ludwig van beethoven – WikiChoeclaiste

[38] Prince Lobkowitz: portrait by August Friedrich Oelenhainz In 1795 Beethoven made his public debut in Vienna over three days,[41] beginning with a performance of one of
his own piano concertos on 29 March at the Burgtheater[n 4] and ending with a Mozart concerto on 31 March, probably the D minor concerto for which he had written a cadenza soon after his arrival in Vienna.
[27] These two Emperor Cantatas were never performed at the time and they remained lost until the 1880s when they were described by Johannes Brahms as “Beethoven through and
through” and as such prophetic of the style which would mark his music as distinct from the classical tradition.
Arrangements were likely made at that time for Beethoven to study with the older master.
[31][32] Over the next few years, Beethoven responded to the widespread feeling that he was a successor to the recently deceased Mozart by studying that master’s work and
writing works with a distinctly Mozartian flavour.
[67] The heroic style Titlepage of ms. of the Eroica Symphony, with Napoleon’s name scored through by Beethoven Beethoven’s return to Vienna from Heiligenstadt was marked
by a change in musical style, and is now often designated as the start of his middle or “heroic” period, characterised by many original works composed on a grand scale.
[101] 1813–1822: Acclaim Family problems Karl van Beethoven, c. 1820: miniature portrait by unknown artist In early 1813 Beethoven apparently went through a difficult emotional
period, and his compositional output dropped.
[12] Neefe taught him composition; in March 1783 Beethoven’s first published work appeared, a set of keyboard variations (WoO 63).
The idea of creating a symphony based on the career of Napoleon may have been suggested to Beethoven by General Bernadotte in 1798.
Johann, aware of Leopold Mozart’s successes in this area (with his son Wolfgang and daughter Nannerl), attempted to promote his son as a child prodigy, claiming that Beethoven
was six (he was seven) on the posters for his first public performance in March 1778.
[28] Beethoven was probably first introduced to Joseph Haydn in late 1790 when the latter was travelling to London and stopped in Bonn around Christmas time.
[61] In 1806, Beethoven noted on one of his musical sketches: “Let your deafness no longer be a secret – even in art.
With premieres of his First and Second Symphonies in 1800 and 1803, he became regarded as one of the most important of a generation of young composers following Haydn and
Mozart.
This slowed work on Leonore (his original title for his opera), his largest work to date, for a time.
[86] The subsequent occupation of Vienna and the disruptions to cultural life and to Beethoven’s publishers, together with Beethoven’s poor health at the end of 1809, explain
his significantly reduced output during this period,[87] although other notable works of the year include his String Quartet No.
By this year he had two piano concertos available for performance, one in B-flat major he had begun composing before moving to Vienna and had worked on for over a decade,
and one in C major composed for the most part during 1795.
[46] Viewing the latter as the more substantive work, he chose to designate it as his first piano concerto, publishing it in March 1801 as Opus 15, before publishing the former
as Opus 19 the following December.
84), which appeared in 1810, fitted well with Beethoven’s heroic style and he became interested in Goethe, setting three of his poems as songs (Op.
From 1802 to around 1812, his middle period showed an individual development from the styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as
heroic.
Beethoven was later taught by the composer and conductor Christian Gottlob Neefe, under whose tutelage he published his first work, a set of keyboard variations, in 1783.
[21] His mother died in 1787, shortly after Beethoven’s first visit to Vienna, where he stayed for about two weeks and almost certainly met Mozart.
[40] By 1793, he had established a reputation in Vienna as a piano virtuoso, but he apparently withheld works from publication so that their eventual appearance would have
greater impact.
[51] For the premiere of his First Symphony, he hired the Burgtheater on 2 April 1800, and staged an extensive programme, including works by Haydn and Mozart, as well as his
Septet, the Symphony, and one of his piano concertos (the latter three works all then unpublished).
[72] E. T. A. Hoffmann, self-portrait, c. 1820 Other middle period works extend in the same dramatic manner the musical language Beethoven had inherited.
[74] During this time Beethoven’s income came from publishing his works, from performances of them, and from his patrons, for whom he gave private performances and copies
of works they commissioned for an exclusive period before their publication.
[25] From 1790 to 1792, Beethoven composed several works (none were published at the time) showing a growing range and maturity.
After 1810, increasingly less socially involved, Beethoven composed many of his most admired works, including later symphonies, mature chamber music and the late piano sonatas.
