The Life of Ludwig Van Beethoven

The Life of Ludwig Van Beethoven

The rise of Ludwig van Beethoven into the ranks of history's greatest

composers was paralleled by and in some ways a consequence of his own

personal tragedy and despair. Beginning in the late 1790's, the increasing

buzzing and humming in his ears sent Beethoven into a panic, searching for

a cure from doctor to doctor. By October 1802 he had written the

Heiligenstadt Testament confessing the certainty of his growing deafness,

his consequent despair, and suicidal considerations. Yet, despite the

personal tragedy caused by the "infirmity in the one sense which ought to

be more perfect in [him] than in others, a sense which [he] once possessed

in the highest perfection, a perfection such as few in [his] profession

enjoy," it also served as a motivating force in that it challenged him to

try and conquer the fate that was handed him. He would not surrender to

that "jealous demon, my wretched health" before proving to himself and the

world the extent of his skill. Thus, faced with su!ch great impending loss,

Beethoven, keeping faith in his art and ability, states in his

Heiligenstadt Testament a promise of his greatness yet to be proven in the

development of his heroic style.

By about 1800, Beethoven was mastering the Viennese High-Classic style.

Although the style had been first perfected by Mozart, Beethoven did extend

it to some degree. He had unprecedently composed sonatas for the cello

which in combination with the piano opened the era of the Classic-Romantic

cello sonata. In addition, his sonatas for violin and piano became the

cornerstone of the sonata duo repertory. His experimentation with additions

to the standard forms likewise made it apparent that he had reached the

limits of the high-Classic style. Having displayed the extended range of

his piano writing he was also begining to forge a new voice for the violin.

In 1800, Beethoven was additionally combining the sonata form with a full

orchestra in his First Symphony, op. 2. In the arena of piano sonata, he

had also gone beyond the three-movement design of Haydn and Mozart,

applying sometimes the four-movement design reserved for symphonies and

quartets through the addition of a minuet or scherzo. Having confidently

proven the high-Classic phase of his sonata development with the "Grande

Sonate," op. 22, Beethoven moved on to the fantasy sonata to allow himself

freer expression. By 1802, he had evidently succeeded in mastering the

high-Classic style within each of its major instrumental genres-the piano

trio, string trio, string quartet and quintet, Classic piano concerto, duo

sonata, piano sonata, and symphony. Having reached the end of the great