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.
The string quartets of Ludwig Van Beethoven were written over a long period of his life, stretching from 1799 to 1826. The tragedies that occurred throughout Beethoven’s life did not stop him from writing these seventeen masterpieces. The string quartets can be divided into three periods; early middle and late with the first six quartets of Op. 18 marking his ‘early’ works. As Beethoven’s writing began to flourish with creativity and imagination, he wrote the ‘Rasumovsky’ quartets that mark the ‘middle’ period in his career.
From the years 1850-1920, composers began to dwell less on the technical stuff in music and began to concentrate more on feeling. When composers like Johannes Brahms and Antonin Dvorak tried to express themselves in their music was the time of the Romantic Era. In this period of time composers creatively tried to play a thunder storm or a sun rise. Frederik Chopin did an amazing job of melodizing natural occurrences that one can see every day. The Romantic Period has allowed composers to loosen the time differences between the bar lines and express their hearts and thought through music.
By 1823, Beethoven was not yet sure whether the finale would be vocal or instrumental. Once the symphony was finished, a performance had to be organized. Beethoven saved the premiere for the city that had been his home for the past thirty-one years. At the end of the premiere, Beethoven was still hunched over toward the orchestra, so he was gently turned around so that he might see the applause he could not hear. "The D" turns out to be the "answer" on which the whole orchestra agrees in the great fortissimo summit of that first crescendo, but the tense anticipation of that note is a personal, marvelous, and utterly characteristic touch"(Orga 155).
However, these two masses are not only significant because they were written in two different times of Beethoven’s life; they were also written in two different periods of music history. The Mass in C was written toward the late Classical period, which lasted from 1750 to 1820. The Missa Solemnis was written at the beginning of the Romantic period, which lasted from 1810 to 1914. Beethoven was at a shift in two different periods of music and he successfully made a career in both and by analyzing and comparing both masses, one can see the changes that Beethoven went through. This research will be split into three sections, the Mass in C, the Mass in D, and then a comparison of both.
While Beethoven and Berlioz composed their symphonies as complete works Daugherty allows conductors to perform movements separately if they desire. This makes each movement more like a tone poem than a full symphony. It is easy to see though by the Dies Irae in the fifth movement and the storm like atmosphere of the fourth movement how Daugherty was influenced by these two composers who came over one hundred years before him. In conclusion, the programmatic symphony has been used to create some of the greatest works of musical literature in the past two hundred years. In the next century composers will probably follow in these composers’ footsteps and expand the size of the orchestra to create new timbres and tell stories through tone painting in symphonies.
The classical era, with the progress of the classical music, at times was, irregular. The final result, however, was a logical order which made sense. Once the... ... middle of paper ... ...ury, where the music had become a series of clear events and not merely a cumulative flow, a powerful emotion or dramatic intensity could no longer rely on High Baroque (Rosen 154). Haydn learned from opera a style that could concentrate that force as he had never been able to do in the 1760’s. Mozart brought up in the more comfortable style and already the composer of music whose prettiness along amounted to his genius, arrived at the same point form the opposite direction (Rosen 154).
When it comes to Beethoven’s life and his music, what makes him so memorable and so lasting is the creativity of his music and his personality. While reading the articles over Beethoven, I acknowledged that the development of his music distinguished his works from other composers. I believe this differentness is what allowed Beethoven to shape the identity of classical music. In his biography, we learned that his dad locked him up for extra practice, and beat him for making mistakes. Though I think this is a terrible thing to go through, his father must have realized his talents long before others.
His father’s harsh discipline and alcoholism made his childhood and adolescence difficult. At age 18, after his mother’s death, Beethoven placed himself at the head of the family, taking responsibility for h... ... middle of paper ... ...e representative of Mahler’s feelings from a love letter he had written at the time. CONCLUSION All of his works for the piano could be considered revolutionary at the time. His early piano sonatas often had a forceful, bold quality, which inevitably led to the slower movements of Beethoven’s life. Beethoven’s drive and passion for his work and performances were fueled for his desire to be remembered for centuries past his time.
This revolution of clear thinking led to conflict between the old and new ideas. This attitude stimulated the American and French revolutions in the end of the eighteenth century (The Classical Period 5). Music in the classical period reflected what society was experiencing. This was the first period in music history ... ... middle of paper ... ...irectly inspired both conservatives (such as Brahms, who, like Beethoven, fundamentally stayed within the confines of Classical form) and radicals (such as Wagner, who viewed the Ninth Symphony as a sign of his own vision of a total art work, integrating vocal and instrumental music with the other arts). In many ways revolutionary, Beethoven's music remains universally appealing because of its characteristic humanism and dramatic power.