Ludwig van Beethoven
"Con Người Bất Hạnh Nhất Trần
Gian"
Cuộc đời của nhạc sĩ Beethoven, ngay cả khi đạt đến
đỉnh cao của danh vọng, cũng không phải là một cuộc đời hạnh phúc. Tất cả những
người viết tiểu sử của nhạc sĩ đều ghi nhận rằng ông đã qua một thời tuổi thơ
khốn khổ. Cha ông đã xem kỳ tài âm nhạc của ông như một cơ hội để làm tiền.
Thần đồng âm nhạc đã phải ngồi vào đàn Piano từ sáng tới chiều, đến độ ông đâm
chán cả âm nhạc. Chỉ có mẹ ông mới là nguồn an ủi duy nhất của ông trong lúc
tuổi thơ, nhưng bà đã mất năm ông mới 17 tuổi.
Năm 28 tuổi, Beethoven bắt đầu bị điếc. Ông cảm thấy
thất vọng hoàn toàn. Và tai họa đã tiếp diễn cho đến cuối đời ông.
Tuy nhiên, con người "bất hạnh nhất trần gian
ấy" như ông thường nói về mình đã sáng tác những dòng nhạc bất hủ nhất ở
cuối thế kỷ thứ 18 và đầu thế kỷ thứ 19.
Kho tàng ẩn dấu trong ta chỉ có thể được khám phá và đem ra thi thố với
thế giới nếu ta biết chiến đấu. Điều đó đòi hỏi những năm tháng dài, tuy nhiên,
trở ngại cuối cùng mà ta có thể vượt qua sẽ làm ló rạng kho tàng ẩn dấu trong
ta. Thánh Basiliô đã nói: vĩ nhân không phải là người chỉ đọ sức với những điều
cả thể, nhưng chính là biết làm cho những việc tầm thường trở thành cao cả bằng
chính sức mạnh của mình.
Chén cơm trong ngày 25-09
Chén cơm trong ngày 25-09
Ludwig van Beethoven
From Wikipedia, the free encyclopedia
"Beethoven" redirects here. For other uses, see Beethoven (disambiguation).
Ludwig van Beethoven (
i/ˈlʊdvɪɡ væn ˈbeɪ.toʊvən/; German: [ˈluːtvɪç fan ˈbeːt.hoːfən] (
listen); baptized 17 December 1770[1] – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs.
i/ˈlʊdvɪɡ væn ˈbeɪ.toʊvən/; German: [ˈluːtvɪç fan ˈbeːt.hoːfən] ( listen); baptized 17 December 1770[1] – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs.
Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and Christian Gottlob Neefe. During his first 22 years in Bonn, Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to Vienna
in 1792 and began studying with Haydn, quickly gaining a reputation as a
virtuoso pianist. He lived in Vienna until his death. In about 1800 his
hearing began to deteriorate, and by the last decade of his life he was
almost totally deaf. He gave up conducting and performing in public but
continued to compose; many of his most admired works come from this
period.
Contents
Biography
Background and early life
Beethoven was the grandson of Lodewijk van Beethoven (1712–73), a musician who came from Mechelen in present-day Belgium who moved at the age of twenty to Bonn.[2][3] Lodewijk (Ludwig is the German cognate of Dutch Lodewijk) was employed as a bass singer at the court of the Elector of Cologne, eventually rising to become Kapellmeister (music director). Lodewijk had one son, Johann (1740–1792), who worked as a tenor in the same musical establishment and gave lessons on piano and violin to supplement his income.[2]
Johann married Maria Magdalena Keverich in 1767; she was the daughter
of Johann Heinrich Keverich, who had been the head chef at the court of
the Archbishopric of Trier.[4]
Beethoven was born of this marriage in Bonn. There is no authentic
record of the date of his birth; however, the registry of his baptism,
in a Roman Catholic service at the Parish of St. Regius on 17 December 1770, survives.[5]
As children of that era were traditionally baptised the day after birth
in the Catholic Rhine country, and it is known that Beethoven's family
and his teacher Johann Albrechtsberger celebrated his birthday on 16 December, most scholars accept 16 December 1770 as Beethoven's date of birth.[6][7]
Of the seven children born to Johann van Beethoven, only Ludwig, the
second-born, and two younger brothers survived infancy. Caspar Anton
Carl was born on 8 April 1774, and Nikolaus Johann, the youngest, was
born on 2 October 1776.[8]
Beethoven's first music teacher was his father. Although tradition
has it that Johann van Beethoven was a harsh instructor, and that the
child Beethoven, "made to stand at the keyboard, was often in tears,"[2] the Grove Dictionary of Music and Musicians claimed that no solid documentation supported this, and asserted that "speculation and myth-making have both been productive."[2] Beethoven had other local teachers: the court organist
Gilles van den Eeden (d. 1782), Tobias Friedrich Pfeiffer (a family
friend, who taught Beethoven the piano), and Franz Rovantini (a
relative, who instructed him in playing the violin and viola).[2] Beethoven's musical talent was obvious at a young age. Johann, aware of Leopold Mozart's successes in this area (with son Wolfgang and daughter Nannerl), attempted to exploit his son as a child prodigy, claiming that Beethoven was six (he was seven) on the posters for Beethoven's first public performance in March 1778.[9]
Some time after 1779, Beethoven began his studies with his most important teacher in Bonn, Christian Gottlob Neefe, who was appointed the Court's Organist in that year.[10]
Neefe taught Beethoven composition, and by March 1783 had helped him
write his first published composition: a set of keyboard variations (WoO 63).[8]
Beethoven soon began working with Neefe as assistant organist, at first
unpaid (1781), and then as a paid employee (1784) of the court chapel
conducted by the Kapellmeister Andrea Luchesi. His first three piano sonatas, named "Kurfürst" ("Elector") for their dedication to the Elector Maximilian Frederick
(1708–1784), were published in 1783. Maximilian Frederick noticed
Beethoven's talent early, and subsidised and encouraged the young man's
musical studies.[11]
Maximilian Frederick's successor as the Elector of Bonn was Maximilian Franz, the youngest son of Empress Maria Theresa of Austria, and he brought notable changes to Bonn. Echoing changes made in Vienna by his brother Joseph, he introduced reforms based on Enlightenment philosophy,
with increased support for education and the arts. The teenage
Beethoven was almost certainly influenced by these changes. He may also
have been influenced at this time by ideas prominent in freemasonry, as Neefe and others around Beethoven were members of the local chapter of the Order of the Illuminati.[12]
In March 1787 Beethoven traveled to Vienna (possibly at another's
expense) for the first time, apparently in the hope of studying with Mozart. The details of their relationship are uncertain, including whether or not they actually met.[13]
After just two weeks Beethoven learned that his mother was severely
ill, and returned home. His mother died shortly thereafter, and his
father lapsed deeper into alcoholism. As a result, Beethoven became responsible for the care of his two younger brothers, and he spent the next five years in Bonn.[14]
Beethoven was introduced to several people who became important in
his life in these years. Franz Wegeler, a young medical student,
introduced him to the von Breuning family (one of whose daughters
Wegeler eventually married). Beethoven often visited the von Breuning
household, where he taught piano to some of the children. Here he
encountered German and classical literature. The von Breuning family
environment was less stressful than his own, which was increasingly
dominated by his father's decline.[15] Beethoven also came to the attention of Count Ferdinand von Waldstein, who became a lifelong friend and financial supporter.[16]
In 1789 Beethoven obtained a legal order by which half of his
