Okul zilleri beethoven biography

Despite these later difficulties, his most widely admired works were composed in this difficult last 15 years. This included the great works Missa Solemnis and the Ninth Symphony — both finished shortly before his death. The Ninth Symphony was groundbreaking in creating a choral symphony from different voices singing separate lines to create a common symphony.

Beethoven considered music as one of the greatest contributors to a higher philosophy. Beethoven was also a supporter of the Enlightenment movement sweeping Europe. Beethoven was born and raised a Catholic. His mother was a devout Catholic and sought to share her religious views with her children. Beethoven was considered a fairly moral person, he recommended the virtues of religion to those around him and encouraged his nephew to attend mass.

In his mid-life, his deafness and stomach pains created something of a spiritual crisis in Beethoven. He stopped attending Mass regularly and looked to a wider source of spiritual inspiration. Beethoven also became interested in Hindu religious texts and expressed belief in a Supreme Being in a language which was not overtly Catholic. Beethoven wrote.

Others suggest that Beethoven remained a Catholic, but he just redefined Catholicism in a more liberal understanding to accommodate the current enlightenment thinking and his own spiritual exploration of music. In terms of music, he did compose specific religious music such as Missa Solemnis — the great choral symphony. At this time, he began to study under court organist Christian Gottlob Neefe, and bybecame his assistant.

He returned to Bonn and continued to perform among the court and teach the children of wealthy townspeople. InBeethoven came to the attention of Haydn, who was passing through Bonn on his way to London. Haydn encouraged him to move to Vienna, where music had become a pastime of the aristocracy. Riemann, B. Midgley, Handbook to B. Rupertus, Erlauterungen zu B.

Wedig, B. Wetzel, B. Andrews, London, ; M. Paris, ; W. Hadow, B. Mersmann, Die Kammermusik: Vol. II, B. Leipzig, ; W. Engels-mann, B. Giraldi, Analisi formale ed estetica dei primi tempi Quartetti Op. Abraham, B. Mason, The Quartets of B. Mahaim, B. Szigeti, The Ten B. Sonatas for Piano and Violin Urbana, Radcliffe, B. Kerman, The B. Quartets N.

Truscott, B. Rostal, B. Brandenburg and H. Loos, eds. Winter and R. Martin, eds. Quartet Companion Berkeley, ; L. Ratner, The B. Kurth, B. Wang, B. Piano Music: E. Nagel, B. Schenker, ed. Riemann, L. Leoni, Le sonate per pianoforte di B. Turin, ; W. Behrend, L. Copenhagen, ; Eng. Volbach, Erlauterungen zu den Klaviersonaten B. Milne, B. Peters, B.

London, ; D. Tovey, A Companion to B. Westerby, B. Blom, B. Fischer, L. Rosenberg, Die Klaviersonaten L. Cockshoot, The Fugue in B. Reti, Thematic Patterns in the Sonatas of B. London, ; W. Newman, Performance Practices in B. Munster, Stu-dien zu B. Meyer, Untersuchungen zur Sonatensatzform bei L. Kinderman, B. Goldstein, A B. Newman, B. Barth, The Pianist as Orator: B.

Frohlich, B. Marston, B. Vocal and Choral Music: M. Paris, ; M. Remy, Missa solemnis Brussels, ; R. Weber, B. Kufferath, Fidelio de L. Chop, L. Schmidt, Unbekannte Manuskripte zu B. Lederer, B. Drabkin, B. Miscellaneous: A. Buch Vienna, ; B. Levien, B. Bachmann, B. Kross and H. Geburtstag Bonn, ; R. Smolle, Wohnstatten L. Brockhaus and K. Niemann, okul zilleri beethoven biographies. Dezember in Berlin Berlin, ; C.

Dahlhaus et al, eds. Slezak, B. Bischoff, Monument fur B. Cite this article Pick a style below, and copy the text for your bibliography. January 8, Retrieved January 08, from Encyclopedia. Then, copy and paste the text into your bibliography or works cited list. Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.

The instrumental music of the German composer Ludwig van Beethoven forms a peak in the development of tonal music and is one of the crucial evolutionary developments in the history of music as a whole. The early compositions of Ludwig van Beethoven marked the culmination of the 18th-century traditions for which Haydn and Mozart had established the great classical models, and his middle-period and late works developed so far beyond these traditions that they anticipated some of the major musical trends of the late 19th century.

