In the trio the first chord is struck no less than nine times, as though the young composer was entirely occupied with the charm of his orchestral colouring. The _Finale_ is not highly individual. The work is scored for strings, wood-wind, two horns, two trumpets and two drums. 2nd SYMPHONY in D, Opus 36. Dedicated to Prince Carl Lichnovsky. _Adagio molto--Allegro con brio--Larghetto--Scherzo and Trio--Allegro molto._ In the Second Symphony, which is a great advance on the first, the composer's hold of his subject is much firmer and the subjects themselves are more striking. [Music score] The _Larghetto_ is full of lovely curves, and there is some charming conversational work between the wood-wind instruments. The horn passage is the precursor of many fine symphony subjects of a martial nature for the horns. [Music score] Whilst the chromatic harmony is purely Mozartian, the _Scherzo_ is a genuine Beethovenian outburst, full of verve and piquant in touch. [Music score] There is a feeling of broadness about the brilliant and energetic _Finale_ which is absent from the _Finale_ of the First Symphony. 3rd SYMPHONY, Opus 35, "Eroica" in E flat. Dedicated to Prince Lobkovitz. _Allegro con brio--Marcia funèbre--Scherzo and Trio--Finale._ This Symphony was completed in August, 1804, and first performed on April 7th, 1805. The French Ambassador at Vienna had suggested that Beethoven should write a work on the grand scale based on his admiration for Napoleon as the saviour of France from the horrors of the Revolution; and it is a fact that Beethoven actually dedicated this Symphony to Napoleon, but when the news came that the First Consul had declared himself Emperor, Beethoven tore up the title page in a rage and added the following superscription:-- _Sinfonia Eroica, composta per festeggiare il Souvenire di un grand' Uomo, E dedicata A Sua Altezza Serenissima Il Principe di Lobkovitz da Luigi van Beethoven, Op. 55 No. III. delle Sinfonie._ This is one of the grandest and most powerful of the works in the Second Period style. It is noteworthy that all the principal themes are based on the intervals of the common chord, or on the little pendant of the diminished third which forms the tail of the first subject. The work opens _in medias res_ with two strong chords, the chief subject entering on the cellos. [Music score]