young beethoven biography

Ludwig van Beethoven

Ludwig van Beethoven was a German composer whose Symphony 5 is a beloved classic. Some of his greatest works were composed while Beethoven was going deaf.

(1770-1827)

Who Was Ludwig van Beethoven?

Ludwig van Beethoven was a German pianist and composer widely considered to be one of the greatest musical geniuses of all time. His innovative compositions combined vocals and instruments, widening the scope of sonata, symphony, concerto and quartet. He is the crucial transitional figure connecting the Classical and Romantic ages of Western music.

Beethoven’s personal life was marked by a struggle against deafness, and some of his most important works were composed during the last 10 years of his life, when he was quite unable to hear. He died at the age of 56.

Controversial Birthday

Beethoven was born on or about December 16, 1770, in the city of Bonn in the Electorate of Cologne, a principality of the Holy Roman Empire. Although his exact date of birth is uncertain, Beethoven was baptized on December 17, 1770.

As a matter of law and custom, babies at the time were baptized within 24 hours of birth, so December 16 is his most likely birthdate.

However, Beethoven himself mistakenly believed that he was born two years later, in 1772, and he stubbornly insisted on the incorrect date even when presented with official papers that proved beyond any reasonable doubt that 1770 was his true birth year.

Beethoven had two younger brothers who survived into adulthood: Caspar, born in 1774, and Johann, born in 1776. Beethoven's mother, Maria Magdalena van Beethoven, was a slender, genteel, and deeply moralistic woman.

His father, Johann van Beethoven, was a mediocre court singer better known for his alcoholism than any musical ability. However, Beethoven's grandfather, godfather and namesake, Kapellmeister Ludwig van Beethoven, was Bonn's most prosperous and eminent musician, a source of endless pride for young Beethoven.

Childhood Abuse

Sometime between the births of his two younger brothers, Beethoven's father began teaching him music with an extraordinary rigor and brutality that affected him for the rest of his life.

Neighbors provided accounts of the small boy weeping while he played the clavier, standing atop a footstool to reach the keys, his father beating him for each hesitation or mistake.

On a near daily basis, Beethoven was flogged, locked in the cellar and deprived of sleep for extra hours of practice. He studied the violin and clavier with his father as well as taking additional lessons from organists around town. Whether in spite of or because of his father's draconian methods, Beethoven was a prodigiously talented musician from his earliest days.

Meanwhile, the musical prodigy attended a Latin grade school named Tirocinium, where a classmate said, "Not a sign was to be discovered of that spark of genius which glowed so brilliantly in him afterwards."

Beethoven, who struggled with sums and spelling his entire life, was at best an average student, and some biographers have hypothesized that he may have had mild dyslexia. As he put it himself, "Music comes to me more readily than words."

In 1781, at the age of 10, Beethoven withdrew from school to study music full time with Christian Gottlob Neefe, the newly appointed Court Organist, and at the age of 12, Beethoven published his first composition, a set of piano variations on a theme by an obscure classical composer named Dressler.

By 1784, his alcoholism worsening and his voice decaying, Beethoven's father was no longer able to support his family, and Beethoven formally requested an official appointment as Assistant Court Organist. Despite his youth, his request was accepted, and Beethoven was put on the court payroll with a modest annual salary of 150 florins.

Beethoven and Mozart

There is only speculation and inconclusive evidence that Beethoven ever met with Mozart, let alone studied with him. In an effort to facilitate his musical development, in 1787 the court sent Beethoven to Vienna, Europe’s capital of culture and music, where he hoped to study with Mozart.

Tradition has it that, upon hearing Beethoven, Mozart said, "Keep your eyes on him; someday he will give the world something to talk about.”

After only a few weeks in Vienna, Beethoven learned that his mother had fallen ill and he returned home to Bonn. Remaining there, Beethoven continued to carve out his reputation as the city's most promising young court musician.

Early Career as a Composer

When the Holy Roman Emperor Joseph II died in 1790, a 19-year-old Beethoven received the immense honor of composing a musical memorial in his honor. For reasons that remain unclear, Beethoven's composition was never performed, and most assumed the young musician had proven unequal to the task.

However, more than a century later, Johannes Brahms discovered that Beethoven had in fact composed a "beautiful and noble" piece of music entitled Cantata on the Death of Emperor Joseph II . It is now considered his earliest masterpiece.

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Beethoven and Haydn

In 1792, with French revolutionary forces sweeping across the Rhineland into the Electorate of Cologne, Beethoven decided to leave his hometown for Vienna once again. Mozart had passed away a year earlier, leaving Joseph Haydn as the unquestioned greatest composer alive.

Haydn was living in Vienna at the time, and it was with Haydn that the young Beethoven now intended to study. As his friend and patron Count Waldstein wrote in a farewell letter, "Mozart's genius mourns and weeps over the death of his disciple. It found refuge, but no release with the inexhaustible Haydn; through him, now, it seeks to unite with another. By means of assiduous labor you will receive the spirit of Mozart from the hands of Haydn."

In Vienna, Beethoven dedicated himself wholeheartedly to musical study with the most eminent musicians of the age. He studied piano with Haydn, vocal composition with Antonio Salieri and counterpoint with Johann Albrechtsberger. Not yet known as a composer, Beethoven quickly established a reputation as a virtuoso pianist who was especially adept at improvisation.

Debut Performance

Beethoven won many patrons among the leading citizens of the Viennese aristocracy, who provided him with lodging and funds, allowing Beethoven, in 1794, to sever ties with the Electorate of Cologne. Beethoven made his long-awaited public debut in Vienna on March 29, 1795.

Although there is considerable debate over which of his early piano concerti he performed that night, most scholars believe he played what is known as his "first" piano concerto in C Major. Shortly thereafter, Beethoven decided to publish a series of three piano trios as his Opus 1, which were an enormous critical and financial success.

In the first spring of the new century, on April 2, 1800, Beethoven debuted his Symphony No. 1 in C major at the Royal Imperial Theater in Vienna. Although Beethoven would grow to detest the piece — "In those days I did not know how to compose," he later remarked — the graceful and melodious symphony nevertheless established him as one of Europe's most celebrated composers.

As the new century progressed, Beethoven composed piece after piece that marked him as a masterful composer reaching his musical maturity. His Six String Quartets, published in 1801, demonstrate complete mastery of that most difficult and cherished of Viennese forms developed by Mozart and Haydn.

Beethoven also composed The Creatures of Prometheus in 1801, a wildly popular ballet that received 27 performances at the Imperial Court Theater. It was around the same time that Beethoven discovered he was losing his hearing.

Personal Life

For a variety of reasons that included his crippling shyness and unfortunate physical appearance, Beethoven never married or had children. He was, however, desperately in love with a married woman named Antonie Brentano.

Over the course of two days in July of 1812, Beethoven wrote her a long and beautiful love letter that he never sent. Addressed "to you, my Immortal Beloved," the letter said in part, "My heart is full of so many things to say to you — ah — there are moments when I feel that speech amounts to nothing at all — Cheer up — remain my true, my only love, my all as I am yours."

The death of Beethoven's brother Caspar in 1815 sparked one of the great trials of his life, a painful legal battle with his sister-in-law, Johanna, over the custody of Karl van Beethoven, his nephew and her son.

The struggle stretched on for seven years, during which both sides spewed ugly defamations at the other. In the end, Beethoven won the boy's custody, though hardly his affection.

Despite his extraordinary output of beautiful music, Beethoven was lonely and frequently miserable throughout his adult life. Short-tempered, absent-minded, greedy and suspicious to the point of paranoia, Beethoven feuded with his brothers, his publishers, his housekeepers, his pupils and his patrons.

In one illustrative incident, Beethoven attempted to break a chair over the head of Prince Lichnowsky, one of his closest friends and most loyal patrons. Another time he stood in the doorway of Prince Lobkowitz's palace shouting for all to hear, "Lobkowitz is a donkey!"

For years, rumors have swirled that Beethoven had some African ancestry. These unfounded tales may be based on Beethoven's dark complexion or the fact that his ancestors came from a region of Europe that had once been invaded by the Spanish, and Moors from northern Africa were part of Spanish culture.

A few scholars have noted that Beethoven seemed to have an innate understanding of the polyrhythmic structures typical to some African music. However, no one during Beethoven's lifetime referred to the composer as Moorish or African, and the rumors that he was Black are largely dismissed by historians.

Was Beethoven Deaf?

At the same time as Beethoven was composing some of his most immortal works, he was struggling to come to terms with a shocking and terrible fact, one that he tried desperately to conceal: He was going deaf.

By the turn of the 19th century, Beethoven struggled to make out the words spoken to him in conversation.

Beethoven revealed in a heart-wrenching 1801 letter to his friend Franz Wegeler, "I must confess that I lead a miserable life. For almost two years I have ceased to attend any social functions, just because I find it impossible to say to people: I am deaf. If I had any other profession, I might be able to cope with my infirmity; but in my profession it is a terrible handicap."

Heiligenstadt Testament

At times driven to extremes of melancholy by his affliction, Beethoven described his despair in a long and poignant note that he concealed his entire life.

Dated October 6, 1802, and referred to as "The Heiligenstadt Testament," it reads in part: "O you men who think or say that I am malevolent, stubborn or misanthropic, how greatly do you wrong me. You do not know the secret cause which makes me seem that way to you and I would have ended my life — it was only my art that held me back. Ah, it seemed impossible to leave the world until I had brought forth all that I felt was within me."

Almost miraculously, despite his rapidly progressing deafness, Beethoven continued to compose at a furious pace.

Moonlight Sonata

From 1803 to 1812, what is known as his "middle" or "heroic" period, he composed an opera, six symphonies, four solo concerti, five string quartets, six-string sonatas, seven piano sonatas, five sets of piano variations, four overtures, four trios, two sextets and 72 songs.

The most famous among these were the haunting Moonlight Sonata, symphonies No. 3-8, the Kreutzer violin sonata and Fidelio , his only opera.

In terms of the astonishing output of superlatively complex, original and beautiful music, this period in Beethoven's life is unrivaled by any other composer in history.

Beethoven’s Music

Some of Beethoven’s best-known compositions include:

Eroica: Symphony No. 3

In 1804, only weeks after Napoleon Bonaparte proclaimed himself Emperor of France, Beethoven debuted his Symphony No. 3 in Napoleon's honor. Beethoven, like all of Europe, watched with a mixture of awe and terror; he admired, abhorred and, to an extent, identified with Napoleon, a man of seemingly superhuman capabilities, only one year older than himself and also of obscure birth.

Later renamed the Eroica Symphony because Beethoven grew disillusioned with Napoleon, it was his grandest and most original work to date.

Because it was so unlike anything heard before it, the musicians could not figure out how to play it through weeks of rehearsal. A prominent reviewer proclaimed "Eroica" as "one of the most original, most sublime, and most profound products that the entire genre of music has ever exhibited."

Symphony No. 5

One of Beethoven’s best-known works among modern audiences, Symphony No. 5 is known for its ominous first four notes.

Beethoven began composing the piece in 1804, but its completion was delayed a few times for other projects. It premiered at the same time as Beethoven’s Symphony No. 6, in 1808 in Vienna.

In 1810, Beethoven completed Fur Elise (meaning “For Elise”), although it was not published until 40 years after his death. In 1867, it was discovered by a German music scholar, however Beethoven’s original manuscript has since been lost.

Some scholars have suggested it was dedicated to his friend, student and fellow musician, Therese Malfatti, to whom he allegedly proposed around the time of the song’s composition. Others said it was for the German soprano Elisabeth Rockel, another friend of Beethoven’s.

Symphony No. 7

Premiering in Vienna in 1813 to benefit soldiers wounded in the battle of Hanau, Beethoven began composing this, one of his most energetic and optimistic works, in 1811.

The composer called the piece “his most excellent symphony." The second movement is often performed separately from the rest of the symphony and may have been one of Beethoven’s most popular works.

Missa Solemnis

Debuting in 1824, this Catholic mass is considered among Beethoven’s finest achievements. Just under 90 minutes in length, the rarely-performed piece features a chorus, orchestra and four soloists.

Ode to Joy: Symphony No. 9

Beethoven’s ninth and final symphony, completed in 1824, remains the illustrious composer's most towering achievement. The symphony's famous choral finale, with four vocal soloists and a chorus singing the words of Friedrich Schiller's poem "Ode to Joy," is perhaps the most famous piece of music in history.

While connoisseurs delighted in the symphony's contrapuntal and formal complexity, the masses found inspiration in the anthem-like vigor of the choral finale and the concluding invocation of "all humanity."

String Quartet No. 14

Beethoven’s String Quartet No. 14 debuted in 1826. About 40 minutes in length, it contains seven linked movements played without a break.

The work was reportedly one of Beethoven’s favorite later quartets and has been described as one of the composer’s most elusive compositions musically.

Beethoven died on March 26, 1827, at the age of 56, of post-hepatitic cirrhosis of the liver.

The autopsy also provided clues to the origins of his deafness: While his quick temper, chronic diarrhea and deafness are consistent with arterial disease, a competing theory traces Beethoven's deafness to contracting typhus in the summer of 1796.

Scientists analyzing a remaining fragment of Beethoven's skull noticed high levels of lead and hypothesized lead poisoning as a potential cause of death, but that theory has been largely discredited.

Beethoven is widely considered one of the greatest, if not the single greatest, composer of all time. Beethoven's body of musical compositions stands with William Shakespeare 's plays at the outer limits of human brilliance.

And the fact Beethoven composed his most beautiful and extraordinary music while deaf is an almost superhuman feat of creative genius, perhaps only paralleled in the history of artistic achievement by John Milton writing Paradise Lost while blind.

Summing up his life and imminent death during his last days, Beethoven, who was never as eloquent with words as he was with music, borrowed a tagline that concluded many Latin plays at the time. Plaudite, amici, comoedia finita est , he said. "Applaud friends, the comedy is over."

QUICK FACTS

• Name: Ludwig Beethoven
• Birth Year: 1770
• Birth date: December 16, 1770
• Birth City: Bonn
• Birth Country: Germany
• Gender: Male
• Best Known For: Ludwig van Beethoven was a German composer whose Symphony 5 is a beloved classic. Some of his greatest works were composed while Beethoven was going deaf.
• Astrological Sign: Sagittarius
• Nacionalities
• Interesting Facts
• Beethoven's father was an alcoholic who beat his son into practicing music.
• Many of Beethoven's most accomplished works were created during the time he was deaf.
• Death Year: 1827
• Death date: March 26, 1827
• Death City: Vienna
• Death Country: Austria

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CITATION INFORMATION

• Article Title: Ludwig van Beethoven Biography
• Author: Biography.com Editors
• Website Name: The Biography.com website
• Url: https://www.biography.com/musicians/ludwig-van-beethoven
• Access Date:
• Publisher: A&E; Television Networks
• Last Updated: July 13, 2021
• Original Published Date: April 3, 2014
• Never shall I forget the time I spent with you. Please continue to be my friend, as you will always find me yours.
• Anyone who tells a lie has not a pure heart and cannot make good soup.
• Love demands all and has a right to all.
• Recommend to your children virtues that alone can make them happy. Not gold.
• I shall seize fate by the throat.
• Music is the mediator between the spiritual and sensual life.
• To play without passion is inexcusable!
• Ever thine, ever mine, ever ours.
• Don't only practice your art, but force your way into its secrets, for it and knowledge can raise men to the divine.
• Music is a higher revelation than all wisdom and philosophy.

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• World Biography

Ludwig van Beethoven Biography

Born: December 16, 1770 Bonn, Germany Died: March 26, 1827 Vienna, Austria German composer

German composer Ludwig van Beethoven is considered one of the most important figures in the history of music. He continued to compose even while losing his hearing and created some of his greatest works after becoming totally deaf.

Early years in Bonn

Ludwig van Beethoven was born in Bonn, Germany, on December 16, 1770. He was the eldest of three children of Johann and Maria Magdalena van Beethoven. His father, a musician who liked to drink, taught him to play piano and violin. Young Ludwig was often pulled out of bed in the middle of the night and ordered to perform for his father's drinking companions, suffering beatings if he protested. As Beethoven developed, it became clear that to reach artistic maturity he would have to leave Bonn for a major musical center.

At the age of twelve Beethoven was a promising keyboard player and a talented pupil in composition of the court organist Christian Gottlob Neefe (1748–1798). He even filled in as church organist when Neefe was out of town. In 1783 Beethoven's first published work, a set of keyboard pieces, appeared, and in the 1780s he produced portions of a number of later works. In 1787 he traveled to Vienna, Austria, apparently to seek out Wolfgang Amadeus Mozart (1756–1791) as a teacher. He was forced to return to Bonn to care for his ailing mother, who died several months later. His father died in 1792.

Years in Vienna

In 1792 Beethoven went back to Vienna to study with the famous composer Joseph Haydn (1732–1809). Beethoven was not totally satisfied with Haydn's teaching, though, and he turned to musicians of lesser talent for extra instruction. Beethoven rapidly proceeded to make his mark as a brilliant keyboard performer and as a gifted young composer with a number of works to his credit. In 1795 his first mature published works appeared, and his career was officially launched.