father's salary was paid directly to him for support of the family.[17] He also contributed further to the family's income by playing viola in the court orchestra. This familiarised Beethoven with a variety of operas, including three by Mozart that were performed at court in this period. He also befriended Anton Reicha, a flautist and violinist of about his own age who was a nephew of the court orchestra's conductor, Josef Reicha.[18]
Establishing his career in Vienna
Beethoven was probably first introduced to Joseph Haydn in late 1790, when the latter was traveling to London and stopped in Bonn around Christmas time.[19]
They met in Bonn on Haydn's return trip from London to Vienna in July
1792, and it is likely that arrangements were made at that time for
Beethoven to study with the old master.[20] With the Elector's help, Beethoven moved to Vienna in 1792.[21]
From 1790 to 1792, Beethoven composed a significant number of works
(none were published at the time, and most are now listed as works without opus) that demonstrated his growing range and maturity. Musicologists identified a theme similar to those of his third symphony in a set of variations written in 1791.[22] Beethoven left Bonn for Vienna in November 1792, amid rumors of war spilling out of France, and learned shortly after his arrival that his father had died.[23][24]
Count Waldstein in his farewell note to Beethoven wrote: "Through
uninterrupted diligence you will receive Mozart's spirit through Haydn's
hands."[24]
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 Mozartean flavor.[25]
Beethoven did not immediately set out to establish himself as a
composer, but rather devoted himself to study and performance. Working
under Haydn's direction,[26] he sought to master counterpoint. He also studied violin under Ignaz Schuppanzigh.[27] 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 1809.[28]
With Haydn's departure for England in 1794, Beethoven was expected by
the Elector to return home. He chose instead to remain in Vienna,
continuing his instruction in counterpoint with Johann Albrechtsberger
and other teachers. Although his stipend from the Elector expired, a
number of Viennese noblemen had already recognised his ability and
offered him financial support, among them Prince Joseph Franz Lobkowitz, Prince Karl Lichnowsky, and Baron Gottfried van Swieten.[29]
By 1793, Beethoven established a reputation as an improviser in the salons of the nobility, often playing the preludes and fugues of J. S. Bach's Well-Tempered Clavier.[30] His friend Nikolaus Simrock had begun publishing his compositions; the first are believed to be a set of variations (WoO 66).[31]
By 1793, he had established a reputation in Vienna as a piano virtuoso,
but he apparently withheld works from publication so that their
publication in 1795 would have greater impact.[29] Beethoven's first public performance in Vienna was in March 1795, a concert in which he first performed one of his piano concertos. It is uncertain whether this was the First or Second.
Documentary evidence is unclear, and both concertos were in a similar
state of near-completion (neither was completed or published for several
years).[32][33] Shortly after this performance, he arranged for the publication of the first of his compositions to which he assigned an opus number, the three piano trios, Opus 1. These works were dedicated to his patron Prince Lichnowsky,[32] and were a financial success; Beethoven's profits were nearly sufficient to cover his living expenses for a year.[34]
Musical maturity
Beethoven composed his first six string quartets (Op. 18)
between 1798 and 1800 (commissioned by, and dedicated to, Prince
Lobkowitz). They were published in 1801. With premieres of his First and Second
Symphonies in 1800 and 1803, Beethoven became regarded as one of the
most important of a generation of young composers following Haydn and
Mozart. He also continued to write in other forms, turning out widely
known piano sonatas like the "Pathétique"
sonata (Op. 13), which Cooper describes as "surpass[ing] any of his
previous compositions, in strength of character, depth of emotion, level
of originality, and ingenuity of motivic and tonal manipulation."[35] He also completed his Septet (Op. 20) in 1799, which was one of his most popular works during his lifetime.
For the premiere of his First Symphony, Beethoven hired the
Burgtheater on 2 April 1800, and staged an extensive program of music,
including works by Haydn and Mozart, as well as his Septet, the First
Symphony, and one of his piano concertos (the latter three works all
then unpublished). The concert, which the Allgemeine musikalische Zeitung
described as "the most interesting concert in a long time," was not
without difficulties; among the criticisms was that "the players did not
bother to pay any attention to the soloist."[36]
Mozart and Haydn were undeniable influences. For example, Beethoven's quintet for piano and winds is said to bear a strong resemblance to Mozart's work for the same configuration, albeit with his own distinctive touches.[37]
But Beethoven's melodies, musical development, use of modulation and
texture, and characterization of emotion all set him apart from his
influences, and heightened the impact some of his early works made when
they were first published.[38] By the end of 1800 Beethoven and his music were already much in demand from patrons and publishers.[39]
In May 1799, Beethoven taught piano to the daughters of Hungarian
Countess Anna Brunsvik. During this time, Beethoven fell in love with
the younger daughter Josephine[40] who has therefore been identified as one of the more likely candidates for the addressee of his letter to the "Immortal Beloved"
(in 1812). Shortly after these lessons, Josephine was married to Count
Josef Deym. Beethoven was a regular visitor at their house, continuing
to teach Josephine, and playing at parties and concerts. Her marriage
was by all accounts happy (despite initial financial problems),[41] and the couple had four children. Her relationship with Beethoven intensified after Deym died suddenly in 1804.[42]
Beethoven had few other students. From 1801 to 1805, he tutored Ferdinand Ries, who went on to become a composer and later wrote Beethoven remembered, a book about their encounters. The young Carl Czerny studied with Beethoven from 1801 to 1803. Czerny went on to become a renowned music teacher himself, instructing Franz Liszt, and gave on 11 February 1812 the Vienna premiere of Beethoven's fifth piano concerto (the "Emperor").[43]
Beethoven's compositions between 1800 and 1802 were dominated by two
large-scale orchestral works, although he continued to produce other
important works such as the piano sonata Sonata quasi una fantasia known as the "Moonlight Sonata". In the spring of 1801 he completed The Creatures of Prometheus, a ballet.
The work received numerous performances in 1801 and 1802, and Beethoven
rushed to publish a piano arrangement to capitalise on its early
popularity.[44] In the spring of 1802 he completed the Second Symphony,
intended for performance at a concert that was canceled. The symphony
received its premiere instead at a subscription concert in April 1803 at
the Theater an der Wien,
where Beethoven had been appointed composer in residence. In addition
to the Second Symphony, the concert also featured the First Symphony,
the Third Piano Concerto, and the oratorio Christ on the Mount of Olives.
