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(1770-1827) German composer, pianist, conductor

Ludwig van Beethoven was born on December 16, 1770 in Bonn. The boy chose the profession not by chance: his father and grandfather were professional musicians, so he naturally followed in their footsteps. His childhood was spent in material need, it was bleak, harsh.

However, most Ludwig had to devote time to studies: the boy was taught to play the violin, piano, and organ.

He quickly made progress and from 1784 he served in the court chapel. We can say that Beethoven owed much to the favorable situation that developed at the court of the Elector of Cologne, Franz Maximilian. Ludwig passed good school in the court orchestra, where he was trained by many outstanding musicians - K. Nefe, I. Haydn, I. Albrechtsberger, A. Salieri. There he began to compose music, and also managed to take the place of an organist and cellist.

In 1787, Ludwig van Beethoven decided to go to meet his fate in Austria. Its capital - Vienna - was famous for its great musical traditions. Mozart lived there, and it was Beethoven's longtime desire to study under him. Hearing the young Bonn musician play, Mozart said: “Pay attention to him. He will make everyone talk about him!”

But Ludwig Beethoven could not stay long in Vienna because of his mother's illness. True, after her death, he again came there, this time at the invitation of another composer - Haydn.

Influential friends helped Beethoven, and he soon became a fashionable pianist and teacher. Since 1792, Beethoven has lived permanently in Vienna. He soon gained fame as a remarkable pianist and improviser. His playing impressed his contemporaries with the depth of passions, emotionality, and extraordinary instrumentation.

The time spent in the Austrian capital was very fruitful for the beginning composer. During the first decade of his stay there, he created 2 symphonies, 6 quartets, 17 piano sonatas and other compositions.

However, the composer, who was in his prime, was struck by a serious illness. From 1796 he began to go deaf, and by the end of 1802 he was completely deaf. At first he fell into despair, but, having overcome a difficult psychological crisis, was able to pull myself together and started composing music again. Heavy experiences and a great love for life and music, Ludwig van Beethoven reflected in his compositions, but now they have acquired a dramatic connotation.

His worldview was determined by the ideas of the Great french revolution 1789. Therefore, the main themes in his work are the themes of life and death, the brotherhood and equality of people, a heroic deed in the name of freedom. These themes were first heard in his choral song " Free man”, written under the impression of revolutionary events.

Beethoven's work was a transitional stage from the canonical music of Bach and Handel, in which the dogmatic framework of church music was still strong, to the music of modern times. Therefore, contemporaries did not accept all the compositions of Ludwig Beethoven. Some were frightened by the intensity of passions, the power conveyed emotions, depth philosophical problems. Others talked about the complexity of execution.

Ludwig Beethoven was not only the greatest composer, but also a wonderful pianist. That is why his sonatas, which contemporaries called "instrumental dramas", are so expressive. In music, sometimes they see songs without words. In the first place is Appassionata. Beethoven introduced here special form based on the repetition of melodic cycles. This strengthened the main idea of ​​the work and increased the drama of the various feelings conveyed.

In the famous "Moonlight Sonata", Beethoven's personal drama was revealed with the greatest completeness, due to the impossibility of marriage with Countess Julia Guicciardi, whom the composer deeply and passionately loved.

In the Third Symphony, Beethoven continued his search for other means of expression. Here he introduces a new theme for his work of life and death. The dramatic basis of the narrative did not at all mean the appearance of pessimistic moods, but, on the contrary, called for a decisive change in reality. Therefore, this symphony is better known under the name "Heroic". She is characterized by the scale of forms, the richness and sculptural relief of images, the expressiveness and clarity of the musical language, saturated with strong-willed rhythms and heroic melodies.

The last of the symphonies created by Beethoven was the Ninth, which sounds like a hymn to the power and strength of the human spirit that has risen above the disease. After all last years Beethoven's life was overshadowed by severe life hardships, illness, loneliness. The symphony was first performed on May 7, 1824. Its main idea is the unity of millions. This is also mentioned in the choral finale of this brilliant work based on the text of F. Schiller's ode "To Joy".

In terms of the power of thought, the breadth of the idea, the perfection of the embodiment, the Ninth Symphony has no equal. Only in the 20th century did the Russian composers D. Shostakovich and A. Schnittke manage to reach the heights of Beethoven's creative spirit.

Almost simultaneously with the Ninth Symphony, the composer creates the Solemn Mass, where he also promotes the idea of ​​peace and the brotherhood of mankind. At the same time, it goes beyond the traditional musical accompaniment of the solemn service, introduces the idea of ​​the need for a concrete embodiment of the unity of all people. Monumentality, careful elaboration of vocal and instrumental parts made this work innovative.

Ludwig van Beethoven wrote only one opera, Fidelio (1805). In this heroic opera, monumental scenes alternate with everyday, often comedic, sketches. The love story became the basis for conveying deep feelings and at the same time was a response to revolutionary events of his time.