His doctor Johann Malfatti recommended him to take a cure at the spa of Teplitz (now Teplice in the Czech Republic), where he wrote two more overtures and sets of incidental
music for dramas, this time by August von Kotzebue – King Stephen Op.
[33] He did not immediately set out to establish himself as a composer, but rather devoted himself to study and performance.
In addition to negotiating higher prices for recently composed works, Kaspar also began selling some of his earlier unpublished compositions and encouraged him (against Beethoven’s
preference) to also make arrangements and transcriptions of his more popular works for other instrument combinations.
“[17] 1792–1802: Vienna – the early years Portrait of Beethoven as a young man, c. 1800, by Carl Traugott Riedel (1769–1832) Beethoven left Bonn for Vienna in November 1792,
amid rumours of war spilling out of France; he learned shortly after his arrival that his father had died.
“[65] Beethoven’s hearing loss did not prevent him from composing music, but it made playing at concerts—an important source of income at this phase of his life—increasingly
difficult.
[35] Early in this period, he also began receiving occasional instruction from Antonio Salieri, primarily in Italian vocal composition style; this relationship persisted until
at least 1802, and possibly as late as 1809.
[57] 1802–1812: The ‘heroic’ period Deafness Beethoven in 1803, painted by Christian Horneman Beethoven told the English pianist Charles Neate (in 1815) that he dated his
hearing loss from a fit in 1798 induced by a quarrel with a singer.
His first major orchestral work, the First Symphony, premiered in 1800, and his first set of string quartets was published in 1801.
[100] After 1812 there are no reports of any romantic liaisons of Beethoven; it is, however, clear from his correspondence of the period and, later, from the conversation
books, that he would occasionally meet with prostitutes.
[8] Beethoven’s first music teacher was his father.
“[69] An early major work employing this new style was the Third Symphony in E-flat, Op.
[47] Shortly after his public debut he arranged for the publication of the first of his compositions to which he assigned an opus number, the three piano trios, Opus 1.
[61][n 5] On the advice of his doctor, Beethoven moved to the small Austrian town of Heiligenstadt, just outside Vienna, from April to October 1802 in an attempt to come to
terms with his condition.
[4] Ludwig had two sons, the younger of which (Johann (1740–1792)) worked as a tenor in the same musical establishment and gave keyboard and violin lessons to supplement his
income.
[15] In the same year, the first printed reference to Beethoven appeared in the Magazin der Musik – “Louis van Beethoven [sic] … a boy of 11 years and most promising talent.
Guicciardi, although she flirted with Beethoven, never had any serious interest in him and married Wenzel Robert von Gallenberg in November 1803.
Antonie left Vienna with her husband in late 1812 and never met with (or apparently corresponded with) Beethoven again, although in her later years she wrote and spoke fondly
of him.
The work received numerous performances in 1801 and 1802, and he rushed to publish a piano arrangement to capitalise on its early popularity.
Musicologists have identified a theme similar to those of his Third Symphony in a set of variations written in 1791.
[5][16] He was introduced in these years to several people who became important in his life.
[92][n 6] All of these had been regarded by Beethoven as possible soulmates during his first decade in Vienna.
[2][3] Ludwig was employed as a bass singer at the court of Clemens August, Archbishop-Elector of Cologne, eventually rising to become, in 1761, Kapellmeister (music director)
and hence a pre-eminent musician in Bonn.
Written in his last years, his late string quartets, including the Grosse Fuge, of 1825–1826 are among his final achievements.
There he wrote the document now known as the Heiligenstadt Testament, a letter to his brothers which records his thoughts of suicide due to his growing deafness and records
his resolution to continue living for and through his art.
)[61] Czerny remarked however that Beethoven could still hear speech and music normally until 1812.
There was a large audience (including Czerny and the young Ignaz Moscheles), but it was under-rehearsed, involved many stops and starts, and during the Fantasia Beethoven
was noted shouting at the musicians “badly played, wrong, again!”
[26] It was perhaps on Neefe’s recommendation that Beethoven received his first commissions; the Literary Society in Bonn commissioned a cantata to mark the occasion of the
death in 1790 of Joseph II (WoO 87), and a further cantata, to celebrate the subsequent accession of Leopold II as Holy Roman Emperor (WoO 88), may have been commissioned by the Elector.
