Beethoven Immortally Beloved: The Life

Beethoven

Immortally Beloved: The Life of Ludwig van Beethoven

Without qualification, the 19th century German composer Ludwig van Beethoven is called a genius in every textbook and encyclopedia across the world, a true revolutionary and pioneer in the world of music. His career straddles the technical precision and refinement of the Classical era and bridges the gap between this period and the emotional, Romantic era of music, where composers began to feel more free to pour their emotions into their works ("Classical: Musical Context," the Essentials of Music, 2008). Beethoven's body of work would be a marvel even if he had led a relatively happy and quiet life, like the Baroque composer Bach, living in a supportive family and community environment. But Beethoven did not and in spite, or some might say because of his difficult life, he became one of the greatest composers of the Western European music tradition. "He is one of the few artists who genuinely may be considered revolutionary" ("Ludwig van Beethoven," the Columbia Encyclopedia, 2008).

Unlike Mozart, who lived to see Beethoven perform as a child, music did not come naturally to the young Beethoven. His father, "son of an obscure tenor singer in the employ of the Elector of Cologne" wanted to display him like a prodigy, as Mozart was showcased as a young talent as boy. When that failed, his father attempted to beat the gift into him, until he submitted (Lane 2006). It is even thought that Beethoven's father lied about his son's age to make him seem younger, and more gifted. "His father was said to be a violent and intemperate man, who returned home late at night much worse for drink and dragged young Ludwig from his bed in order to beat music lessons into the boy's sleepy head. There are also stories of his father forcing him to play his violin for the amusement of his drinking cronies. Despite these and other abuses - which might well have persuaded as lesser person to loathe the subject - the young Beethoven developed a sensitivity and vision for music" (Lane 2006).

However, slowly Beethoven built upon his natural gifts and passion for music. In 1782, before he was twelve Beethoven published his first composition and at age fourteen was appointed organist of the court of Maximilian Franz, Elector of Cologne. "This post enabled him to frequent new circles, other than those of his father and friends of his family. Here he met people who were to remain friends for the rest of his life" (Prevot 2001). In 1787, sent for by Prince Maximilian Franz, Beethoven first visited Vienna, at that time the center of the music world ("Ludwig van Beethoven," the Columbia Encyclopedia, 2008; Prevot 2001). He was ill-equipped socially to deal with the pressures of the court, but musically he shone. In Vienna, he performed for Mozart, whom he "greatly impressed" as a pianist ("Ludwig van Beethoven," the Columbia Encyclopedia, 2008).

In 1792, after his father and beloved mother's death, Beethoven became the student of the composer Joseph Hayden. But Hayden felt that Beethoven's musical vision was too radical, and needed to be controlled. Beethoven's style disturbed him, causing Beethoven to seek instruction elsewhere, including that of Mozart's rival Antonio Saleri ("Ludwig van Beethoven," the Columbia Encyclopedia, 2008). For awhile he lived in the aristocrat Prince Lichnowsky's mansion and began to secure fame as a 'dueling' piano player and composer. "Beethoven's rivals always retired, bloodied, from such combat. While he made enemies of many pianists in Vienna, the nobility flocked to hear him.... It was his skill as a pianist rather than as a composer that brought him recognition during his twenties" (Lane 2006). This success was critical in establishing his independence, as Beethoven became the first composer to be able to 'freelance' his talent and not depend on patronage (Lane 2006). Unfortunately, his advancing deafness spelled an end to his career upon the piano -- once again Beethoven faced a setback that would have drained the will of even the most optimistic of men, but he persevered. "With the end of his career as a virtuoso pianist inevitable, he plunged into composing. It offered a much more precarious living than that of a performer, especially when his compositions had already shown themselves to be in advance of popular taste" (Lane 2006). Even his first symphony, which is usually classified as classical in the style of Mozart and Hayden today, was seen as overly emotional and turbulent. After his knowing that his deafness was likely incurable, "he threw himself into his greatest works," sonatas for piano like "The Storm" the second and the third symphonies, the "Erotica," and his only opera "Fidelio" (Prevot 20010.