This is especially evident in his symphonies, string quartets, and piano sonatas. In each of these three genres Beethoven began by mastering the existing formal and esthetic conventions of the late 18th century while joining to these conventions signs of unusual originality and power. In his middle period from aboutthe year of the Eroica Symphony, to aboutthe year of his opera Fidelio in its revised form he proceeded to develop methods of elaboration of musical ideas that required such enlargement and alteration in perception of formal design as to render it clear that the conventions associated with the genres inherited from the 18th century were for him the merest scaffolding for works of the highest individuality and cogency.

If Beethoven's contemporaries were able to follow him with admiration in his middle-period works, they were left far behind by the major compositions of his last years, especially the last three Piano Sonatas, Op. These works required more than a generation after Beethoven's death to be received at all by concert audiences and were at first the preserve of a few perceptive musicians.

Composers as different in viewpoint from one another as Brahms and Wagner took Beethoven equally as their major predecessor; Wagner indeed regarded his own music dramas as the legitimate continuation of the Beethoven tradition, which in his view had exhausted the possibilities of purely instrumental music. Beethoven's last works continue in the 20th century to pose the deepest challenges to musical perception.

Ludwig van Beethoven was born in Bonn, the Rhineland seat of an electoral court. His ancestors were Flemish the "van" was no indication of any claim to nobility but merely part of the name. His father, a tenor in the electoral musical establishment, harbored ambitions to create in his second son a prodigy like Mozart. As Beethoven developed, it became increasingly clear that to reach artistic maturity he would have to leave provincial Bonn for a major musical center.

At the age of 12 he was a promising keyboard virtuoso and a talented pupil in composition of the court musician C. In Beethoven's first published work, a set of keyboard variations, appeared, and in the s he produced the seeds of a number of later works. But he was already looking toward Vienna: in he traveled there, apparently to seek out Mozart as a teacher, but was forced to return owing to his mother's illness.

Inwhen the eminent composer Joseph Haydn passed through Bonn, Beethoven was probably introduced to him as a potential pupil. In Beethoven went to Vienna to study with Haydn, helped on his way by his friend Count Ferdinand von Waldstein, who wrote prophetically in the year-old Beethoven's album that he was going to Vienna "to receive the spirit of Mozart from the hands of Haydn.

Beethoven rapidly proceeded to make his mark as a brilliant keyboard performer and improviser and as a gifted young composer with a number of works to his credit and powerful ambitions. He won entry into the musical okul zilleri beethoven biographies of the Viennese titled upper classes and gained a number of lifelong friends and admirers among them.

In his first mature published works appeared—the three Piano Trios, Op. From then until the end of his life Beethoven was essentially able to publish his works at approximately the rate at which he could compose them, if he wished to; in consequence the opus numbers of his major works are, with a few trivial exceptions, the true chronological order of his okul zilleri beethoven biography. No such publication opportunities had existed for Haydn or Mozart, and least of all for Schubert, who spent his entire life in Vienna in Beethoven's shadow, from the publication standpoint.

From to his death in at the age of 57 Beethoven lived in Vienna, essentially as a private person, unmarried, amid a circle of friends, independent of any kind of official position or private service. He rarely traveled, apart from summers in the countryside. In he made a trip to northern Germany, perhaps to look over the possibilities for a post; his schedule included a visit to the Berlin court of King Frederick William of Prussia, an amateur cellist, and the Op.

Later Beethoven made several trips to Budapest and to spas in Bohemia. In Beethoven received an invitation to become music director at Kassel. This alarmed several of his wealthy Viennese friends into unprecedented generosity; three of them Princes Lichnowsky and Kinsky and Archduke Rudolph formed a group of backers and agreed to guarantee Beethoven an annual salary of 1, florins on condition that he remain in Vienna.

He thus became, in principle, one of the first musicians in history to be freed form menial service and to be enabled potentially to live as an independent artist-although, as it happened, the uncertain state of the Austrian economy in the Napoleonic era caused a sharp devaluation of the currency, cutting the value of his annuity, and he also had some trouble collecting it.

Although publishers sought Beethoven out and he was an able manager of his own business affairs, as his letters show, he was really at the mercy of the chaotic and unscrupulous publishing practices of his time. Publishers paid a fee to composers for rights to their works, but neither copyright nor royalties were known. As each new work appeared, Beethoven sold it as dearly as he could to the best and most reliable current publisher sometimes to more than one.