Beethoven lived in Vienna from 1792 to his death in 1827, unmarried, among a circle of friends, independent of any kind of official position or private service. He rarely traveled, apart from summers in the countryside. In 1796 he made a trip to northern Germany, where his schedule included a visit to the court of King Frederick William of Prussia, an amateur cellist. Later Beethoven made several trips to Budapest, Hungary. In 1808 Beethoven received an invitation to become music director at Kassel, Germany. This alarmed several of his wealthy Viennese friends, who formed a group of backers and agreed to guarantee Beethoven an annual salary of 1,400 florins to keep him in Vienna. He thus became one of the first musicians in history to be able to live independently on his music salary.

Personal and professional problems

Although publishers sought out Beethoven and he was an able manager of his own business affairs, he was at the mercy of the crooked publishing practices of his time. Publishers paid a fee to composers for rights to their works, but there was no system of copyrights (the exclusive right to sell and copy a published work) or royalties (profits based on public performances of the material) at the time. As each new work appeared, Beethoven sold it to one or more of the best and most reliable publishers. But this initial payment was all he would receive, and both he and his publisher had to contend with rival publishers who brought out editions of their own. As a result Beethoven saw his works published in many different versions that were unauthorized, unchecked, and often inaccurate. Several times during his life in Vienna Beethoven started plans for a complete, authorized edition of his works, but these plans were never realized.

Beethoven's deafness and his temper contributed to his reputation as an unpleasant personality. But reliable accounts and a careful reading of Beethoven's letters reveal him to be a powerful and self-conscious man, totally involved in his creative work but alert to its practical side as well, and one who is sometimes willing to change to meet current demands. For example, he wrote some works on commission, such as his cantata (a narrative poem set to music) for the Congress of Vienna, 1814.

Examining Beethoven

Beethoven's deafness affected his social life, and it must have changed his personality deeply. In any event, his development as an artist would probably have caused a crisis in his relationship to the musical and social life of the time sooner or later. In his early years he wrote as a pianist-composer for an immediate and receptive public; in his last years he wrote for himself. Common in Beethoven biographies is the focus on Beethoven's awareness of current events and ideas, especially his attachment to the ideals of the French Revolution (1789–99; the revolt of the French middle class to end absolute power by French kings) and his faith in the brotherhood of men, as expressed in his lifelong goal of composing a version of "Ode to Joy," by Friedrich Schiller (1759–1805), realized at last in the Ninth Symphony. Also frequently mentioned is his genuine love of nature and outdoor life.

No one had ever heard anything like Beethoven's last works; they were too advanced for audiences and even professional musicians for some time after his death in 1827. Beethoven was aware of this. It seems, however, he expected later audiences to have a greater understanding of and appreciation for them. Beethoven reportedly told a visitor who was confused by some of his later pieces, "They are not for you but for a later age."

For More Information

Autexier, Philippe A. Beethoven: The Composer As Hero. Edited by Carey Lovelace. New York: H. N. Abrams, 1992.

Balcavage, Dynise. Ludwig van Beethoven, Composer. New York: Chelsea House, 1996.

Solomon, Maynard. Beethoven. 2nd ed. New York: Schirmer Books, 1998.

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Biography Online

Beethoven Biography

Ludwig van Beethoven (1770 – 1827) is one of the most widely respected composers of classical music. He played a crucial role in the transition from classical to romantic music and is considered one of the greatest composers of all time.

“Music is … A higher revelation than all Wisdom and Philosophy”

– Beethoven

Beethoven was born 16 December 1770 in Bonn (now part of Germany) From an early age, Beethoven was introduced to music. His first teacher was his father who was also very strict. Beethoven was frequently beaten for his failure to practise correctly. Once his mother protested at his father’s violent beatings, but she was beaten too. It is said, Beethoven resolved to become a great pianist so his mother would never be beaten.

Beethoven’s talent as a piano virtuoso was recognised by Count Ferdinand Ernst Gabriel von Waldstein. He sponsored the young Beethoven and this enabled him to travel to Vienna, where Mozart resided. It was hoped Beethoven would be able to learn under the great Wolfgang Amadeus Mozart , but it is not clear whether the two ever met. Mozart was to die shortly, but Beethoven was able to spend time with the great composer Joseph Haydn, who taught him many things.

Rather than working for the church, Beethoven relied on private donations from various benefactors. However, while many loved his music, they were often not forthcoming with donations and Beethoven sometimes struggled to raise enough finance. He complained about the way artists like him were treated.

“One clashes with stupidity of all kinds. And then how much money must be spent in advance! The way in which artists are treated is really scandalous… Believe me, there is nothing to be done for artists in times like these.” – Beethoven

His situation was made more difficult by his mother’s early death and his father’s descent into alcoholism; this led to Beethoven being responsible for his two brothers.

Beethoven by August Klober, 1818

Beethoven was widely regarded as a great musician, though his habits were unconventional for the social circles which he moved in. He was untidy, clumsy and (by all accounts) ugly. All attempts to make Beethoven behave failed. On one occasion, Beethoven pushed his way up to the Archduke saying it was impossible for him to follow the many rules of social behaviour. The Archduke smiled and said – ‘we will have to accept Beethoven as he is.’ Beethoven himself had great faith in his own capacities, referring to the princes at court.

“There are and always will be thousands of princes, but there is only one Beethoven!”

Beethoven’s music was also unconventional, he explored new ideas and left behind the old conventions on style and form. His freer and explorative musical ideas caused estrangement with his more classical teachers like Haydn and Salieri.

From his early 20s, Beethoven experienced a slow deterioration in his hearing, which eventually left him completely deaf.

Beethoven once said:

“Music is the mediator between the spiritual and the sensual life.”

Beethoven by Mahler, 1815

Yet, despite his deafness and the frustration this caused him, Beethoven was still able to compose music of the highest quality. He was still able to inwardly hear the most sublime music. However, his deafness meant he struggled to perform with an orchestral backing, as he often fell out of time. This caused the great pianist to be ridiculed by the public, causing much distress. As a result, he retreated more into his private world of composition. Despite these later difficulties, his most widely admired works were composed in this difficult last 15 years. This included the great works Missa Solemnis and the Ninth Symphony – both finished shortly before his death. The Ninth Symphony was groundbreaking in creating a choral symphony from different voices singing separate lines to create a common symphony. The final part of the symphony (often referred to as “Ode to Joy”) is a symbolic musical representation of universal brotherhood. It was a fitting climax to Beethoven’s unique musical creativity and life. Beethoven considered music as one of the greatest contributors to a higher philosophy.

Beethoven was also a supporter of the Enlightenment movement sweeping Europe. He was going to dedicate a great symphony to Napoléon , whom Beethoven believed was going to defend the ideals of the French Republic. However, when Napoléon’s imperial ambitions were made known, Beethoven scratched out his name so powerfully, he tore a hole in the paper.

Religious views of Beethoven

Beethoven was born and raised a Catholic. His mother was a devout Catholic and sought to share her religious views with her children. Beethoven was considered a fairly moral person, he recommended the virtues of religion to those around him and encouraged his nephew to attend mass.

“Recommend to your children virtues, that alone can make them happy, not gold.”

In his mid-life, his deafness and stomach pains created something of a spiritual crisis in Beethoven. He stopped attending Mass regularly and looked to a wider source of spiritual inspiration. One of his favourite works was Reflections on the Works of God and His Providence Throughout All Nature by a Lutheran Pastor which praised the ‘romantic’ view of the value of nature. Beethoven also became interested in Hindu religious texts and expressed belief in a Supreme Being in a language which was not overtly Catholic. Beethoven wrote

” O God! – you have no threefold being and are independent of everything, you are the true, eternal, blessed, unchangeable light of all time and space.” – Beethoven’s Letters with explanatory notes by Dr. A.C. Kalischer (trans. J.S. Shedlock ), 1926.

Beethoven never formally left the Catholic Church, but some identify him more the tradition of Theists – those who believe in God but don’t follow a particular religion. Others suggest that Beethoven remained a Catholic, but he just redefined Catholicism in a more liberal understanding to accommodate the current enlightenment thinking and his own spiritual exploration of music. In terms of music, he did compose specific religious music such as Missa Solemnis – the great choral symphony. When asked whether he thought this work was intended for church or the concert hall, Beethoven replied that such a distinction was not so important.

“My chief aim was to awaken and permanently instill religious feelings not only into the singers but also into the listeners.” ( link )

• For piano: Sonata in C sharp minor, op. 27, nr. 2 “The Moonlight Sonata”
• For piano: Sonata in C minor, op. 13, “Pathetique”
• Symphony No. 3 “Eroica”; in E flat major (Op. 55)
• Symphony No. 5 in C minor
• Symphony No. 9 in D minor, including well known “Ode to Joy”.
• Missa Solemnis D Major, Op. 123
• Piano Concerto no. 5 “Emperor” in E flat major op. 73

Beethoven’s Death

For the last few months of his life, Beethoven was confined to his bed with illness. Amongst his last view visitors was the younger composer Franz Schubert , who had been deeply inspired by Beethoven. Beethoven, in return, expressed great admiration for the works of Schubert and said of him “Schubert has my soul.” Beethoven’s last words were reported to be:

“Plaudite, amici, comedia finita est. (Applaud, my friends, the comedy is over.) and Ich werde im Himmel hören! (I will hear in heaven!)”

He died on 26 March 1827, aged 56. The precise cause of death is uncertain, but, he had significant liver damage – due to either the accumulation of lead poisoning or excess alcohol consumption. Over 20,000 people are said to have lined the streets of Vienna for his funeral. Though Beethoven had a difficult temperament, and although his music was sometimes too visionary for the general public, Beethoven was deeply appreciated for his unique contribution to music.

Citation: Pettinger, Tejvan . “Biography of Beethoven”, Oxford, UK.  www.biographyonline.net , 28th May 2008. Last updated 1 February 2020.

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Ludwig van Beethoven’s parents

Ludwig van Beethoven probably wasn’t actually born on 17 December, but in the absence of an authentic record of birth, we rely on the registry of his baptism in the Catholic Parish of St. Remigius in Bonn on 17 December 1770. Since baptisms were usually carried out within 24 hours of birth, it is very likely that his actual birth date was 16 December. We have no documentary proof, but Beethoven himself considered 16 December to be his birth date. We do know, however, that Ludwig was born into a family that had been employed as musicians at the court of the Electorate of Cologne for three generations. His grandfather Louis van Beethoven was appointed Kapellmeister in 1761, and his son Johann van Beethoven was a tenor in the elector’s service. By all accounts, Johann was proficient enough on the piano and the violin to be able to supplement his income by giving lessons on those instruments. Johann married Maria Magdalena Keverich, already the widow of Johann Leym in November 1767. The newlyweds settled at 515 Bonngasse in Bonn, and their first child Ludwig Maria died in infancy.

Hornemann: Beethoven , 1803

It is rather difficult to reconstruct the early years of Ludwig van Beethoven, who was after all, merely the son of an obscure musician in a small provincial town. There has been much speculation and myth making, but general accounts speak of his mother as “a gentle and kind woman.” His father, on the other hand, appears to have had a violent temperament and he became a heavy drinker. Ludwig’s musical talent was obvious at a young age, and he received first instruction on the piano and the violin from his father. It has been suggested that his father was an extremely strict and tyrannical music teacher, who “made corporal punishment a regular part of his son’s early musical education.” It is said that a young and often crying Ludwig was made to stand at the keyboard, even in the middle of the night. Young Ludwig first appeared in public on 26 March 1778, and being advertised as a “Wunderkind” performed “various clavier concertos and trios.” While he did receive music lessons from a number of local teachers, his general education did not extend beyond elementary school.

Christian Gottlob Neefe

Christian Gottlob Neefe, who had arrived in Bonn in 1779, was Beethoven’s first important teacher. Appointed as court organist in 1781, Neefe gave piano and composition lessons to Beethoven, and helped him to secure the appointment as the court’s second organist in 1784. We find the first printed notice of Beethoven in a music magazine on 2 March 1783. “Louis van Beethoven, son of the tenor singer already mentioned, a boy of 11 years and of most promising talent. He plays the piano very skillfully and with power, reads at sight very well, and I need say no more than that the chief piece he plays is Das wohltemperirte Clavier of Sebastian Bach, which Herr Neefe put into his hands … So far as his other duties permitted, Herr Neefe has also given him instruction in thoroughbass. He is now training him in composition and for his encouragement has had nine variations for the piano, written by him on a march [by Ernst Christoph Dressler], engraved at Mannheim. This youthful genius is deserving of help to enable him to travel. He would surely become a second Wolfgang Amadeus Mozart if he were to continue as he has begun.”

Beethoven’s house of birth in Bonn, 2008

As Beethoven was making a name as a virtuoso pianist in the Bonn region, Neefe suggested that the young genius should be given the opportunity to travel. As such, in the spring of 1787 Beethoven visited Vienna. Scholars are still “uncertain about the precise aims of the journey and the extent to which they were realized; but there seems little doubt that he met Mozart and perhaps had a few lessons from him.” His trip to Vienna was cut short by news that his mother was dying of tuberculosis, and Beethoven describes “the melancholy events of that summer and hints at his own ill-health, depression and lack of financial resources.” Until recently, Beethoven’s juvenilia compositions have not received an abundance of scholarly attention. However, they nevertheless serve as a point of departure for understanding Beethoven’s entire oeuvre. Johannes Brahms described some of these early pieces as “Beethoven through and through and prophetic of the style which would mark his music as distinct from the classical tradition.” Beethoven left Bonn for Vienna in 1792, and Count Waldstein wrote to him before his departure, “you are going to Vienna in fulfillment of your long-frustrated wishes… With the help of assiduous labor you shall receive Mozart’s spirit from Haydn ’s hand.”

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A Brief History of Beethoven

Ludwig Van Beethoveen was born in 1770 in Bonn, Germany as the son of a court musician. His talent for the piano was soon realized and he gave his first public performance at the age of eight. Beethoven's father wanted to promote him as the next child prodigy, another Mozart. (This most surely led to Beethoven's absolute distaste for child prodigies later in his life.) Nevertheless, Beethoven was employeed as a court musician in Bonn from 1787. During this time he studied briefly under both Haydn and Mozart, although it was certainly not a satisfying relationship for Beethoven. It turns out that events in Beethoven's life greatly affected (or seem to have affected) him writing. Because of this Beethoven's musical output is very episodic. As we shall see, there are three main periods in Beethoven's life, known simply as the early, middle, and late periods. In 1792, Beethoven relocated to Vienna. This is the beginning of his early period which lasted rougly until 1800. During this time Beethoven quickly made a name for himself as a virtuoso pianist. He used his abilities at the piano to gain favor with the nobility. In fact, he even tried to claim his own noble roots by accidentially changing the Van (a meaningless title) to Von (a title of nobility). His compositions during this period consisted mainly of works for his main instrament, the piano. An example of a piece composed during this time is the Pathétique Sonata, Op. 13 (1798). Beethoven's hearing was also beginning to deteriotate at this point, however, he went to great lengths to hide this fact from those around him. A picture of the apparatus used by Beethoven to hear is pictured below. Beethoven is a transistion figure in the history of western music. He is generally known as the father of the Romantic era. However, during the first period most of his compositions were classical (ie Hadyn and Mozart) in nature. However, in 1800 Beethoven is reported to have turned his friend Krumpholz and said, "I am not very well satisfied with the work I have thus far done. From this day on I shall take a new way." And basically, he did. Beethoven abandoned the classical forms of the previous century and set out for a more expressive (Romantic) musical voice. His musical imagination began to grow beyond that of the piano. This period, which later became known as the Heroic Period because of the larger than life nature that his compositions took on, saw the creations of such masterpieces as the Tempest Sonata, Op. 31 (1801-2), the 3rd Symphony ( Eroica ), Op. 55 (1803), his only opera, Fidelio , Op. 72 (1803-5), and the 5th Piano Concerto ( Emperor ), Op. 73 (1809). Some say that this middle period was Beethoven's greatest. It certainly was his most productive. In about a decade Beethoven produced countless masterpieces in every genre. In 1809, however, his musical output began to drop, possibly in connection to his declining health and mental state. Around 1815 the famous Immortal Beloved affair occured which left Beethoven in deep depression and contemplating suicide. Although there has been much debate over the identity of this Immortal Beloved character, it is now assumed that the lucky woman was Josephine, Countess Deym, née Countess von Brunswick whose picture is shown below. Beethoven's output was mostly null until 1818. At this point he was completely deaf and slightly mad. Also his brother died leaving Beethoven's only nephew, Karl, in the guardianship of his mother. Now Beethoven felt that she was not fit to raise Karl, so he entered into a vicious lawsuit over custody of the child. For the most part he was able to use his influence with the aristocracy to win the battle. Unfortunately Beethoven was not a fit father and his relationship with Karl was quite poor, driving him to an suicide attempt a few years later. Beethoven loved Karl dearly, and the pain of his failed attempts to teach Karl music must have been devestating for Beethoven. It's often spectulated that Karl was probably a strong contributor to Beethoven's late style. The late period saw the compositions of Beethoven's largest works: the Mass in D ( Missa Solemnis ), Op. 123 (1818-23), the 9th Symphony ( Choral ), Op. 125 (1818-23), the Hammerklavier Sonata, Op. 106 (1818), and the late string quartets.