[59] As early as 1801, he wrote to Wegeler and another friend Karl Amenda, describing his symptoms and the difficulties they caused in both professional and social settings
(although it is likely some of his close friends were already aware of the problems).
In addition to being a financial failure, this version of Fidelio was also a critical failure, and Beethoven began revising it.
Beethoven wrote to his publishers Breitkopf and Härtel that “Goethe delights far too much in the court atmosphere, far more than is becoming in a poet.
[73] Beethoven was hailed in 1810 by the writer and composer E. T. A. Hoffmann, in an influential review in the Allgemeine musikalische Zeitung, as the greatest of (what he
considered) the three Romantic composers (that is, ahead of Haydn and Mozart); in Beethoven’s Fifth Symphony his music, wrote Hoffmann, “sets in motion terror, fear, horror, pain, and awakens the infinite yearning that is the essence of romanticism”.
[68] According to Carl Czerny, Beethoven said: “I am not satisfied with the work I have done so far.
Amongst his other students, from 1801 to 1805, he tutored Ferdinand Ries, who went on to become a composer and later wrote about their encounters.
[22] He contributed further to the family’s income by teaching (to which Wegeler said he had “an extraordinary aversion”[23]) and by playing viola in the court orchestra.
[29] A year and a half later, they met in Bonn on Haydn’s return trip from London to Vienna in July 1792, when Beethoven played in the orchestra at the Redoute in Godesberg.
These works were dedicated to his patron Prince Lichnowsky,[42] and were a financial success; Beethoven’s profits were nearly sufficient to cover his living expenses for a
year.
A colossal benefit concert which he organized in December 1808, and was widely advertised, included the premieres of the Fifth and Sixth (Pastoral) symphonies, the Fourth
Piano Concerto, extracts from the Mass in C, the scena and aria Ah!
[52] By the end of 1800, Beethoven and his music were already much in demand from patrons and publishers.
[8][n 3] Beethoven soon began working with Neefe as assistant organist, at first unpaid (1782), and then as a paid employee (1784) of the court chapel.
Beethoven then gained a reputation as a virtuoso pianist, and he was soon patronized by Karl Alois, Prince Lichnowsky for compositions, which resulted in his three Opus 1
piano trios (the earliest works to which he accorded an opus number) in 1795.
[102] Family issues may have played a part in this.
Initially, he accepted that Josephine could not love him, but he continued to address himself to her even after she had moved to Budapest, finally demonstrating that he had
got the message in his last letter to her of 1807: “I thank you for wishing still to appear as if I were not altogether banished from your memory”.
20) in 1799, which was one of his most popular works during his lifetime.
The young Carl Czerny, who later became a renowned music teacher himself, studied with Beethoven from 1801 to 1803.
The portrait he commissioned of himself towards the end of his life remained displayed in his grandson’s rooms as a talisman of his musical heritage.
This may be attributed to the lukewarm response his initial publications had attracted, and also to ongoing problems in the Beethoven family.
Some of his early patrons, including Prince Lobkowitz and Prince Lichnowsky, gave him annual stipends in addition to commissioning works and purchasing published works.

Works Cited

[‘/ˈlʊdvɪɡ væn ˈbeɪtoʊvən/ ( listen) LUUD-vig van BAY-toh-vən; German: [ˈluːtvɪç fan ˈbeːtˌhoːfn̩] ( listen)
2. ^ The prefix van to the surname Beethoven reflects the Flemish origins of the family name.[1]
3. ^ Most of Beethoven’s early works and
those to which he did not give an opus number were listed by Georg Kinsky and Hans Halm as “WoO”, works without opus number. Kinsky and Halm also listed 18 doubtful works in their appendix (“WoO Anhang”). In addition, some minor works not listed with
opus numbers or in the WoO list have Hess catalogue numbers.[13]
4. ^ It is uncertain whether this was the First (Op. 15) or Second (Op. 19 which was in fact written earlier than Op. 15). Documentary evidence is lacking, and both concertos were
still in manuscript (neither was completed or published for several years).[42] Some authorities favour Op. 15,[43][44] but Oxford Music Online suggests it was probably Op. 19.[45]
5. ^ The cause of Beethoven’s deafness has also variously been
attributed to, amongst other possibilities, lead poisoning from Beethoven’s preferred wines.[62] Another possibility is that it was caused by complications from a case of murine typhus from 1796.[63]
6. ^ Solomon sets out his case in detail in
his biography of Beethoven.[93]
7. ^ The manuscript (now lost) was found in Therese Malfatti’s papers after her death by Beethoven’s early biographer Ludwig Nohl. It has been suggested that Nohl misread the title, which may have been Für Therese.[98]
8. ^
Their ruling stated: “It … appears from the statement of Ludwig van Beethoven … is unable to prove nobility: hence the matter of guardianship is transferred to the Magistrate”.[106]
9. ^ The work is not a true symphony, but a programmatic piece
including French and British soldiers’ songs, a battle scene with artillery effects and a fugal treatment of “God Save the King”.[109]
10. ^ “Fine mit Gottes Hülfe” – “O, Mensch, hilf dir selber.”
