Beethoven I : The Greatest

No other composer or musical artist has made as big of an impact on music as Ludwig Van Beethoven. He influenced many other composers, and made some of the most beautiful pieces that are still played today. It is truly amazing that he was able to master his craft and become questionably the greatest composer that has ever lived, despite having a condition that would seem to make composing music impossible.

When we talk about Beethoven people often recall him as one that was great. When you think of Beethoven you can consider him a transitional composer and that is mainly because he is the crucial transitional figure linking the Classical and Romantic eras of musical history. Beethoven's innovation was the ability to briskly establish imperishability in bringing together different keys and unexpected notes to join them. Beethoven's music was correspondent to the agreement of the music in literature. Most of his music focused on life drama of one or more individuals through hard life circumstances. Beethoven’s role as a transitional composer between the classical and romantic periods took

As noted by Robert Hughes, "Beethoven was not only the embodiment of all that was before him, but also of that which was yet to come" (Hughes 486). The truth of this may be seen by comparing Beethoven's 5th Symphony in C Minor to Haydn, the father of Symphony, and his 95th in C Minor. While Haydn's symphony is both playful and dramatic, Beethoven's symphony is grander both in terms of scale and vision. He expands the size of the orchestra to incorporate the sounds swirling around, underlying, and depicting the arrival of Fate in a rhythm-driven, thematic symphony that takes Haydn's form and runs with it as though to the top of a mountain peak. This paper will analyze the symphonies by movement, according to form, size, structure, tonalities, melodies, orchestral sound and overall mood and effect.

Ever since his father began teaching him as a child to play the violin and clavier, any keyboard instrument such as the harpsichord, Ludwig van Beethoven has been amongst the most renowned and influential composers of music. Despite the harsh punishments and mistreatment Beethoven suffered through while practicing with his father, he still managed to become a “prodigy” at a rather young age, having his first public recital at around seven years old. After his first recital role music played in his continued to grow, and soon after dropping out of school to pursue music “full time” he published his first composition.

In Bonn, on December of 1770, a child was born to a lower middle class Finnish couple; Johann and Maria. Given the name Ludwig after his grandfather, a choirmaster, this child would grow to continue the name of the musically inclined Beethoven family, and eventually supersede its reputation with his own genius. As a deaf composer and musician, Ludwig von Beethoven is one of the greatest paradoxes in the realm of music. From his upbringing, his triumph over his disability, and his world renowned success in music, it is still proclaimed that he is one of the most influential and well known classical musicians in the world.

On 17 December 1770, Ludwig van Beethoven was born. He was an amazing and great classical musical composer. He is known for being the most famous composer of the classical and romantic periods of music. According to the “Enjoyment of Music” manual, Beethoven was born in Bohn, Germany. His father, with his grandfather, was the two singers at the court of a local prince, Friedrich Max. (Forney and Machlis 197).

Like many people of this time period Beethoven was affected by the French Revolution, the enlightenment and romantic periods; in 1789 the French Revolution was raging and people were dying. The French general Napoleon defeated France’s enemies and inspired Beethoven with ideas of freedom and equality. It was because those inspirations that Beethoven was going to dedicated his Third Symphony, Erocia which means heroic to him, that was until Napoleon decided to declared himself emperor, which made him so angry that he viciously scratched out the dedication. (Alvarez 2006-2007)

Some of the most well known composers came to be in the in the classical music period. Ludwig van Beethoven was one of the composers, along with other greats of the time like Haydn and Mozart, which helped to create a new type of music. This new music had full rich sounds created by the new construction of the symphony orchestra.

INTRODUCTION Attention getter: Whether in spite of, or because of his father’s excessive harsh and abusive methods of teaching, Beethoven was an extraordinary musician from an early age. He showed creative musicianship and imagination that reach further than any other composer ever has or possibly ever will.

I believe that the tone of the second reviewer was in a more positive tone towards Beethoven’s work for the audience to read. He believes the readers should take the idea of Beethoven as an original and rare. Beethoven was original because of the unique and “customary” pieces he had composed. Beethoven was rare because he explains how many have overlooked his work because many were “accustomed to Haydn’s and Mozart’s work”.

The early piano sonatas of Beethoven deserve special mention. Although his first published examples of concertos and trios and the first two symphonies are beneath the masterpieces of Mozart and Haydn, the piano sonatas bear an unmistakably Beethovian stamp: grandiose in scope and length, and innovative in their range of expression. The sonatas were able to move expression from terrible rage to peals of laughter to deep depression so suddenly. Capturing this unpredictable style in his music, a new freedom of expression which broke the bounds of Classical ideals, was to position Beethoven as a disturbed man in the minds of some of his contemporaries. Furthermore, he was to be seen as the father of Romanticism and the single most important innovator of music in the minds of those after him. (Bookspan 27).

“He (Beethoven) was a pivotal figure in the transition from 18th century musical classicism to 19th century romanticism, and his influence on subsequent generations of composers was profound” Kerman and Tyson. Beethoven’s sixth symphony (also known as the pastoral symphony) has qualities of both the classical and romantic periods and illustrates Beethoven’s revolutionary ideas as well as highlights his classical influences. The programmatic nature of the piece is the dominant romantic feature although the use of brass and percussion as well as the dramatic dynamic changes are also characteristics from this era. However there are many classical influences in Beethoven’s work such as the balanced phrasing, the

He was born in the German town of Bonn on the 16th of December 1770. His grandfather Ludwig and his father Johann were both musicians. Johann was to act as little Ludwig's first music teacher, but Ludwig soon changed to the court organist C. G. Neefe. Passing eleven years of age, Ludwig deputized for Neefe, and at twelve had his first music published. He then stayed as Neefe's assistant until 1787, when at seventeen, he took off for Vienna. Even though Vienna was to be his home for the rest of his life, this first visit was short. On hearing that his mother was dying, he quickly returned to Bonn. Five years later he finally moved to Vienna to live and work.

Out of all of Beethoven’s one hundred and ten works, he wrote thirty-two piano sonatas. Of those thirty-two piano sonatas, the thirty-first piano sonata was one of the most important and was composed in the year 1821towards the end of Beethoven’s life. It is one of Ludwig van Beethoven’s final sonatas for the piano, given the full name: Piano Sonata No. 31 in A-flat major, op. 110. I am writing about a video performance – found on YouTube – by Richard Goode in 1993. The performance piece is a sonata which is defined by Kerman as “a chamber-music piece in several movements” (Kerman, 427)

It was believed that Beethoven raised instrumental music to greater heights than had previously been experienced. This was an aspect of his music that could potentially be liable for the changing view on the understanding that the listener had, the relationship to music, the nature of art in general, and the social function of the symphony. These points all seemed to be secondary in comparison to the power of Beethoven’s music. Dahlhaus once said that ‘the new insight that Beethoven thrust upon the aesthetic consciousness of his age was that a musical text, like a literary or philosophical text, harbours a meaning which is made manifest but not entirely subsumed in its acoustic presentation- that a musical creation can exist as an “art work of ideas” transcending its various interpretations’. This perception that Dahlhaus had of Beethoven is