“The Swagger of a Hungarian Cavalryman”

That’s what reader Mark H says about Beethoven’s Symphony Number 3:

In the finale of Beethoven’s “Eroica” Symphony, there’s a glorious, triumphal gallop which Leonard Bernstein said had “the swagger of a Hungarian cavalryman”. I find myself thinking of it.


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Here’s a breakdown of the graphic notation from the YouTube page:

Q: What do the shapes indicate?
A: The shapes are assigned according to an instrumental group:
rectangle: brass (also timpani)
octagon: clarinet
ellipse: flute
inverted ellipse: oboe and bassoon
rhombus: strings

Q: What do the colors indicate?
A: The colors are assigned to pitch…

See the explanation here.

13 thoughts on ““The Swagger of a Hungarian Cavalryman”

  1. Like conventional Art, Music too is up lifting food for the soul. No wonder the Globalists as part of their dehumanizing agenda have tried to discredit both by displacing them with some very poor substitutes.

    • wha do you mean by “Globalists”?

      just for your information – classical music and science are the most globalized, “internationalized” of all Western cultural achievements.
      even ahead of trade and literature and even cinema.

      in my local musical college (RCM) there are students from all over the world, and increasingly from South-East Asia.
      they all play Classics – it is the basis of curriculum.
      lot of people enjoy concerts there, – does it make them all worshipers of evil “Globalism”?

      do you mean, Hungarian music is to be played in Hungary, Russian in Russia and so on? is that the way to resist Globalism?
      I just don’t get it.

      • AY, the Globalists have got to pervert everything that once made the West THE leading world culture.

        Look up the Tavistock Institute for some more info on that agenda.

        On the Art scene, just a walk through a ‘modern’ Art Exhibition will reinforce how far from reality and the portrayal of beauty the Art scene has been made to fall into something that belongs in a rubbish bin.

        • what you are talking about is. likely, a “Postmodernism”.
          corresponding phenomenon in art is “Conceptual art”.
          degenerate garbage and fraud, often, but not always (e.g. Spanish Goya’s ghosts – Dali, Gaudi, Bunuel, these days – Almodovar; they gravitate to Postmodern).

          anyway, Globalism is something different.

      • Globalists nowadays is shorthand for leftist elite idiots/traitors who are driving Western civilization over a cliff, especially through massive Muslim immigration.

        Science can be, and has sometimes been, corrupted for this cause. Witness ‘studies’ purporting to ‘prove’ that man-made global warming is an imminent danger which can only be stopped if we all vote socialist. Or ‘studies’ proving that animals are ‘gay’ and therefore the Bible is wrong, sodomy is not an abomination.

        Musical tastes vary among individuals. It’s reported that Hitler liked classical German music. Mohammed generally disliked music, it seems. Myself, my car radio is usually tuned to a Country-Western station, but Sundays at church, I enjoy singing old Christian hymns.

        • Mo hated music because it was a potential distraction from Islam.

          This is how Islam ‘succeeds’, by erasing all other potentially competing ideas. With no competition, Islam is the only thing available to fill people’s minds.

  2. The complexity of the visual reveals how sophisticated our hearing is. We see it as a string of colored shapes, but we hear a smooth, blended sound. For a trained ear it is possible to pick out the various parts while listening, but almost impossible to do it with the visual. Having had significant hearing loss, I can say I’d rather lose my sight than become totally deaf. Our hearing centers us in our environment. Our sight lets us focus on specifics.

  3. Wow Dymphna, thanks for taking the trouble! The passage in question, for those who are interested, begins at 4’13”.

    As a fellow music lover said to me, Beethoven reminds us of how we ought to be, other composers of how we really are (the Baron’s beloved Bach is of course above such considerations).

    • The music of Johann Sebastian Bach is a means by which we mere mortals can sneak little peeks through a window into the parlors of Heaven. Soli Deo gloria!

      • Indeed. I must add another comment about the “Eroica” finale: at 6’20” Beethoven switches from E flat to the relative C minor, recalling the second movement’s funeral march; “exhibiting the corpse of his vanquished opponent”, as someone wrote about a similar passage in the finale of the Fifth.

        • Let’s not forget about Schubert … it’s 9th is sometimes called Beethoven’s 10th. Supreme delight … he was a true genius.
          Actually – all the “main” classic composers were.

          How proud I am of my West … and how I passionately oppose this:

          “… music stupefies persons listening to it and makes their brain inactive and frivolous”.
          Ruhollah Khomeini (1902-1989)

          • Thanks Lu, hope I’m not too late replying. I adore Schubert; he’s the composer who most often moves me to tears. He caught a venereal disease, maybe syphilis, when he was around twenty-three (c1820)- the rough equivalent of HIV today- and became convinced that he would die young, which he did in 1828, though from typhus, at thirty-one; there is a radical shift in the expressiveness of his compositions from that point.

            He was haunted by Beethoven (“after Beethoven, who can do anything?”); the rhythm of the second movement of Beethoven’s Seventh Symphony can be found in half a dozen of his works. He was a torchbearer at Beethoven’s funeral in 1827 (when a tenth of Vienna’s population, ie about 10,000 people, turned out). Yet his shade should not be ashamed of any comparison; he may not have had Beethoven’s intellectual grasp of musical form, but he appeals to us very directly, and like his idol, he reinvented “classical” forms, albeit quite differently, and his influence on his successors (especially Brahms and Dvorak) is at least as evident.

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