Reviews were mixed, but the concert was a financial success; Beethoven
was able to charge three times the cost of a typical concert ticket.[45]
Beethoven's business dealings with publishers also began to improve
in 1802 when his brother Carl, who had previously assisted him casually,
began to assume a larger role in the management of his affairs. In
addition to negotiating higher prices for recently composed works, Carl
also began selling some of Beethoven's earlier unpublished works, and
encouraged Beethoven (against the latter's preference) to also make
arrangements and transcriptions of his more popular works for other
instrument combinations. Beethoven acceded to these requests, as he
could not prevent publishers from hiring others to do similar
arrangements of his works.[46]
Loss of hearing
Around 1796, by the age of 26, Beethoven began to lose his hearing.[47] He suffered from a severe form of tinnitus,
a "ringing" in his ears that made it hard for him to hear music; he
also tried to avoid conversations. The cause of Beethoven's deafness is
unknown, but it has variously been attributed to typhus, auto-immune disorders (such as systemic lupus erythematosus),
and even his habit of immersing his head in cold water to stay awake.
The explanation from Beethoven's autopsy was that he had a "distended
inner ear," which developed lesions over time.
As early as 1801, Beethoven wrote to friends 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).[48] Beethoven, on the advice of his doctor, lived in the small Austrian town of Heiligenstadt, just outside Vienna, from April to October 1802 in an attempt to come to terms with his condition. There he wrote his 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.[49] Over time, his hearing loss became profound: there is a well-attested story that, at the end of the premiere of his Ninth Symphony, he had to be turned around to see the tumultuous applause of the audience; hearing nothing, he wept.[50]
Beethoven's hearing loss did not prevent his composing music, but it
made playing at concerts—a lucrative source of income—increasingly
difficult. After a failed attempt in 1811 to perform his own Piano Concerto No. 5 (the "Emperor"), which was premiered by his student Carl Czerny, he never performed in public again.
A large collection of Beethoven's hearing aids, such as a special ear horn,
can be viewed at the Beethoven House Museum in Bonn, Germany. Despite
his obvious distress, Czerny remarked that Beethoven could still hear
speech and music normally until 1812.[51]
By 1814 however, Beethoven was almost totally deaf, and when a group of
visitors saw him play a loud arpeggio of thundering bass notes at his
piano remarking, "Ist es nicht schön?" (Is it not beautiful?), they felt
deep sympathy considering his courage and sense of humor (he lost the
ability to hear higher frequencies first).[52]
As a result of Beethoven's hearing loss, his conversation books are
an unusually rich written resource. Used primarily in the last ten or so
years of his life, his friends wrote in these books so that he could
know what they were saying, and he then responded either orally or in
the book. The books contain discussions about music and other matters,
and give insights into Beethoven's thinking; they are a source for
investigations into how he intended his music should be performed, and
also his perception of his relationship to art. Out of a total of 400
conversation books, it has been suggested that 264 were destroyed (and
others were altered) after Beethoven's death by Anton Schindler, who wished only an idealised biography of the composer to survive.[53] However, Theodore Albrecht contests the verity of Schindler's destruction of a large number of conversation books.[54]
Patronage
While Beethoven earned income from publication of his works and from
public performances, he also depended on the generosity of patrons for
income, for whom he gave private performances and copies of works they
commissioned for an exclusive period prior to their publication. Some of
his early patrons, including Prince Lobkowitz and Prince Lichnowsky,
gave him annual stipends in addition to commissioning works and
purchasing published works.[55]
Perhaps Beethoven's most important aristocratic patron was Archduke Rudolph, the youngest son of Emperor Leopold II, who in 1803 or 1804 began to study piano and composition with Beethoven. The cleric (Cardinal-Priest) and the composer became friends, and their meetings continued until 1824.[56] Beethoven dedicated 14 compositions to Rudolph, including the Archduke Trio (1811) and his great Missa Solemnis
(1823). Rudolph, in turn, dedicated one of his own compositions to
Beethoven. The letters Beethoven wrote to Rudolph are today kept at the Gesellschaft der Musikfreunde in Vienna.[57] Another patron was Count (later Prince) Andreas Razumovsky, for whom the String Quartets Nos. 7–9, Op. 59, Rasumovsky were named.
In the Autumn of 1808, after having been rejected for a position at the royal theatre, Beethoven received an offer from Napoleon's brother Jérôme Bonaparte, then king of Westphalia, for a well-paid position as Kapellmeister at the court in Cassel. To persuade him to stay in Vienna, the Archduke Rudolph, Prince Kinsky
and Prince Lobkowitz, after receiving representations from the
composer's friends, pledged to pay Beethoven a pension of 4000 florins a
year. Only Archduke Rudolph paid his share of the pension on the agreed
date.[58]
Kinsky, immediately called to military duty, did not contribute and
soon died after falling from his horse. Lobkowitz stopped paying in
September 1811. No successors came forward to continue the patronage,
and Beethoven relied mostly on selling composition rights and a small
pension after 1815. The effects of these financial arrangements were
undermined to some extent by war with France, which caused significant inflation when the government printed money to fund its war efforts.[citation needed]
The middle period
Beethoven's return to Vienna from Heiligenstadt was marked by a
change in musical style, and is now designated as the start of his
"Middle" or "Heroic" period. According to Carl Czerny, Beethoven said,
"I am not satisfied with the work I have done so far. From now on I
intend to take a new way."[59] This "Heroic" phase was characterised by a large number of original works composed on a grand scale.[60] The first major work employing this new style was the Third Symphony
in E flat, known as the "Eroica". This work was longer and larger in
scope than any previous symphony. When it premiered in early 1805 it
received a mixed reception. Some listeners objected to its length or
misunderstood its structure, while others viewed it as a masterpiece.[61]
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The "middle period" is sometimes associated with a "heroic" manner of composing,[62]
but the use of the term "heroic" has become increasingly controversial
in Beethoven scholarship. The term is more frequently used as an
alternative name for the middle period.[63]
The appropriateness of the term "heroic" to describe the whole middle
period has been questioned as well: while some works, like the Third and
Fifth Symphonies, are easy to describe as "heroic", many others, like
his Symphony No. 6, Pastoral, are not.[64]
Some of the middle period works extend the musical language Beethoven
had inherited from Haydn and Mozart. The middle period work includes
the Third through Eighth Symphonies, the Rasumovsky, Harp and Serioso string quartets, the "Waldstein" and "Appassionata" piano sonatas, Christ on the Mount of Olives, the opera Fidelio, the Violin Concerto
and many other compositions. During this time Beethoven's income came
from publishing his works, from performances of them, and from his
patrons. His position at the Theater an der Wien was terminated when the
theater changed management in early 1804, and he was forced to move
temporarily to the suburbs of Vienna with his friend Stephan von
Breuning. This slowed work on Fidelio, his largest work to date, for a time. It was delayed again by the Austrian censor, and finally premiered in November 1805 to houses that were nearly empty because of the French occupation of the city. In addition to being a financial failure, this version of Fidelio was also a critical failure, and Beethoven began revising it.[65]
During May 1809, when the attacking forces of Napoleon bombarded Vienna,
according to Ferdinand Ries, Beethoven, very worried that the noise
would destroy what remained of his hearing, hid in the basement of his
brother's house, covering his ears with pillows.[66]
The work of the middle period established Beethoven as a master. In a review from 1810, he was enshrined by E. T. A. Hoffmann as one of the three great "Romantic" composers; Hoffman called Beethoven's Fifth Symphony "one of the most important works of the age."
