FREE ESSAY ON LUDWIG VAN BEETHOVEN

LUDWIG VAN BEETHOVEN

Beethoven 
For many people, Ludwig Van Beethoven is considered the greatest composer who ever lived
and is the highest level of musical geniuses. His compositions are the expression of one
of the most powerful musical personalities of all time which he exceeded above average in
both areas of Classical and Romantic labeling. Beethoven was born in Bonn, Germany,
December 16, 1770, and was baptized on December 17. His father, Johann, was a singer
employed by the Elector of Cologne in Bonn. Johann married Maria Magdalena Laym, a cook's
daughter. Together they had seven children of which three sons survived, Beethoven was
the oldest (Collier's Encyclopedia, Beethoven). When Johanns' career was threatened by
alcoholism, he saw his chance to get rich by exploiting his son Beethoven as a child
prodigy. He claimed Beethoven was years younger than he actually was, neglected his
formal education, and made him practice his music endlessly. His attempt to get rich was
a disaster and probably encouraged the brusque and withdrawing personality Beethoven
developed. Beethoven was a solo pianist and piano teacher when he was in his twenties. He
was well known for his temperamental nature. He had to abandon his performing career of
deafness. By this time, he was well known as a composer and was able to live by the
profits of concerts and sale of his works to publishers. He was the most revered composer
in all of Europe and regarded as the greatest living example of Romantic, artistic genius
(McLeish, pg. 18-19). Sonate Pathetique, Opus 13 was written in 1798 and named by the
composer Ludwig Van Beethoven. This Sonate was extremely romantic because of the charged
first movement, while the Adagio Movement is sad, yet comforting. The third movement of
the "Pathetique" was considered Rondo. The key of the Adagio Movement is A Flat, the
submediant Key of the opening Grave section. The form is a cross between Rondo and Theme
and Variations because the A or Main Theme sections have the same melody, but the
accompanying parts are varied. Although Beethoven still uses the tonic-dominant
relationships to start and end his first section, mm. 1-16, even ending his first theme
with a perfect authentic cadence the composer begins to use keys with third
relationships. The main theme is in the key of A flat, however the second theme is in the
relative minor key of F minor. MM 17-23 are very pivotal in nature and by mm. 23
Beethoven has modulated to the dominant key of E flat major. The remainder of the piece
gives the feeling of A flat major, although section c, mm. 36-50. contain many
modulations. The coda begins in mm 66-4 through the end and contains a series of V - I
cadences. The Adagio of Sonate Pathetique has been compared having a similar melodic
structure and affinity of theme to the Adagio of the Ninth Symphony written during the
last period almost twenty-five years later. This Adagio movement is in the singing style
and demands great emotion from the performer. Although this particular movement was
written during Beethoven's first period, the great emotion and contemplation, the peace
and introspection that characterized his third period seem to be present (McLeish pg.
58-76). Beethoven had a powerful personality that awed everyone. His high-voltage
personality coupled with his high-voltage genius, Beethoven was able to live his life on
his own terms in everything except his deafness. He was only 5 feet, 4 inches, broad,
with a large head, lots of hair, protruding-teeth, a small nose and a bad habit of
spitting. He was clumsy, sullen and suspicious, touchy, forgetful, and prone to rages of
temper. As a bachelor, he was incredibly messy and had no servants because they would not
put up with him (Schonberg, pg. 110-111). In 1802 Beethoven was told his deafness was
incurable. This knowledge caused a violent change in his character which brought about a
big change in his music. The boisterousness of his youth turned into a mature artist
pondering and placing each effect. Many of Beethoven's most popular works date from this
time. The 'Emperor' Piano Concerto, the Violin Concerto, the Third to Seventh Symphonies,
the 'Razumovsky' were composed at this time (McLeish, pg. 19). In 1805 Beethoven
premiered the Eroica Symphony which was a turning point in musical history. A succession
of masterpieces came in the next eight years. Around 1811, Beethoven's productivity
slowed down. His deafness became total and he retired into his inner world. His health
deteriorated and the relationship he had with his nephew, Karl, might have robbed the
World of some masterpieces. He became the guardian of Karl when Beethoven's brother
Casper died. Beethoven was alternately strict and easy going and Karl was driven out of
his mind. In 1826, Karl attempted suicide and told police Beethoven tormented him.
Beethoven took it badly and friends say he aged twenty years in those weeks (McLeish, pg.
20). He died on March 27, 1827 after a long illness. It is reported 20,000 people
attended the funeral. Beethoven's music falls into three periods. His first twenty works
hinted at the explosive power to come. After the Eroica, the second period sets in. He
was confident, a master of form, and made his own rules. His music was governed by the
logic of a great technician and musical genius. The last works period was the music of a
man who has seen all and experienced all, a man in a silent, suffering world. He wrote
only to justify his artistic existence, not to please anyone. Some find the works of this
time bleak, cold and incomprehensible. Beethoven was a musical intellect who was driven
by illness and mental suffering to retreat into his own world. His music is the most
powerful body of music ever brought together by one composer (Schonberg, pgs. 115, 117,
119, 123). 
Bibliography
Bibligraphy
1. "Beethoven, Ludwig Van" Collier's Encyclopedia. 1991 ed. 2. McLeish, Kenneth &
Valerie. Listeners' Guide to Classical Music. Great Britain: Butler & Tanner Ltd., 1986.
3. Schonberg, C. Harold. The Lives of the Great Composers. New York: W.W. Norton & Co.,
1981.