Chapter 18: Beethoven: Bridge to Romanticism

Ludwig von Beethoven (1770-1827) Used and expanded classical forms and genres Beethoven’s gradual deafness imparted a feeling of struggle and ultimate victory Career divided into three periods: Early (1770-1802) “Heroic” Middle Period (1803-1813); Final Years (1814-1827) Figure 18.2 Sitting atop Franz Liszt’s piano, a bust of Beethoven as he appeared to listeners around 1840. Here Beethoven looms godlike over the scene as Liszt and other artists of the day look up with reverential respect. For the nineteenth century, Beethoven came to personify the divinely inspired genius, perhaps because Beethoven himself said that he “conversed with God.”

The Early Years (1770-1802) Came from a family of musicians Father and grandfather performers at the court at Bonn, Germany Father was an abusive alcoholic who forcibly made him practice the keyboard at all hours 1787 moved to Vienna, settled there permanently in 1792 Studied with Haydn Gained entrée into houses of the wealthy due to his phenomenal ability as a pianist Played louder, more forcefully, and more violently than any pianist Vienna had heard Gained support from wealthy patrons

Piano Sonata, Opus 13, “Pathétique” (1799) Movement I: Grave; Allegro di molto e con brio) Emphasizes extremes of dynamics, tempo, and range Slow introduction suggests Beethoven’s style of improvisation First theme: stormy chords, impetuous and racing theme Sonata form controls the passionate intensity Pathetique sonata, 1st movement http://www.youtube.com/watch?v=79gzdskOGu4

Beethoven Loses His Hearing 1796: Early symptoms, ringing in his ears (tinnitus) 1802: Heiligenstadt Testament “I would have ended my life; it was only my art that held me back.” Emerged with renewed resolve to fulfill his artistic destiny 1816: Began using an ear trumpet 1817: No longer could hear music 1818: Began using “Conversation Books”

The “Heroic” Middle Period (1803-1813) Resurgent, defiant mood Works became longer, more assertive, full of grand gestures Simple, often triadic themes, predominate Majestic proportions Wrote Symphonies 3-8 during this period Figure 18.3 A fanciful, yet in many ways accurate, depiction of Beethoven in the midst of creative chaos. Beethoven’s domestic surroundings were always in disarray. In many ways, he served as the model for the nineteenth-century concept of genius: a solitary, lonely figure who suffered for, and lived only for, his art.

Beethoven’s Final Years (1814-1827) Totally deaf and withdrawn from society Music more remote and inaccessible Mainly composed introspective chamber music Two large scale composition Missa Solemnis (1823) Symphony No. 9 (1824) All Vienna mourned his death in 1827 Figure 18.8 A historically accurate depiction of Beethoven’s music room as drawn by J. N. Hoechle three days after the composer’s death. In truth, this room contained two grand pianos. Note the mess still on the piano and the fact that the instrument is filled with broken strings.

Symphony No. 9 in D Minor (1824) Fourth movement First symphony to include a chorus An die Freude (Ode to Joy) Text by Friedrich von Schiller (1759-1805) Only appears in the fourth movement Text honors idea of universal brotherhood

Beethoven and the Nineteenth Century Lasting musical legacy: Personal expression might push against and break free from the confines of Classical form Expanded size of the orchestra and length of the symphony Pure sound could be glorious in itself http://www.youtube.com/watch?v=7qWbcosJdtU