Personal and family difficulties
Beethoven's love life was hampered by class issues. In late 1801 he met a young countess, Julie ("Giulietta") Guicciardi through the Brunsvik family, at a time when he was giving regular piano lessons to Josephine Brunsvik.
Beethoven mentions his love for Julie in a November 1801 letter to his
boyhood friend, Franz Wegeler, but he could not consider marrying her,
due to the class difference. Beethoven later dedicated to her his Sonata No. 14, now commonly known as the "Moonlight" Sonata.[67]
His relationship with Josephine Brunsvik deepened after the death in
1804 of her aristocratic first husband, the Count Joseph Deym. Beethoven
wrote Josephine 15 passionate love letters from late 1804 to around
1809/10. Although his feelings were obviously reciprocated, Josephine
was forced by her family to withdraw from him in 1807. She cited her
"duty" and the fact that she would have lost the custodianship of her
aristocratic children had she married a commoner.[68] After Josephine married Baron von Stackelberg in 1810, Beethoven may have proposed unsuccessfully to Therese Malfatti, the supposed dedicatee of "Für Elise";[69] his status as a commoner may again have interfered with those plans.
In the spring of 1811 Beethoven became seriously ill, suffering
headaches and high fever. On the advice of his doctor, he spent six
weeks in the Bohemian spa town of Teplitz.
The following winter, which was dominated by work on the Seventh
symphony, he was again ill, and his doctor ordered him to spend the
summer of 1812 at the spa Teplitz. It is certain that he was at Teplitz
when he wrote a love letter to his "Immortal Beloved."[70]
The identity of the intended recipient has long been a subject of
debate; candidates include Julie Guicciardi, Therese Malfatti, Josephine
Brunsvik, and Antonie Brentano.
Beethoven visited his brother Johann at the end of October 1812. He
wished to end Johann's cohabitation with Therese Obermayer, a woman who
already had an illegitimate child. He was unable to convince Johann to
end the relationship and appealed to the local civic and religious
authorities. Johann and Therese married on 9 November.[71]
In early 1813 Beethoven apparently went through a difficult emotional
period, and his compositional output dropped. His personal appearance
degraded—it had generally been neat—as did his manners in public,
especially when dining. Beethoven took care of his brother (who was
suffering from tuberculosis) and his family, an expense that he claimed
left him penniless.
Beethoven was finally motivated to begin significant composition again in June 1813, when news arrived of the defeat of one of Napoleon's armies at Vitoria, Spain, by a coalition of forces under the Duke of Wellington. This news stimulated him to write the battle symphony known as Wellington's Victory.
It was first performed on 8 December, along with his Seventh Symphony,
at a charity concert for victims of the war. The work was a popular hit,
probably because of its programmatic style, which was entertaining and
easy to understand. It received repeat performances at concerts
Beethoven staged in January and February 1814. Beethoven's renewed
popularity led to demands for a revival of Fidelio, which, in its
third revised version, was also well received at its July opening. That
summer he composed a piano sonata for the first time in five years (No. 27, Opus 90). This work was in a markedly more Romantic
style than his earlier sonatas. He was also one of many composers who
produced music in a patriotic vein to entertain the many heads of state
and diplomats who came to the Congress of Vienna that began in November 1814. His output of songs included his only song cycle, "An die ferne Geliebte,"
and the extraordinarily expressive second setting of the poem "An die
Hoffnung" (Op. 94) in 1815. Compared to its first setting in 1805 (a
gift for Josephine Brunsvik), it was "far more dramatic.... The entire spirit is that of an operatic scena."[72]
Custody struggle and illness
Between 1815 and 1817 Beethoven's output dropped again. Beethoven
attributed part of this to a lengthy illness (he called it an
"inflammatory fever") that afflicted him for more than a year, starting
in October 1816.[73]
Biographers have speculated on a variety of other reasons that also
contributed to the decline, including the difficulties in the personal
lives of his would-be paramours and the harsh censorship policies of the
Austrian government. The illness and death of his brother Carl from tuberculosis may also have played a role.
Carl had been ill for some time, and Beethoven spent a small fortune
in 1815 on his care. After Carl died on 15 November 1815, Beethoven
immediately became embroiled in a protracted legal dispute with Carl's
wife Johanna over custody of their son Karl, then nine years old.
Beethoven, who considered Johanna an unfit parent because of her morals
(she had an illegitimate child by a different father before marrying
Carl and had been convicted of theft) and financial management, had
successfully applied to Carl to have himself named sole guardian of the
boy. A late codicil
to Carl's will gave him and Johanna joint guardianship. While Beethoven
was successful at having his nephew removed from her custody in
February 1816, the case was not fully resolved until 1820, and he was
frequently preoccupied by the demands of the litigation and seeing to
Karl's welfare, whom he first placed in a private school.
The Austrian court system had one court for the nobility and members of the Landtafel, the R&I Landrechte,
and many other courts for commoners, among them the Civil Court of the
Vienna Magistrate. Beethoven disguised the fact that the Dutch "van" in his name did not denote nobility as does the German "von"[74]
and his case was tried in the Landrechte. Owing to his influence with
the court, Beethoven felt assured of the favorable outcome of being
awarded sole guardianship. While giving evidence to the Landrechte,
however, Beethoven inadvertently[74]
admitted that he was not nobly born. On 18 December 1818 the case was
transferred to the Magistracy, where he lost sole guardianship.
Beethoven appealed and regained custody. Johanna's appeal to the
Emperor was not successful: the Emperor "washed his hands of the
matter." During the years of custody that followed, Beethoven attempted
to ensure that Karl lived to the highest moral standards. Beethoven had
an overbearing manner and frequently interfered in his nephew's life.
Karl attempted suicide on 31 July 1826 by shooting himself in the head.
He survived and was brought to his mother's house, where he recuperated.
