In many of his works one is struck by the powerful and energetic march rhythms, full of the fighting spirit. This is especially noticeable in the Allegro and the Finale of Second Symphony, and still more in the first movement, full of superb heroism, of the Violin Sonata dedicated to the Emperor Alexander. The war-like character of this music recalls the period in which it was written. The Revolution had reached Vienna. Beethoven was completely carried away by it. "He spoke freely amongst his intimate friends," said the Chevalier de Seyfried, "on political affairs, which he estimated with unusual intelligence, with a clear and well-balanced out-look. All his sympathies leaned towards revolutionary ideas." He liked the Republican principles. Schindler, the friend who knew him best during the last period of his life, said, "He was an upholder of unlimited liberty and of national independence . . . . . . he desired that everyone should take part in the government of the State. . . . . For France he desired universal suffrage and hoped that Bonaparte would establish it, thus laying down the proper basis of human happiness." A Roman of the revolutionary type, brought up on Plutarch, he dreamt of a triumphant Republic, founded by the god of victory, the first Consul. And blow by blow he forged the Eroica Symphony, Bonaparte, 1804,[1] the Iliad of Empire, and the Finale
- ↑ It is a fact that the Eroica Symphony was written for and around Bonaparte, and the first MS. still bears the title, "Bonaparte." Afterwards Beethoven learnt of the Coronation of
