In a departure from the classical theme-and-variations form, Beethoven opens the work not with the main theme, but the bass line to the main theme. He then follows with three variations of this bass line before finally stating the main theme.[1] This approach was carried over from the ballet music, where it represented the gradual creation of life forms by Prometheus. The variations in the Eroica Symphony follow this same pattern. In another departure from traditional variation form, after the fifteen variations of the main theme, Beethoven finishes the work with a finale consisting of a fugue followed by an Andante con moto. (Wikipedia)
Instrumentation
Solo
Piano
Related Pieces
Zwölf Contredanses, WoO 14 by : The theme was a favourite of Beethoven's. He had used it in the seventh of his 12 Contredanses, WoO 14 (1800-02), before being the subject of the variations of this work and of the later symphony.
Symphonie Nr. 3 in E-flat major, Op. 55 by Ludwig van Beethoven: Variations and Fugue for Piano in E♭ major, Op. 35 are commonly referred to as the Eroica Variations because a different set of variations on the same theme were used as the finale of his Symphony No. 3 Eroica composed the following year.