He and Beethoven were reconciled, but Karl insisted on joining the army
and last saw Beethoven in early 1827.[citation needed]
Late works
Beethoven began a renewed study of older music, including works by J. S. Bach and Handel, that were then being published in the first attempts at complete editions. He composed the overture The Consecration of the House,
which was the first work to attempt to incorporate these influences. A
new style emerged, now called his "Late period". He returned to the
keyboard to compose his first piano sonatas in almost a decade: the
works of the Late period are commonly held to include the last five
piano sonatas and the Diabelli Variations, the last two sonatas for cello and piano, the late string quartets (see below), and two works for very large forces: the Missa Solemnis and the Ninth Symphony.[citation needed]
By early 1818 Beethoven's health had improved, and his nephew moved
in with him in January. On the downside, his hearing had deteriorated to
the point that conversation became difficult, necessitating the use of
conversation books. His household management had also improved somewhat;
Nanette Streicher, who had assisted in his care during his illness,
continued to provide some support, and he finally found a skilled cook.[75] His musical output in 1818 was still somewhat reduced, but included song collections and the "Hammerklavier" Sonata,
as well as sketches for two symphonies that eventually coalesced into
the epic Ninth. In 1819 he was again preoccupied by the legal processes
around Karl, and began work on the Diabelli Variations and the Missa Solemnis.[citation needed]
For the next few years he continued to work on the Missa, composing piano sonatas and bagatelles
to satisfy the demands of publishers and the need for income, and
completing the Diabelli Variations. He was ill again for an extended
time in 1821, and completed the Missa in 1823, three years after its
original due date. He also opened discussions with his publishers over
the possibility of producing a complete edition of his work, an idea
that was arguably not fully realised until 1971.[citation needed]
Beethoven's brother Johann began to take a hand in his business
affairs, much in the way Carl had earlier, locating older unpublished
works to offer for publication and offering the Missa to multiple
publishers with the goal of getting a higher price for it.[citation needed]
Two commissions in 1822 improved Beethoven's financial prospects. The Philharmonic Society of London offered a commission for a symphony, and Prince Nikolas Golitsin of St. Petersburg
offered to pay Beethoven's price for three string quartets. The first
of these commissions spurred Beethoven to finish the Ninth Symphony,
which was first performed, along with the Missa Solemnis, on 7 May 1824,
to great acclaim at the Kärntnertortheater. The Allgemeine musikalische Zeitung
gushed, "inexhaustible genius had shown us a new world," and Carl
Czerny wrote that his symphony "breathes such a fresh, lively, indeed
youthful spirit [...] so much power, innovation, and beauty as ever
[came] from the head of this original man, although he certainly
sometimes led the old wigs to shake their heads."[76]
Unlike his more lucrative earlier concerts, this did not make Beethoven
much money, as the expenses of mounting it were significantly higher.[76]
A second concert on 24 May, in which the producer guaranteed Beethoven a
minimum fee, was poorly attended; nephew Karl noted that "many people
[had] already gone into the country."[77] It was Beethoven's last public concert.[77]
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written between 1821 and 1822, during Beethoven's Late period
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Beethoven then turned to writing the string quartets for Golitsin. This series of quartets, known as the "Late Quartets," went far beyond what musicians or audiences were ready for at that time. One musician[who?] commented that "we know there is something there, but we do not know what it is." Composer Louis Spohr
called them "indecipherable, uncorrected horrors." Opinion has changed
considerably from the time of their first bewildered reception: their
forms and ideas inspired musicians and composers including Richard Wagner and Béla Bartók, and continue to do so. Of the late quartets, Beethoven's favorite was the Fourteenth Quartet, op. 131 in C♯ minor, which he rated as his most perfect single work.[78] The last musical wish of Schubert was to hear the Op. 131 quartet, which he did on 14 November 1828, five days before his death.[79]
Beethoven wrote the last quartets amidst failing health. In April
1825 he was bedridden, and remained ill for about a month. The
illness—or more precisely, his recovery from it—is remembered for having
given rise to the deeply felt slow movement of the Fifteenth Quartet,
which Beethoven called "Holy song of thanks ('Heiliger Dankgesang') to
the divinity, from one made well." He went on to complete the quartets
now numbered Thirteenth, Fourteenth, and Sixteenth.
The last work completed by Beethoven was the substitute final movement
of the Thirteenth Quartet, which replaced the difficult Große Fuge. Shortly thereafter, in December 1826, illness struck again, with episodes of vomiting and diarrhea that nearly ended his life.[citation needed]
Illness and death
Main article: Death of Ludwig van Beethoven
Beethoven was bedridden for most of his remaining months, and many
friends came to visit. He died on 26 March 1827 at the age of 56 during a
thunderstorm. His friend Anselm Hüttenbrenner, who was present at the time, said that there was a peal of thunder at the moment of death. An autopsy revealed significant liver damage, which may have been due to heavy alcohol consumption.[80] It also revealed considerable dilation of the auditory and other related nerves.[81]
Beethoven's funeral procession on 29 March 1827 was attended by an estimated 20,000 Viennese citizens. Franz Schubert,
who died the following year and was buried next to Beethoven, was one
of the torchbearers. Beethoven was buried in a dedicated grave in the Währing
cemetery, north-west of Vienna, after a requiem mass at the church of
the Holy Trinity (Dreifaltigkeitskirche). His remains were exhumed for study in 1862, and moved in 1888 to Vienna's Zentralfriedhof.[80]
In 2012 his crypt was checked to see if his teeth were stolen in a
string of grave robberies of other famous Viennese composers.[82]
There is dispute about the cause of Beethoven's death: alcoholic cirrhosis, syphilis, infectious hepatitis, lead poisoning, sarcoidosis and Whipple's disease have all been proposed.[83]
Friends and visitors before and after his death clipped locks of his
hair, some of which have been preserved and subjected to additional
analysis, as have skull fragments removed during the 1862 exhumation.[84] Some of these analyses have led to controversial assertions that Beethoven was accidentally poisoned to death by excessive doses of lead-based treatments administered under instruction from his doctor.[85][86][87]
Character
Beethoven's personal life was troubled by his encroaching deafness
and irritability brought on by chronic abdominal pain (beginning in his
twenties) which led him to contemplate suicide (documented in his Heiligenstadt Testament). Beethoven was often irascible. It has been suggested he suffered from bipolar disorder.[88]
Nevertheless, he had a close and devoted circle of friends all his
life, thought to have been attracted by his strength of personality.
Toward the end of his life, Beethoven's friends competed in their
efforts to help him cope with his incapacities.[89]
Sources show Beethoven's disdain for authority, and for social rank.
He stopped performing at the piano if the audience chatted amongst
themselves, or afforded him less than their full attention. At soirées,
he refused to perform if suddenly called upon to do so. Eventually,
after many confrontations, the Archduke Rudolph decreed that the usual
rules of court etiquette did not apply to Beethoven.[89]
Beethoven was attracted to the ideals of the Enlightenment. In 1804, when Napoleon's imperial ambitions became clear, Beethoven took hold of the title page of his Third Symphony
and scratched the name Bonaparte out so violently that he made a hole
in the paper. He later changed the work's title to "Sinfonia Eroica,
composta per festeggiare il sovvenire d'un grand'uom" ("Heroic Symphony,
composed to celebrate the memory of a great man"), and he rededicated
it to his patron, Prince Joseph Franz von Lobkowitz, at whose palace it
was first performed.[citation needed]
The fourth movement of his Ninth Symphony features an elaborate choral setting of Schiller's Ode An die Freude ("Ode to Joy"), an optimistic hymn championing the brotherhood of humanity.