At the center of almost all of Beethoven's works is the bright, uncommon character of a struggling personality, possessing genuine optimism. At the same time, heroic images are intertwined with deep, concentrated lyrics, with images of nature. Beethoven's ability to combine elements of different genres in one work was not only a discovery, but also a feature of the music of his followers. The composer's work had a great influence on European music.

Brahms, Mendelssohn and Wagner admired Beethoven and considered him their teacher.

More than two hundred years have passed since Beethoven's works were first heard by the Viennese public. But the music of the great composer still excites millions of people around the world today.

Childhood

Ludwig van Beethoven, whose musical works are included in the golden collection of world classics, was born in the city of Bonn, in the family of a court chapel tenor. The composer's father dreamed that his son would someday become the second Mozart. Therefore, under his leadership, early years studied piano by Ludwig van Beethoven. The young pianist studied musical works with incredible zeal. However, the young Beethoven, like Mozart, did not become a child prodigy.

The father was rude and quick-tempered. Perhaps that is why the young musician did not immediately show his talent. The lessons of Kapellmeister Nefe, to whom Ludwig went as a student, turned out to be much more effective than the exercises imposed by his father.

The beginning of creativity

Beethoven was only fifteen years old when he was entrusted with the position of organist of the chapel. And seven years later, on the orders of one of his mentors, he left for Vienna in order to continue his music studies. There he took lessons from Haydn and Salieri.

The most significant musical works of Beethoven in the eighties of the eighteenth century:

1. "Pathetic Sonata".
2. "Moonlight Sonata".
3. "Kreutzer Sonata".
4. Opera Fidelio.

Beethoven's earliest musical works were not printed. But children's sonatas and the song "Marmot" have survived to this day.

Return to Bonn

Once Beethoven's works were heard by Mozart. The great composer, according to the memoirs of his contemporaries, said: “This musician will make you talk about yourself!” Mozart's prophecy came true. But later. Not long after Beethoven arrived in Vienna, his mother fell ill. The young composer was forced to return to his native city.

After the death of his mother, all the worries about the family fell on the shoulders of the young Ludwig. In order to feed his younger brothers, he got a job in the orchestra as a violist. Beethoven's works were once heard by Haydn, returning from England and stopping by in Bonn. This musician was also delighted with the compositions of the young Beethoven. In 1792, Ludwig left again for Vienna, where this time he lived for more than ten years.

Haydn's lessons

The Austrian composer became Beethoven's teacher. However, his lessons, according to Ludwig, did not bring any benefit. Beethoven's works seemed strange and gloomy to his teacher. Soon Ludwig stopped taking lessons from Haydn and became a student of Salieri.

Style

The works of Ludwig Beethoven differed significantly from the works of contemporary composers. He used the upper and lower registers, the pedal. His style was different from the styles of other writers. In the second half of the eighteenth century, exquisite lace works for harpsichord were popular.

In addition, Ludwig van Beethoven, whose works seemed too extravagant to his contemporaries, was himself an unusual person. First of all, he stood out for his appearance. The unrecognized genius often appeared in public unkempt, casually dressed. In conversation, he was often extremely blunt.

Once, during a speech, one of those present in the hall had the imprudence to speak to his lady. Beethoven canceled the concert. No apologies or requests softened the pianist's heart. But despite the proud and unshakable disposition, according to the memoirs of his contemporaries, he was an extremely kind and sympathetic person.

hearing loss

The works of Ludwig Beethoven began to enjoy wide popularity in the nineties. During his ten years in Vienna, he wrote three piano concertos and about twenty sonatas. His writings were well published and enjoyed success. But in 1796, a disease began to develop, which led to complete deafness.

Due to illness, Beethoven rarely left the house. He became withdrawn and sullen. Surprisingly, his best works were created exactly when he lost his hearing. Works of recent years - "Solemn Mass", Symphony No. 9. The last was performed in 1824. Beethoven was given an ovation by the public, which lasted so long that the police had to subdue the piano fans.

Last years

After the defeat of Napoleon in Austria, a curfew was introduced. The government imposed censorship on all spheres of activity. Freethinking was severely punished. Beethoven, even in his younger years, was distinguished by independent judgments. One day, while walking with Goethe, he met Emperor Franz with his retinue. The poet bowed respectfully. Beethoven, however, passed through the courtiers, slightly raising his hat. This story happened when the composer was still young. In the last years of his life, when spies and secret agents met at every step, Beethoven became completely unrestrained in expressions. But his authority was so great that the authorities turned a blind eye to very harsh judgments.

Despite his deafness, the composer was aware of all the musical and political news. He looked through the scores of Schubert and Rossini. During these years, Beethoven met Weber, the author of the operas Evryanta and The Magic Shooter.