Compositional Processes

 It is relevant at this time to include a few words about Beethoven's compositional processes. Mozart was able to get on a train, a few hours later get off with a whole opera composed in his head. Beethoven couldn't do that. In fact every phrase, every note was like pulling teeth. Beethoven never had less than one composition going on at the same time. He used sketch books to write down his ideas when they flew into his head, before he forgot them. Even after he had an idea, he had to work it out just right. What resulted was a mess of erasures and scribbles on a piece of paper that a copyist would later havet to decipher. One look at the page below from his sketches on the Missa Solemnis and one wonders how the music ever made it out.

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Beethoven: Compositions, biography, siblings and more facts

He reinvented the symphony, reshaped string quartets, and redefined piano sonatas - but there's much more to learn about Ludwig van Beethoven, the deaf composer who changed music forever.

1. When is Beethoven's birthday?

Ludwig van Beethoven was born in Bonn, Germany in December 1770… but no one is sure of the exact date! He was baptised on 17 December, so he was probably born the day before. His birthplace (pictured) is now the Beethoven-Haus museum.

2. Beethoven's father creates a child prodigy

Never mind the exact date, the year of Beethoven’s birth is sometimes questioned, and for years the composer thought he was born in 1772, two years too late. This may have been a deliberate deception on the part of his father (pictured) to make the musical prodigy seem younger – and therefore, more advanced for his age – than he actually was.

3. Beethoven's siblings

Beethoven had seven sibings: Kaspar Anton Karl, Nikolaus Johann (pictured), Ludwig Maria, Maria Margarita, Anna Maria Francisca and Franz Georg van Beethoven, and Johann Peter Anton Leym.

4. Beethoven on the violin

As a young boy, Beethoven played the violin, often enjoying improvisation rather than reading the notes from a score. His father once asked: “What silly trash are you scratching together now? You know I can’t bear that – scratch by note, otherwise your scratching won’t amount to much.” How wrong he was…

5. Beethoven's first composition

There’s some speculation about when the young composer started setting his ideas on paper, but the only piece to date from as early as 1782 is a set of nine variations for piano. Beethoven set himself apart as a musical maverick even at the age of 12 – the music is in C minor, which is unusual for music of the time, and it’s fiendishly difficult to play!

6. Beethoven, Haydn and Mozart

After the death of Mozart in 1791, musicians in his hometown of Vienna were in need of a new genius. The Viennese Count Waldstein (pictured) told the young Beethoven if he worked hard enough he would receive ‘Mozart’s spirit through Haydn’s hands’. No pressure then.

7. Beethoven in Vienna

Finding a wig maker? Noting the address of a dance teacher? Oh, and finding a piano, of course. Beethoven kept a diary of his day-to-day activities when he moved to Vienna in 1792, giving us insights into his personality.

8. Beethoven and Bach

By 1793, aged just 22, Beethoven often played the piano in the salons of the Viennese nobility. He often performed the preludes and fugues from Bach’s Well Tempered Clavier and quickly established himself as a piano virtuoso.

9. Was Beethoven deaf?

Composing anything at all is a challenge, even for a musical genius. So when you consider Beethoven started to go deaf around 1796, aged just 25, it’s a wonder he managed to write any music at all. He communicated using conversation books, asking his friends to write down what they wanted to say so he could respond.

10. Beethoven's Symphony No. 1 – a musical joke?

Beethoven was 30 when his first symphony was first performed in the Burgtheater in Vienna (pictured), and it went where no symphony had ever gone before. Symphonies were seen to be pretty light-hearted works, but Beethoven took this one step further with the introduction, which sounds so musically off-beam it’s often considered to be a joke!

11. Deafness and despair: The Heiligenstadt Testament

Despite his increasing deafness, by 1802 Beethoven was almost at breaking point. On a retreat to Heiligenstadt, just outside Vienna, he wrote: “I would have ended my life – it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me.” It’s known as the ‘Heiligenstadt Testament’, and was published in 1828.

12. Beethoven’s three musical periods: early period

It's hard to split Beethoven’s music up into sections, but it’s generally agreed there are three different periods with three broad styles. The first is his early period, ending around 1802 after the Heiligenstadt Testament, and includes the first and second symphonies, a set of six string quartets, piano concerto no. 1 and 2, and around a dozen piano sonatas – including the 'Pathétique' sonata.

13. Beethoven’s three musical periods: ‘heroic’ middle period

After his personal crisis, it’s perhaps no surprise that Beethoven’s middle period works are more emotional. A lot of the music from this period expresses heroes and struggles – including Symphony No. 3, the last three piano concertos, five string quartets, Beethoven’s only opera, Fidelio, and piano sonatas including the ‘Moonlight’, ‘Waldstein’ and ‘Appassionata’.

14. Beethoven’s ‘Moonlight’ Sonata

It’s one of Beethoven’s great piano works, but he never knew the piece as the ‘Moonlight’ Sonata. He simply called it Piano Sonata No. 14, and it wasn’t given its poetic nickname until 1832, five years after Beethoven’s death. German poet Ludwig Rellstab said the first movement sounded like moonlight shining upon Lake Lucerne, and the name stuck.

15. Beethoven’s temper and Symphony No. 3 ‘Eroica’

Beethoven admired the ideals of the French Revolution, so he dedicated his third symphony to Napoleon Bonaparte… until Napoleon declared himself emperor. Beethoven then sprung into a rage, ripped the front page from his manuscript and scrubbed out Napoleon’s name. Some modern reproductions of the original title page have scrubbed out Napoleon’s name to create a hole for authenticity’s sake!

16. Beethoven’s opera: Fidelio

If a job’s worth doing, it’s worth doing properly. He may have only composed one opera, but Beethoven poured blood, sweat, and tears into revising and improving it. He reworked the whole opera over a ten year period, giving us the two act version performed today – the older version is sometimes known as Leonore.

17. Beethoven’s three musical periods: late period

Symphony No. 9 with its choral finale, the Missa Solemnis, late string quartets, and some of his greatest piano music including sonatas and the Diabelli variations – Beethoven’s late period is jam-packed with musical genius. Much of the music is characterised by its intellectual intensity, but it sounds just as wonderful to beginners and Beethoven-lovers alike.

18. Beethoven at the movies

The moving music from Beethoven’s Symphony No. 7 is a perfect soundtrack to 2010 blockbuster smash, The King’s Speech, as George VI makes his address to the nation. You’ll also find hints of his fifth symphony in unexpected places, if you listen carefully – have you watched Saturday Night Fever recently…?

19. Beethoven’s Ninth Symphony and the 'Ode to Joy'

Symphony No. 9 is often nicknamed the ‘choral’ symphony, but it’s only the finale that features a choir. Using singers in a symphony was a wild idea at the time, but it seems to have paid off – Beethoven’s Ninth Symphony changed the face of classical music forever, and continues to inspire listeners and composers to this day!

20. When and how did Beethoven die?

We all like a tipple, but Beethoven may have been more partial to a pint than most. He was once arrested for being a tramp by an unsuspecting policeman who didn’t recognise him! After his death in 1827, his autopsy revealed a shrunken liver due to cirrhosis.

21. Famous last words?

Just like Beethoven’s birth, his last words are also a bit of a mystery. It’s often thought his last words were ‘applaud friends, the comedy is ended’ (in Latin!) but his parting gift to the world was far less cerebral. After a publisher bought Beethoven 12 bottles of wine as a gift, the dying composer’s final words were: ‘Pity, pity, too late!’

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Ludwig Van Beethoven

Ludwig Van Beethoven   Biography

Ludwig Van Beethoven was a composer, pianist, and conductor, born in Bonn, Germany in 1770. Beethoven was baptized on December 17, 1770, which is why historians place his birth a day earlier, on December 16 of 1770. Ludwig Van Beethoven has been considered the greatest composer of all time by many specialized critics.

Beethoven was deaf and yet managed to compose the greatest symphonies in history. From an early age, he was an exceptional pianist and managed to elevate classical music like no one had ever done before.

Ludwig Van Beethoven was the first son of Johann Van Beethoven and Maria Magdalena Keverich, who had two more children: Karl Kaspar and Nikolaus Johann.

Beethoven’s childhood can be considered particularly difficult. He did not have a functional home, due to the father figure, who assumed dictatorial attitudes mired in alcoholism. His father had had a musical career without transcendence, so he managed in a despotic manner to force Beethoven to triumph in the musical field at a very early age.

Throughout history, not all the cases in which the parents pretend to satisfy their frustrations by influencing excessively in the life of their children have had remarkable results. However, and despite the constant pressure exerted by Beethoven’s father, Ludwig showed an innate talent, very exceptional, especially the with the piano.

In 1778, at the age of eight, Beethoven gave his first concert in Cologne, Germany, sponsored by the elector of the city, who at the same time gave him the job as the organist, where he began a childhood dedicated exclusively to music.

It is often said about Beethoven that he used to be lonely, romantic and hostile; and a great part of his personality was forged in the adolescence, time in which the music occupied his absolute dedication, moving away from the friends, the games, and immersed in a much more complex familiar atmosphere still.

“Consider difficulties as stepping stones to a better life.” Ludwig Van Beethoven.

In 1787, helped by the elector, Beethoven traveled to Vienna (Austria), a journey that would change the course of his life. Nevertheless, a great part of their aspirations undergoes a remarkable impact after the death of his mother they would go back to Bonn.

After his return to Bonn, Beethoven finds a Dantesque picture in his family. His father succumbed absolutely to alcohol, which did not let him keep a stable job and support his brothers. So then, Beethoven assumes the responsibilities of home, plays the violin and gives piano lessons to support his family, likewise accumulates for a little more than five years, a great resentment and a remarkable frustration.

For Ludwig Van Beethoven, Bonn represents his suffering, not only in childhood but also in adolescence. It symbolizes the pain of his mother and dreams of the possibility of traveling.

In 1792, the elector would finance Beethoven’s return to Vienna, which was known as “the European capital of music.” Beethoven in Vienna received classes from who was the teacher of the already consecrated Mozart, the famous composer Salieri . Also, he received classes from Haydn , considered a musical eminence.

At the age of twenty-five, Beethoven would compose his first considerable works: Pathetic and Moonlight , which catapulted him to the point of being able to offer for the first time a concert in public as a professional composer.

The success of Beethoven was already resounding in all Vienna and surroundings. The clergy, the nobility, and the court celebrated his compositions. Beethoven, concerned that his success will be eclipsed by the figure of his teacher Haydn, separated from his classes and begins to receive them in secret from Schenk and Albrechstberger. Regarding his style, Beethoven combined classicism and romanticism perfectly, in his intention to compose for the nobility and the church; already by those times, Beethoven thought about composing for himself, abandoning a little his style, acquiring an epic tone.

The fact that Mozart died years before immersed in the acutest poverty, motivated the Austrian aristocracy to protect Beethoven; to whom an annual annuity was assigned. In addition, the editors valued his works in high economic sums.

Ludwig Van Beethoven would begin to face two new ghosts: his constant amorous disappointments, and, a loss of auditory capacity that would become more severe until it became total deafness. Beethoven then is decidedly devoted to his career as a composer, leaving an invaluable legacy for history.

In 1805, he premiered his work Fidelio , his only composition for opera, which would not become popular until 1816. Three years later, Vienna and Europe celebrate his 5th Symphony , his supreme work.

“Without introduction, its four movements range from the tense construction of the first to the solemnity of the second, passing through the instrumental tension of the third and the apotheosis of the fourth, an unheard-of crescendo of more than 50 measures.”

In 1824, after having composed 8 symphonies, Beethoven successfully premiered his glorious and magnificent 9th symphony, the famous choral. “it is called choral because of the vocal choir of the 4th movement, the famous ode to joy, a poem by Schiller adapted by Beethoven.”

Ludwig Van Beethoven would pass away in Vienna on March 26, 1827 , at the age of 57.

• 1st Symphony (1800): Fresh and original.
• 2 nd Symphony (1803): Symphony in D major.
• 3rd Symphony (1805): Symphony in E flat major.
• 4th Symphony (1806): Symphony in B flat major.
• 5th Symphony (1808): Symphony in C minor.
• 6th Symphony (1808): Symphony in F major.
• 7th Symphony (1813): Symphony in A major.
• 8th Symphony (1814): Symphony in F major.
• 9th Symphony (1824): Choral.

Ludwig Van Beethoven not only wrote symphonies, he also wrote 32 sonatas, chamber works, overtures, quartets and much more.

 “Those of you who think or say that I am malevolent, obstinate or misanthrope, how wrong they are about me” Beethoven.

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Fernando Botero

Fernando Botero Biography

Fernando Botero Angulo (April 19, 1932 – September 15, 2023) was a sculptor, painter, muralist, and draftsman, hailing from Medellín, Antioquia, Colombia. He was a Colombian artist known and celebrated for infusing a substantial volume to human and animal figures in his works.

Early Years and Beginnings

Fernando Botero was born into an affluent Paisa family , composed of his parents, David Botero and Flora Angulo, along with his older brother Juan David, who was four years his senior, and his younger brother, Rodrigo, who would be born four years after Fernando, in the same year that their father passed away. In 1938, he enrolled in primary school at the Ateneo Antioqueño and later entered the Bolivariana to continue his high school education. However, he was expelled from the institution due to an article he published in the newspaper El Colombiano about Picasso , as well as his drawings that were considered obscene. As a result, he graduated from high school at the Liceo of the University of Antioquia in 1950.

In parallel to his studies, Fernando attended a bullfighting school in La Macarena at the request of one of his uncles. However, due to an issue related to bullfighting, Botero left the bullring and embarked on a journey into painting. In 1948, he held his first exhibition in Medellín. Two years later, he traveled to Bogotá where he had two more exhibitions and had the opportunity to meet some intellectuals of the time. He then stayed at Isolina García’s boarding house in Tolú, which he paid for by painting a mural. Once again in Bogotá, he won the second prize at the IX National Artists Salon with his oil painting “Facing the Sea” .

“Ephemeral art is a lesser form of expression that cannot be compared to the concept of art conceived with the desire for perpetuity. What many people fail to understand is that Picasso is a traditional artist”- Fernando Botero

Due to the prize from the IX Salon and the sale of several of his works, Fernando Botero traveled to Spain in 1952 to enroll at the Royal Academy of Fine Arts of San Fernando in Madrid. There, he lived by selling drawings and paintings in the vicinity of the Prado Museum. In 1953, he went to Paris with filmmaker Ricardo Irrigarri, and later, they both traveled to Florence. Here, he entered the Academy of San Marco, where he was heavily influenced by Renaissance painters such as Piero della Francesca, Titian, and Paolo Uccello.

Career and Personal Life

In 1955, Botero returned to Colombia to hold an exhibition featuring several of his works created during his time in Europe, but it was met with a lukewarm reception from the public.

Woman With a Mirror / Foto:Luis García (Zaqarbal) / Attribution-ShareAlike 3.0 Spain (CC BY-SA 3.0 ES)

In 1956, he married Gloria Zea, with whom he would later have three children: Fernando, Juan Carlos, and Lina. The couple traveled to Mexico City, where Fernando Botero was eager to see the works of Mexican muralists, but this experience left him disillusioned. Consequently, he began searching for his own artistic style, drawing influence from both the Mexican artist Rufino Tamayo and the Colombian artist Alejandro Obregón . In this quest, he started experimenting with volume, initially in still lifes, and gradually extending this approach to other elements.

In 1957, he successfully exhibited in New York, showcasing his new artistic sensibility. The following year, he returned to Bogotá, where he was appointed as a professor at the School of Fine Arts at the National University of Colombia . He presented his work “La Camera Degli Sposi” at the X Colombian Artists Salon , winning the first prize and becoming the country’s most prominent painter. This piece sparked some controversy as it was initially censored for being almost a parody of Andrea Mantegna’s “La Cámara de los Esposos”. However, it was later reinstated in the exhibition on the advice of Marta Traba. Subsequently, Fernando Botero exhibited his works in various spaces in the United States, where a businessman from Chicago purchased “La Camera Degli Sposi” .

“Fernando Botero and his works are the finest ambassadors of our country in this land of navigators and discoverers, of poets and fado singers”- Juan Manuel Santos

In 1960, Botero separated from Gloria Zea and traveled to New York. He led a modest life here as the New York art scene was primarily inclined towards abstract expressionism. Consequently, Botero was influenced by artists like Pollock, which led him to experiment with color, brushwork, and format, to the point of nearly abandoning his distinctive style characterized by the manipulation of volume. Aware of this, Botero returned to his usual style of flat colors and figurative representations.