Music
Further information: Beethoven's musical style, Beethoven and C minor, and List of compositions by Ludwig van Beethoven
Beethoven is acknowledged as one of the giants of classical music; he is occasionally referred to as one of the "three Bs" (along with Bach and Brahms) who epitomise that tradition. He was also a pivotal figure in the transition from the 18th century musical classicism to 19th century romanticism, and his influence on subsequent generations of composers was profound.[89] His music features twice on the Voyager Golden Record,
a phonograph record containing a broad sample of the images, common
sounds, languages, and music of Earth, sent into outer space with the
two Voyager probes.[90]
Overview
Beethoven composed in several musical genres and for a variety of instrument combinations. His works for symphony orchestra include nine symphonies (the Ninth Symphony includes a chorus), and about a dozen pieces of "occasional" music. He wrote seven concerti for one or more soloists and orchestra, as well as four shorter works that include soloists accompanied by orchestra. His only opera is Fidelio; other vocal works with orchestral accompaniment include two masses and a number of shorter works.[citation needed]
His large body of compositions for piano includes 32 piano sonatas
and numerous shorter pieces, including arrangements of some of his
other works. Works with piano accompaniment include 10 violin sonatas, 5
cello sonatas, and a sonata for French horn, as well as numerous lieder.[citation needed]
Beethoven also wrote a significant quantity of chamber music. In addition to 16 string quartets, he wrote five works for string quintet, seven for piano trio, five for string trio, and more than a dozen works for various combinations of wind instruments.[citation needed]
The three periods
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Beethoven's compositional career is usually divided into Early, Middle, and Late periods.[89]
In this scheme, his early period is taken to last until about 1802, the
middle period from about 1803 to about 1814, and the late period from
about 1815.[citation needed]
In his Early period, Beethoven's work was strongly influenced by his predecessors Haydn and Mozart.
He also explored new directions and gradually expanded the scope and
ambition of his work. Some important pieces from the Early period are
the first and second symphonies, the set of six string quartets Opus 18, the first two piano concertos, and the first dozen or so piano sonatas, including the famous Pathétique sonata, Op. 13.[citation needed]
His Middle (Heroic) period began shortly after Beethoven's personal
crisis brought on by his recognition of encroaching deafness. It
includes large-scale works that express heroism and struggle.
Middle-period works include six symphonies (Nos. 3–8), the last three
piano concertos, the Triple Concerto and violin concerto, five string quartets (Nos. 7–11), several piano sonatas (including the Moonlight, Waldstein and Appassionata sonatas), the Kreutzer violin sonata and Beethoven's only opera, Fidelio.[citation needed]
Beethoven's Late period began around 1815. Works from this period are
characterised by their intellectual depth, their formal innovations,
and their intense, highly personal expression. The String Quartet, Op. 131 has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement.[89] Other compositions from this period include the Missa Solemnis, the last five string quartets (including the massive Große Fuge) and the last five piano sonatas.[citation needed]
Beethoven on screen
Eroica is a 1949 Austrian film depicting life and works of Beethoven (Ewald Balser). It was entered into the 1949 Cannes Film Festival.[91] The film is directed by Walter Kolm-Veltée, produced by Guido Bagier with Walter Kolm-Veltée and written by Walter Kolm-Veltée with Franz Tassié.[92]
In 1962, Walt Disney produced a made-for-television, largely fictionalised, life of Beethoven titled The Magnificent Rebel, starring Karlheinz Böhm as Beethoven. The film was given a two-part premiere on the Walt Disney anthology television series, and was released to theatres in Europe.[93]
In 1994 a film about Beethoven (played by Gary Oldman) entitled Immortal Beloved was written and directed by Bernard Rose. The story follows Beethoven's secretary and first biographer, Anton Schindler (portrayed by Jeroen Krabbé), as he attempts to ascertain the true identity of the Unsterbliche Geliebte (Immortal Beloved) addressed in three letters found in the late composer's private papers. Schindler journeys throughout the Austrian Empire to interview potential candidates. Filming took place in the Czech cities of Prague and Kromeriz, and the Zentralfriedhof in Vienna, Austria, between 23 May and 29 July 1994.[94]
In 2003 a made-for-television BBC/Opus Arte film Eroica dramatised the 1804 first performance of the Eroica Symphony at the palace of Prince Lobkowitz. Ian Hart was cast as Beethoven, while Jack Davenport played Prince Lobkowitz; the Orchestre Révolutionnaire et Romantique conducted by Sir John Eliot Gardiner perform the Symphony in its entirety during the film.[95]
A movie entitled Copying Beethoven was released in 2006, starring Ed Harris as Beethoven. This film is a fictionalised account of Beethoven's production of his Ninth Symphony.[97]
Memorials
The Beethoven Monument, Bonn,
was unveiled in August 1845, in honour of his 75th anniversary. It was
the first statue of a composer created in Germany, and the music
festival that accompanied the unveiling was the impetus for the very
hasty construction of the original Beethovenhalle in Bonn (it was designed and built within less than a month, on the urging of Franz Liszt). A statue to Mozart had been unveiled in Salzburg, Austria in 1842. Vienna did not honour Beethoven with a statue until 1880.[98] His name appears in gilded lettering above the stage of Symphony Hall, Boston, as it was the only one on which all the board members could agree when commemorating composers in the architecture.[citation needed]
There is a museum, the 'Beethoven Haus', the place of his birth, in
central Bonn. The third largest crater on Mercury is named in his honor.
References
Notes
- Jump up ^ Beethoven was baptised on 17 December. His date of birth was often, in the past, given as 16 December, however this is not known with certainty; his family celebrated his birthday on that date, but there is no documentary evidence that his birth was actually on 16 December.
- ^ Jump up to: a b c d e Grove Online, section 1
- Jump up ^ Barry Cooper (8 October 2008). Beethoven. Oxford University Press. pp. 407–. ISBN 978-0-19-531331-4. Retrieved 15 April 2012.
- Jump up ^ Thayer, Vol 1, p. 49
- Jump up ^ Thorne, J. O. & Collocott, T.C., ed. (1986). Chambers Biographical Dictionary. Edinburgh: W & R Chambers Ltd. p. 114. ISBN 0-550-18022-2.
- Jump up ^ Thayer, Vol 1, p. 53
- Jump up ^ This is discussed in depth in Solomon, chapter 1.