In 1926, the composer's health deteriorated sharply. He began to develop liver disease. In March 1927, Ludwig van Beethoven died. About twenty thousand people attended the funeral of the author of the Moonlight Sonata and other great works.

Beethoven wrote nine symphonies, eight symphonic overtures and five piano concertos. In addition, he is the author of several dozen sonatas and other musical works. Many monuments around the world were erected to Ludwig van Beethoven. The first of them - in the homeland of one of the greatest composers, in Bonn.

He was born on December 16, 1770 in Bonn, Germany. His father and grandfather were professional singers, and despite financial difficulties, the family tried to give the child a comprehensive musical education. He was taught to play the organ, violin and piano. The talent of the young talent was immediately revealed, the teaching was easy, and at the age of 14 he was already enrolled in the court chapel.

His first acquaintance with the Austrian capital took place at the age of 17. Mozart listened to it and saw the future genius in the musician. However, plans to continue their studies in Vienna had to be abandoned. Ludwig's mother died, and he immediately returned home. It was necessary to take care of the younger brothers, and with the death of the breadwinner-grandfather, the situation worsened even more. Due to lack of funds, Beethoven dropped out of school. However, it was educated person who was fluent in Latin, Italian and French, loved to read both ancient and contemporary writers, and thanks to his mentor in music, Christian Nefe, met with immortal creations Mozart, Bach and other famous composers.

Only in 1792 did he finally manage to settle in Vienna. Here the glory of a virtuoso pianist and a brilliant improviser came to him. He is seriously involved in instrumental music. He writes his "Heroic" or "Third Symphony" while already suffering from inflammation of the middle ear. The most creatively successful period of his life is overshadowed by progressive hearing loss. Despite the impending deafness, he composes the "Fifth" and "Pastoral" (sixth) symphonies, several sonatas, violin and piano concertos and the only opera "Fidelio".

Having completely lost his hearing, he becomes sullen and leads a secluded life. At the age of 57, the German composer died in poverty and loneliness.

Beethoven biography essential

The future composer was born in 1770 into a family of musicians, and music was the main attribute in the house. The boy showed great abilities, he especially liked the violin and organ. But his father turned all his undertakings into torture and bullying. He always wanted to make a composer of the level of Mozart out of a boy. And the course was not praise, but insults. The atmosphere in the house was oppressive, unfavorable. Beethoven grew up as a closed child, preferring to be alone. The main joy for him was music and books. He read a lot from Plato to Mozart.

But already at the age of seven he showed his first concert. During this period, he meets his mentor and friend Christian Nefe. Thanks to him, the young man gets acquainted with the work of such composers as Mozart, Handel and Haydn. And who would have thought that in many years, Beethoven would stand with them on a par. The boy was talented in everything. So already in adolescence he began to work as an assistant organist at court.

1787 - thanks to his efforts, Beethoven travels to Vienna, where he meets with Mozart. The famous composer was so impressed by the guest's abilities that he considered it necessary to take him as a student. However, fate presented Beethoven with a new test, in hometown mother dies. For Beethoven, this was a great shock. There was no one nearer and dearer to him. Mom was his support, protection and friend. The father sank to the very bottom, and could hardly help with anything, so in order to feed his family, he gave up music and began attending lectures at the University of Bonn.

In 1792 he again comes to Vienna. In search of a teacher, he meets the composer Haydne. But the creative tandem did not bring success, each side was dissatisfied with each other. The teacher considered Beethoven's piano playing mediocrity, a waste of time, although Vienna had never heard a more virtuoso pianist. Here he creates the most recognizable work for contemporaries - "Moonlight Sonata", "Pathetic Sonata".

In search of a new mentor, fate brings him to Antonio Salieri. The two composers met as artists and as friends. As a result of beneficial cooperation during this period, Beethoven wrote more than thirty works. It was the "golden period" of his work.

For willfulness, for freedom of speech, the composer could have long fallen out of favor with the authorities, but either universal popularity or his character protected him from attacks throughout his life.

Starting from 1796, for the composer come Hard times. At this time, he begins to lose his hearing. At first, the composer hid his new position, because among creative people such a state would simply not be perceived. He did not have a family, admirers and muses of his work, eventually found other chosen ones. Stopped talking to friends. Having protected himself from the outside world, Beethoven stopped going out into the street, refuses to perform. He became closed, gloomy. For a man who devoted his life to music, this was a blow. For short-term communication with acquaintances, he preferred to write, in each line of notebooks there is such power and strength, and at the same time weakness and loneliness.

In spite of serious disease, in some incredible way, it is during this period that he creates the most romantic works. In the last years of his life, Beethoven was very ill, his nephew was his main joy.

The composer died in 1827 after a severe and prolonged illness. After himself, he left a collection of great works, numbering about a hundred creations.

