Ludwig van Beethoven. Though it is a matter of debate as to the exact date of
Beethoven's birthday, it is known that he was baptized on December 17th,
1770 and it is generally assumed he was born the day before on the 16th.
He was born in Bonn, Germany where both his father and grandfather served as
singers at the court of the Elector of Cologne. Recognizing early on young
Beethoven's musical talent, his father attempted to repeat the success Leopold
Mozart had achieved with his children, Wolfgang and Nannerl. Perhaps
unimpressed by yet another child prodigy following so closely on the heels of
Wolfgang, this plan brought little success to Beethoven's family.
Beethoven's first music teacher was his father, though by
far his most influential teacher in Boon was Christian Gottlob Neefe, the
Court's Organist. Neefe taught Beethoven composition and helped him produce his
first published work, a set of piano variations. In 1787, he made his first
trip to Vienna with the hopes of studying under Mozart himself. Though it is
unknown whether the two actually met, there is at least an accompanying
anecdote in which the elder Mozart, upon hearing Beethoven improvise a set of
variations, proclaimed to those present "Mark
that young man; he will make himself a name in the world!" News of his
mother falling ill soon forced Beethoven to return to Bonn, where he would
remain for the next five years supporting his two younger brothers.
With the Elector's help, Beethoven returned to Vienna in
1792. He began counterpoint lessons with Joseph Haydn, though there is some
evidence to suggest Beethoven did not think highly of Haydn's instruction. He
also studied violin from Ignaz Schuppanzigh, who would later perform many of
his quartets, and Italian vocal composition from Antonio Salieri. Upon Haydn's
departure for England in 1794, Beethoven continued his counterpoint lessons
with Johann Albrechtsberger.
Though Beethoven originally gained fame in Vienna as a
concert pianist, the gradual deterioration of his hearing beginning in the 1790s
began to limit the possibilities of maintaining such a career. It is lucky for
us, however, that it did not hinder his abilities as a composer. His early
compositions, like the op. 1 trios and the early piano sonatas and concertos,
were mainly centered around Beethoven's performance career. However, starting
in 1798 he tackled what he considered the pinnacles of compositions—the string
quartet and symphony. His op. 18 quartets and the First and Second Symphonies
gained him the reputation as an influential young composer following in the
illustrious steps of the deceased Mozart and aging Haydn.
Despite initial success as a composer, Beethoven soon faced
severe depression over his hearing loss. In October 1802 he penned the famous
letter to his brothers known as the Heiligenstadt Testament. Here he gave
utterance to his deepest grief over deafness and even admitted to contemplating
taking his own life. However Art, alone, he says, stayed his hand. Yet, if ever
a moment defined the music of a composer, it was this! Over the following
decade came such triumphant works as the Eroica and Fifth Symphonies,
the "Waldstein" and "Appassionata" Piano Sonatas, the "Emperor" Concerto and
others. It was also during this time Beethoven began to expand on the traditions
he inherited from Mozart and Haydn.
Following the success of a decade's worth of compositions,
Beethoven's output dropped off significantly beginning around 1815. Suffering
from a prolonged period of ill-health during this time, he was also engaged in a
vicious legal battle over the custody of his nephew after his brother Carl
passed away. By 1818, his health had improved and his nephew had moved in with
him. It was also about this time that he began an in-depth study of the works
of J.S. Bach and Handel whose works were just appearing in complete published
editions. These studies would greatly influence Beethoven's remaining output
and his "later period."
While Beethoven's so-called "middle period" was defined by a
gradual expansion of musical forms, his later period was almost entirely
concerned with a deepening of its expression, almost as if Beethoven first had
to make the necessary room for the emotional depths he would plunge in his last
works. Like a symbolic hammer-stroke, the Piano Sonata No. 29, known as the
"Hammerklavier," appeared in 1818. Besides its greatly expanded form and
unusual fugal finale, its emotional content perplexed audiences and even today
it is the least often performed and understood of Beethoven's sonata. A few
years later in 1823 and 1824, respectively, came the colossal Missa Solemnis
and Ninth Symphony, markedly different from anything that had come before
them yet undeniable masterpieces.
Beethoven's final words, however, were spoken through the
string quartet and are the clearest picture of the fundamental changes he
wrought in music. Ranging from the brash and outspoken to the intensely
intimate, the last quartets span a wide range of emotions. Perhaps no other
works in Western music show a composer in more perfect command of both
expression and technique. At the time of their composition, they were little
understood by musicians and audiences alike. Contemporary composer, Louis Spohr
called them "undecipherable, uncorrected horrors;" yet, Franz Schubert, after
hearing the String Quartet No. 14 in C-sharp minor, remarked, "After this, what
is left for us to write?"
For the remaining months of his life, Beethoven was
bedridden, his last completed composition being the alternate finale for the
String Quartet No. 13 in B-flat major. He died on March 26, 1827. His funeral
was held three days later in which 20,000 Viennese citizens attended.