- ^ Jump up to: a b Stanley, p. 7
- Jump up ^ Thayer, Vol 1, p. 59
- Jump up ^ Thayer, Vol 1, p. 67
- Jump up ^ Thayer, Vol 1, pp. 71–74
- Jump up ^ Cooper (2008), p. 15
- Jump up ^ Cooper (2008), p. 23
- Jump up ^ Cooper (2008), p. 24
- Jump up ^ Cooper (2008), p. 16
- Jump up ^ Thayer, Vol 1, p. 102
- Jump up ^ Thayer, Vol 1, p. 104
- Jump up ^ Thayer, Vol 1, pp. 105–109
- Jump up ^ Cooper (2008), p. 35
- Jump up ^ Cooper (2008), p. 41
- Jump up ^ Thayer, Vol 1, p. 124
- Jump up ^ Cooper (2008), pp. 35–41
- Jump up ^ Thayer, Vol 1, p. 148
- ^ Jump up to: a b Cooper (2008), p. 42
- Jump up ^ Cooper (2008), p. 43
- Jump up ^ Grove Online, section 3
- Jump up ^ Cooper (2008), pp. 47,54
- Jump up ^ Thayer, Vol 1, p. 161
- ^ Jump up to: a b Cooper (2008), p. 53
- Jump up ^ Cross (1953), p. 59
- Jump up ^ Cooper (2008), p. 46
- ^ Jump up to: a b Cooper (2008), p. 59
- Jump up ^ Lockwood (2003), p. 144
- Jump up ^ Cooper (2008), p. 56
- Jump up ^ Cooper (2008), p. 82
- Jump up ^ Cooper (2008), p. 90
- Jump up ^ Cooper (2008), p. 66
- Jump up ^ Cooper (2008), p. 58
- Jump up ^ Cooper (2008), p. 97
- Jump up ^ See Beethoven's love letter to Josephine, March/April 1805, in Schmidt-Görg 1957, pp. 12–14, where he referred to this time.
- Jump up ^ There were (as mentioned in Goldschmidt 1977, p. 484), over 100 love letters between the newly weds, indicating that a healthy erotic relationship was growing between the spouses. Steblin (2007, p. 155, n. 41) announced a forthcoming publication of these letters.
- Jump up ^ Cooper (2008), p. 80.
- Jump up ^ Thayer, Forbes (1970), p. 526. – Prior to this first performance, there were others based in earlier sketches, as early as 22 December 1808, p. 476.
- Jump up ^ Cooper (2008), pp. 98–103.
- Jump up ^ Cooper (2008), pp. 112–127
- Jump up ^ Cooper (2008), pp. 112–115.
- Jump up ^ Grove Online, section 5
- Jump up ^ Cooper (2008), p. 108
- Jump up ^ Cooper (2008), p. 120
- Jump up ^ White, Felix (April 1927). "Some Tributes to Beethoven in English Verse". The Musical Times 68 (1010): 308–11. doi:10.2307/912769. JSTOR 912769.
- Jump up ^ Ealy, George Thomas (Spring 1994). "Of Ear Trumpets and a Resonance Plate: Early Hearing Aids and Beethoven's Hearing Perception". 19th-Century Music 17 (3): 262–73. doi:10.1525/ncm.1994.17.3.02a00050. JSTOR 746569.
- Jump up ^ Solomon (2001)[page needed]
- Jump up ^ Clive, p. 239
- Jump up ^ "In any case, it now becomes abundantly clear that Schindler never possessed as many as ca. 400 conversation books, and that he never destroyed roughly five-eighths of that number." Theodore Albrecht, 'Anton Schindler as destroyer and forger of Beethoven’s conversation books: A case for decriminalization', Music’s Intellectual History, RILM 2010, 168-81.
- Jump up ^ Cooper (2008), pp. 78–79
- Jump up ^ Lockwood (2003), pp. 300–301
- Jump up ^ http://www.lvbeethoven.com/Bio/BiographyMusicPupils.html
- Jump up ^ Cooper (2008), p. 195
- Jump up ^ Cooper (2008), p. 131
- Jump up ^ 'Beethoven's Heroic Phase', The Musical Times, CX (1969), pp. 139–41
- Jump up ^ Cooper (2008), p. 148
- Jump up ^ Solomon, Maynard (1990). Beethoven essays. Harvard University Press. p. 124. ISBN 978-0-674-06379-2. Retrieved 4 August 2011.
- Jump up ^ Steinberg, Michael P. (2006). Listening to reason: culture, subjectivity, and nineteenth-century music. Princeton University Press. pp. 59–60. ISBN 978-0-691-12616-6. Retrieved 4 August 2011.
- Jump up ^ Burnham, Scott G.; Steinberg, Michael P. (2000). Beethoven and his world. Princeton University Press. pp. 39–40. ISBN 978-0-691-07073-5. Retrieved 4 August 2011.
- Jump up ^ Cooper (2008), p. 150
- Jump up ^ Cooper (2008), p. 185
- Jump up ^ Details in Steblin (2009).
- Jump up ^ Cooper (2008), pp. 146, 168.
- Jump up ^ Lorenz (2011).
- Jump up ^ Brandenburg (1996), #582.
- Jump up ^ Cooper (2008), p. 212
- Jump up ^ Lockwood (2003), p. 278.
- Jump up ^ Cooper (2008), p. 254
- ^ Jump up to: a b On 18 December 1818, the Landrechte, the Austrian court for the nobility, handed over the whole matter of guardianship to the Vienna Magistrate, the court for commoners. "It... appears from the statement of Ludwig van Beethoven, as the accompanying copy of the court minutes of 11 December of this year shows, that he is unable to prove nobility: hence the matter of guardianship is transferred to an honorable magistrate."
- Jump up ^ Cooper (2008), p 260
- ^ Jump up to: a b Cooper (2008), p. 317
- ^ Jump up to: a b Cooper (2008), p. 318
- Jump up ^ Morris, Edmund (2010). Beethoven: The Universal Composer. HarperCollins. p. 213. ISBN 978-0-06-075975-9. Retrieved 3 August 2011.
- Jump up ^ Winter, Robert (1994). The Beethoven quartet companion. University of California Press. p. 245. ISBN 978-0-520-20420-1. Retrieved 4 August 2011.
- ^ Jump up to: a b Cooper (2008), p. 349
- Jump up ^ Saccenti, Edoardo; Smilde, Age K; Saris, Wim H M (2011). "Beethoven's deafness and his three styles". BMJ 343: d7589. doi:10.1136/bmj.d7589. PMID 22187391. See also correction: "Beethoven's deafness and his three styles". BMJ 344: e512. 2012. doi:10.1136/bmj.e512.
- Jump up ^ Jovanovic, Dragana (3 July 2012). "Teeth Thief Hits Graves of Great Composers". ABC. Retrieved 3 July 2012.
- Jump up ^ Mai, FM (2006). "Beethoven's terminal illness and death". The journal of the Royal College of Physicians of Edinburgh 36 (3): 258–63. PMID 17214130.
- Jump up ^ Meredith, William Rhea; Liebmann, Hannah; Gomperz, Theodor; von Breuning, Gerhard; Bankl, Hans; Jesserer, Hans; Cook, S. D. Noam (2005). "The History of Beethoven's Skull Fragments". Beethoven Journal 20 (1–2): 2–3. OCLC 64392567.
- Jump up ^ Jahn, George (28 August 2007). "Pathologist: Doctor Killed Beethoven". The Washington Post. Retrieved 29 December 2008.
- Jump up ^ Eisinger, Josef (2008). "The lead in Beethoven's hair". Toxicological & Environmental Chemistry 90: 1–5. doi:10.1080/02772240701630588.
