Ludwig Van Beethoven

Biography & Music

Fantasy for Piano Chorus & Orchestra in C minor Opus 80

Ludwig Van Beethoven (1770 – 1827) German composer, pianist and conductor. He is one of the most important figures in all of classical music. His gigantic influence made an impression on nearly every composer who came after him. He is considered the best of all-time composers.

The influence of Beethoven can be traced through art, literature and music. His image as a composer and Romantic figure has been immortalized through the works of later composers as well as artists. Sculptures, paintings, poems, and fictional novels have been created through the inspiration of Beethoven.

Beethoven's stylistic innovations encompass two achievements. First, he brought the classical form to its highest expressive level, expanding in formal, structural and harmonic terms the musical idiom developed by predecessors such as Mozart and Haydn.

Additionally, he proved immensely influential over the musical language and thinking of the Romantic era, he was a source of direct inspiration for the music of Schumann, Liszt, Brahms, Chopin, and Schubert.

He also continued the trend, towards larger orchestras and moved the center of the sound downwards in the orchestra, to the violas and the lower register of the violins and cello. He took choral music in symphonies to its highest level.

He expressed his creativity in several musical genres and although his symphonies were the works that gave him international popularity, his piano and chamber music had also a profound impact in the development of later classical works.

Beethoven published during his life a total of 138 works, including: 9 symphonies, 35 piano sonatas, 16 string quartets, 7 trios, 10 sonatas for violin y piano, 5 concerts for piano & orchestra, one concert for violin & orchestra, one opera (Fidelio) and more than 100 songs and lieder.

These works have been classified by “Opus” number.

After his death, 205 unpublished works were found, and they were assigned with a new numbering system “WoO” (works without Opus number). One of the most famous is the Bagatelle No. 25 in A minor “For Elise” (WoO 59).

Beethoven’s career as a composer is generally divided into three periods of gradual progress.

The first period extends to the year 1800. at the beginning we see Beethoven under the influence of his great predecessors, Haydn and Mozart, but progressing in rapid strides towards independence of thought and artistic power. Examples of this period are the Pathétique Sonata and the First Symphony, Op. 21

The second period, from 1800-1814, marks the climax of formal perfection. The works of this time show the highest efforts of which music as an independent art is capable. Examples of this period are his opera, Fidelio, the overture Egmont; the Concert for Violin, Op. 61 and the Symphonies 2 to 8, amongst which those called the “Pastoral” and the “Eroica” , deserve special mention.

The third period may be described as that of poetic music, a distinct poetic idea became the moving principle before which the forms of absolute music have to yield. Beethoven has, by the works belonging to this class, ushered in a new phase of music, as will be later demonstrated in the history of classical music.

The best examples of this period are the Missa Solemnis and the unequalled master-piece of symphonic art: The Ninth or Choral Symphony.

Piano Sonata in D minor - The TempestOpus 31 No.2

Opus SubOpus Name Dates Dedicated to Notes

13   Piano Sonata 8, in C minor: "Pathetique" 1797 - 1798 Prince Karl Lichnowsky  

24   Sonata 5 for Piano & Violin in F major: “Spring” 1800 - 1801 Count Moritz von Fries  

27 2 Piano Sonata 14 in C-sharp minor “Moonlight” 1800 - 1801 Countess Giulietta

GuicciardiThe name was given by

Ludwig Rellstab

28   Piano Sonata 15 in D Major: "Pastoral" 1801 Joseph Sonnenfels  

31 2 Piano Sonata 17 in D minor“The Tempest” 1802    

55   Symphony No. 3 in E-flat Major "Eroica" 1803 Prince Ferdinand Lobkowitz

Initially was dedicated to Napoleon Bonaparte.

57   Piano Sonata 23 in F minor: "Appassionata" 1804 - 1805 Count Franz Anatol

Brunsvik  

61   Concert for Violin & Orchestra in D Major: 1806 Stephan von Breuning  

62   Overture: "Coriolan" 1807 Heinrich Collin Text of H. J. Collin

67   Symphony No. 5 in C minor 1803 - 1808 Prince Lobkowitz & Count Rasumovsky  

List of most famous Beethoven works

Opus Name Dates Dedicated to Notes

68   Simphony No. 6 in F major: "Pastoral" 1807 - 1808 Prince Lobkowitz & Count Rasumovsky  

72   "Fidelio", Opera in 2 Acts, Includes its famous overture 1814   Libretto: Joseph Sonnleithner

