Beethoven (1770-0827) composed his overture in 1807, to Coriolan, a drama by Heinrich Joseph von Colin. The composer’s unwavering purposefulness in creating the form of his his music and the pronounced motives used in the work are reminescent of Sympony No. 5 composed in the same year, while his preoccupation with the idea of heroism that constitutes the basic theme of the overture bring to mind the Eroica Symphony. In a major article, Wagner underscored the significance of the composition that represents an important step in the direction of the symphonic poems by Liszt.

            The figure of Coriolanus has come down to us in descriptions by several Roman writers of history and was also an inspiration for Shakespeare. Beethoven is assumed to have come across with it in Plutarch’s Lives. The courage and exceptional abilities of Coriolanus as a military leader and orator were legendary. However, he was not liked because he was arrogant and looked down on common people. He defended Rome from its enemies, yet when he stood for consul, was not elected. And if that humiliation were not enough, he was also banished from Rome. As an act of revenge, Coriolanus than sided up with his enemies and lead them to victory against Rome. The beleaguered town sent envoys to its former military commander, but Coriolanus was relentless: Rome must perish. Only when his mother and wife approach him with pleadings does he relent.  However, this change of mind cost him his life: he was killed for his betrayal by the people he had lead against Rome.

            In his tragedy, Collin focuses on the central character, the plot is of secondary importance. The text is in fact a series of Coriolanus’ monologues of ruminations. There is also a peculiar ending: the hero dies by his own hand tormented by regrets of having lost the battle with himself. There is no redemption, no flourish of trumpets with a message of salvation. Of all the Beethoven scores on the fall of a hero Coriolanus is certainly the most devoid of hope.