- Jump up ^ Lorenz, Michael (Winter 2007). "Commentary on Wawruch's Report: Biographies of Andreas Wawruch and Johann Seibert, Schindler's Responses to Wawruch's Report, and Beethoven's Medical Condition and Alcohol Consumption". The Beethoven Journal (San Jose: The Ira Brilliant Center for Beethoven Studies) 22 (2): 92–100.
- Jump up ^ D. Jablow Hershman; Julian Lieb (1988). The Key to Genius: Manic Depression and the Creative Life. Prometheus Books
- ^ Jump up to: a b c d e Grove Online
- Jump up ^ "Golden Record Music List". NASA. Retrieved July 26, 2012.
- Jump up ^ "Festival de Cannes: Eroica". festival-cannes.com. Retrieved 9 January 2009.
- Jump up ^ Eroica at the Internet Movie Database
- Jump up ^ The Magnificent Rebel: Part 1 at the Internet Movie Database; The Magnificent Rebel: Part 2 at the Internet Movie Database
- Jump up ^ Immortal Beloved at the Internet Movie Database
- Jump up ^ Eroica at the Internet Movie Database
- Jump up ^ Beethoven at the Internet Movie Database
- Jump up ^ Copying Beethoven at the Internet Movie Database
- Jump up ^ Alessandra Comini, The Changing Image of Beethoven: A Study in Mythmaking. Books.google.com.au. 2008-05-30. ISBN 9780865346611. Retrieved 2012-09-20.
Cited sources
- Brandenburg, Sieghard (ed.): Ludwig van Beethoven: Briefwechsel. Gesamtausgabe. 8 vols. Munich: Henle 1996.
- Clive, Peter (2001). Beethoven and His World: A Biographical Dictionary. New York: Oxford University Press. ISBN 0-19-816672-9.
- Cooper, Barry (2008). Beethoven. Oxford University Press US. ISBN 978-0-19-531331-4.
- Cross, Milton; Ewen, David (1953). The Milton Cross New Encyclopedia of the Great Composers and Their Music. Garden City, NJ: Doubleday. ISBN 0-385-03635-3. OCLC 17791083.
- Kerman, Joseph; Tyson, Alan; Burnham, Scott G. "Ludvig van Beethoven", Grove Music Online, ed. L. Macy (accessed 29 November 2006), grovemusic.com (subscription access).
- Landon, H C Robbins; Göllerich; August (1970). Beethoven: a documentary study. Macmillan. ISBN 0-02-567830-2. OCLC 87180.
- Lockwood, Lewis (2003). Beethoven: The Music And The Life. W. W. Norton. ISBN 978-0-393-32638-3.
- Lorenz, Michael: "Die ‘Enttarnte Elise’. Elisabeth Röckels kurze Karriere als Beethovens ‘Elise’". Bonner Beethoven-Studien 9, 2011, pp. 169–190 [1].
- Sachs, Harvey, The Ninth: Beethoven and the World in 1824, London, Faber, 2010. ISBN 978-0-571-22145-5.
- Solomon, Maynard (2001). Beethoven (2nd revised ed.). New York: Schirmer Books. ISBN 0-8256-7268-6.
- Stanley, Glenn (ed) (2000). The Cambridge Companion to Beethoven. Cambridge: Cambridge University Press. ISBN 0-521-58074-9.
- Steblin, Rita (2009). "'A dear, enchanting girl who loves me and whom I love': New Facts about Beethoven's Beloved Piano Pupil Julie Guicciardi". Bonner Beethoven-Studien 8: 89–152.
- Thayer, A. W.; Krehbiel, Henry Edward (ed, trans); Deiters, Hermann; Riemann, Hugo (1921). The Life of Ludwig Van Beethoven, Vol 1. The Beethoven Association. OCLC 422583.
- Thayer, A. W.; Forbes, Elliot (1970). Thayer's Life of Beethoven (2 vols). Princeton: Princeton University Press. ISBN 0-691-02702-1.
Other sources
- Albrecht, Theodore, and Elaine Schwensen, "More Than Just Peanuts: Evidence for December 16 as Beethoven's birthday". The Beethoven Newsletter 3 (1988) 49, 60–63.
- Bohle, Bruce, and Robert Sabin. The International Cyclopedia of Music and Musicians. London: J.M. Dent & Sons LTD, 1975. ISBN 0-460-04235-1.
- Davies, Peter J. The Character of a Genius: Beethoven in Perspective. Westport, Conn.: Greenwood Press, 2002. ISBN 0-313-31913-8.
- Davies, Peter J. Beethoven in Person: His Deafness, Illnesses, and Death. Westport, Conn.: Greenwood Press, 2001. ISBN 0-313-31587-6.
- DeNora, Tia. "Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792–1803". Berkeley, California: University of California Press, 1995. ISBN 0-520-21158-8.
- Geck, Martin. Beethoven. Translated by Anthea Bell. London: Haus, 2003. ISBN 1-904341-03-9 (h), ISBN 1-904341-00-4 (p).
- Hatten, Robert S. (1994). Musical Meaning in Beethoven. Bloomington, IN: Indiana University Press. ISBN 0-253-32742-3.
- Kornyei, Alexius. Beethoven in Martonvasar. Verlag, 1960. OCLC Number: 27056305
- Kropfinger, Klaus. Beethoven. Verlage Bärenreiter/Metzler, 2001. ISBN 3-7618-1621-9.
- Martin, Russell. Beethoven's Hair. New York: Broadway Books, 2000. ISBN 978-0-7679-0350-9.
- Meredith, William (2005). "The History of Beethoven's Skull Fragments". The Beethoven Journal 20: 3–46.
- Morris, Edmund. Beethoven: The Universal Composer. New York: Atlas Books / HarperCollins, 2005. ISBN 0-06-075974-7.
- Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. Expanded ed. New York: W. W. Norton, 1998. ISBN 0-393-04020-8 (hc); ISBN 0-393-31712-9 (pb).
- Solomon, Maynard. Late Beethoven: Music, Thought, Imagination. Berkeley: University of California Press, 2003. ISBN 0-520-23746-3.
- Sullivan, J. W. N., Beethoven: His Spiritual Development New York: Alfred A. Knopf, 1927.
External links
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Wikimedia Commons has media related to: Ludwig van Beethoven |
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Wikiquote has a collection of quotations related to: Ludwig van Beethoven |
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Wikisource has the text of the 1911 Encyclopædia Britannica article Beethoven, Ludwig van. |
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- Beethoven-Haus Bonn, official website
- The Ira F. Brilliant Center for Beethoven Studies, The Beethoven Gateway (San José State University)
- Ludwig van Beethoven at the Open Directory Project
- Works by Ludwig van Beethoven at Project Gutenberg
- Free scores by Ludwig van Beethoven at the International Music Score Library Project
- Free scores by Ludwig van Beethoven in the Choral Public Domain Library (ChoralWiki)
- Works by or about Ludwig van Beethoven at Internet Archive and Google Books (scanned books original editions color illustrated)
- Works by or about Ludwig van Beethoven in libraries (WorldCat catalog)