But this initial payment was all he could expect, and both he and his publisher had to contend with piracy by rival publishers who brought out editions of their own. Consequently, Beethoven witnessed a vast multiplication of his works in editions that were unauthorized, unchecked, and often unreliable in details. Even the principal editions were frequently no better, and several times during his life in Vienna, Beethoven hatched plans for a complete, authorized edition of his works.

Okul zilleri beethoven biography: This city-wide exhibition on the Bosphorus

None of them materialized, and the wilderness of editions forms the historical background to the present problems of producing a truly scrupulous complete edition. Far overshadowing these general conditions were the two particular personal problems that beset Beethoven, especially in later life: his deafness and his obsessive relationship with his nephew Karl.

Beethoven began to suffer from deafness during his early years in Vienna, and his condition gradually grew worse, despite remissions. So severe was the problem as early as that he actually seems to have contemplated suicide, as can be inferred from the so-called Heiligenstadt Testament, a private document written that year. It shows clear evidence of his deep conflict over his sense of artistic mission and his fear of inability to hear normally, to use the sense that should have been his most effective and reliable one.

The turning points in his deafness actually came only later: first, aboutwhen he was compelled to give up all hope of performing publicly as a pianist his Fifth Piano Concerto was written inan unfinished concerto in ; and afterwhen he was no longer able to converse with visitors, who were thus forced to use writing pads to communicate the famous "Conversation Books".

The second overriding problem apart from his lifelong inability to form a lasting attachment to one woman, despite many liaisons arose when he became the guardian of his nephew Karl on the death of his brother in Karl proved to be erratic and unstable, and he was a continuing source of anxiety to an already vulnerable man. Beethoven's deafness and his undoubted tendency toward impetuousness and irascibility contributed to his reputation as a misanthropic and antisocial personality, one to be watched from afar and approached only with caution.

Okul zilleri beethoven biography: Music, Sound, and Environment* ted

Later, as writers of the 19th century continued to cultivate this view of art, Beethoven became one of its mythical representatives, and his earlier biographers spread the image widely. Only by a careful reading of Beethoven's letters and the winnowing of reliable accounts from fanciful ones can one obtain a more balanced picture, in which one sees a powerful and self-conscious man, wholly engaged in his creative pursuits but alert to their practical side as well, and occasionally willing to conform to current demands for example, the works written on commission, such as his cantata for the Congress of Vienna Beethoven's deafness was the major barrier to a continued career as the social lion of his early Vienna years, and it must inevitably have colored his personality deeply.

But his complex development as an artist would probably in any event have sooner or later brought a crisis in his relationship to the surface of contemporary musical and social life. The trend was inward: in his early years he wrote as a virtuoso pianist-composer for an immediate and receptive public; in his second period he wrote for an ideal public; in his last years he wrote for himself.

It has long been commonplace in Beethoven biography to stress his awareness of contemporary political and philosophical thought, particularly his attachment to the libertarian ideals of the French Revolution and his faith in the brotherhood of men as expressed in his lifelong ambition to compose a setting of Friedrich Schiller's " Ode to Joy, " realized at last in the Ninth Symphony.

Frequently emphasized too is his undoubtedly genuine love of nature and outdoor life. But it is equally clear that no worthwhile estimate of Beethoven can be founded on a simple equation of these personal ideals with his music. In the Sixth Symphony the PastoralBeethoven after great efforts found titles to suggest the allusions intended for each of the movements but sternly added in his sketchbook: "More the expression of feelings than tone painting.

In short, Beethoven's preoccupations from first to last were primarily those of musical structure and expression, and as more becomes known of his inner biography, as seen in his sketchbooks, a much more satisfactory portrait will be possible. The general pattern of Beethoven's development as a composer is from a brilliant and prolific early manhood to the slow, painstaking efforts of his later years, in which his rate of production of new works dropped sharply in precise proportion as the works themselves became vastly more complex.

The longest continuous thread in his development is that of his sketchbooks, which he used assiduously throughout his career and kept carefully, long after their contents had apparently been fully spent. This was not due to mere self-consciousness and an evident desire to keep close track of his own development; in this way he maintained a usable store of potential ideas and means of elaboration.

Sometimes an idea from earlier years crops up in later work; in addition, Beethoven was strongly given to revision as well as elaboration, and at times he could not resist carrying out several modes of developing a okul zilleri beethoven biography thematic idea. One example is the subject of the finale of the Eroica Symphony, which also appears as an orchestral dance and as the basis for a powerful set of piano variations, Op.