Starting in 1962, he began a series of exhibitions in both Europe and the United States, as well as in Colombia. By 1970, the year his son Pedro was born to his second wife, Cecilia Zambrano, Fernando Botero had already become the world’s most sought-after sculptor. However, in 1974, his son Pedro tragically died in a traffic accident, leading to his second divorce and leaving significant marks on his artistic endeavors.

In 1978, the Colombian painter married Sophia Vari , a renowned Greek artist with whom he shared a significant part of his life, until sadly, she passed away in May 2023.

Since 1983, Fernando Botero has been exhibiting his works and donating them to various cities around the world. As a result, we can find his pieces in the streets of Medellín, Barcelona, Oviedo, Singapore, and Madrid, among others. In 2008, the Autonomous University of Nuevo León in Mexico conferred upon him an honorary Doctorate.

Renowned Colombian artist, Fernando Botero, died on September 15, 2023 , in Monaco at the age of 91 due to pneumonia . His artistic legacy will endure forever. In his hometown, seven days of mourning were declared.

Pedrito a Caballo, Fernando Botero (1975).

Top 10 Famous works by Fernando Botero

Some of the most recognized works by Colombian painter and sculptor Fernando Botero:

• “Pedrito on Horseback” / “Pedrito a Caballo” (1974): This is an oil painting on canvas measuring 194.5 cm x 150.5 cm. For Botero, this work is his masterpiece and a refuge during a personal tragedy. The child depicted is Pedro, his son from his second marriage, who tragically passed away in an accident when he was young.
• “Mona Lisa at 12 Years Old” / “Mona lisa a los 12 años” (1978): This piece stands out as a unique version of Leonardo da Vinci’s famous painting, the Mona Lisa . Painted in oil on canvas and measuring 183 cm x 166 cm, Botero incorporates his characteristic style of voluptuous and rounded figures into this work, which has become one of his most distinctive pieces.
• “Woman’s Torso” / “Torso de Mujer” (1986): It is a majestic bronze sculpture that rises to an impressive height of approximately 2.48 meters. It is often affectionately referred to as “La Gorda” (“The Fat One”). This artwork finds its home in Parque de Berrío, located in the captivating city of Medellín.
• “Woman with Mirror” / “Mujer con Espejo” (1987): An imposing bronze sculpture weighing 1000 kg. It is located in Plaza de Colón, in the heart of Madrid, Spain. The artwork captivates the gaze with the portrayal of a woman peacefully lying face down on the ground, holding a mirror in her hands. Her expression reflects deep introspection and enigmatic melancholy.
• “The Orchestra” / “La Orquesta” (1991): In this oil on canvas artwork, measuring 200 cm x 172 cm, Botero presents a band of musicians with a singer, all immersed in a spirit of celebration. The artist aims to convey a sense of harmony and joy through his portrayal.
• “Woman Smoking” / “Mujer Fumando” (1994): It is a creation executed in watercolor, spanning dimensions of 122 cm x 99 cm. In this work, Maestro Botero skillfully captures the essence of a woman elegantly holding a cigarette between her fingers. His meticulous focus on voluptuous forms, posture, and the serene expression of the figure masterfully combine to emphasize the sensuality and profound intimacy of the moment captured in the artwork.
• “Man on Horseback” / “Hombre a Caballo” (1996): This bronze sculpture is one of the most iconic works in the artist’s career. It depicts a rider in a majestic and proud posture. Over the years, this imposing work has been exhibited in multiple cities around the world, solidifying its place as a prominent piece in the sculptor’s body of work.
• “The Horse” / “El Caballo” (1997): This iconic sculpture showcases a horse of majestic presence and a distinctive rounded form, sculpted in bronze and measuring approximately 3 meters in height. This masterpiece reflects Botero’s profound passion for horses while also serving as a powerful representation of the mythical Trojan Horse.
• “The Death of Pablo Escobar” / “La muerte de Pablo Escobar” (1999): This artwork, created using the oil on canvas technique, has dimensions of 58 cm x 38 cm. While not considered a masterpiece, this artistic piece represents one of the most significant moments in Colombia’s history. Fernando Botero captures, in his distinctive style, the moment of the death of the drug lord Pablo Escobar , addressing issues related to violence and criminality that have marked the country’s history. An interesting detail is that, although Pablo Escobar admired Fernando Botero’s art, it cannot be said that the admiration was mutual. The painter created two works depicting the death of the drug trafficker.
• “Boterosutra Series” / “Serie Boterosutra” (2011): This work by Botero is part of an erotic art collection called Boterosutra , marking a milestone in the history of Colombian art as the first artistic representation of sexual intimacy between lovers. This series comprises around 70 small-sized pieces created using various techniques, including colored drawings, watercolors, brushstrokes, and also black and white, all of which constitute one of the most contemporary works by the painter.

Ryan Reynolds

Biography of Ryan Reynolds

Ryan Rodney Reynolds was born on October 23, 1976 in Vancouver, Canada, and he is a well-known actor. When Ryan was born, his mother, Tammy, was a student and a salesperson, while his father, Jim, worked in wholesale food sales and also excelled as a semi-professional boxer. In addition, Ryan has three older siblings.

He studied in his hometown of Vancouver until 1994 when he decided to join a theater group as an extracurricular activity while attending Kwantlen College. However, his passion for acting became a vocation, and Ryan dropped out of college to devote all his time and energy to his acting career.

Debut as an actor

He quickly landed small roles in successful and memorable TV series such as “Sabrina the Teenage Witch” and “The X-Files”. In 1998, his big break came with the series “Two Guys, a Girl and a Pizza Place”, which ran until 2001 and catapulted him to fame. The show became very popular thanks to its great comedic content, an area where Reynolds demonstrated perfect skill, but this was not the first time that Ryan had made a name for himself in a Hollywood comedy, as he had already been in “Life During Wartime” in 1997.

After working in several minor jobs, Ryan got his first major role as a protagonist in the crazy “Van Wilder – Animal Party”, where he played a college party organizer. The success of the film opened doors for him to work alongside Michael Douglas in “Till Death Do Us Part”, support Wesley Snipes in “Blade Trinity” or star in the horror movie “The Amityville Horror”. However, at this stage of his career, Ryan stood out mainly as a protagonist in comedies such as “Just Friends”, “Waiting” and “Harold & Kumar Go to White Castle”. This led him to want to leave his comedic side behind, getting involved in different projects such as the thriller “Smokin’ Aces”, the independent film “Adventureland” and the action film “X-Men Origins: Wolverine”. Later on, he also participated in romantic films such as “The Proposal” and “Definitely, Maybe”. However, recognition of his acting ability did not come until Ryan was nominated for a Goya Award for his demanding role in “Buried”. It is worth noting that he also brought to life the comic book hero “Green Lantern” and the renowned “Deadpool”.

Contracts, curiosities

Prestigious brands like Hugo Boss have not been oblivious to Ryan Reynolds’ popularity, charisma, and good looks, offering him contracts to be the face of one of their fragrances : Boss Bottled Night, a fragrance that, through great advertising, managed to convey an irresistible seductive effect.

Two curiosities can be highlighted from his work: first, the nearly 10 kilos of solid muscle he gained thanks to rigorous physical training to bring Hannibal King to life in “Blade: Trinity”; and second, his appearance on the animated TV series Zeroman, in which he lent his voice to the character Ty Cheese. In addition, like many Hollywood stars, Ryan Reynolds has an eccentricity outside the world of entertainment: a great passion for motorcycles , of which he owns three collector’s items, one of which was designed exclusively for him and is none other than a Harley Davidson.

Romantic relationships

Regarding his personal life, Ryan Reynolds was in a romantic relationship with singer Alanis Morissette from 2002 to 2007. The couple got engaged in 2004, but in July 2006, People magazine reported that they had separated, although neither of them officially confirmed the news. Shortly after, in February 2007, they decided to end their engagement by mutual agreement. In May 2008, Reynolds announced his engagement to actress Scarlett Johansson , and they got married on September 27 of the same year. However, in December 2010, the couple announced in a statement to People magazine that they had decided to end their marriage.

So, on September 9, 2012, he married the actress Blake Lively in Mount Pleasant, South Carolina. In October 2014, they announced that they were expecting their first child, and in December of that same year, Ryan Reynolds and his wife Blake Lively became parents with the birth of their daughter: Ines. Later, on April 14, 2016, his wife’s second pregnancy was confirmed, and on September 30, 2016, he became a father for the second time to a boy named James.

Biography of Tom Hanks

Thomas Jeffrey Hanks, born July 9, 1956 in Concord, California, United States, is an actor known as Tom Hanks. Hanks was raised by his father Amos Mefford Hanks, who worked as a cook of English food, and his mother Janet Marylyn, a nurse. He was raised with the values of the Catholic and Mormon religion. During his time at Skyline High School in Oakland, he attended theater classes with his best friend. During his adolescence, Hanks demonstrated his acting talent and won the Best Theater Actor award at his institute. Later, he enrolled in Chabot College in Hayward, California and two years later did a exchange at California State University, Sacramento.

1981 – Debut as an actor

In 1979, the Hanks family moved to New York, which gave Tom the opportunity to debut as a supporting actor in the horror film “Sabe que estás sola” in 1981. Two years later, he landed a lead role in another film. Additionally, he did his first television work in the comedy series “Bosom Buddies.” Later, he decided to move to Los Angeles to participate in “Despedida de soltero” in 1984, although the film was not very successful, it allowed him to be discovered by Ron Howard, who later contacted him to offer a role in “Splash” in 1984.

Since then, Tom starred in several comedy films such as “Amigos del alma” (1980), “Esta casa es una ruina” (1986), “Big” (1988), “No matarás… al vecino” (1989), “Socios y sabuesos” (1989), and “Joe contra el volcán” (1990). His father was always very important in his career, constantly encouraging him to keep fighting for his dream. On several occasions, he helped him to get small roles. He also supported his participation in the Great Lakes Shakespeare Festival in Cleveland, Ohio. Tom had already made some appearances in series like “Vacaciones en el mar”, “Happy Days”, “Taxi”, or “Family Ties”.

“The King of Comedy”

After a small role in the horror film “He Knows You’re Alone” (1980) directed by Armand Mastroianni, he starred in several comedies that typecast him in comedic roles. His charming personality and natural talent contributed to his growing popularity. Definitely his consecration came in the eighties, he was cataloged as the king of comedy . Thanks to “Big” (1988), he achieved great success for his performance, receiving the Los Angeles Critics Award and an Oscar nomination . Although he had a bit of a downfall after that, he regained momentum as a disillusioned former baseball pitcher who trains a women’s team in “A League of Their Own” (1992).

Tom considered it appropriate to change direction and tackle other stories, to move away from comedy a little. So, he eagerly sought more intense themes where he could showcase his versatility. With his work in “The Bonfire of the Vanities” (1989), directed by Brian de Palma, he attempted to take the first step to break away from light comedies, but the result was not as expected. However, his career took off again with his portrayal of an AIDS-stricken lawyer in “Philadelphia” (1992), directed by Jonathan Demme, an intense character that was quite a challenge. His effort was rewarded with an Oscar. He renewed his commercial success with “Sleepless in Seattle” (1993), directed by Nora Ephron, where he teamed up with Meg Ryan, and worked with her again in “You’ve Got Mail” (1998).

Some of his most acclaimed performances

In the mid-90s, Hanks established himself as one of Hollywood’s brightest stars. It’s worth mentioning that his career enjoyed significant success. For his role in Robert Zemeckis’ “ Forrest Gump ” (1994), this has been one of the most striking films of the decade, he was again deserving of an Oscar , a prize that increased, turning him into one of the best-paid actors in Hollywood. With the comedy “The Wonders” (1996), he made his directorial debut.

Later, he did the same in the field of production with the TV series “From the Earth to the Moon,” a work that took him several years. Hanks had the lead role in the feature film “Saving Private Ryan” (1997), directed by Steven Spielberg , with this role he was nominated for the Academy Award, although the film received five Oscars. In 2000, he worked with Robert Zemeckis again in the film “Cast Away,” a film in which his solo performance was praised, for which he received an Oscar nomination.

Between 2003 and 2004, he repeated his collaboration with Spielberg in “Catch Me If You Can” and also in “The Terminal.” In 2006, he starred in the hit film “The Da Vinci Code,” the cinematic version of Dan Brown’s controversial work. Starting in 2014, Hanks’ films have grossed over 4.2 billion in countries such as the United States and Canada, and over 8.4 billion in the rest of the world, he is definitely an actor who ensures great success for films. His fame is such that the asteroid (12818) Tomhanks bears his name.

Marriages, children.

The actor has had several marriages throughout his life. His first marriage was to Samantha Lewes in 1978, from which two children were born: Colin Hanks in 1977 and Elisabeth Ann in 1982. However, the couple divorced in 1985. Later, in 1988, he married actress and producer Rita Wilson , with whom he had two additional children: Chester Marlon in 1991 and Truman Theodore in 1996. In recent years, the actor has been diagnosed with type 2 diabetes, which requires a strict diet and daily care to maintain his health.

Marc Anthony

Biography of Marc Anthony

Marc Anthony (born September 16, 1968) is an American salsa singer and actor , born in New York. His real name is Marco Antonio Muñiz Rivera . From a young age, he has been involved in music, growing up with rock and rhythm & blues. His parents, Felipe Muñiz and Guillermina Rivera, discovered his passion and musical ability when he was a child. During his teenage years, to earn money, he began singing at bars and nightclubs , and quickly gained popularity. He was contacted by one of the members of the Latin Rascals group, and their producer Louie Vega invited him to record several albums with the Atlantic Records label.

Beginnings as a singer

One of Marc Anthony’s most successful musical products was the album “Rebel”, which achieved some success on the disco music charts. In 1992, his career in the salsa world took off when the famous Tito Puente took him as an opening act for a concert at Madison Square Garden. A year later, he recorded a salsa version of a song by Juan Gabriel that received excellent reviews and great popularity in the musical circles of New York. Soon, Marc Anthony appeared in several television productions and began to receive offers for concerts. After a few years, he was recognized as the new “king of salsa”. During the 1990s, his lyrics occupied the top position in Latin America and also in the United States.

The new “musical phenomenon”

Marc Anthony became a massively successful musical phenomenon , comparable to the success of Héctor Lavoe. At the same time, he continued to develop his acting career, appearing in films such as “Bringing out the Dead” directed by Martin Scorsese; “Big Night” directed by Stanley Tucci; “Hackers,” and “The Capeman,” a Broadway musical directed by singer and songwriter Paul Simon. He also performed the main theme of the soundtrack of “The Mask of Zorro” (1998), in which Antonio Banderas was the lead actor.

Third salsa album “Against the Stream”

That same year, he worked on the production of his third salsa album: “Contra la Corriente,” undoubtedly many salsa critics and aficionados affirm that it was the best album of his career, for which he received a Grammy for Best Latin-Tropical Album. In 1999, he released the album “Marc Anthony” to the market, this album undoubtedly demonstrates a new stage in his musical career, as it combined salsa with pop and also featured songs in English, in order to reach and conquer the Anglo-Saxon audience and market.

The first single, “I Need to Know,” put him in the top positions of the North American charts: it remained in the Top 10 of the Billboard for eleven weeks and eight more weeks in the Top 40. He also released the Spanish version, titled “Dímelo.” With this song, he won the Grammy for Best Latin Song of the Year and was number one on the Latin Billboard chart. He quickly released the second single, “You Sang to Me,” repeating the success of the previous one and selling over two million copies of the album.

Starting the new millennium, he released a greatest hits salsa album titled “Desde el principio.” After that, Marc Anthony went on a extensive tour that took him through the United States. All magazines and press talked about his triumphant concert at Madison Square Garden. Then he was in Canada and Central America. At that time, Marc Anthony received the admiration of his fans when he helped with his charitable work for the victims of Hurricane George, in sum, he founded a foundation that bears his name.

International tours

In 2011, he started the Dos Mundos Tour, with the company of Alejandro Fernández , a concert across Latin America. The following year, he was in Colombia at the Manacacías Summer Festival, many people from different parts of the country traveled to attend his concert. He had a significant participation in the 53rd International Song Festival of Viña del Mar, Chile, where he sang the song “¿Y cómo es él?” from his album “Iconos”. He received the highest distinction.

On March 3, 2012, Marc returned to Uruguay after 17 years and gave his performance at the Charrúa Stadium in Montevideo with an attendance of 25,000 spectators. In the GIGANT3S TOUR, he performed in several North American cities alongside Chayanne and Marco Antonio Solís . In 2013, he released his album 3.0. In 2014, he was the big winner of four of the five awards for which he was nominated at the Premios Lo Nuestro. Additionally, his career was recognized as one of the most successful Latin music artists. In 2016, he released a song called “Deja que te bese” with the collaboration of Spanish singer Alejandro Sanz, the song has over 50 million views on Youtube.