& Georg Friedrich Treitschke

73   Concert No. 5 for Piano & Orchestra in E-flat Major: “The Emperor" 1808 - 1809 Archduke Rudolph

of Austria  

80   Fantasy for Piano, Chorus & Orchestra in C minor (Choral Fantasy) 1808 - 1809 King of Bavaria

Maximilian Joseph Text: Christoph Kuffner

84   Overture in F minor: "Egmont 1809 - 1810   Incidental music for Goethe’s tragedy 

106   Piano Sonata 29 in B-flat major: "Hammerklavier-Sonata" 1816 - 1818 Archduke Rudolph

of Austria

One of the most difficult to execute sonatas, according to

Beethoven own words

113   Incidental music for the play“The Ruins of Athens” 1811   By playwright

August von Kotzebue 

125   Symphony No. 9 in D minor: "Choral" 1817 - 1824 King of PrussiaFriedrich Wilhelm III

Words based on ‘‘Ode to joy“

of Friedrich Schiller 

WoO 59 Bagatelle in A minor “For Elise” Belongs to hisposthumous works

Contemporary Composers of Beethoven

Franz Joseph Haydn (1732 - 1809)Antonio Salieri (1750 - 1825)Muzio Clementi (1752 - 1832)Giovanni Battista Viotti (1755 - 1824)Christian Kalkbrenner (1755 - 1806)Wolfgang Amadeus Mozart (1756 - 1791)Luigi Cherubini (1760 - 1842)Ludwig van Beethoven (1770 - 1827) François Adrien Boïeldieu (1775 - 1834)Daniel Auber (1782 - 1871)Nicoló Paganini (1782 - 1840)Carl Maria von Weber (1786 - 1826)Giacomo Meyerbeer (1791 - 1864)Ferdinand Hérold (1791 - 1833)Gioacchino Rossini (1792 - 1868)Franz Schubert (1797 - 1828)

Violin Concert in D major - Mov.3 Opus 61

Biography The Beethoven biography starts with his baptism. He was baptized on December 17th 1770 at Bonn. His family originated from Brabant, in Belgium.

His father was a musician at the court of Bonn. His mother was always described as a gentle, retiring woman, with a warm heart. Beethoven referred to her as his “best friend.” The Beethoven family consisted of seven children, but only the three boys survived, of whom Ludwig was the eldest.

At an early age, Beethoven, took an interest in music and his father taught him day and night, on returning to the house from music practice or the tavern. Without a doubt, the child was gifted and his father Johann, envisaged creating a new Mozart, a child prodigy.

At the age of 7, Ludwig Van Beethoven gave his first public performance, at Cologne, on March 26, 1778.

Soon Ludwig learned music, notably the organ and composition by renowned musicians, such as Gottlob Neefe. Neefe recognized how extraordinarily talented Beethoven was and not only did Neefe teach him music, but he made the works of philosophers, ancient and modern, known to Beethoven as well.

In 1782, before the age of 12, Beethoven published his first work: Nine Variations in C minor, for piano on a march by Earnst Christoph Dressler (WoO 63).

The following year, in 1783, Neefe wrote in the Magazine of Music, about his student. “If he continues like this, he will be, without a doubt, the new Mozart.”

In June 1784, on Neefe’s recommendations, Ludwig Van Beethoven, was appointed organist of the court of Maximillian Franz, Elector of Cologne. He was 14 years-old.

This post enabled him to frequent new circles, other than those of his father and friends of his family. Here he met people who were to remain friends for the rest of his life: The Ries family and the Von Breuning family, and the charming Eleonore, Karl Amenda, the violinist, Franz Gerhard Wegeler, a doctor, and a dear friend who also went to Vienna.

At home, little by little, Ludwig replaced his father. First of all financially, because Johann, was less and less capable of keeping up his role at the court. The young Beethoven felt responsible for his two younger brothers, an idea he kept for the rest of his life, sometimes to the extent of being excessive.

‘‘For Elise“ - Bagatelle in A minorWoO 59

Ludwig van Beethoven Musical Education

Prince Maximillian Franz was also aware of Beethoven music, and so he sent him to Vienna, in 1787, to meet Mozart and advance further on his musical education. The city of Vienna was, after all, capital of the culture and music of Europe.

However, the plan had to change, a letter called Beethoven back to Bonn, his mother was dying. The only person in his family with whom he had developed a strong and loving relationship with, passed away on July 17, 1787.

Five years later, in 1792, Ludwig Van Beethoven went back to Vienna, benefiting from another grant, for two years, by the Prince Elector, again to pursue his musical education. He never went back to the town of his birth. His friend Waldstein, wrote to him, “you will receive Mozart’s spirit from Haydn’s hands”.