Interesting Facts and dates from life

In a family with Flemish roots. The composer's paternal grandfather was born in Flanders, served as a chorister in Ghent and Louvain, and in 1733 moved to Bonn, where he became a court musician in the chapel of the Elector-Archbishop of Cologne. His only son Johann, like his father, served in the chapel as a vocalist (tenor) and worked part-time giving violin and clavier lessons.

In 1767 he married Mary Magdalene Keverich, daughter of a court chef in Koblenz (residence of the Archbishop of Trier). Ludwig, the future composer, was the eldest of their three sons.

His musical talent showed up early. Beethoven's first music teacher was his father, and the musicians of the chapel also studied with him.

On March 26, 1778, the father organized the first public performance of his son.

Since 1781, the composer and organist Christian Gottlob Nefe led the young talent. Beethoven soon became concertmaster of the court theater and assistant organist of the chapel.

In 1782, Beethoven wrote his first work, Variations for Clavier on a March by composer Ernst Dresler.

In 1787 Beethoven visited Vienna and took several lessons from the composer Wolfgang Mozart. But he soon learned that his mother was seriously ill and returned to Bonn. After the death of his mother, Ludwig remained the sole breadwinner of the family.

The young man's giftedness attracted the attention of some enlightened Bonn families, and his brilliant piano improvisations provided him with free entry to any musical gatherings. The von Breining family, which took custody of the musician, did a lot for him.

In 1789, Beethoven was a volunteer in the philosophy department of the University of Bonn.

In 1792, the composer moved to Vienna, where he lived almost without a break until the end of his life. His initial goal when moving was to improve his composition under the guidance of the composer Joseph Haydn, but these studies did not last long. Beethoven quickly gained fame and recognition - first as the best pianist and improviser in Vienna, and later as a composer.

In the prime of his creative powers, Beethoven showed tremendous capacity for work. In 1801-1812, he wrote such outstanding works as the Sonata in C sharp minor ("Moonlight", 1801), the Second Symphony (1802), the Kreutzer Sonata (1803), the "Heroic" (Third) Symphony, the sonatas "Aurora" and "Appassionata" (1804), the opera "Fidelio" (1805), the Fourth Symphony (1806).

In 1808, Beethoven completed one of the most popular symphonic works - the Fifth Symphony and at the same time the "Pastoral" (Sixth) Symphony, in 1810 - the music for Johann Goethe's tragedy "Egmont", in 1812 - the Seventh and Eighth Symphonies.

From the age of 27, Beethoven suffered from progressive deafness. A severe illness for the musician limited his communication with people, made pianistic performances difficult, which Beethoven had to stop over time. Since 1819, he had to completely switch to communicating with his interlocutors using a slate board or paper and pencil.

In his later compositions, Beethoven often turned to the fugue form. The last five piano sonatas (Nos. 28-32) and the last five quartets (Nos. 12-16) are notable for their particularly complex and refined musical language, which requires the greatest skill from the performers.

Beethoven's late work was controversial for a long time. Of his contemporaries, only a few were able to understand and appreciate him. recent compositions. One of these people was his Russian admirer, Prince Nikolai Golitsyn, who commissioned and dedicated quartets Nos. 12, 13, and 15. The Overture Consecration of the House (1822) is also dedicated to him.

In 1823, Beethoven completed the Solemn Mass, which he considered his greatest work. This mass, designed more for a concert than for a cult performance, has become one of the milestone phenomena in the German oratorio tradition.

With the assistance of Golitsyn, the Solemn Mass was first performed on April 7, 1824 in St. Petersburg.

In May 1824, Beethoven's last benefit concert took place in Vienna, in which, in addition to parts from the Mass, his final, Ninth Symphony was performed with the final chorus to the words of "Ode to Joy" by the poet Friedrich Schiller. The idea of ​​overcoming suffering and the triumph of light is consistently carried through the whole work.

The composer created nine symphonies, 11 overtures, five piano concertos, a violin concerto, two masses, one opera. Beethoven's chamber music includes 32 piano sonatas (not including six youthful sonatas written in Bonn) and 10 sonatas for violin and piano, 16 string quartets, seven piano trios, as well as many other ensembles - string trios, septet for mixed composition. His vocal heritage consists of songs, over 70 choirs, canons.

On March 26, 1827, Ludwig van Beethoven died in Vienna from pneumonia, complicated by jaundice and dropsy.

The composer is buried on Central cemetery Vienna.

The traditions of Beethoven were taken up and continued by the composers Hector Berlioz, Franz Liszt, Johannes Brahms, Anton Bruckner, Gustav Mahler, Sergei Prokofiev, Dmitri Shostakovich. As their teacher, Beethoven was also honored by the composers of the Novovensk school - Arnold Schoenberg, Alban Berg, Anton Webern.

Since 1889, a museum has been open in Bonn in the house where the composer was born.