Other wholesale revisions of finished works include the three overtures to his opera Leonore, as well as the opera itself first versionsecondrevised again and called Fidelio with still another overture. The division of Beethoven's career into three phases originated with A. Schindler and W. The first period, extending from his beginnings in Bonn to aboutshows a wide spectrum of compositions in virtually every genre of the time.

The major works of this phase are the First and Second Symphonies, the first three Piano Concertos written for his own performance and withheld from publication for some yearsthe first six String Quartets Op. The piano plays a conspicuous role in Beethoven's early work, reflecting his dual ambition as composer and performer, and as an instrument it was his major vehicle for technical experimentation.

He was the first to exploit a number of pianistic effects, such as the pedal and the use of registral extremes, in a way that foreshadowed much in later piano music. In Beethoven's early works one can distinguish two extremes: at one extreme are compositions that lean strongly toward a deliberate note of popular appeal; at the other extreme are the most serious and inwardly developed compositions.

To the first group belongs, above all, the Septet for mixed string and wind instruments, easily his most popular early work, republished many times in various arrangements and written to emulate the facile 18th-century "serenade" or "divertimento. Some of the chamber music leans to one extreme, some to the other; a work that leans to both is the Clarinet Trio, Op.

Many early Beethoven works employ the principle of formal structure associated with the classical variation technique. This emphasis in the early Beethoven is extremely significant; it relates to his talent for improvisation, suggests his sense of contact with popular music, and at the same time prefigures his later growth in the direction of the elaboration of inherently simple musical ideas.

Throughout his career Beethoven never lost sight of the possibilities inherent in the variation form, of which the final expression in his work may be seen in the Diabelli Variations for Piano, Op. The works of Beethoven's middle years form an extraordinary procession of major compositions, entirely departing from the traditional proportions and, to some extent, the methods of earlier tonal music.

The earlier "facile" level of composition is abandoned, and occasional regressions to earlier types of movement structure are suppressed for example, the substitution of a conventional slow movement by a tightly compressed slow introduction to the finale in the Waldstein Piano Sonata, Op. Even the most superficial view of Beethoven's new scheme of musical design must include the following observations.

He works now with the intensive elaboration of single ideas, to an extent never previously attempted in classical instrumental music for example, the first movement of the Fifth Symphony. He extends the time scale of the three-or four-movement formal scheme to a high degree for example, the Eroica Symphony, the unusual length of which was noted by the composer on his autograph manuscript.

He replaces the old third movement of the symphony and the quartet minuet or other medium-tempo dance form with a dynamic and rapid movement, always called scherzo this had already been done in early works. He brings about the dramatization of instrumental effects and musical components to an unprecedented degree, partly through the juxtaposition of strongly dissimilar musical ideas, partly through the ingenious use of means of establishing expectations of a particular kind and then either delaying them or turning in an unexpected direction for example, the first movement of the Appassionata Sonata, Op.

If Beethoven's second period of development is taken to run from approximately Op. He also wrote a large okul zilleri beethoven biography of songs and a remarkable Mass in C Major, Op. The last works that can be associated with this phase of activity issue onto a period of cessation of continuous composition—a kind of twilight area that separates the second period from the last and reaches from about to perhaps It marks the onset of Beethoven's extreme deafness and of his difficulties with his nephew but also the preparation for musical tasks of unparalleled complexity in this time.

To attempt to characterize any truly significant aspects of Beethoven's last works in a few words would be beyond effrontery. The order of their composition is essentially the order of publication and thus of their opus numbers; and the great peaks of the last years are hedged in and about with a few smaller works tossed off to make money or to maintain the interest of avaricious publishers.

The procession of great monuments is essentially as follows: the last five Piano Sonatas Op. Superficially obvious in these works is either vast expansion over the dimensions of even Beethoven's earlier works in the genre for example, Ninth Symphony; the Missa solemnis; the Hammerklavier Sonata; and the Quartet, Op. Obvious too is the renewed emphasis on fugal techniques, reflecting a lifelong desire to master the devices of tonal polyphony on a level to match that of Johann Sebastian Bachwhom Beethoven admired.

