Born: 1770, Germany
Died: 1827, Austria
Period: Classical, Romantic
The events of Beethoven's life are the stuff of Romantic legend, evoking images of the solitary creator shaking his fist at Fate and finally overcoming it through a supreme effort of creative will. Born in the small German city of Bonn on or around December 16, 1770, he received his early training from his father and other local musicians. As a teenager, he earned some money as an assistant to his teacher, Christian Gottlob Neefe, then wasRead more granted half of his father's salary as court musician from the Electorate of Cologne in order to care for his two younger brothers as his father gave in to alcoholism. Beethoven played viola in various orchestras, becoming friends with other players such as Antoine Reicha, Nikolaus Simrock, and Franz Ries, and began taking on composition commissions. As a member of the court chapel orchestra, he was able to travel some and meet members of the nobility, one of whom, Count Ferdinand Waldstein, would become a great friend and patron to him. Beethoven moved to Vienna in 1792 to study with Haydn; despite the prickliness of their relationship, Haydn's concise humor helped form Beethoven's style. His subsequent teachers in composition were Johann Georg Albrechtsberger and Antonio Salieri. In 1794, he began his career in earnest as a pianist and composer, taking advantage whenever he could of the patronage of others. Around 1800, Beethoven began to notice his gradually encroaching deafness. His growing despondency only intensified his antisocial tendencies. However, the Symphony No. 3, "Eroica," of 1803 began a sustained period of groundbreaking creative triumph. In later years, Beethoven was plagued by personal difficulties, including a series of failed romances and a nasty custody battle over a nephew, Karl. Yet after a long period of comparative compositional inactivity lasting from about 1811 to 1817, his creative imagination triumphed once again over his troubles. Beethoven's late works, especially the last five of his 16 string quartets and the last four of his 32 piano sonatas, have an ecstatic quality in which many have found a mystical significance. Beethoven died in Vienna on March 26, 1827.
Beethoven's epochal career is often divided into early, middle, and late periods, represented, respectively, by works based on Classic-period models, by revolutionary pieces that expanded the vocabulary of music, and by compositions written in a unique, highly personal musical language incorporating elements of contrapuntal and variation writing while approaching large-scale forms with complete freedom. Though certainly subject to debate, these divisions point to the immense depth and multifariousness of Beethoven's creative personality. Beethoven profoundly transformed every genre he touched, and the music of the nineteenth century seems to grow from his compositions as if from a chrysalis. A formidable pianist, he moved the piano sonata from the drawing room to the concert hall with such ambitious and virtuosic middle-period works as the "Waldstein" (No. 21) and "Appassionata" (No. 23) sonatas. His song cycle An die ferne Geliebte of 1816 set the pattern for similar cycles by all the Romantic song composers, from Schubert to Wolf. The Romantic tradition of descriptive or "program" music began with Beethoven's "Pastoral" Symphony No. 6. Even in the second half of the nineteenth century, Beethoven still directly 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 harbinger 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. Read less
Beethoven: Piano Sonata No.8 In C Minor, Op.13 -"Pathétique" - 1. Grave - Allegro di molto e con brio
Beethoven: Piano Sonata No.8 In C Minor, Op.13 -"Pathétique" - 2. Adagio cantabile
Beethoven: Piano Sonata No.8 In C Minor, Op.13 -"Pathétique" - 3. Rondo (Allegro)
About This Work
This was the earliest of Beethoven's piano sonatas to reach warhorse status. The work is cast in three movements: the first is marked Grave-Allegro di molto e con brio; the second, Adagio cantabile; and the finale, Rondo (Allegro). Beethoven opensRead more
this composition with a slow, meditative introduction, using this feature for the first time in a sonata. Seemingly posing a question, or struggling to overcome a dilemma, the music seeks resolution and relief, which appears in the exposition proper, when the movement, driven by tremolando octaves in the left hand, quickens, and theme transforms itself into deeply anxious utterance, introducing, once again, a questing, uncertain mood, without excluding forceful utterances, possibly indicating a desire to transcend the feeling of uncertainty. During the brief development section, a sense of dramatic tension predominates, but the general tone changes in the recapitulation, leading to a coda, which closes the movement. The second movement begins with a soothing, languid, melancholy melody of an autumnal beauty. Dominating the entire movement, this initial theme eclipses both the subdued second theme and the moment of dramatic tension in the middle section of the movement. The Rondo finale is really the second Rondo in the sonata, since the middle movement possesses the structural features of that form. This movement opens with a gracefully eloquent theme accompanied by arpeggiated figures played by the left hand. Although the mood seems bright, the music is tinged by melancholy, notwithstanding the playful second theme. Following repetition and thematic development, the first theme surfaces as simultaneously more agile and more delicate. A lengthy, brilliant coda completes the movement. Dedicated to Prince Lichnowsky, this composition was first published in Vienna in 1799.
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