In September 2016, he carried out his “Marc Anthony Live” tour which included 5 dates at Radio City Music Hall. His private life has been somewhat controversial and has been exposed to various comments. He had his first daughter in 1994, Arianna Rosado-Muñiz, a product of his relationship with a former police officer from New York. In 2000 he married for the first time to Dayanara Torres, with whom he had two children. He later helped Jennifer Lopez in the production of the song “Sway” for the soundtrack of the movie Shall We Dance?. They then fell in love and after only one month of relationship, they got engaged in March 2004.

The couple had twins and Jennifer sold the exclusive photos of the children to People Magazine. However, after a few years, the couple decided to end their marriage on April 9, 2012. It is said that everything started when Jennifer Lopez met dancer Casper Smart and began a relationship with him two months after her separation from Marc. Later, Marc started a relationship with Venezuelan model Shannon de Lima, whom he married in 2014. Despite this, his relationship with Jennifer, the mother of his children, is harmonious, and he even participated in her song “Olvídame y pega la vuelta” in 2016. Two years earlier, the Puerto Rican singer made an impact with the hit song “Flor Pálida”.

On January 28, 2023, he married Nadia Ferreira in an incredible wedding surrounded by stars from film, music, and sports. The ceremony took place at the Perez Art Museum in Miami, with David Beckham as the best man.

  Ver esta publicación en Instagram   Una publicación compartida por Nadia Ferreira (@nadiatferreira)

Biography of Paul McCartney

Paul McCartney (born June 18, 1942) is a singer. He was born in Liverpool, England. His mother, Mary Patricia, was a nurse, while his father, James McCartney, was a volunteer firefighter. During Paul’s birth, his father was not present as he was fighting in the Battle of England during World War II. Paul grew up in a religious and strict environment, with his mother Catholic and his father Protestant, but later became agnostic. After returning from the war, his father devoted himself to selling cleaning products and, in his free time, played in bars.

Death of his mother

That’s why his son developed a deep love for music. He stood out in school for his intelligence and discipline and studied at Liverpool Institute secondary school, a good free secondary school. In 1954, he met George Harrison, with whom he quickly formed a strong friendship. At the time, McCartney’s mother was the one who kept the household and for work reasons they moved to Allerton, where they lived until 1964. On October 31, 1956, when McCartney was 14 years old, his mother died from a stroke.

After his mother’s death, McCartney was devastated. It took some time for him to return to normal. H is father saw music as a refuge to help his son feel better, so he took him to listen to the Jim Mac’s Jazz Band, where his father played trumpet or piano. He also gave him a trumpet, but when rock and roll became popular, he chose an acoustic guitar. The first song he composed was “I Lost My Little Girl” on that guitar, a Zenith. He also composed “When I’m Sixty-Four” on the home piano.

1957 – Met John Lennon

He met Lennon on July 6th, 1957. McCartney joined The Quarrymen, a school band led by Lennon, in 1958 as the lead guitarist. The band mixed rock and roll and skiffle, a popular music style, with jazz and blues. After several name changes, the band decided to call themselves The Beatles in August 1960 and recruited drummer Pete Best for their move to Hamburg. In 1961, one of its members, Sutcliffe, left the band and McCartney was forced to take over as bassist. They recorded as a backing band for English singer Tony Sheridan on the single My Bonnie.

1963 – “Beatlemania”

They managed to attract the attention of Brian Epstein, who became their manager in January 1962 and a key figure in their later success. With their first hit, “Love Me Do” in 1963, the “Beatlemania” began. John Lennon and Paul wrote a large number of songs together, but later their egos collided and they preferred to write separately. In 1970, The Beatles disbanded. But Paul continued his successful career with songs that reached number one. He recorded his first solo LP, “McCartney”, with songs very different from those that Lennon would write, with commercial melodies for varied tastes.

1980 – Paul McCartney Guinness Records

In 1980, he entered the Guinness Book of Records as the highest-selling songwriter in the world. His theme Yesterday , one of the most celebrated by The Beatles , has around 2,500 versions in the most diverse musical styles. Some of his solo hits are: Uncle Albert/Admiral Halsey, Live and Let Die for the James Bond film received the Oscar for best musical theme; Coming Up from his solo album Paul McCartney II. He joined George Martin and Ringo Starr in 1982 for the recording of Tug of War. On Press to play, his next album, was recorded with Eric Stewart.

Awards, arrest, record.

Winner of 18 Grammy Awards, including two Lifetime Achievement Grammy Awards (one with the Beatles and another as a solo artist). He is a vegetarian and an animal rights advocate. He was arrested for marijuana possession in Tokyo in 1980 and was briefly in jail. He participated in the “Live Aid” concert against hunger in Ethiopia in 1985. I n 1990, he achieved the record for the largest attendance at a concert with 184,000 people in Rio de Janeiro. Since 1997 he is Sir Paul McCartney, invested as a knight by Queen Elizabeth II.

2013 – Other awards, marriages.

On February 10, 2013, he received a Grammy for “Best Traditional Pop Album” for his album “Kisses On The Bottom”. Later, he received a special award from PRS for Music in commemoration of the 50th anniversary of the composition of his most famous song, “ Yesterday “. These songs, as well as “And I Love Her,” “You Will Not See Me,” and “I’m Looking Through You,” were written inspired by his relationship with British actress Jane Asher. After five years of engagement, the couple broke up due to his infidelity with Francie Schwartz. He married Linda Eastman on March 12, 1969, and together they formed the musical group Wings after the dissolution of the Beatles . In 1999, he presented his collection of poems entitled “Blackbird Singing: Poems and Lyrics (1965-1999)”. After the death of his wife, McCartney experienced deep sadness.

In 2002, Paul McCartney married former model Heather Mills in an Irish castle. After a long legal battle in the London Supreme Court, in 2008 Mills was authorized to collect one fifth of the 250 million dollars she had demanded from McCartney for their four-year marriage. In 2011, McCartney married Nancy Shevell in a civil ceremony in London on October 9th of that year.

Relevant aspects of his life and musical career

• With 60 gold records and the sale of over 100 million albums and singles as a solo artist and with The Beatles, McCartney is recognized as one of the most successful composers and artists of all time.
• As a solo artist in 1999 and as a member of The Beatles in 1988, he has been inducted into the Rock and Roll Hall of Fame twice.
• As a solo artist and with The Beatles, he has been recognized with twenty-one Grammy Awards.
• 32 of the songs that McCartney has written or co-written have reached number one on the Billboard Hot 100.
• As of 2014, he had sold over 15 million certified units by the RIAA in the United States.
• In 1997, McCartney was elevated to the rank of knight for his services to music.
• In 1965, McCartney, Lennon, Harrison and Starr were named members of the Order of the British Empire .
• He has been married three times and is the father of five children.
• He has participated in projects to help international charities related to issues such as animal rights, seal hunting, landmine cleaning, vegetarianism, poverty and musical education.
• He ranks 11th on Rolling Stone’s list of 100 Greatest Singers.
• He ranks first on Rolling Stone’s list of 100 Greatest Artists as a member of The Beatles.
• He ranks third on Rolling Stone’s list of 100 Greatest Bassists.
• Only surpassed by Bob Dylan , he ranks second on Rolling Stone’s list of 100 Greatest Songwriters.

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‘Beethoven, A Life’ assesses the composer’s enduring legacy

Ludwig van Beethoven

Belgian musicologist and conductor Jan Caeyers took a break from his duties in 2004 to write a “short article” or “manifest” on Ludwig van Beethoven — the composer whose music he had spent so much time studying and performing. “Writing a big biography on Beethoven was never a long-cherished dream or a mission for me,” he said. ’

Just such a tome, however, is what he wound up producing. What began as an essay morphed over several years into a full-fledged look at Beethoven’s life and music — a book that was finally published in 2009 in Dutch. The English translation, Beethoven, A Life , was released 11 years later, logging in at 680 pages.

As music director Riccardo Muti and the Chicago Symphony Orchestra continue their 2021-22 exploration of Beethoven’s symphonies with Jan. 13 and 15 performances of the No. 5 and 8 and the Coriolan Overture, Caeyers discusses his biography and his longtime relationship with Beethoven’s music:

Why another Beethoven biography?

Because I’m a conductor, I have a specific approach, which is different from a normal Beethoven scholar. When making this music, when you are thinking about how to find an interpretation of this music, there is a different entry to the music and to the circumstances in which Beethoven developed his musical ideas. When I was working for Claudio Abbado [as an assistant], I did many new pieces, and you see the very complicated, psychological process of a composer.

There are a lot of parallels between, say,  and Beethoven. I did, for example, the first rehearsal of [György] Kurtág’s Stele , Op. 33, which was premiered by the Berlin Philharmonic [in 1994]. You could say that the whole process for Kurtág was very equivalent to what happened to Beethoven, and this helped to me to understand the process and mechanism of Beethoven’s composing. It’s totally different when you are a scholar and only studying the sketches.

How else does your biography differ from previous ones?

The idea that Beethoven was a normal human being struggling day by day to find his way in life. In my opinion, there is no romantic dimension of Beethoven’s life. You have this myth of the great Beethoven, elected by God to write exceptional music and lead an exceptional life. No, he had a very ordinary life, struggling with problems.

For example, Beethoven never or almost never wrote a piece out the blue. There was always a very practical reason why he wrote a piece. There was a command or there was an invitation or he had an opportunity to earn money or there was a publisher asking something. Normally, we think, he got up in the morning and had a wonderful musical idea and for many weeks he wrote. No, there was always a pragmatic dimension to the things he did.

What was the biggest surprise for you during the research and writing of this biography?

I was very grateful for the fact that the field of Beethoven’s activities was very broad. He composed music in almost every form, every discipline you could imagine in his time. And nearly always at a high level. What is very interesting when you are writing a biography of Beethoven is that you can write a kind of history of the music of his time. Compare him with, say, [Johann Sebastian] Bach. Imagine that you should write a book about Bach, and then you have to speak about 200 cantatas or the 30 Mozart operas [in the case of a Mozart book]. A book on Beethoven’s music can evolve effortlessly into a general textbook on musical genre.

What was the most difficult part of the project? The writing? The research? The traveling?

The most important problem was to find a structure for the story. You have two dimensions. You have the normal, historical way. But then to find a method to speak about some details, for example, the development of the construction of pianos. How can you integrate that aspect in the book? Because there is a direct link between Beethoven’s development as a composer and the development of piano building in his time.

To make a comparison with [Lewis] Lockwood, who is one of the most important scholars of Beethoven, his method was very clear. There are four periods in Beethoven’s life. Every period is one part of the book. Every period starts with general outline of the time. Then you tell the vital details and then you speak about the music, starting with the most important music. All four parts of the book are constructed in the same way. I refused to do that.

I wanted a very flexible way of thinking about the structure of my book, although it is a chronological book. So you have this horizontal dimension, the chronology and sometimes you have these vertical moments, where now I’m speaking about the development of the piano, where I’m speaking about opera in Beethoven’s time. This dichotomy was most the important exercise and challenge in writing this biography.

What is the most underestimated aspect of Beethoven’s music?

Without any doubt, his vocal music. The fact is Beethoven was an instrumental composer, who wrote very, very important symphonies, piano concertos and so on, and who transformed the music of the whole 19th century. From the beginning to the end of the century, Beethoven symphonies are the most important things in music, together with opera. Before, symphonies were second class. Beethoven was the founder of the Romantic symphony.

But in my opinion, he was [also] a brilliant composer in the vocal field. I really like the Mass in C Major, a wonderful, modern piece — underestimated. I like the two first versions of his Leonore opera. I like his songs. There are many songs 20 years before Schubert that sound like Schubert. Beethoven was able to write wonderful, good-sounding and good-singing Italian-like melodies. In the end, his most important work, in my opinion, is not the Ninth Symphony but the Missa solemnis . There, you have a kind of synthesis of all his music and intellectual capacities.

Why is Beethoven’s music still so powerful and appealing to audiences?

Because generally speaking, you have two parameters that exclude each other. One side is an intellectual dimension of music — rationality — and on the other hand is the emotional dimension. You’ll see in a piece, one is more important than the other. You can nearly say they exclude each other. The more a piece is emotional, the less it’s intellectual. That’s a general rule. A beautiful example are the Verdi operas, which are very emotional.

On the other hand, you have composers who are more intellectual. With Beethoven, you have extreme emotional dimensions and at the same time, in the same piece, you have an incredible structure and intellectual charge for the listener. The Appassionata [Sonata] is an extremely emotional piece, but you can trust that there will be a logical ending. We have the feeling that Beethoven will always bring us back home. I think this combination is unique in the history of music.

Jan Caeyers was appointed a full-time professor of musicology at the Catholic University of Leuven, Belgium, in 1985, becoming part-time in 2001 and retiring last year. In 1993-1997, he served as assistant to famed conductor Claudio Abbado at the Gustav Mahler Youth Orchestra. He has led major orchestras across Europe and conducted such choral ensembles as the Arnold Schoenberg Chor in Vienna and Nederlands Kamerkoor. In 2010, he founded Le Concert Olympique, a 45-member European orchestra devoted to the music of Beethoven and continues to serve as its artistic director and conductor.

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The former classical music critic of the Denver Post, Kyle MacMillan is a Chicago-based arts journalist.

Biography of Ludwig van Beethoven

This magazine can not be complete without a comprehensive biography of Ludwig van Beethoven! Reading this biography is highly recommended as a start, but please visit our further articles as well! We keep publishing these regularly, with focus not only on his music, but on people, events and stories shaping him, revealing his character, beliefs and values!

Birth, family Childhood End to a childhood Mozart’s spirit from Haydn’s hands Early years in Vienna Music of the middle period – the World blown away Fate knocking – the loss of hearing Immortal Beloved Patronage – a controversy Beethoven and his nephew The last years The end

Birth, family

Ludwig van Beethoven – presumably – was born on 16 December 1770, in Bonn . What we know as a fact is the date of his baptism, which took place on the 17. at the Parish of St. Regius. Since in that era in Catholic Rhine country children were baptized on the next day following birth, this date is the best we can offer.

His mother was Maria Magdalena Keverich , daughter of a chef at the court of Trier . His father was Johann van Beethoven , son of Ludwig van Beethoven . Ludwig, the Elder, was originated from Mechelen (now Belgium) and was 21 when moved to Bonn, where he first had served as bass singer at the court of the Elector of Cologne , later raised to the rank of Kapellmeister (music director).

They say genes sometimes jump a generation, which is certainly true in the case of the Beethoven family. Grandfather was a talented and very well respected musician in Bonn. His son, Johann, however inherited little of the talents and all his life was a mediocre figure on the horizon of Bonn’s musical life. The famous grandson kept a portrait of his grandfather in his room all his life as a reminder of his musical roots and heritage.

Maria and Johann had seven children, sadly only three lived through infancy. Ludwig, the second, and two younger brothers, Kaspar Anton Karl and Nikolaus Johann .

The couple had a poor marriage, leaving Maria in the constant state of sadness and bitterness. Johann over the years became an alcoholic, an abusive father, a bad husband, overall a person without values. Experiencing all these Beethoven had grown to hate his father, which feeling accompanied him for the rest of his life.

More about Beethoven’s ancestry here !

As a young boy, Ludwig had a difficult life. The Beethoven house was a sad place for both parents and children. His father Johann (a court singer at the time, mainly due to the family name) started the musical education of the boy. The teaching was rather a torture with rigid and brutal sessions. He had to stand on a footstool to reach the keyboard , his father standing next to him beating him for every mistake. Johann, coming home regularly late night, heavily drunk, usually woke Ludwig and made him practice. Such late night sessions were often kept by a certain Tobias Pfeiffer, a pianist and family friend, who reportedly suffered from insomnia. Beethoven, also learned to play the organ, violin and viola. Despite the stress and suffering during the classes, he showed extraordinary talent for music early on.

The boy often escaped the troubles at home and on such occasions he visited his friends at the von Breuning house, where the mother Helene took care of the youngster. It was she who first realized that Ludwig sometimes is having seizures, his attention wondering off even in the middle of a conversation. Upon returning the boy reported hearing music during such occasions.

As the grandfather’s financial heritage was running out, Johann started to promote Ludwig as a young prodigy , trying to emulate the – financial – successes of Leopold Mozart , father of Wolfgang . He even lied about the boy’s correct age, saying he was just six at his first public concert (March 26, 1778) – just as Mozart had been at his debut for Maria Theresia .

In school , as often the case with geniuses, he was having hard time to keep up with the class. Understanding and making multiplications or divisions was beyond his skill set, even as an adult. Facing realities and the above mentioned financial difficulties, he was withdrawn from school at the age of 10.

After school, Beethoven’s most important and most influential teacher in this period was Christian Gottlob Neefe . The man was the court’s organist, who taught him keyboard, composition and even helped him to get his first unpaid and later paid employment, as his assistant organist. Equally important, Neefe shared with him the ideas of the Enlightenment , the values of the French Revolution and the philosophies of the era’s modern thinkers. Beethoven not only enjoyed the discussions, but these became his most important values in his adult life. Neefe and many others around the teenager were freemasons and members of the Bonn lodge. Although he was familiar with the teachings, he never joined the order.

