Award. The plot revolves around William Hogarth and the political manipulation of art, the corruption of politics and treatment of women. It was subsequently produced at Manhattan Theatre Club in 1989, with Tim Curry playing Hogarth.Dear's adaptation of Mary Shelley's Frankenstein premiered at the Royal National Theatre in 2011, in a production directed by Danny Boyle.In November 2012 The Dark Earth and the Light Sky, his biographical play about Edward Thomas, opened at the Almeida Theatre, in a production directed by Richard Eyre. more…

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Submitted on August 05, 2018

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