In Vienna, three museum houses are dedicated to Ludwig van Beethoven, and two monuments have been erected.

The Beethoven Museum is also open at Brunsvik Castle in Hungary. At one time, the composer was friendly with the Brunsvik family, often came to Hungary and stayed at their house. He was alternately in love with two of his students from the Brunswick family - Juliet and Teresa, but none of the hobbies ended in marriage.

The material was prepared on the basis of information from open sources

The content of the article

BEETHOVEN, LUDWIG WAN(Beethoven, Ludwig van) (1770–1827), German composer, who is often considered the greatest creator of all time. His work is attributed to both classicism and romanticism; in fact, it goes beyond similar definitions: Beethoven's compositions are first of all an expression of his brilliant personality.

Origin. Childhood and youth.

Beethoven was born in Bonn, presumably December 16, 1770 (baptized December 17). In addition to German, Flemish blood also flowed in his veins: the composer's paternal grandfather, also Ludwig, was born in 1712 in Malin (Flanders), served as a chorister in Ghent and Louvain, and in 1733 moved to Bonn, where he became a court musician in the chapel of the Elector-Archbishop of Cologne . This was smart man, a good singer, a professionally trained instrumentalist, he rose to the position of court bandmaster and enjoyed the respect of others. His only son Johann (the rest of the children died in infancy) sang in the same chapel from childhood, but his position was precarious, because he drank heavily and led a hectic life. Johann married Maria Magdalena Lyme, the daughter of a cook. They had seven children, of whom three sons survived; Ludwig, the future composer, was the eldest of them.

Beethoven grew up in poverty. My father drank away his meager salary; he taught his son to play the violin and piano in the hope that he would become a child prodigy, the new Mozart, and provide for his family. Over time, the father's salary was increased based on the future of his gifted and hardworking son. For all that, the boy was uncertain about the violin, and on the piano (as well as on the violin) he liked to improvise more than to improve his playing technique.

Beethoven's general education was as unsystematic as his musical education. In the latter, however, practice played a big role: he played the viola in the court orchestra, performed on keyboard instruments, including the organ, which he quickly mastered. C. G. Nefe, from 1782 the Bonn court organist, became the first real teacher of Beethoven (among other things, he went with him all Well-Tempered Clavier J.S. Bach). Beethoven's duties as court musician expanded considerably when Archduke Maximilian Franz became Elector of Cologne and began to take care of the musical life of Bonn, where his residence was located. In 1787, Beethoven managed to visit Vienna for the first time - at that time the musical capital of Europe. According to the stories, Mozart, having listened to the young man's play, highly appreciated his improvisations and predicted a great future for him. But soon Beethoven had to return home - his mother lay near death. He remained the sole breadwinner of the family, which consisted of a dissolute father and two younger brothers.

The young man's talent, his greed for musical impressions, his ardent and receptive nature attracted the attention of some enlightened Bonn families, and his brilliant piano improvisations provided him with free entry into any musical gatherings. Especially the Breuning family did a lot for him, who took custody of the clumsy but original young musician. Dr. F. G. Wegeler became his lifelong friend, and Count F. E. G. Waldstein, his enthusiastic admirer, managed to convince the Archduke to send Beethoven to study in Vienna.

Vein. 1792–1802

In Vienna, where Beethoven came for the second time in 1792 and where he remained until the end of his days, he quickly found titled patrons of the arts.

People who met the young Beethoven described the twenty-year-old composer as a stocky young man, prone to panache, sometimes brash, but good-natured and sweet in dealing with friends. Realizing the insufficiency of his education, he went to Joseph Haydn, the recognized Viennese authority in the field of instrumental music (Mozart had died a year earlier), and for some time brought counterpoint exercises to him to check. Haydn, however, soon cooled off towards the obstinate student, and Beethoven, secretly from him, began to take lessons from I. Shenk and then from the more thorough J. G. Albrechtsberger. In addition, wanting to improve his vocal writing, he visited the famous opera composer Antonio Salieri for several years. Soon he joined a circle that united titled amateurs and professional musicians. Prince Karl Likhnovsky introduced the young provincial to his circle of friends.

The question of how much the environment and the spirit of the times influence creativity is ambiguous. Beethoven read the works of FG Klopstock, one of the forerunners of the Sturm und Drang movement. He was familiar with Goethe and deeply revered the thinker and poet. Political and public life Europe of that time was alarming: when Beethoven arrived in Vienna in 1792, the city was agitated by the news of the revolution in France. Beethoven enthusiastically accepted revolutionary slogans and sang of freedom in his music. The volcanic, explosive nature of his work is undoubtedly the embodiment of the spirit of the times, but only in the sense that the character of the creator was to some extent shaped by this time. A bold violation of generally accepted norms, a powerful self-affirmation, a thunderous atmosphere of Beethoven's music - all this would have been unthinkable in the era of Mozart.