Ludwig van Beethoven
Biography
Ludwig van Beethoven. Though it is a matter of debate as to the exact date of Beethoven's birthday, it is known that he was baptized on December 17th, 1770 and it is generally assumed he was born the day before on the 16th. He was born in Bonn, Germany where both his father and grandfather served as singers at the court of the Elector of Cologne. Recognizing early on young Beethoven's musical talent, his father attempted to repeat the success Leopold Mozart had achieved with his children, Wolfgang and Nannerl. Perhaps unimpressed by yet another child prodigy following so closely on the heels of Wolfgang, this plan brought little success to Beethoven's family.Beethoven's first music teacher was his father, though by far his most influential teacher in Boon was Christian Gottlob Neefe, the Court's Organist. Neefe taught Beethoven composition and helped him produce his first published work, a set of piano variations. In 1787, he made his first trip to Vienna with the hopes of studying under Mozart himself. Though it is unknown whether the two actually met, there is at least an accompanying anecdote in which the elder Mozart, upon hearing Beethoven improvise a set of variations, proclaimed to those present "Mark that young man; he will make himself a name in the world!" News of his mother falling ill soon forced Beethoven to return to Bonn, where he would remain for the next five years supporting his two younger brothers.
With the Elector's help, Beethoven returned to Vienna in 1792. He began counterpoint lessons with Joseph Haydn, though there is some evidence to suggest Beethoven did not think highly of Haydn's instruction. He also studied violin from Ignaz Schuppanzigh, who would later perform many of his quartets, and Italian vocal composition from Antonio Salieri. Upon Haydn's departure for England in 1794, Beethoven continued his counterpoint lessons with Johann Albrechtsberger.
Though Beethoven originally gained fame in Vienna as a concert pianist, the gradual deterioration of his hearing beginning in the 1790s began to limit the possibilities of maintaining such a career. It is lucky for us, however, that it did not hinder his abilities as a composer. His early compositions, like the op. 1 trios and the early piano sonatas and concertos, were mainly centered around Beethoven's performance career. However, starting in 1798 he tackled what he considered the pinnacles of compositions—the string quartet and symphony. His op. 18 quartets and the First and Second Symphonies gained him the reputation as an influential young composer following in the illustrious steps of the deceased Mozart and aging Haydn.
Despite initial success as a composer, Beethoven soon faced severe depression over his hearing loss. In October 1802 he penned the famous letter to his brothers known as the Heiligenstadt Testament. Here he gave utterance to his deepest grief over deafness and even admitted to contemplating taking his own life. However Art, alone, he says, stayed his hand. Yet, if ever a moment defined the music of a composer, it was this! Over the following decade came such triumphant works as the Eroica and Fifth Symphonies, the "Waldstein" and "Appassionata" Piano Sonatas, the "Emperor" Concerto and others. It was also during this time Beethoven began to expand on the traditions he inherited from Mozart and Haydn.
Following the success of a decade's worth of compositions, Beethoven's output dropped off significantly beginning around 1815. Suffering from a prolonged period of ill-health during this time, he was also engaged in a vicious legal battle over the custody of his nephew after his brother Carl passed away. By 1818, his health had improved and his nephew had moved in with him. It was also about this time that he began an in-depth study of the works of J.S. Bach and Handel whose works were just appearing in complete published editions. These studies would greatly influence Beethoven's remaining output and his "later period."
While Beethoven's so-called "middle period" was defined by a gradual expansion of musical forms, his later period was almost entirely concerned with a deepening of its expression, almost as if Beethoven first had to make the necessary room for the emotional depths he would plunge in his last works. Like a symbolic hammer-stroke, the Piano Sonata No. 29, known as the "Hammerklavier," appeared in 1818. Besides its greatly expanded form and unusual fugal finale, its emotional content perplexed audiences and even today it is the least often performed and understood of Beethoven's sonata. A few years later in 1823 and 1824, respectively, came the colossal Missa Solemnis and Ninth Symphony, markedly different from anything that had come before them yet undeniable masterpieces.
Beethoven's final words, however, were spoken through the string quartet and are the clearest picture of the fundamental changes he wrought in music. Ranging from the brash and outspoken to the intensely intimate, the last quartets span a wide range of emotions. Perhaps no other works in Western music show a composer in more perfect command of both expression and technique. At the time of their composition, they were little understood by musicians and audiences alike. Contemporary composer, Louis Spohr called them "undecipherable, uncorrected horrors;" yet, Franz Schubert, after hearing the String Quartet No. 14 in C-sharp minor, remarked, "After this, what is left for us to write?"
For the remaining months of his life, Beethoven was bedridden, his last completed composition being the alternate finale for the String Quartet No. 13 in B-flat major. He died on March 26, 1827. His funeral was held three days later in which 20,000 Viennese citizens attended.