----+---------+-----+----------+-------------------+----------------- | |Opus | |Date of Completion | Date of First No. | Key. | No. | Title. |when ascertainable.| Performance. ----+---------+-----+----------+-------------------+----------------- 1 | C | 21 | | | April 2, 1800 2 | D | 36 | | | April 5, 1803 3 | E-flat | 55 | Eroica | August, 1804 | April 7, 1805 4 | B-flat | 60 | | 1806 | March, 1807 5 | C minor | 67 | | | Dec. 22, 1808 6 | F | 68 | Pastoral | | Dec. 22, 1808 7 | A | 92 | | May (?) 13, 1812 | Dec. 8, 1813 8 | F | 93 | | October, 1812 | Feb. 27, 1814 9 | D minor | 125 | Choral | August, 1823 | May 7, 1824 ----+---------+-----+----------+-------------------+----------------- In the chapter on the sonata I have already mentioned some of the details of Beethoven's developments. As displayed in his symphonies the technical changes which call for especial mention are first strikingly seen in the "Eroica." Here we find that Beethoven made the progress from his first to his second subject (see outline of first movement form, Chap. X.) in a thoroughly logical and organic manner. In the working out he introduced new melodic episodes, but he never forgot that they were subordinate to the two melodic topics of his movement. In the third part of the first movement he introduced a coda of 140 measures, in which new subject matter is introduced, and part of it made to act as a "descant" above the first principal theme. [Music: 1st subject of "Eroica." _Part of Coda._ 1ST VIOLINS. 2D VIOLINS. BASSES. etc.]