At Vienna, the young musician took lessons with Haydn, then with Albrechtsberger and Salieri. He captured the attention of, and astonished Vienna with his virtuosity and his improvisations on piano.

Beethoven’s Teachers

Franz Ries (1755-1846)

Ries was the young Beethoven's music violin teacher at Bonn, and one of those who recognized his musical talent early, and did all he could to foster it. Franz Ries was the leader of the Elector's orchestra.

A kindly, caring man, he was particularly solicitous of Ludwig's welfare after Ludwig's mother died in 1787, almost certainly supporting him financially.

In 1789, Ries helped Ludwig draft the letter to the Elector which resulted in Johann van Beethoven's retirement as court singer and half his pension being paid to Ludwig. His son, Ferdinand (1784-1838) was a student of Beethoven at Vienna.

Christian Gottlob Neefe (1748-1798)

This composer was one of Beethoven's first teachers, notably of the organ and of composition. Neefe arrived at Bonn in 1779 and in 1783, he wrote of Beethoven in the "Magazine of music", "If he continues like this he will, without doubt, become the next Mozart". Beethoven always recognized how much he owed to Neefe.

Concert No.5 for Piano & Orchestra – “Emperor”Opus 73

Franz Joseph Haydn (1732-1809)

Famous composer who taught Beethoven from 1792 to 1794, when Haydn had to return to London. Haydn taught Beethoven counterpoint, amongst other things.The relationship between the two men was variable, but Beethoven remained very grateful to Haydn.

Johann Georg Albrechtsberger (1736-1809)

Beethoven's music teacher for about a year and a half in 1794 and 1795.Albrechtsberger was renowned for his mastery of counterpoint. He followed on from Haydn, even Beethoven was taking lessons from the two masters at the same time.

Antonio Salieri (1750-1825)

Beethoven studied with Salieri from 1800 to 1802. Salieri taught him singing, essentially for the opera. There was little contact between the two composers afterwards.

Beethoven in Vienna

In 1794, Beethoven composed Opus 1, the Trios for Piano. The following year, he made his first public performance at Vienna (an “Academy”) whereby each musician was to play his own work. Then followed a tour; Prague, Dresden, Leipzig, and Berlin, before leaving for a concert in Budapest.

Beethoven made numerous acquaintances at Vienna. Everybody in the musical and aristocratic world admired the young composer. These music-lovers were Beethoven’s greatest supporters.

In 1800, Beethoven organized a new concert at Vienna including, notably, the presentation of his first symphony. Although today we find this work classical, and close to the works of Mozart and Haydn, at the time certain listeners found the symphony strange, overly extravagant, and even risky. The genius of Beethoven, who was still a young, new composer, was already pushing the established boundaries of music.

In 1801, Beethoven confessed to his friends at Bonn his worry of becoming deaf. At Heiligenstadt, in 1802, he wrote a famous text which expressed his disgust at the unfairness of life, that he, a musician, could become deaf was something he did not want to live through.

Symphony No.5 in C minor Mov.1Opus 67

But, music made him carry on and he wrote that he knew that he still had many other musical domains to explore, to discover, and to pass on to the world.

Beethoven, knowing that his handicap was getting worse and worse. He threw himself into his greatest compositions; Sonatas for Piano, notably The Storm, Opus 31, the second and the third symphonies, The Eroica and of course many more.

Beethoven wrote his third symphony in honor of a great man, Bonaparte. He was seen as the liberator of the people, opening, from the French Revolution, a door to hope. When the First Consul declared himself Emperor, Beethoven became enraged and took out Bonaparte’s name from the score. On April 7th, 1805, the Eroica symphony was played for the first time.

Meanwhile, Beethoven had finally finished his opera, Leonore, the only opera he ever wrote. He wrote and re-wrote four different overtures. The name of the opera therefore, changed to Fidelio, against the wishes of the composer.

November 20th 1805 was the date of the opening performance before a thin audience of French offices. This was because Napoleon, head of the army, had captured Vienna for the first time. This happened again in 1809.

In the years that followed, the creative activity of the composer became intense. He composed many symphonies, and also the Coriolan Overture, and the famous Letter for Elise.

He taught music to many young students, but also to some important personalities like the Archbishop, Rudolph, brother of the emperor, who also became his student, his friend, and eventually one of his benefactors.

In 1809, Beethoven wanted to leave Vienna, at the invitation of Jerome Bonaparte. His long-standing friend, the Countess Anna Marie Erdody, kept him at Vienna with the help of his wealthiest admires: the Archbishop Rudolph, the Prince Lobkowitz, and the Prince Kinsky. These men gave Beethoven and annual grant of 4,000 florins, allowing him to live without financial constraint. The only condition was that Beethoven was not to leave Vienna. Beethoven accepted.