Nevertheless, Beethoven's early compositions largely follow the canons of the 18th century: this applies to trios (strings and piano), violin, piano and cello sonatas. The piano was then the closest instrument for Beethoven, in piano works he expressed the most intimate feelings with the utmost sincerity, and the slow parts of some sonatas (for example, Largo e mesto from sonata op. 10, no. 3) were already imbued with romantic languor. pathetic sonata op. 13 is also an obvious anticipation of Beethoven's later experiments. In other cases, his innovation has the character of a sudden intrusion, and the first listeners perceived it as a clear arbitrariness. Published in 1801, six string quartets op. 18 can be considered the greatest achievement of this period; Beethoven was clearly in no hurry to publish, realizing what lofty examples of quartet writing left Mozart and Haydn. Beethoven's first orchestral experience was connected with two concertos for piano and orchestra (No. 1, in C major and No. 2, in B flat major), created in 1801: he, apparently, was also not sure about them, being well acquainted with the great Mozart's achievements in this genre. Among the most famous (and least challenging) early works- septet op. 20 (1802). The next opus, the First Symphony (published at the end of 1801), is Beethoven's first purely orchestral composition.

The approach of deafness.

We can only guess to what extent Beethoven's deafness influenced his work. The disease developed gradually. Already in 1798, he complained of tinnitus, it was difficult for him to distinguish high tones, to understand a conversation conducted in a whisper. Terrified at the prospect of becoming an object of pity, a deaf composer, he spoke about his illness to a close friend, Carl Amenda, as well as doctors, who advised him to protect his hearing as much as possible. He continued to move in the circle of his Viennese friends, took part in musical evenings, composed a lot. He was so good at hiding his deafness that, until 1812, even people who often met him did not suspect how serious his illness was. The fact that during the conversation he often answered inappropriately was attributed to bad mood or distraction.

In the summer of 1802, Beethoven retired to a quiet suburb of Vienna - Heiligenstadt. A stunning document appeared there - the "Heiligenstadt Testament", a painful confession of a musician tormented by illness. The will is addressed to the brothers of Beethoven (with instructions to read and execute after his death); in it, he speaks of his mental suffering: it is painful when “a person standing next to me hears a flute playing from afar, which is not audible to me; or when someone hears a shepherd singing and I can't make out a sound." But then, in a letter to Dr. Wegeler, he exclaims: “I will take fate by the throat!”, And the music that he continues to write confirms this decision: in the same summer, the bright Second Symphony, op. 36, magnificent piano sonatas op. 31 and three violin sonatas, op. thirty.

Second period. "New way".

According to the "three-period" classification, proposed in 1852 by W. von Lenz, one of the first researchers of Beethoven's work, the second period approximately covers 1802-1815.

The final break with the past was rather the realization, the continuation of trends early period than a conscious "declaration of independence": Beethoven was not a theoretical reformer, like Gluck before him and Wagner after him. The first decisive breakthrough towards what Beethoven himself called "the new path" occurred in the Third Symphony ( Heroic), work on which dates back to 1803–1804. Its duration is three times that of any other symphony written before. The first movement is music of extraordinary power, the second is a stunning outpouring of grief, the third is a witty, whimsical scherzo, and the finale - variations on a jubilant, festive theme - far exceeds in its power the traditional rondo-form finales composed by Beethoven's predecessors. It is often claimed (and not without reason) that Beethoven first dedicated heroic Napoleon, but upon learning that he had proclaimed himself emperor, he canceled the consecration. “Now he will trample on the rights of man and satisfy only his own ambition,” were the words of Beethoven, according to stories, when he tore title page scores with dedication. Finally Heroic was dedicated to one of the patrons - Prince Lobkowitz.

Works of the second period.

During these years, brilliant creations came out from under his pen one after another. Major writings composers, listed in the order of their appearance, form an incredible stream of brilliant music, this imaginary sound world replaces its creator with the world of real sounds leaving him. It was a victorious self-affirmation, a reflection of the hard work of thought, evidence of a rich inner life musician.

We will be able to name only the most important works of the second period: Violin Sonata in A major, op. 47 ( Kreutzer, 1802–1803); Third Symphony, op. 55 ( Heroic, 1802–1805); oratorio Christ on the Mount of Olives, op. 85 (1803); piano sonatas: Waldshteinovskaya, op. 53; in F major, op. 54, Appassionata, op. 57 (1803–1815); Piano Concerto No. 4 in G major, op. 58 (1805–1806); Beethoven's only opera Fidelio, op. 72 (1805, second edition 1806); three "Russian" quartets, op. 59 (dedicated to Count Razumovsky; 1805–1806); Fourth Symphony in B flat major, op. 60 (1806); violin concerto, op. 61 (1806); Overture to the Tragedy of Collin Coriolanus, op. 62 (1807); Mass in C major, op. 86 (1807); Fifth Symphony in C minor, op. 67 (1804–1808); Sixth Symphony, op. 68 ( pastoral, 1807–1808); cello sonata in A major, op. 69 (1807); two piano trios, op. 70 (1808); Piano Concerto No. 5, op. 73 ( Emperor, 1809); quartet, op. 74 ( Harp, 1809); piano sonata, op. 81a ( Parting, 1809–1910); three songs on poems by Goethe, op. 83 (1810); music for Goethe's tragedy Egmont, op. 84 (1809); quartet in F minor, op. 95 (1810); Eighth Symphony in F major, op. 93 (1811–1812); piano trio in B flat major, op. 97 ( Archduke, 1818).