Beethoven’s first composition was the Nine Variations on a march (WoO 63). He was 11 years old at the time. It was published in 1782 (or latest early 1783) by Johann Michael Götz, in Mannheim.

End to a childhood

By this time a new Elector of Bonn was named, Maximillian Francis , who was the youngest son of Empress Maria Theresia. Just as his brother Joseph in Vienna , he made important changes and reforms in Bonn. Among these was the bigger attention and budget aimed at supporting arts. The new elector promptly realized the boy’s potential and backed his studies by sending him to learn in the capital of music , Vienna.

This first Vienna trip was a short one. It is not possible to know certainly, what happened during these few weeks, whom he met and if there were any lessons taken from Mozart. There is a myth without historical evidence that Beethoven in fact met Mozart , who upon hearing him play said “ Keep your eyes on him; some day he will give the world something to talk about.” On the other side, Beethoven was not so impressed by the keyboard play of Mozart – which is just another legend without reliable background.

Beethoven, just as much as he hated his father, he loved his mother . As he learned she was ill, immediately returned to Bonn. She died of tuberculosis soon after, at age 40.

His father, never a strong character, sunk into an even deeper alcoholism, leaving young Beethoven in a position to take care of the family, especially the younger brothers. He stayed 5 years in Bonn and fulfilled his family duties in a very matured way.

During this period he earned the respect of the Court and became the most important asset in Bonn’s music repertoire. He spent more and more time at the Breuning house, escaping his father, where he taught the girls piano and he was introduced to German and classic literature. He also met influential supporters, among them most notably Count Ferdinand von Waldstein – a life long friend.

In 1789 he requested and was granted a legal order to receive half of his father’s salary paid directly to him, in order to be able to support the family. As his father was a disgrace not only to the Beethoven name, but to the whole Court of Bonn, the Elector was also willing to exile Johann to a village (we do not know with absolute certainty whether this exile has actually taken place or not). In one version of the story the father begged the son not to complete his humiliation and agreed to hand over the half salary himself. To this Ludwig agreed and his father kept his word. Johann van Beethoven died in 1792, causing great revenue fall in the liquor tax – as the Elector later joked about it cynically.

Mozart’s spirit from Haydn’s hands

In the coming two years (1790-1792) Beethoven composed his first bigger compositions. These were not published at the time and today music lovers can find them under WoO numbers (works without opus number). His first commissioned piece came in 1790, when Joseph II . died and he was – with the recommendation of Neefe – requested to score a cantata in the emperor’s memory. Soon the next sponsored music followed for the subsequent accession of the new emperor, Leopold II . These cantatas were numbered as WoO87 and WoO88, the Emperor Cantatas . Unfortunately, at the end they were not performed and were basically unknown to the public until the 1880s.

As Haydn was recently freed from the service of the Esterházys , he was longing to visit London and make himself a fame and some considerable amount of money. On his way to Britain he stopped at Bonn and the two men were introduced. Haydn stopped again at the return journey and during this second time arrangements were made by the Elector and Count Waldstein, to send Beethoven to Vienna once more in order to learn music from the old master . Papa Haydn, as he was called by his students, was known for having a gentle and gracious heart to everyone, especially talented young musicians, agreed to this scholarship. He had no idea what he was getting into…as later Beethoven turned out to be an inpatient and ungrateful student.

In 1792 the time had come to say goodby and start the next chapter in his life. Beethoven had many entries in his friendship book, but by far the most famous was written by Count Waldstein: “Dear Beethoven! You go to realise a long-desired wish: the genius of Mozart is still in mourning and weeps for the death of its disciple. (…) By incessant application, receive Mozart’s spirit from Haydn’s hands .”

Early years in Vienna

Before looking at his first years in Vienna, it is important to consider the background he is bringing with himself to the capital of the Empire. During the reign of Maximillian Francis, Bonn was transformed from a provincial town to a flourishing and cultured capital city. The city was under strong French revolutionary influence in every possible way, including music. Another strong music influence was the so called Mannheim School and their approach to orchestra and music in general. Both had determinative power on Beethoven for the rest of his life. In fact Ludwig van Beethoven is to be considered the last and fines representative of the Mannheim School – though even during his early lifetime the importance and influence of the school in Europe was already going weak.

With this spiritual background and his unshakable faith in his calling and talents, he was going to go to Vienna not to be a wing-man, a second violin, a runner up, but the one to beat and raise above even the heavy weights of the time: Haydn and Mozart!

Upon arriving in Vienna with some serious recommendation letters, especially from Count Waldstein, he first found a room to rent, bought a new set of clothing and an entry level piano . He was financially supported by the Elector of Bonn with the condition to learn music from Haydn – and one day return to his Court.

There never was a better time for a musician to be in Vienna ! The city was full of professional and amateur musicians, the population was hungry for music. Music then was a limited commodity, unlike today, when listeners can buy, stream, download music and carry them even on their phone. If a Viennese wanted to hear music, had to attend a live concert at a wealthy friend’s or buy the score and play it him-, or herself.

In this vibrant atmosphere Beethoven had taken root quickly. Being a piano virtuoso, surpassing even Mozart in improvisation and technique, he was a celebrated guest among Viennese aristocracy. In this era, when feelings became fashionable in arts, this young man could make the audience cry, whenever he wanted to. He even participated in piano contests , where a short random theme had to be taken and developed into a long improvisation. No one stood the ground against him!

Being the student of Haydn was to be considered a great honor. Joseph Haydn was a musician superstar all over Europe, so much so, that contemporary British newspapers were openly proposing a plan to kidnap Haydn from Esterháza and bringing him to London – thus giving him the freedom he deserves . He was no prisoner, of course, but a loyal person to Prince Nikolaus Esterházy , serving him almost 30 years.

The young and arrogant Beethoven was not impressed, he – unfairly –  said “learns nothing from Haydn” . He parallel started taking lessons from Johann Georg Albrechtsberger , who was the organist at St.Stephen Cathedral ; and also from Antonio Salieri , the imperial Kappellmeister. As the French had occupied Bonn (and the Elector fled), Hayden decided to go to London again in 1795, unexpectedly the student-era came to an end. Beethoven would not return to Bonn, but became independent for the first time in his life.

1795 marked his first public concert , where he played his Piano concerto No.2 (opus 19). Subsequently, he published the Three piano trios , which was his first work with opus number, opus 1 (dedicated to Prince Lichnowsky ). This also marked his first notable financial success, covering his living for more-or-less, a year. In the next three years he occasionally traveled for concert tours from Berlin to Prague . As the new millennial drew closer, after the first period , it was time for a new chapter: his middle period .

Music of the middle period – the World blown away

Some consider the beginning of the middle period starting from 1802, the birth of the Heilgenstadt Testament . In this letter – intended to his brothers – Beethoven finally sheds light on the reasons of his withdrawal from society: his permanent and progressive illness in his ears . In this testament he reveals the desperation and sorrow he faces on daily basis, even considering ending of his life. He concludes the letter by a strong commitment to live on in order to share the music he feels inside with humanity.

By this act he becomes the Messianic figure of music, a human being who devotes his whole and complete life to music, in order to serve humanity. This newly found calling and bursting energy makes the next decade unequaled in terms of productivity and quality. Under this evil time pressure – fearing the fast approaching deafness – he frees himself from the stylistic boundaries of the 18th-century, creating something very new and changing music forever . Beethoven said, “ I am not satisfied with the work I have done so far. From now on I intend to take a new way. ” This new way is also called his heroic phase .

The first and most important milestone in this new way was the Third Symphony , also known as the Eroica (heroic). This work was larger in scope, longer in time and more difficult to comprehend than any other symphony the world has ever seen until then! In fact this was the first musical work that required the audience to hear it more times, even studying the score to grasp the richness of it. Just the first movement alone is longer than any of the symphonies that were written by Haydn or Mozart.

Without aiming for completeness here, the middle period gave the world the symphonies from III-VIII., the Emperor concerto (surpassing Mozart’s piano concertos), five string quartets, Violin concerto (op.61), many piano trios, including the Archduke Trio , piano sonatas like the Waldstein , Apassionata or Beethoven’s only opera, the Fideilo .

Fate knocking – the loss of hearing

One day in 1798 Beethoven had a visitor. After showing him to the door he sat down at his piano to continue composing. A bit later there was a knock at the door. The composer got very angry for interrupting him, jumped up to rush to the door. As he took a step, fall over his chair with face to the ground. Immediately his ears started to buzz.

This was the day and the time from which Beethoven originated his struggle with his ears. There were periods, when his hearing got better, but never recover. Gradually, he would lose his hearing, first the higher notes, then by 1814 completely.

There are many theories concerning the reason of this illness, some are more comic than scientific. This magazine chooses to believe that Beethoven had a Paget’s disease  (abnormal bone regeneration in the skull resulting bones thicker than normal) and there was nothing to be done by and with contemporary doctors or medical science.

As the loss of hearing advanced Beethoven started to ignore social interactions. He considered it a great shame for a musician and assumed that his reputation would suffer if truth got out. His days as piano virtuoso were numbered. More and more often public concerts as a pianist were compromised by his failing hearing. There is uncertainty concerning Beethoven’s last concert, by some sources it was in 1811 with the Emperor concerto (no.5), others claim it was 1814, the Archduke Trio .

As communication became more and more difficult he introduced a conversation book, where people could write a question and he would answer orally. Approximately 400 such books exited, many allegedly destroyed later by his secretary, Anton Schindler .

Immortal Beloved

Beethoven’s love life was a disaster. He constantly fell in love with his piano students, often dedicating them compositions, but he was fishing in the wrong pond. The laws of aristocracy allowed the marriage between classes, but a noble woman marrying with a commoner would result in losing her title forever. Although, many was in love with Beethoven, often rather with the genius than the real man, no one was devoted enough to give up the title for love. Thus, at the end of all these loves, heartbreak awaited Beethoven .

Among the many, some stand out as more serious relationships. In 1801 countess Giulietta Guicciardi , to whom the Moonlight sonata (Op. 27) was dedicated. Josephine Brunsvik , another pupil who at the end refused him, partly because of the pressure from her family. Around 1810 another dedication the Für Elise to Therese Malfatti , which is yet another love that did not come to fruition.

Finally, the most important one the Immortal Beloved . After Beethoven’s death a letter was found among his personal belongings. This is a 10 small pages long love letter, without date, place and any name or indication who the addressee might be. The analysis of the letter is going on for almost 200 years without any final conclusion. What is certain is that the letter was written in summer 1812, at the spa town of Teplitz . In 1972 Maynard Solomon published a book in which – after some serious detective work – he names Antonie Brentano as the Beloved. This work is to be considered the most comprehensive in the subject and thus the conclusion is the most likely solution.

There are two schools concerning Beethoven’s sexual life. One school believes Beethoven died as a virgin, simply because his strong and high moral values would not allow sexual affairs. The other group is convinced he was a regular guest at brothels, something that made him deeply divided. The second group has a strong support from one of Beethoven’s letters, in which he confesses that such experiences make his body satisfied, but his soul disgusted.

Regardless which school is right, it is a sad fact that all his life it was only his mother , the only woman from whom Beethoven received full acceptance and love.

Patronage – a controversy

Having an early baptism in the ideas of enlightenment Beethoven had an ambivalent relationship with the nobility. On one hand he strongly despised the aristocracy and the idea of having a social hierarchy based on birth and family rights. There is this famous letter from 1808 he wrote to one of his friends and early patrons , Prince Lichnowsky , who tried to force – and presumably threatened – him to play in front of his French soldier guests. The two had a very nasty row, Beethoven leaving the house in rainy weather and never forgiving him (raindrops still visible today on the original Appassionata score, on which he was working during his stay). The letter says “ Prince, what you are, you are through chance and birth; what I am, I am through my own labor. There are many princes and there will continue to be thousands more, but there is only one Beethoven. ” This quote shows faithfully how he was thinking about birth right privileges.

On the other hand, Beethoven was the musician of connoisseurs, like it or not, the aristocracy of that time. He also depended financially on these patrons. He gave them private performances, many compositions were commissioned by them. Such important patrons were Prince Lobkowitz , Count Razumovsky and the most important Archduke Rudolph , the youngest son of Emperor Leopold II .

Beethoven was always anxious concerning his daily bread, thus in 1808 he decided to accept the invitation from Napoleon’s brother Jérôme Bonaparte , king of Westphalia , to be his Kapellmeister at the court in Cassel. This would have been a well paid and stable position. Upon hearing the news, Archduke Rudolph, Prince Lobkowitz and Prince Kinsky begged him to stay in Vienna and for exchange they pledged to pay him a yearly 4 000 florins. Personal tragedies, inflation and the war with France finally eroded this income source with no new patronage coming forward.

Beethoven and his nephew

This episode of Beethoven’s life is by far the most disturbing. Stepping in his father’s shoes so early, being guardian of his brothers and the breadwinner of the house, made him a very protective and intruding big brother. Apart from the physical well being he was evenly interested in their moral acts.

His brother, Kaspar had been very ill in 1815 and despite Beethoven’s efforts paying and bringing good doctors to attend him, he died from tuberculosis (just as their mother ). In his deathbed giving in to the pressure from his brother, he signed a will and in it giving sole custody of his 9 years old son Karl, to Beethoven. Johanna , his wife and the mother, upon realizing this act, begged to his husband to change it, which he did to shared custody. Beethoven would have none of it! He absolutely opposed this marriage in the first place, seeing Johanna as morally unfit for the family and parenthood, calling her the queen of the night (she later had an illegitimate child and also was convicted of theft). After Kaspar’s death a 5 years long bitter custody battle started that eventually had devastating results for all of them.

Beethoven was first awarded sole guardianship on the Landrechte (court for the nobility), but later as it became clear that the ‘van’ in his name has nothing to do with German nobility’s ‘von’, his case was transferred to the commoner’s civil court, where he lost. This revelation alone was a big blow to him, as until that day Vienna was convinced, he was a noble . Beethoven appealed and regained sole guardianship again. As a last desperate attempt, Johanna made an appeal to the Emperor himself, who decided not to interfere in the case.

Karl was confused emotionally, not only loosing a father, but being in the middle of a custody battle. Beethoven forbade him to see his mother, but the boy frequently disobeyed him and run away – even skipping school – to be with her. Although Beethoven did everything to raise the child the best possible way, Karl grew up unhappy.

From this agony, being trapped in his uncle’s overbearing love, he finds only one way out. He buys a pistol, climbs to the Rauhenstein ruins and attempts suicide. He misses first, with the second he fractures his temple. When he is found, he asks to be taken to his mother. The failure of Beethoven as a father was complete.

After recovery, Karl leaves on the 2 of January, 1827 to join the army. He would never see his uncle again.

In this very sad story all actors lose. Beethoven lost his reputation in Vienna, the public considering him a monster and a madman. Johanna lost a child and lived with a mudded reputation all her life. Karl, his life and personality wounded forever. Finally, the audience, who lost a lot of unborn compositions, as Beethoven would not write a single note for years, during this emotionally draining period.

Karl was the only child from the three Beethoven sons. Two generations later, the already American born Karl Julius van Beethoven died without a son, thus the Beethoven name died out .

The last years

Just as the legal battles over Karl began to settle Beethoven entered his third and final phase of his creative life. As productivity compared to his previous periods had declined, a new even more refined creative energy emerged through his hands. The two main influences on this new direction is his increasing and slowly complete deafness; and the rediscovery of the works of J.S.Bach and Handel .

As his hearing loss became complete his boundaries from the physical world disappeared. There was no longer any feedback coming from the hearing, just the limitless imagination. Losing this sense also made him more focused and meticulous in his writing.

In his social life he became even more withdrawn. Communication was possible only through conversation books. In these the questions were written down and he would answer them orally. He also became somewhat more content with his household keep, Nanette Streicher managed to tame the beast and continued to provide for him even in his illnesses.

From 1818 he began to work on important works such as the Hammerklavier Sonata  (op. 106), the Missa Solemnis  (op. 123) and Diabelli Variations  (op. 120). A long time desire to put Friedrich Schiller ’s poem the  Ode to joy  into music, also started to shape in the form of the epic Ninth symphony . A former student  Ferdinand Ries , who settled in London and became a founder member of the Philharmonic Society of London , raised interest in the works of Beethoven. Although the Ninth was premiered in Vienna (1824) and the printed edition was dedicated to Frederick William III , king of Prussia , the London Society has a hand written first movement dedicated to them by Beethoven. The public opinion considers the Ninth to be commissioned by London.

As archduke Rudolf was to become archbishop of Olmütz in 1820, Beethoven began to work on Missa Solemnis for the installation ceremony. The piece was not finished in time (1820), in fact not until three years later that the complete manuscript was sent to the archbishop. This composition is considered by many the most important religious work ever written in the history of music.

