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Whereas he remains one of the most well recognized and famous classical composers, scholars still debate what the ultimate cause of Beethoven’s hearing loss might have been. Beethoven himself described its onset as a troublesome ringing in his ears. Medical professionals at that time as well as today believe that the condition could have been brought on by an acute illness that he suffered during early adulthood. Whatever the cause, Beethoven began to experience a noticeable level of hearing loss by the age of 26. Scholars are aware of this due to the fact that it was at this age that Beethoven first mentioned that the hearing loss was troubling him in his correspondence to friends and family. As one might expect, for someone as passionate about music as was Beethoven, such a loss was tantamount to complete and total defeat and desolation. Within his own correspondence it was noted that he even experienced suicidal thoughts at times due to the fact that the hearing loss was affecting his ability to maintain a positive and optimistic attitude. As such, bouts of severe depression ensued by which Beethoven contemplated ending his life. However, the hearing loss was gradual and Beethoven was not aware at any one particular point during the hearing loss process that he would ultimately be entirely and completely deaf....
lthough a definitive date does not exist by which Beethoven completely and entirely could be considered deaf, it is widely reported that the first time he experienced complete and total deafness was at the premier of the 9th symphony; arguably his magnum opus. At this time, Beethoven reportedly went out on the stage at the conclusion of the symphony and was greeted by rapturous applause. However, due to the fact that he could not hear this, he felt initially that his work was a commercial and professional failure and began to cry heavily.1 Even this debacle and embarrassment was not enough to discourage Beethoven from performing publically. Several public performances with Beethoven as a featured musician took place following the debacle of the 9th Symphony. However, during the performance of the Piano Concerto No. 5, Beethoven was forced to allow his student Carl Czerny to perform as he could no longer hear the music or the beat and keep time with the other musicians. Though it is true that Beethoven was not completely and entirely deaf at this stage, he was unable to hear certain pitches of music and could only hear the very lowest bass notes. Recent scholarship into Beethoven’s music after the year 1814 notes the fact that his loss of hearing helped to alter the music after this period of time as compared to the music composed before it. What is meant by this is that the music prior to 1814 included something of an equal composition of both high pitches and low pitches within the score. Although it is true that there remain a profound number of high pitches within Beethoven’s music post 1814 (or after the time in which acute hearing loss profoundly impacted upon the way in which he composed music), it can be readily noted that as a direct result of his hearing
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The sketchbook of Beethoven shows that some musical materials that were used in the symphony were written in 1811 (Nicholas 231). The symphony also came from other Beethoven’s pieces, while completion of the work on its own right shows some sense for future sketches for the symphony. The choral fantasy is basically a movement of piano concerto, which brings the vocal soloists and a chorus piano near the end of climax.
The reason behind selecting the specific piece of music will also be explained. Baroque and classical music are two styles of western classical music. Baroque era was followed by classical era. Baroque era extended from 1600 to 1760 while classical era extended from 1750 to 1830.
Ludvig not only played the best performances of the time, he had 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He was an enthusiast young pianist and he started to learn virtuoso pianist classes when he used to Vienna.
This essay will specifically look at Movement 1 that was done by two orchestras. The two orchestras are the Baltimore Chamber Orchestra and the Vienna Philharmonic Orchestra. This paper seeks to offer one reasonable analysis, the spotlight being mainly on the organization of thematic aspects of the two recordings in the third symphony that give the work a “symphonic” or cyclical quality.
After seen his interest in music his family send him to Stadtkonvikt in Vienna, one of the most reputed music schools of the country. At the age of 17, he wrote his first song “Gretchen am Spinnrade”. He left Stadtkonvikt in the year 1813 to be a teacher.
Many people believe that all life periods are important for personal development and that there is no need to indicate some particular periods, but these people overlook the fact that there are many historical examples which indicate that there are some periods in life and biography, some events which help to shape future professional career.
Due to this, Beethoven was put in charge of the family finances and given the tasks of looking after the instruments in the court when he was only a teenager. It was also around this time that he began to study the organ and composition. The more that he learned,
Beethoven spent his early childhood and growing years in Bonn, Germany, where his father tried to make him into a child prodigy at the piano but did not succeed. His father was well known throughout the town