Cancelled: The Philadelphia Orchestra
Part of: Yannick Nézet-Séguin Perspectives and Beethoven Celebration
This partner event focuses on music included in this concert.
The Philadelphia Orchestra is also performing October 15, March 13, March 26, and April 3.
Yannick Nézet-Séguin is also performing October 15, November 22, December 15, March 13, March 26, April 3, June 12, and June 16.
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Performers
The Philadelphia Orchestra
Yannick Nézet-Séguin, Music Director and Conductor
Program
ALL-BEETHOVEN PROGRAMSymphony No. 2
Symphony No. 3, "Eroica"
Event Duration
The printed program will last approximately two hours, including one 20-minute intermission. Please note that there will be no late seating before intermission.Pre-Concert Talk
Pre-concert talk at 7 PM with Ara Guzelimian, Provost and Dean, The Juilliard School.Explore More
The Trustees of Carnegie Hall gratefully acknowledge the generosity of Mr. and Mrs. Eugene J. Glaser in support of the 2019-2020 season.
Lead support for the Beethoven Celebration is provided by The Morris and Alma Schapiro Fund.
Public support is provided by the National Endowment for the Arts.
In honor of the centenary of his birth, Carnegie Hall’s 2019–2020 season is dedicated to the memory of Isaac Stern in recognition of his extraordinary contributions to Carnegie Hall, arts advocacy, and the field of music.
At a Glance
The Philadelphia Orchestra continues its cycle of Beethoven’s complete symphonies in celebration of the composer’s 250th anniversary.
Beethoven’s Third Symphony, the revolutionary “Eroica,” so changed the history of the genre upon its public premiere in 1805 that it quickly overshadowed his first two symphonies, which he had composed shortly before. Despite its humor and good cheer, some critics initially greeted the Second Symphony as “bizarre.” Beethoven wrote it around a time of acute personal crisis, as he was first confronting his loss of hearing.
The crisis seems more evident in relation to the “Eroica,” which Beethoven originally called “Bonaparte.” He changed the title after becoming disillusioned when Napoleon crowned himself emperor. The heroism of this monumental work nonetheless remains and may relate to the composer’s own struggles at the time.