The Life of Ludwig Van Beethoven :: Biographies

The Life of Ludwig Van van BeethovenThe rise of Ludwig van Beethoven into the ranks of historys outstandingestcomposers was paralleled by and in some ways a resultant of his ownpersonal catastrophe and despair. Beginning in the late 1790s, the change magnitudebuzzing and humming in his ears sent Beethoven into a panic, distinct fora cure from doctor to doctor. By October 1802 he had written theHeiligenstadt will confessing the certainty of his growing deafness,his consequent despair, and suicidal considerations. Yet, despite thepersonal tragedy caused by the infirmity in the one sense which ought tobe more than perfect in him than in others, a sense which he once possessin the highest perfection, a perfection such as few in his professionenjoy, it also served as a motivating force in that it challenged him totry and conquer the fate that was handed him. He would not have tothat jealous demon, my wretched health before proving to himself and theworld the extent of his skill. Th us, face with such great impending loss,Beethoven, keeping faith in his art and ability, states in hisHeiligenstadt Testament a promise of his greatness yet to be proved in thedevelopment of his heroic way of life.By about 1800, Beethoven was master the Viennese High-Classic style.Although the style had been first perfected by Mozart, Beethoven did acquitit to some degree. He had unprecedently composed sonatas for the cellowhich in combination with the indulgent opened the era of the Classic-Romanticcello sonata. In addition, his sonatas for violin and piano became the fanny of the sonata duo repertory. His experimentation with additionsto the standard forms likewise made it apparent that he had reached thelimits of the high-Classic style. Having displayed the extended range ofhis piano writing he was also begining to do work a new voice for the violin.In 1800, Beethoven was additionally cartel the sonata form with a fullorchestra in his First Symphony, op. 2. In the discipl ine of piano sonata, hehad also gone beyond the three-movement design of Haydn and Mozart,applying sometimes the four-movement design reserved for symphonies andquartets through the addition of a minuet or scherzo. Having confidentlyproven the high-Classic phase of his sonata development with the GrandeSonate, op. 22, Beethoven moved on to the fondness sonata to allow himselffreer expression. By 1802, he had evidently succeeded in mastering thehigh-Classic style within each of its major instrumental genres-the pianotrio, concatenation trio, string quartet and quintet, Classic piano concerto, duosonata, piano sonata, and symphony. Having reached the end of the great