In 1824 the Ninth was premiered in Vienna in the Kärntnertor Theatre . Beethoven himself supervised the preparations and was sitting next to the conductor during the performance. Being unaware of the applause at the end it was the soloist who made him turn and face the audience. He was hailed five times in the age, when the Emperor usually received three! This was his last work for large scale orchestra.

His final commission came from the Russian prince Nikolai Galitzin , who asked for three string quartets. These became part of the Late Quartets , music that was so difficult, labeled unplayable by the musicians and incomprehensible for the audience. The Fourteenth Quartet (op. 131) was Beethoven’s favorite, which he considered his most perfect work. This was dedicated to baron von Stutterheim, the military officer who took care of Karl in the army.

Beethoven was born in a body that was the complete opposite of his music. Most woman considered him ugly, short and shabby. His face was scarred from smallpox he had contracted in his childhood. His entrails were giving him constant inconveniences and suffering in the form of vomiting and diarrhea . Once he almost lost a finger due to infection. His liver was under stress due to his (sometimes heavy) drinking. Apart from these specifics he was often stricken with all kinds of sicknesses. His last months and days were spent in serious illness and in bed.

Beethoven spent the summer of 1826 with Karl at his only remaining brother’s estate, Nikolaus Johann. It was after the suicide attempt of Karl, and his uncle decided that the countryside will have good effect on the young man. As months passed Johann suggested to Beethoven that it would be beneficial for young Karl to do something useful already, as idle time will not heal him any further. Beethoven, as usual, reacted in an overheated, emotional way jumping on an open coach (!) leaving right away without proper winter clothing. During the journey he contracted a pneumonia, which was a fatal blow to his body’s immune system and finally lead to his death months later.

On his deathbed doctors conducted four operations addressing his abdominal swelling, from one of them an infection developed. Soon, it was clear that he would not recover and the end is near. His last recorded words were Pity-pity – it is too late! – as he was told a publisher sent him twelve bottles of wine.

It is not possible to know what exactly happened during his final hours, there are many different reports of the events. What seems to be exact is that his friend Anselm Hüttenbrenner and a woman was present. Some reports say it was Johanna van Beethoven, his old despised enemy, which seems to be unlikely. The woman must have been Sali, his maid. It was the end of March, weather still cold and a thunderstorm was gathering above Vienna. Legend has it that after an awful thunder the dying man raised his head, stretched his right arm and shook with anger, then fall back and was dead.

Ludwig van Beethoven died in his Schwarzspanierhaus apartment in Vienna, 26 March 1827. He died at the age of 56.

The autopsy performed by Dr. Johann Wagner the next day revealed liver disease. A shrunken liver could be the result of alcoholism, but also Hepatitis A , which was common in the 19th century. Analysis later showed significant amount of lead in his hair, which may be the direct consequence of cheap wine consumption, that was commonly sweetened with lead sugar , despite being banned all over Europe.

The funeral was held on 29 of March and an estimated 20 000 people attended. First, he was buried in Wahring cemetery, but in 1888 his remains were moved to Vienna’s Zentralfriedhof, where he remains even today.

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Beethoven’s Ninth Symphony at 200: Revolutionary work of art has spawned two centuries of joy, goodwill and propaganda

Professor of Appalachian Studies and Bluegrass, Old-Time and Roots Music Studies, East Tennessee State University

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In early 1824, 30 members of Vienna’s music community sent a letter to Ludwig van Beethoven petitioning the great composer to reconsider his plans to premiere his latest work in Berlin and instead debut the symphony in Vienna.

Beethoven had lived in Vienna since 1792, when he left his hometown of Bonn, Germany, to pursue a career as a composer. Beethoven rose to world renown, but by the 1820s he had fallen out of favor with Viennese arts patrons who, at the time, were drawn to the sounds and styles of Italian composers.

Beethoven had not appeared before a Viennese audience in a dozen years, but he was moved by the letter’s sentiment and agreed to debut his new work, Symphony No. 9 in D minor, in the city. The premiere performance was on May 7, 1824, at Kärntnertor Theater .

Concert promoters promised the public that the legendary – and legendarily antisocial – composer would be present at the performance of his latest symphony. Indeed, during the entirety of the performance, he was on stage, his back to the audience, as described by Maynard Solomon in his acclaimed biography of Beethoven .

The composer insisted upon conducting the symphony from a conductor’s stand. The official conductor at the concert, Michael Umlauf, had instructed the musicians – a Viennese orchestra and choir – to ignore Beethoven, who was completely deaf and who theoretically could not be relied upon to keep time.

The performance was interrupted several times by rapturous applause from the approximately 2,000 attendees, but Beethoven could not hear the reaction. According to eyewitnesses, the composer “ threw himself back and forth like a madman ” and fell several bars behind in his “conducting.”

The enthusiastic response to the symphony’s debut performance presaged its reception in the European music community, globally and across time.

Global appeal

Symphony No. 9, sometimes referred to as the Choral Symphony , was the capstone to Beethoven’s extraordinary career. In the 200 years since its debut, the symphony has become an essential composition in the orchestral repertoire and is often cited as the crowning achievement of Western classical music .

A central reason for the symphony’s accessibility to a broad audience was Beethoven’s incorporation of the 1785 poem “ An die Freude ,” or “Ode to Joy,” by Friedrich Schiller , a leading German author, historian and philosopher. Matched to a memorable melody in the fourth movement, this text – with its uplifting, humanitarian sentiment – contributed to the symphony’s character as an anthem.

Widely interpreted as Beethoven’s plea for a global “brotherhood ,” the fourth movement has been incorporated into ceremonial events sponsored by international organizations such as UNESCO, the Olympics, the Council of Europe and the European Union . Given the work’s fame the Ode to Joy section of the symphony has also been appropriated for propaganda by supporters of Nazism, Bolshevism, Maoism and other ideologies.

Groundbreaking composition

Symphony No. 9 is extraordinary in many ways, according to Teddy Abrams , music director of the Louisville Orchestra and a Grammy Award-winning conductor.

The Ninth Symphony was not the first long piece of music at the time, but the others were generally built by stringing together many shorter sequences. In contrast, Beethoven crafted the Ninth Symphony – a 74-minute work – out of just four long movements. “The proportions alone are staggering,” Abrams said in an interview for this article.

Each of the Ninth’s four movements is a single cohesive, coherent musical statement. This, more than the innovation of using a chorus in a symphony, was what made Beethoven’s Ninth revolutionary, according to Abrams.

At the beginning of the last movement, Beethoven reprised elements of the previous three movements. This “ quoting ” was a highly unusual technique at the time, according Abrams. “It is from these musical ‘memories’ that the timeless Ode to Joy theme emerges,” he said.

Energy and drive

The symphony has influenced artists across the cultural spectrum, including various modern and avant-garde music genres. British composer Gabriel Prokofiev , grandson of famed Russian composer Sergei Prokofiev, was commissioned by a French orchestra in 2011 to create a new work, Beethoven9 Symphonic Remix , that interpreted the symphony through a fusion of classical and electronic music.

When interviewed for the 2020 documentary film “ Beethoven’s Ninth: Symphony for the World ,” Prokofiev commented: “A lot of the techniques and approaches [Beethoven] used, particularly his climactic finales and his codas and the drama and the sense of energy and drive he had, we find that everywhere, especially in dance music and electronic music.”

For over a century, Symphony No. 9 has played an iconic role within the recording industry. Given the ongoing popularity of Beethoven’s work, record companies since 1923 have sought to release commercial recordings of this particular symphony. Early records couldn’t fit the entirety of the symphony, however.

Then, around 1980, two record companies – Sony and Philips – negotiated the length of the new digital compact disc format at just over 74 minutes per CD. According to Joop Sinjou, a Philips engineer who played a key role in developing the technology, Sony Chairman Akiyo Morita and his wife insisted that the new format be designed to fit the full Symphony No. 9 . However, there are variations of the story , so it’s not certain that the companies’ decision to make CDs capable of holding more than an hour of music was specifically to accommodate Beethoven’s Ninth.

Goodwill symphony

Embedded in the symphony’s fourth movement is a message for peace with particular resonance in the 21st century. In one section of that movement, Beethoven incorporated a “ Turkish March ” featuring two instruments associated with Turkey: the cymbal and bass drum. According to Prokofiev, during Beethoven’s era Europeans discriminated against Turks .

Beethoven’s Symphony No. 9 was performed in 2006 by the West-Eastern Divan Orchestra, an ensemble that consisted of young Israeli and Arab musicians. The performance was part of a campaign for a peaceful resolution to the Middle East conflict.

YouTube videos of this performance have been viewed by millions. The aspiration of Beethoven’s “goodwill” symphony continues to inspire a vision of a united humanity.

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Beethoven biographies.

Across continents and centuries, Ludwig van Beethoven ’s music has resonated with souls, his symphonies whispering secrets and his sonatas screaming defiance. But did you know his life story, too, has captivated biographers worldwide? Here, we embark on a fascinating odyssey, delving into the rich tapestry of Beethoven biographies woven by authors from every corner of the globe.

Forget sterile chronologies – our voyage transcends mere facts. Imagine stepping into the vibrant streets of 19th-century Vienna, painted by a local scholar tracing Beethoven’s footsteps. Or, feel the fiery spirit of Latin America as a passionate biographer dives into the composer’s influence on revolutionary movements. Each biography on this page becomes a portal, transporting you to a unique cultural lens through which Beethoven’s life is refracted.

Prepare to encounter interpretations steeped in the rhythms of Indian sitar or the delicate brushstrokes of Japanese calligraphy. Witness Beethoven reimagined through the prism of feminist theory or reinterpreted by a modern musicologist with access to groundbreaking new research. These diverse perspectives are far from discordant; they form a harmonious, enriching symphony, revealing the multifaceted brilliance of the man and his music.

Don’t be surprised if Beethoven emerges from these pages not just as a musical titan, but as a mirror reflecting our own humanity. His struggles with deafness, his passionate love affairs, his unwavering artistic integrity – these universal themes resonate across cultures, reminding us that Beethoven’s life, like his music, transcends all borders.

So, join us on this captivating journey. Whether you’re a seasoned Beethovenite or a curious newcomer, these biographies hold something for everyone. Immerse yourself in the maestro’s life, not as a collection of dusty dates, but as a kaleidoscope of interpretations, a chorus of voices singing his story in a thousand different tongues. Welcome to the global symphony of Beethoven biographies – let the music begin!

Top 15 Biographies of Ludwig van Beethoven (Includes Reviews)

Beethoven: biography of a genius by george r. marek.

“Beethoven: Biography of a Genius” by George R. Marek is a compelling exploration into the life and mind of one of the most celebrated composers in history. Marek’s biography delves deep into the complexities of Beethoven’s character, his tumultuous personal life, and his unparalleled musical genius.

From the very beginning, Marek captures the reader’s attention with his vivid descriptions and meticulous research. He paints a vivid picture of Beethoven’s early years in Bonn, his struggles with his abusive father, and his determination to pursue a career in music against all odds. Marek skillfully navigates through Beethoven’s formative years, providing valuable insights into the influences that shaped his musical style and creative vision.

One of the most fascinating aspects of Marek’s biography is his exploration of Beethoven’s deafness. Marek vividly portrays the profound impact that this disability had on Beethoven’s life and music, revealing the composer’s unwavering determination to overcome adversity and continue composing despite his increasing isolation from the world around him.

Marek also delves into Beethoven’s complex relationships with family, friends, and lovers, shedding light on the composer’s passionate and often tumultuous nature. Through meticulous research and insightful analysis, Marek paints a nuanced portrait of Beethoven as a deeply flawed yet undeniably brilliant individual.

One of the strengths of Marek’s biography is its accessibility. While comprehensive in its scope and detail, the book is written in a clear and engaging style that makes it accessible to both casual readers and serious scholars alike. Marek strikes a perfect balance between scholarly rigor and narrative flair, making “Beethoven: Biography of a Genius” a pleasure to read from start to finish.

In conclusion, “Beethoven: Biography of a Genius” is a masterful biography that offers readers a comprehensive and insightful look into the life and music of one of history’s greatest composers. George R. Marek’s meticulous research, vivid prose, and profound understanding of Beethoven’s music make this book an essential addition to any music lover’s library. Whether you’re a seasoned Beethoven aficionado or simply curious about the life of this musical genius, Marek’s biography is sure to captivate and inspire.

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Beethoven: A Documentary Study by H.C. Robbins

“Beethoven” by H.C. Robbins Landon is an illuminating journey through the life, works, and legacy of one of the most revered composers in history. Landon, a renowned musicologist, brings his expertise to bear in this comprehensive biography, offering readers a captivating glimpse into the world of Ludwig van Beethoven.

From the outset, Landon’s biography captivates with its meticulous research and engaging narrative style. Drawing on a wealth of primary sources and scholarly insights, Landon paints a vivid portrait of Beethoven’s life, from his humble beginnings in Bonn to his triumphant rise as a musical titan in Vienna.

One of the most striking features of Landon’s biography is its meticulous attention to detail. Landon leaves no stone unturned as he delves into Beethoven’s early years, exploring the influences that shaped his musical development and the personal struggles that he faced along the way. From Beethoven’s tumultuous family life to his battles with deafness and illness, Landon provides readers with a nuanced understanding of the man behind the music.

Landon’s biography also offers invaluable insights into Beethoven’s creative process and artistic vision. Through careful analysis of Beethoven’s compositions, Landon reveals the depth and complexity of the composer’s musical language, shedding light on the innovative techniques and revolutionary ideas that defined his oeuvre.

In addition to its scholarly rigor, “Beethoven” is also highly accessible to a wide range of readers. Landon’s prose is clear and engaging, making even the most complex musical concepts comprehensible to those with little or no background in music theory. Whether you’re a seasoned aficionado or a newcomer to the world of classical music, Landon’s biography is sure to captivate and inspire.

In conclusion, “Beethoven” by H.C. Robbins Landon is a masterful biography that offers readers a rich and rewarding exploration of the life and music of one of history’s greatest composers. Landon’s meticulous research, engaging narrative style, and profound understanding of Beethoven’s artistry make this book an essential addition to any music lover’s library. Whether you’re seeking to deepen your appreciation for Beethoven’s music or simply curious about the man behind the legend, Landon’s biography is sure to leave a lasting impression.

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“Beethoven: Impressions by His Contemporaries” by Oscar Sonneck

Sonneck’s curation skillfully brings together a diverse array of perspectives, ranging from Beethoven’s friends and colleagues to critics and admirers. Through these firsthand testimonies, readers are transported back in time to the vibrant musical and cultural milieu of early 19th-century Vienna, where Beethoven’s genius flourished amidst the tumult of political upheaval and social change.

One of the most compelling aspects of Sonneck’s collection is its immediacy and intimacy. Through letters, diary entries, and personal recollections, readers are granted intimate access to Beethoven’s innermost thoughts, feelings, and struggles. From his battles with deafness to his creative process and artistic vision, Sonneck’s compilation offers a multifaceted portrait of Beethoven as both a musical genius and a complex human being.

Moreover, Sonneck’s meticulous research and insightful commentary provide valuable context and interpretation, helping readers to navigate the complexities of Beethoven’s life and music. Whether exploring Beethoven’s tempestuous relationships with friends and lovers or delving into the creative inspiration behind his most celebrated works, Sonneck’s collection offers a wealth of information and analysis that will captivate both scholars and casual readers alike.

Furthermore, “Beethoven: Impressions by His Contemporaries” is elegantly presented, with meticulous attention to detail in its selection and presentation of primary source materials. From facsimiles of original letters and documents to annotated translations and biographical sketches, Sonneck’s compilation is a testament to his scholarly rigor and dedication to preserving the legacy of Beethoven for future generations.

In conclusion, “Beethoven: Impressions by His Contemporaries” is a treasure trove of firsthand accounts and intimate reflections that offers readers a rich and immersive experience of Beethoven’s world. Oscar Sonneck’s meticulous curation and insightful commentary make this collection an indispensable resource for anyone interested in understanding the life, music, and enduring legacy of one of history’s greatest composers. Whether you’re a seasoned Beethoven enthusiast or a newcomer to his music, Sonneck’s compilation is sure to deepen your appreciation for the man behind the legend.

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“Beethoven and His World” by Scott Burnham

From the outset, Burnham’s book captivates with its engaging prose and insightful commentary. Drawing on a wealth of scholarly research and musical expertise, Burnham paints a vivid portrait of Beethoven’s world, exploring the social, political, and artistic forces that shaped his life and music.

One of the strengths of Burnham’s book is its interdisciplinary approach, which seamlessly weaves together musical analysis with historical and cultural context. Through meticulous examination of Beethoven’s compositions, Burnham reveals the depth and complexity of the composer’s musical language, shedding light on the innovative techniques and revolutionary ideas that defined his oeuvre. At the same time, Burnham situates Beethoven within the broader cultural and intellectual currents of his time, offering readers a nuanced understanding of the social and political upheavals that shaped his worldview.