The fugal movements include those in the Piano Sonatas, Op. The vastness and imaginative complexity of Beethoven's last works, especially the Quartets, baffled not only his contemporaries but later audiences and even professional musicians for some time after his death. In various ways they seem the fully logical outcome of a lifetime of deep exploration of the possibilities of tonal structure; in other ways they seem to exceed in depth almost any of Beethoven's other music and perhaps that of any other subsequent composer.

That Beethoven himself was aware that they were beyond the capacities of the listeners of his time seems beyond doubt; that he expected later audiences to meet them with the requisite seriousness of interest and intent is, to judge from what is known of his character, a fair inference. An anecdote, perhaps apocryphal but entirely fitting, reports that Beethoven told a visitor who was bewildered by his last quartets, "They are not for you but for a later age.

The largest published collection of Beethoven's letters is Emily Anderson, ed. A valuable selection of letters is J. An important volume of little-known letters was edited and translated by Donald W. The most important contributions to Beethoven biography were produced in 19th-century Germany. Beethoven as I Knew Him ; trans. The most authoritative biography is Alexander W.

Thayer, The Life of Ludwig van Beethoven trans. See also Walter Riezler, Beethoven Full-length introductory studies of Beethoven's work include Sir George P. Grove, The Symphonies of Beethoven ; 3d ed. Ludwig van Beethoven was born into a family of musicians serving at the electoral and archiepiscopal court at Bonn. His grandfather, of the same name, was kapellmeisteror director of music, at the court when Beethoven was a small child, and his father was a singer there.

The boy Beethoven was trained to be a court musician as well; he played viola in the orchestra and organ in the chapel; for opera performances he accompanied rehearsals and coached singers. In he traveled to Vienna, presumably to study with Wolfgang Amadeus Mozart —but was called back almost immediately by the illness of his mother; owing to her death soon thereafter and his father's alcoholism he became responsible at the age of seventeen for the care of two younger brothers.

The young Beethoven's budding career as a composer, though apparently little supported by the Bonn court, got off to a fairly promising start: by the age of twenty-one he had produced two cantatas, three piano sonatas, three piano quartets piano and stringsan early version of what became the Second Piano Concerto, and many shorter compositions.

In Novemberas the armies of Napoleon were threatening the town and court, Beethoven left Bonn again for Vienna, there to remain for the rest of his life. His previous position in Bonn served him well there too, for the court establishment at Bonn was closely related by blood lines and marriage with the court of the Holy Roman Empire at Vienna, and his early supporters in the imperial city, such as the Lichnowskys and the Lobkowitz and von Fries families, were among the most exalted of the nobility.

But Beethoven, like Mozart before him, never officially entered the employ of any person or institution there. In Vienna he made an early reputation as a pianist, gave piano and composition lessons, conducted and performed his music at private and public concerts, and sold his compositions to publishers in Vienna and Germany, later in England and Paris as well.

He often composed on commission, an arrangement whereby the granter of the commission typically received the dedication of the composition together with exclusive rights to its performance for a fixed period of time, after which Beethoven was free to publish it. Especially during his earlier years as a composer in Vienna, Beethoven specialized in music for his own instrument, the piano, an instrument only recently ascended to a position of dominance in European music, one which continued to undergo technical change throughout his life.

The sonata for solo piano, previously associated largely with amateur performance, became in Beethoven's hands a vehicle for far-reaching innovation in musical expression: in harmonic language, form, sonority, texture, and in referential and associative richness. His thirty-two sonatas plus juveniliadistributed rather evenly across all but his final half-dozen years, are the single genre that provides a reasonably full glimpse of the majestic course of Beethoven's musical thought, from the youthful pathos and exaggerated Haydnesque wit of op.

The five concertos for piano, intended for public concerts, fall in the earlier part of Beethoven's career; following in the steps of Mozart, he wrote these concertos with the exception of the last concerto, the "Emperor" of for his own performances. Thus they show all the brilliance requisite for virtuoso performance. But in addition they share in the expressive strength and imagination of Beethoven's maturing style.

A marvelous example is the Fourth Concerto, op. In Beethoven's day the kind of music that enjoyed the greatest social prestige was still opera. Though he considered possible opera libretti for composition nearly all his life, Beethoven composed only one, Fidelio, an adaptation of a French "rescue opera" libretto in which the heroic Leonore saves her husband Florestan from death at the hands of a villainous tyrant.