This grant made him the first independent composer. Before this, contract musicians and composers alike, had became servants in the houses of wealthy aristocratic families.

In 1812, Beethoven went for hydrotherapy at Teplitz, where he wrote his ardent letter to “The Immortal Beloved.” This letter which was found in a secret draw with the Heiligenstadt Testament, has not stopped the theories and suppositions of researchers and biographers ever since

Symphony No.7 in A major Mov.2Opus 92

Numerous women amongst his students and friends have been, in turn, proposed as the recipient of this letter. Unless a new document is discovered, it is very likely that the truth about this mysterious woman will remain a secret.

At the end of July 1812, Beethoven met Goethe, under the organization of Bettina Brentano. These two great men admired each other, but didn’t understand each other. Beethoven admired Goethe; he put to music several of his poems. He always regretted not having been better understood by Goethe.

Then one of his benefactors, the Prince Lobkowitz, fell into financial difficulty, and the Prince Kinski, died from falling off his horse. Kinski’s descendant decided to put an end to the financial obligations towards Beethoven. Here started one of the composer’s many attempts to save his financial independence.

The Czech, Johann Nepomuk Maelzel, took up contact with Beethoven. Inventor of genius, and probable inventor of the metronome, Maelzel had already met Beethoven and had created various devices to help Beethoven with his hearing: acoustic cornets, a listening system linking up to the piano, etc.

In 1813, Beethoven composed “The Victory of Wellington,” a work written for a mechanical instrument made by Maelzel, the “pan harmonicon”.

It was above all the metronome, which helped evolve music and Beethoven, who had taken interest straight way, noted scrupulously the markings on his scores, so that his music could be played how he wished.

Beethoven conducted the first public performance of his 7th and 8th Symphonies in 1814. This was also the time of the re-writing of Leonore as Fidelio, Beethoven’s only opera. This work eventually became successful before the public.

Then the Congress of Vienna met, which brought together all the heads of state, to decide the future of Europe after Napoleon. This was one of Beethoven’s moments of glory. He was invited to play many times, bringing him recognition and admiration of which he could be truly proud.

On November 15th 1815, Kaspar Karl, Beethoven’s brother, died. He left behind his wife, whom the composer referred to as “The queen of the night” due to her bad reputation, as well as a son, Karl, who was 9.

Here Beethoven’s life was to change dramatically. His brother had written that he wished Karl’s guardianship to be exercised by both his wife and his brother, Ludwig.

Symphony No.9 in D minor Mov.4Opus 125

Beethoven took this role very seriously, but the 45 year-old celibate, who could no longer hear, found it difficult to live with and understand a child and then a young man. This cohabitation was the cause of a new trial against the mother of the child, a generation conflict and numerous troubles.

In 1816, Carl Czerny, future teacher of Franz Liszt, became Karl’s music teacher, but didn’t find the talent in the boy who Beethoven hoped him to possess.

At this time he ended his cycle of lieder “To the distant loved one”, and drafted the first theme for his ninth symphony.

Two years later, the Archduke Rudolph became Cardinal and Beethoven began composing his mass in D. It was never ready for the intonation, but the work was rich beyond compare.

The ninth symphony was practically finished in 1823, the same year as the Missa Solemnis. Liszt, who was 11 years old, met Beethoven who came to his concerto on April 13th. He congratulated the young virtuoso heartily who, years later, transcribed the entirety of Beethoven’s symphonies for piano.

May 7th 1824 was the date of the first playing of the ninth symphony and despite the musical difficulties, and problems in the sung parts, it was a success. Unfortunately it was not financially rewarding

Then began the period of the last quartets of Beethoven music, which are still difficult, even for today’s audience, who knows how to interpret his other works. He started to compose his tenth symphony.

His Final Year

In 1826, Beethoven caught cold coming back from his brother’s house. The illness complicated other health problems from which Beethoven had suffered all his life. He passed away encircled by his closest friends on March 26, 1827. He was buried at the Wahring cemetery, now Schubert Park.

The funeral rites took place at the church of the Holy Trinity. It is estimated that between 10,000 and 30,000 people attended. Franz Schubert, timid and a huge admirer of Beethoven, without ever having become close to him, was one of the coffin bearers, along with other musicians. Schubert died the next year and was buried next to Beethoven.

Beethoven’s Funeral – Painting by Franz Stober

Beethoven’s Piano at Bonn Museum

Beethoven’s Tombin Viena

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Reference:http://www.lvbeethoven.com/ AVM 27.05.2012