Ludwig van Beethoven is a composer who has influenced music throughout the world. His music is dramatic, powerful and really speaks to our souls. He is a composer I greatly admire.

Beethoven’s music, like good wine, seems to have become even better and more relevant as time has passed. His works have survived and continue to be played on concert stages all over the world for the last 200 years.

For these reasons, I chose to perform Beethoven’s epic “Symphony No. 3 in E flat Major, Op. 55, Eroica,” for the 2021 season finale of the Allentown Symphony.

The Allentown Symphony “Beloved Beethoven” concert will premiere-stream, 7:30 p.m. June 12, and afterward, is available for on-demand streaming.

“The Eroica,” written in 1803, was a major turning point in Beethoven’s compositional style and influenced composers that followed in Beethoven’s footsteps.

While Beethoven was writing his “Symphony No. 3,” he was going through a difficult time in his life. In 1801, he had confided to his friends about his hearing loss. In fall 1802, he seriously contemplated committing suicide. This was his state of mind as he worked on his “Third Symphony,” and the piece reflects the struggles in his life.

Originally dedicated to Napoleon Bonaparte, the title was changed to simply “Sinfonia Eroica” when Beethoven heard that Napoleon had named himself Emperor. Beethoven was furious at this news. He tore up the title page of the score. He changed the dedication to “Composed to celebrate the memory of a great man.”

Later on, after Napoleon’s victory at Jena, Beethoven is reputed to have said about Napoleon: “It’s a pity I do not understand the art of war as well as I do the art of music. I would conquer him!”

The Symphony begins with two striking chords, followed by three notes, that become the basis of everything else that follows in the opening movement.

The length and complexity of the Symphony far exceeded anything previously written by Beethoven. The intensity of the music with its outburst of chords reminds us of the emotional turmoil that Beethoven was experiencing.

In the final movement of “Symphony No. 3,” Beethoven “borrows” a melody that he had used in four other pieces he wrote between 1800-1803. He must have really loved this melody.

During the concert, I want you to hear how Beethoven used the same musical theme in more than one piece, but developed it differently. To demonstrate this, I decided to start the program with Beethoven’s “Overture and Finale from The Creatures of Prometheus, Op. 43.” The final movement of the ballet uses the exact same theme as the final movement of the “Eroica Symphony.”

The same melody was also used in another piece that Beethoven wrote in 1802, “Variations and Fugue for Piano in E flat?Major,” often referred to as the “Eroica Variations.”

Beethoven used the melody yet again as the seventh dance in his set of contra dances written between 1800-1802. The melody is short, happy and dance-like. Each time it is played, he adds a variety of accompaniment.

In the finale of “Symphony No. 3,” Beethoven created a set of variations and fugues, with the orchestra members tossing the main themes back and forth. The variety and range of style of musical writing within this movement are extraordinary and greatly expanded what the audience of that era was used to hearing in a symphony.

This Symphony changed the direction of music and symphonic writing and it is a piece that I encourage everyone to listen to.

Towards the end of Beethoven’s life, after completing eight of his symphonies, he was asked by a friend which symphony was his favorite, and he answered without hesitation, “The Eroica.”

Over the last 200 years, this Symphony has become a favorite of people throughout the world.

Tickets: https://allentownsymphony.org. Information: 610-432-6715

Diane Wittry is Music Director and Conductor of the Allentown Symphony Orchestra; Music Director and Conductor of The Garden State Philharmonic, New Jersey, and author of “Beyond the Baton: What Every Conductor Needs To Know” and “Baton Basics: Communicating Music Through Gestures.” Wittry, one of “Musical America” Worldwide Top 30 Musical Influencers,” teaches conducting workshops throughout the United States and Europe.