The second period includes the highest achievements of Beethoven in the genres of violin and piano concerto, violin and cello sonatas, operas; the piano sonata genre is represented by such masterpieces as Appassionata and Waldshteinovskaya. But even musicians were not always able to perceive the novelty of these compositions. It is said that once one of Beethoven's colleagues asked: does he really consider one of the quartets dedicated to the Russian envoy in Vienna, Count Razumovsky, to be music? “Yes,” the composer replied, “but not for you, but for the future.”

A number of compositions were inspired by the romantic feelings that Beethoven had for some of his high-society students. This may refer to the two sonatas "quasi una Fantasia", op. 27 (appeared in 1802). The second of them (later called "Lunar") is dedicated to Countess Juliette Guicciardi. Beethoven even thought of proposing to her, but realized in time that a deaf musician was not a suitable match for a coquettish secular beauty. Other ladies he knew rejected him; one of them called him "freak" and "half-crazy". The situation was different with the Brunswick family, in which Beethoven gave music lessons to two older sisters - Teresa ("Tezi") and Josephine ("Pepi"). The assumption that Teresa was the addressee of the message to the "Immortal Beloved", found in Beethoven's papers after his death, has long been discarded, but modern researchers do not exclude that this addressee was Josephine. In any case, the idyllic Fourth Symphony owes its idea to Beethoven's stay at the Hungarian Brunswick estate in the summer of 1806.

Fourth, Fifth and Sixth pastoral) symphonies were composed in 1804–1808. The Fifth - probably the most famous symphony in the world - opens with a brief motif, about which Beethoven said: "Thus fate knocks at the door." In 1812 the Seventh and Eighth symphonies were completed.

In 1804, Beethoven willingly accepted an order to compose an opera, since in Vienna success on the opera stage meant fame and money. The plot in brief was as follows: a brave, enterprising woman, dressed in men's clothes, saves her beloved husband, imprisoned by a cruel tyrant, and exposes the latter before the people. To avoid confusion with the already existing opera on this plot - Leonora Gaveau, Beethoven's work was named Fidelio, by the name that the disguised heroine takes. Of course, Beethoven had no experience of composing for the theatre. The climaxes of the melodrama are marked by excellent music, but in other sections the lack of dramatic flair does not allow the composer to rise above the operatic routine (although he was very keen on this: in Fidelio there are fragments that have been remade up to eighteen times). Nevertheless, the opera gradually won over listeners (during the life of the composer, three of its productions took place in different editions - in 1805, 1806 and 1814). It can be argued that the composer has not invested so much work in any other work.

Beethoven, as already mentioned, deeply revered the works of Goethe, composed several songs on his texts, music for his tragedy Egmont, but met Goethe only in the summer of 1812, when they ended up together at a resort in Teplice. The refined manners of the great poet and the sharpness of the composer's behavior did not contribute to their rapprochement. “His talent struck me extremely, but, unfortunately, he has an indomitable temper, and the world seems to him a hateful creation,” says Goethe in one of his letters.

Friendship with Archduke Rudolph.

Beethoven's friendship with Rudolf, the Austrian archduke and half-brother of the emperor, is one of the most interesting historical plots. Around 1804, the Archduke, then aged 16, began taking piano lessons from the composer. Despite the huge difference in social status, the teacher and the student had a sincere affection for each other. Appearing for lessons at the Archduke's palace, Beethoven had to pass by countless lackeys, call his student "Your Highness" and fight his amateurish attitude to music. And he did all this with amazing patience, although he never hesitated to cancel lessons if he was busy composing. By order of the Archduke, such works as the piano sonata were created Parting, Triple Concerto, the last and most grandiose Fifth Piano Concerto, solemn mass(Missa solemnis). It was originally intended for the ceremony of raising the Archduke to the rank of Archbishop of Olmutsky, but was not completed on time. The Archduke, Prince Kinsky and Prince Lobkowitz established a kind of scholarship for the composer, who made Vienna famous but did not receive support from the city authorities, and the Archduke turned out to be the most reliable of the three patrons. During Congress of Vienna in 1814, Beethoven derived considerable material benefits for himself from communication with the aristocracy and kindly listened to compliments - he managed to at least partially hide the contempt for the court "brilliance" that he always felt.