The premiere of the opera, in Novemberunfortunately coincided with Napoleon's invasion of Vienna, and closed after only three performances. Revised versions created with new librettists were mounted in andthis last being the version seen in modern performances. In these subsequent incarnations the opera shifts emphasis dramatically from the saving of a single person to the liberation of all humankind from the bonds of tyranny, Florestan's fellow prisoners having been implicitly transformed into the suffering masses at large.

Many have seen this change as indicative of Beethoven's own political sympathies, of liberal and humanitarian impulses that again come strongly to the fore in the Ninth Symphony The genre most indelibly associated with Beethoven's name is the symphony. From the First to the Ninth a quarter of a century later, his symphonies are a study in diversity.

The Third Symphony, the "Eroica"decisively broke with the traditions Beethoven inherited. Its intended dedication to Napoleon, later changed to "the memory of a hero"; its monumental funeral march implicitly commemorating that hero; the unprecedented scope and expressive extremes of individual movements all seemed to mark this as a symphony that transcended its genre to become the larger-than-life embodiment of an idea.

The Sixth Symphony, the "Pastoral"again laden with extramusical reference, but of a nearly opposite significance, makes elaborate use of accepted musical signifiers of the pastoral, of a celebration of nature, of the imagined virtue and simplicity of country life. And in the Ninth SymphonyBeethoven famously rejected the basic presuppositions of the genre by adding text Schiller's "Ode to Joy" and voices that sounded a ringing proclamation of human goodness and the triumph of universal brotherhood.

Beethoven contributed to all the standard musical genres of his time: there are two masses, including the monumental Missa solemnisconcert arias, songs for voice and piano, programmatic overtures, music for wind ensemble, and character pieces and variations for piano. His music has long formed the centerpiece of the instrumental chamber music repertoire, with ten sonatas for piano and violin, five for piano cello, and six piano trios piano, violin, and cello.

But most central of all have been the sixteen string quartets plus the separate Grosse fugecomposed from around until his death. Of these the final five, commonly known as the "late" quartets, were finished within the space of about a year and a half at the end of his life. Their expressive world ranges from near-crude good humor to a kind of serene, timeless otherworldly musing that Beethoven's contemporaries were at a loss to fathom, but which has since come to be be seen as the apex of his art.

Early in his career the critical response to Beethoven's music was often negative or grudging: his works were often seen as obscure, bizarre, eccentric, and excessively long at the first public performance of the "Eroica," it is reported, someone shouted "I'll give another Kreutzer if the thing will but stop! But in about a rather different strain of Beethoven criticism began to make an appearance, especially in Germany.

Newly serious and technically competent reviews attempted to penetrate the obscurities and difficulties to find aesthetic justification for them. This new criticism reached a high point in the expansive reviews of E. Hoffmann in the years to And as Beethoven's late works, especially the late quartets, diverged ever more from contemporary practice, they inspired in his listeners a curious blend of puzzlement and awe.

They seemed to illustrate the paradox of the genuine masterpiece: art that is in important ways unique, quite unlike other works of its kind, and at the okul zilleri beethoven biography time exemplary, comprising a lasting standard of achievement and a model for others to follow. By mid-career Beethoven had become the most famous musician in the world.

His compositions routinely commanded high prices from both aristocratic patrons and publishers in several countries; as he produced them his symphonies quickly became standard fare at concerts all over Europe. Artists and intellectuals gathered in impressive numbers to visit him on his deathbed, and at the funeral of this reclusive man the crowd in attendance was estimated at ten to twenty thousand.

Until the end of the nineteenth century and beyond, his achievement cast its shadow over European music. Musicians felt he held proprietary rights over vast areas of composition—the symphony, the sonata, the string quartet, the piano concerto—and to compose in these genres meant meeting Beethoven on his own territory. Franz SchubertHector Berlioz, Felix MendelssohnJohannes Brahmsand at the end of the century, Gustav Mahlerall felt his example as both an imperative of sorts and an inhibiting factor, a standard that seemed at once to demand and discourage emulation.

By comparison with the exaltation of his aspiration and achievement, the course of Beethoven's life in Vienna seems prosaic. The central personal drama in this life was his advancing deafness. As early as in the so-called Heiligenstadt Testament ofthe. Succeeding generations have seen in this pattern of dire crisis and its resolution through the exercise of indomitable will a psychological paradigm for the expressive arc of Beethoven's compositions, particularly in the larger symphonic movements.

