The early reception of Beethoven’s Eroica proves to be a complex phenomenon. The new audiences that emerged around 1800 were interested in understanding music both through listening and through reading about it in new journals devoted to music. Beethoven’s music was considered very difficult, but worth the challenge. The dominant image of Beethoven and the status of the symphony both played an important role in the Eroica’s early reception. From the nineteenth century onwards there has been a strong desire to understand Beethoven’s music by relating it to biography. In the case of the Eroica Symphony there has been a focus on the title, and on the unnamed great man or hero, as well as on the interpretation of the Marcia funebre. Authors such as Hector Berlioz, Ferdinand Ries, Anton Schindler and Carl Maria von Weber contributed to interpretations that ranged from relating the symphony to the ancient world to the attempt to establish a programme related to Napoleon, Prince Louis Ferdinand of Prussia, Admiral Horatio Nelson or General Ralph Abercromby. So the Eroica has been understood variously as a political statement. Others commentators, such as Richard Wagner, saw Beethoven himself is the hero of this symphony.