Last years.

The financial situation of the composer improved markedly. Publishers hunted for his scores and commissioned works such as Grand Piano Variations on a Waltz by Diabelli (1823). His caring friends, A. Schindler, who was especially deeply devoted to Beethoven, observed the musician’s chaotic and deprivation lifestyle and heard his complaints that he was “robbed” (Beethoven became unreasonably suspicious and was ready to blame almost all persons from his environment for the worst ), could not understand where he put the money. They did not know that the composer was postponing them, but he was not doing it for himself. When his brother Kaspar died in 1815, the composer became one of the guardians of his ten-year-old nephew Karl. Beethoven's love for the boy, the desire to ensure his future came into conflict with the distrust that the composer had for Karl's mother; as a result, he only constantly quarreled with both, and this situation painted a tragic light last period his life. In the years when Beethoven sought full custody, he composed little.

Beethoven's deafness became almost complete. By 1819, he had to completely switch to communicating with his interlocutors using a slate board or paper and pencil (the so-called Beethoven conversational notebooks have been preserved). Fully immersed in work on compositions such as the majestic solemn mass in D major (1818) or the Ninth Symphony, he behaved strangely, inspiring alarm to strangers: he "sang, howled, stamped his feet, and in general it seemed that he was waging a mortal struggle with an invisible enemy" (Schindler). The brilliant last quartets, the last five piano sonatas - grandiose in scale, unusual in form and style - seemed to many contemporaries the works of a madman. Nevertheless, the Viennese listeners recognized the nobility and grandeur of Beethoven's music, they felt that they were dealing with a genius. In 1824 during the performance of the Ninth Symphony with its choral finale to the text of Schiller's ode To Joy (An die Freude) Beethoven stood next to the conductor. The hall was captivated by the powerful climax at the end of the symphony, the audience went on a rampage, but Beethoven did not turn around. One of the singers had to take him by the sleeve and turn him to face the audience so that the composer bowed.

The fate of other later works was more complicated. Many years passed after Beethoven's death, and only then the most receptive musicians began to perform his last quartets (including the Grand Fugue, op. 33) and the last piano sonatas, revealing to people these highest, most beautiful achievements of Beethoven. Sometimes Beethoven's late style is characterized as contemplative, abstract, in some cases neglecting the laws of euphony; in fact, this music is an inexhaustible source of powerful and intelligent spiritual energy.

Beethoven died in Vienna on March 26, 1827 from pneumonia complicated by jaundice and dropsy.

Beethoven's contribution to world culture.

Beethoven continued common line development of the genres of symphony, sonata, quartet, outlined by his predecessors. However, his interpretation known forms and genres differed great freedom; we can say that Beethoven pushed their limits in time and space. He did not expand the composition of the symphony orchestra that had developed by his time, but his scores require, firstly, more performers in each party, and secondly, the incredible performance skills of each orchestra member in his era; in addition, Beethoven is very sensitive to the individual expressiveness of each instrumental timbre. The piano in his compositions is not a close relative of the elegant harpsichord: the entire extended range of the instrument, all its dynamic possibilities are used.

In the areas of melody, harmony, rhythm, Beethoven often resorts to the technique of sudden change, contrast. One form of contrast is the juxtaposition of decisive themes with a clear rhythm and more lyrical, smoothly flowing sections. Sharp dissonances and unexpected modulations into distant keys are also an important feature of Beethoven's harmony. He expanded the range of tempos used in music and often resorted to dramatic, impulsive changes in dynamics. Sometimes the contrast appears as a manifestation of Beethoven's characteristically somewhat coarse humor - this happens in his frantic scherzos, which in his symphonies and quartets often replace the more sedate minuet.

Unlike his predecessor Mozart, Beethoven composed with difficulty. Beethoven's notebooks show how gradually, step by step, a grandiose composition emerges from uncertain sketches, marked by convincing logic of construction and rare beauty. Just one example: in the original sketch of the famous “motif of fate” that opens the Fifth Symphony, it was entrusted to the flute, which means that the theme had a completely different figurative meaning. A powerful artistic intellect allows the composer to turn a disadvantage into a virtue: Beethoven opposes Mozart's spontaneity, an instinctive sense of perfection, with unsurpassed musical and dramatic logic. It is she who is the main source of Beethoven's greatness, his incomparable ability to organize contrasting elements into a monolithic whole. Beethoven erases traditional caesuras between sections of form, avoids symmetry, merges parts of the cycle, develops extended constructions from thematic and rhythmic motifs that at first glance do not contain anything interesting. In other words, Beethoven creates musical space by the power of his mind, by his own will. He anticipated and created those artistic directions, which became decisive for the musical art of the 19th century. And today his works are among the greatest, most revered creations of the human genius.