11. ^ It was suggested by Beethoven’s biographer
Alexander Wheelock Thayer that, of 400 conversation books, 264 were destroyed (and others were altered) after his death by his secretary Schindler, who wished only an idealised biography to survive.[130] The music historian Theodore Albrecht has,
however, demonstrated that Thayer’s allegations were over the top. “[It is now] abundantly clear that Schindler never possessed as many as c. 400 conversation books, and that he never destroyed roughly five-eighths of that number.”[131] Schindler
did however insert a number of fraudulent entries that bolstered his own profile and his prejudices.[132][133] Presently 136 books covering the period 1819–1827 are preserved at the Staatsbibliothek Berlin, with another two at the Beethoven-Haus in
Bonn.[134]
12. ^ The Broadwood piano is now in the collection of the Hungarian National Museum in Budapest.[138]
13. ^ The first full performance of the Missa solemnis had already been given in St. Petersburg by Galitzin, who had been a subscriber
for the manuscript ‘preview’ that Beethoven had arranged.[161]
14. ^ There is dispute about the actual cause of his death: alcoholic cirrhosis, syphilis, infectious hepatitis, lead poisoning, sarcoidosis and Whipple’s disease have all been proposed.[180]
Surviving locks of his hair have been subjected to additional analysis, as have skull fragments removed during an 1863 exhumation.[181] Some of these analyses have led to controversial assertions that he was accidentally poisoned by excessive doses
of lead-based treatments administered under instruction from his doctor.[182][183]
15. ^ The piano is now in the Oberösterreichisches Landesmuseum in Linz.[207]
16. ^ The piano is now in the Hungarian National Museum, Budapest, to which it was
donated by Franz Liszt; it was restored to playing condition in 1991.[209]
17. ^ Now in the Beethoven-Haus, Bonn.[211]
18. Cooper 1996, p. 36.
19. ^ Jump up to:a b c d Kerman, Tyson & Burnham 2001, § 1.
20. ^ Cooper 2008, p. 407.
21. ^
Swafford 2014, pp. 12–17.
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2000, p. 7.
26. ^ Swafford 2014, p. 74.
27. ^ Swafford 2014, pp. 22, 32.
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29. ^ Solomon 1998, p. 34.
30. ^ Cooper 1996, p. 210.
31. ^ Thayer 1967a, pp. 65–70.
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33. ^ Cooper 1996,
p. 50.
34. ^ Jump up to:a b c Kerman, Tyson & Burnham 2001, § 2.
35. ^ Cooper 1996, p. 55.
36. ^ Solomon 1998, pp. 51–52.
37. ^ Thayer 1967a, p. 121–122.
38. ^ Solomon 1998, pp. 36–37.
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51.
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46. ^ Cooper 2008, p. 35.
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48. ^ Thayer 1967a, pp.
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49. ^ Cooper 2008, p. 42.
50. ^ Cooper 2008, p. 43.
51. ^ Kerman, Tyson & Burnham 2001, § 3.
52. ^ Cooper 2008, pp. 47, 54.
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54. ^ Ronge 2013.
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78. ^ Jump up to:a b c Kerman, Tyson & Burnham 2001, § 5.
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117. ^ Thorpe, Vanessa (25 February 2017). “Did Beethoven’s Love for a Married Aristocrat and a Doomed Son Colour His Darkest Work?”. The Guardian. Retrieved 15 June 2021.
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153. ^ Morrisroe, Patricia (6 November 2020). “The Woman Who Built Beethoven’s Pianos”. The New York
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157. ^ Kerman, Tyson & Burnham 2001, § 8.
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159. ^ Thayer 1967b, pp. 741, 745.
160. ^ Thayer 1967b, p. 742.
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165. ^ Thayer 1967b,
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