For some years the composer made efforts to conceal his condition, fearful that its being known would injure his status as a musician. But beginning about necessity led him to use an ear trumpet, and two years later he resorted to "conversation books," in which his interlocutors entered their side of any exchange. Beethoven tended to save his documents compulsively; the survival of many conversation books has provided extraordinary material for biographers.

Strongly attracted to women from his adolescence, Beethoven, despite great apparent effort, was never able to attain a satisfactory relationship with any one of them. In Vienna he typically pursued women of a higher social standing than himself, some of them already attached, and some piano students of his who tended to be a good deal younger as well.

In he wrote in several installments but apparently never sent a rhetorical cri du coeur to an unnamed "immortal beloved" expressing both his love for her and his resignation to their inevitable separation. This document has unleashed a torrent of speculation as to the identity of the addressee; by far the most likely candidate, recently identified by Maynard Solomon, is one Antonie Brentano, a native of Vienna married to Franz Brentanoa wealthy Frankfurt merchant.

His Six String Quartets, published indemonstrate complete mastery of that most difficult and cherished of Viennese forms developed by Mozart and Haydn.

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Beethoven also composed The Creatures of Prometheus ina wildly okul zilleri beethoven biography ballet that received 27 performances at the Imperial Court Theater. It was around the same time that Beethoven discovered he was losing his hearing. For a variety of reasons that included his crippling shyness and unfortunate physical appearance, Beethoven never married or had children.

He was, however, desperately in love with a married woman named Antonie Brentano. Over the course of two days in July ofBeethoven wrote her a long and beautiful love letter that he never sent. Addressed "to you, my Immortal Beloved," the letter said in part, "My heart is full of so many things to say to you — ah — there are moments when I feel that speech amounts to nothing at all — Cheer up — remain my true, my only love, my all as I am yours.

The death of Beethoven's brother Caspar in sparked one of the great trials of his life, a painful legal battle with his sister-in-law, Johanna, over the custody of Karl van Beethoven, his nephew and her son. The struggle stretched on for seven years, during which both sides spewed ugly defamations at the other. In the end, Beethoven won the boy's custody, though hardly his affection.

Despite his extraordinary output of beautiful music, Beethoven was lonely and frequently miserable throughout his adult life. Short-tempered, absent-minded, greedy and suspicious to the point of paranoia, Beethoven feuded with his brothers, his publishers, his housekeepers, his pupils and his patrons. In one illustrative incident, Beethoven attempted to break a chair over the head of Prince Lichnowsky, one of his closest friends and most loyal patrons.

Another time he stood in the doorway of Prince Lobkowitz's palace shouting for all to hear, "Lobkowitz is a donkey! For years, rumors have swirled that Beethoven had some African ancestry. These unfounded tales may be based on Beethoven's dark complexion or the fact that his ancestors came from a region of Europe that had once been invaded by the Spanish, and Moors from northern Africa were part of Spanish culture.

A few scholars have noted that Beethoven seemed to have an innate understanding of the polyrhythmic structures typical to some African music. However, no one during Beethoven's lifetime referred to the composer as Moorish or African, and the rumors that he was Black are largely dismissed by historians. At the same time as Beethoven was composing some of his most immortal works, he was struggling to come to terms with a shocking and terrible fact, one that he tried desperately to conceal: He was going deaf.

By the turn of the 19th century, Beethoven struggled to make out the words spoken to him in conversation. Beethoven revealed in a heart-wrenching letter to his friend Franz Wegeler, "I must confess that I lead a miserable life. For almost two years I have ceased to attend any social functions, just because I find it impossible to say to people: I am deaf.

If I had any other profession, I might be able to cope with my infirmity; but in my profession it is a terrible handicap.

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At times driven to extremes of melancholy by his affliction, Beethoven described his despair in a long and poignant note that he concealed his entire life. Dated October 6,and referred to as "The Heiligenstadt Testament," it reads in part: "O you men who think or say that I am malevolent, stubborn or misanthropic, how greatly do you wrong me.

You do not know the secret cause which makes me seem that way to you and I would have ended my life — it was only my art that held me back. Ah, it seemed impossible to leave the world until I had brought forth all that I felt was within me. Almost miraculously, despite his rapidly progressing deafness, Beethoven continued to compose at a furious pace.

From towhat is known as his "middle" or "heroic" period, he composed an opera, six symphonies, four solo concerti, five string quartets, six-string sonatas, seven piano sonatas, five sets of piano variations, four overtures, four trios, two sextets and 72 songs.