Moreover, Burnham’s book is highly accessible to readers of all backgrounds, whether seasoned musicologists or casual enthusiasts. His clear and engaging prose makes even the most complex musical concepts comprehensible, while his insightful commentary invites readers to explore Beethoven’s music with fresh ears and a deeper appreciation for its beauty and significance.

In addition to its scholarly rigor and accessibility, “Beethoven and His World” is also beautifully presented, with stunning illustrations, musical examples, and historical documents that bring Beethoven’s world to life. From facsimiles of original manuscripts to annotated scores and portraits of Beethoven and his contemporaries, Burnham’s book is a visual feast that enhances the reading experience and immerses readers in the rich cultural tapestry of Beethoven’s era.

In conclusion, “Beethoven and His World” is a masterful exploration of the life, music, and legacy of one of history’s greatest composers. Scott Burnham’s interdisciplinary approach, engaging prose, and profound insights make this book an essential addition to any music lover’s library. Whether you’re a seasoned aficionado or a newcomer to the world of classical music, “Beethoven and His World” is sure to deepen your appreciation for the genius of Ludwig van Beethoven and the enduring power of his music.

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“Beethoven: His Spiritual Development” by J.W.N. Sullivan

From the outset, Sullivan’s book captivates with its insightful analysis and empathetic portrayal of Beethoven’s spiritual journey. Drawing on a wide range of sources, including Beethoven’s letters, diaries, and compositions, Sullivan paints a vivid portrait of a deeply introspective and spiritually sensitive artist grappling with questions of faith, purpose, and transcendence.

One of the most compelling aspects of Sullivan’s book is its exploration of Beethoven’s relationship with religion and philosophy. Sullivan examines how Beethoven’s encounters with Enlightenment ideals, Romanticism, and the philosophical currents of his time shaped his evolving conception of spirituality. Through meticulous analysis of Beethoven’s music and writings, Sullivan reveals the composer’s quest for meaning and transcendence, as well as his struggles with doubt, despair, and existential angst.

Moreover, Sullivan’s book offers valuable insights into the ways in which Beethoven’s spiritual convictions found expression in his music. From the transcendent beauty of his late string quartets to the sublime depths of his “Missa Solemnis,” Sullivan illuminates the spiritual dimensions of Beethoven’s compositions, inviting readers to contemplate the profound mysteries of human existence and the divine.

In addition to its scholarly depth and intellectual rigor, “Beethoven: His Spiritual Development” is also beautifully written, with Sullivan’s prose displaying a rare blend of clarity, eloquence, and sensitivity. Whether discussing complex philosophical concepts or conveying the emotional power of Beethoven’s music, Sullivan’s writing is both engaging and deeply moving, inviting readers to ponder the mysteries of life, love, and the divine.

In conclusion, “Beethoven: His Spiritual Development” is a masterful exploration of the spiritual dimensions of one of history’s greatest composers. J.W.N. Sullivan’s insightful analysis, empathetic portrayal, and eloquent prose make this book an essential addition to any music lover’s library. Whether you’re interested in Beethoven’s music, his philosophy, or the timeless quest for meaning and transcendence, Sullivan’s book offers a rich and rewarding journey into the heart and soul of one of humanity’s greatest creative spirits.

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“Thayer’s Life of Beethoven” by Alexander Wheelock Thayer, Revised by Elliot Forbes

Thayer’s original biography, meticulously researched and documented, laid the foundation for understanding Beethoven’s life and works. In this revised edition, Elliot Forbes, a distinguished musicologist, enhances Thayer’s scholarship with updated research, new insights, and a fresh perspective that brings Beethoven’s story to life for contemporary readers.

One of the most remarkable aspects of “Life of Beethoven” is its exhaustive attention to detail. Thayer and Forbes leave no aspect of Beethoven’s life unexamined, tracing his journey from his early years in Bonn to his triumphant legacy in Vienna. Through meticulous analysis of Beethoven’s letters, diaries, and compositions, the authors offer readers a vivid and intimate portrait of the composer as a man, an artist, and a visionary.

Moreover, Thayer and Forbes skillfully navigate the complexities of Beethoven’s personality, relationships, and creative process. They delve into Beethoven’s struggles with deafness, his tempestuous friendships and love affairs, and his relentless pursuit of artistic excellence. Through their insightful commentary and interpretation, the authors illuminate the human drama behind Beethoven’s music, revealing the depth of his emotional turmoil and the transcendent beauty of his artistic vision.

In addition to its scholarly rigor, “Life of Beethoven” is also highly accessible to readers of all backgrounds. Thayer and Forbes’s prose is clear, engaging, and free from technical jargon, making the book both informative and enjoyable to read. Whether you’re a seasoned musicologist or a casual enthusiast, “Life of Beethoven” offers a compelling narrative that will captivate and inspire.

Furthermore, this revised edition of “Life of Beethoven” is enriched with supplementary materials, including updated bibliographies, appendices, and a wealth of illustrations and musical examples. These additions enhance the reading experience and deepen the reader’s understanding of Beethoven’s life and music.

In conclusion, “Life of Beethoven” by Alexander Wheelock Thayer, revised by Elliot Forbes, is an indispensable resource for anyone interested in understanding the life, art, and legacy of one of history’s greatest composers. Thayer and Forbes’s meticulous research, insightful analysis, and engaging prose make this biography a timeless classic that will continue to inform and inspire generations of readers. Whether you’re a scholar, a student, or simply a lover of Beethoven’s music, “Life of Beethoven” offers a definitive portrait of the man behind the music, illuminating his genius and humanity with unparalleled depth and insight.

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“Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803” by Tia DeNora

One of the most compelling aspects of DeNora’s book is its interdisciplinary approach, which draws on a diverse array of sources and methodologies to paint a rich and nuanced portrait of Beethoven’s world. From archival documents and contemporary accounts to musical analysis and sociological theory, DeNora weaves together multiple strands of evidence to offer a multifaceted understanding of Beethoven’s genius and its cultural significance.

Central to DeNora’s analysis is the concept of “musical politics” — the intricate web of social, economic, and ideological factors that shaped musical production and consumption in Beethoven’s Vienna. DeNora explores how Beethoven navigated this complex landscape, negotiating relationships with patrons, publishers, critics, and audiences to assert his artistic vision and establish himself as a leading figure in the musical world.

Moreover, DeNora examines how Beethoven’s music reflected and refracted the social and political tensions of his time, from the upheavals of the French Revolution to the rise of Romanticism and the decline of the aristocratic order. Through careful analysis of Beethoven’s compositions and their reception, DeNora reveals the ways in which music served as a site of cultural contestation and negotiation, allowing Beethoven to stake his claim to genius and challenge prevailing notions of artistic authority.

In addition to its scholarly depth and theoretical sophistication, “Beethoven and the Construction of Genius” is also highly engaging and accessible to readers of all backgrounds. DeNora’s prose is clear and lively, making even complex theoretical concepts comprehensible and relevant. Whether you’re a musicologist, a historian, or simply a lover of Beethoven’s music, DeNora’s book offers a compelling exploration of the social and cultural forces that shaped one of history’s greatest composers.

In conclusion, “Beethoven and the Construction of Genius” by Tia DeNora is a landmark study that redefines our understanding of Beethoven’s genius and its cultural context. DeNora’s interdisciplinary approach, meticulous research, and insightful analysis make this book essential reading for anyone interested in the intersection of music, society, and identity. By illuminating the cultural politics of Beethoven’s era, DeNora offers a fresh perspective on the construction of genius and the enduring power of Beethoven’s music to inspire and provoke.

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“Ludwig van Beethoven” by Joseph Schmidt-Gorg

One of the most compelling aspects of Schmidt-Gorg’s book is its thorough examination of Beethoven’s personal and professional life. Drawing on a wealth of primary sources, including Beethoven’s letters, diaries, and contemporaneous accounts, Schmidt-Gorg paints a vivid portrait of Beethoven as a complex and enigmatic figure. From his tumultuous childhood in Bonn to his groundbreaking compositions and his struggles with deafness and illness, Schmidt-Gorg traces Beethoven’s journey with meticulous attention to detail and empathetic insight.

Moreover, Schmidt-Gorg’s biography offers valuable insights into the cultural and historical context in which Beethoven lived and worked. By situating Beethoven within the broader currents of 18th and 19th-century Europe, Schmidt-Gorg illuminates the social, political, and intellectual forces that shaped his artistic vision and musical style. From the impact of the French Revolution to the rise of Romanticism and the emergence of a new musical aesthetic, Schmidt-Gorg provides readers with a rich and nuanced understanding of Beethoven’s place in history.

In addition to its scholarly rigor, “Ludwig van Beethoven” is also highly readable and engaging. Schmidt-Gorg’s prose is clear, concise, and accessible, making even the most complex musical concepts and historical events comprehensible to readers of all backgrounds. Whether you’re a seasoned musicologist or a casual enthusiast, Schmidt-Gorg’s biography offers a compelling narrative that will captivate and inspire.

Furthermore, “Ludwig van Beethoven” is enriched with supplementary materials, including illustrations, musical examples, and a comprehensive bibliography, which enhance the reader’s understanding and appreciation of Beethoven’s life and music.

In conclusion, “Ludwig van Beethoven” by Joseph Schmidt-Gorg is a masterful biography that offers readers a comprehensive and nuanced portrait of one of the greatest composers in history. Through meticulous research, empathetic insight, and engaging prose, Schmidt-Gorg brings Beethoven to life in all his complexity, inviting readers to explore the depths of his genius and the enduring legacy of his music. Whether you’re a dedicated Beethoven enthusiast or simply curious about the man behind the legend, Schmidt-Gorg’s biography is sure to leave a lasting impression.

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“Beethoven” by Romain Rolland

One of the most striking features of Rolland’s book is its empathetic portrayal of Beethoven as a deeply human and complex figure. Rather than focusing solely on Beethoven’s musical achievements, Rolland delves into the depths of Beethoven’s soul, revealing the struggles, passions, and triumphs that shaped his life and art. Through vivid descriptions and poignant anecdotes, Rolland brings Beethoven to life in all his glory and contradictions, inviting readers to accompany him on a journey through the composer’s inner world.

Moreover, Rolland’s biography offers valuable insights into the cultural and historical context in which Beethoven lived and worked. Drawing on a wealth of primary sources and historical research, Rolland illuminates the social, political, and intellectual currents of Beethoven’s era, providing readers with a rich tapestry of 18th and 19th-century Europe. From the turbulence of the Napoleonic Wars to the emergence of Romanticism and the ideals of liberty and fraternity, Rolland situates Beethoven within the broader currents of his time, offering a nuanced understanding of the forces that shaped his artistic vision and musical language.

In addition to its historical and cultural insights, “Beethoven” is also notable for Rolland’s profound appreciation of Beethoven’s music. As a composer and musicologist himself, Rolland brings a unique perspective to his analysis of Beethoven’s works, offering readers a deep and nuanced understanding of their beauty, complexity, and significance. Through careful examination of Beethoven’s compositions, Rolland reveals the depth of his musical genius and the timeless relevance of his art.

In conclusion, “Beethoven” by Romain Rolland is a masterful biography that offers readers a rich and immersive portrait of one of the greatest composers in history. Rolland’s empathetic insight, eloquent prose, and deep appreciation of Beethoven’s music make this book a timeless classic that continues to inspire and delight readers of all backgrounds. Whether you’re a dedicated Beethoven enthusiast or simply curious about the man behind the music, Rolland’s biography is sure to leave a lasting impression, capturing the essence of Beethoven’s spirit for generations to come.

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“Beethoven: The First Biography, 1827” by Johann Aloys Schlosser, Edited by Barry Cooper

One of the most compelling aspects of Schlosser’s biography is its immediacy and authenticity. As a contemporary of Beethoven, Schlosser had a unique perspective on the composer, having witnessed firsthand many of the events and encounters that shaped his life. Through meticulous research and firsthand interviews with Beethoven’s friends, colleagues, and acquaintances, Schlosser offers readers a vivid and intimate portrait of the composer as a man, an artist, and a visionary.

Moreover, Schlosser’s biography sheds light on the cultural and intellectual milieu in which Beethoven lived and worked. From the vibrant musical scene of Vienna to the tumultuous political climate of early 19th-century Europe, Schlosser situates Beethoven within the broader currents of his time, offering readers a nuanced understanding of the social, political, and artistic forces that shaped his music and his worldview.

In addition to its historical significance, “Beethoven: The First Biography, 1827” is also notable for its literary merit. Schlosser’s prose is elegant, engaging, and filled with vivid descriptions and colorful anecdotes that bring Beethoven’s world to life. Whether recounting Beethoven’s tempestuous relationships with friends and patrons or exploring the creative inspiration behind his most celebrated works, Schlosser’s biography is a pleasure to read from start to finish.

Barry Cooper’s meticulous editing enhances the reader’s experience, providing valuable annotations, footnotes, and supplementary materials that provide context and clarification. Cooper’s scholarly expertise and insightful commentary enrich Schlosser’s original text, offering readers a deeper understanding of Beethoven’s life and music.

In conclusion, “Beethoven: The First Biography, 1827” edited by Barry Cooper is a landmark publication that offers readers a unique and invaluable perspective on one of the greatest composers in history. Schlosser’s pioneering biography, combined with Cooper’s expert editing, provides a rich and immersive portrait of Beethoven’s life, art, and legacy. Whether you’re a seasoned Beethoven enthusiast or simply curious about the man behind the music, “Beethoven: The First Biography, 1827” is sure to captivate and inspire, offering a timeless glimpse into the enduring genius of Ludwig van Beethoven.

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“Beethoven” by Maynard Solomon

From the outset, Solomon captivates readers with his engaging prose and meticulous attention to detail. Through vivid descriptions and vivid storytelling, he brings Beethoven’s world to life, transporting readers back in time to the vibrant musical scene of 18th and 19th-century Europe. Solomon explores Beethoven’s childhood in Bonn, his formative years in Vienna, and his struggles with deafness and illness with empathy and insight, offering readers a deeply personal and intimate understanding of the man behind the music.

One of the most remarkable aspects of Solomon’s biography is its exploration of Beethoven’s creative process and artistic vision. Through careful analysis of Beethoven’s compositions and correspondence, Solomon reveals the depth and complexity of the composer’s musical language, shedding light on the innovative techniques and revolutionary ideas that defined his oeuvre. From the transcendent beauty of his symphonies to the profound intimacy of his late string quartets, Solomon guides readers through the rich tapestry of Beethoven’s music with clarity and insight.

Moreover, Solomon’s biography offers valuable insights into the cultural and historical context in which Beethoven lived and worked. He examines the social, political, and intellectual currents of Beethoven’s era, providing readers with a nuanced understanding of the forces that shaped his music and his worldview. Solomon also explores Beethoven’s relationships with friends, family, and patrons, revealing the complexities of his personality and the dynamics of his social circle with sensitivity and depth.

In addition to its scholarly rigor and intellectual depth, “Beethoven” is also highly accessible to readers of all backgrounds. Solomon’s prose is clear, engaging, and free from technical jargon, making the book both informative and enjoyable to read. Whether you’re a seasoned musicologist or a casual enthusiast, Solomon’s biography offers a compelling narrative that will captivate and inspire.

In conclusion, “Beethoven” by Maynard Solomon is a masterful biography that offers readers a comprehensive and nuanced portrait of one of the greatest composers in history. Solomon’s meticulous research, insightful analysis, and engaging prose make this book an indispensable resource for anyone interested in understanding the life, music, and enduring legacy of Ludwig van Beethoven. Whether you’re a dedicated Beethoven enthusiast or simply curious about the man behind the music, “Beethoven” is sure to leave a lasting impression, deepening your appreciation for the genius and humanity of this iconic figure.

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“Life of Beethoven” by Louis Nohl

From the very beginning, Nohl captivates readers with his vivid prose and insightful commentary. Drawing on a wealth of primary sources, including Beethoven’s letters, diaries, and contemporary accounts, Nohl paints a vivid portrait of the composer as a man of immense talent, passion, and resilience. From Beethoven’s humble beginnings in Bonn to his meteoric rise as a musical titan in Vienna, Nohl traces the highs and lows of Beethoven’s life with empathy and insight, offering readers a deeply personal and intimate understanding of the man behind the music.

One of the most compelling aspects of Nohl’s biography is its exploration of Beethoven’s creative process and artistic vision. Through careful analysis of Beethoven’s compositions and their historical context, Nohl reveals the depth and complexity of the composer’s musical language, shedding light on the innovative techniques and revolutionary ideas that defined his oeuvre. From the iconic strains of the “ Eroica ” Symphony to the transcendent beauty of the “Ninth Symphony,” Nohl guides readers through the rich tapestry of Beethoven’s music with clarity and passion.

Moreover, Nohl’s biography offers valuable insights into the social, political, and cultural milieu in which Beethoven lived and worked. He examines the impact of the French Revolution, the rise of Romanticism, and the shifting dynamics of Viennese society on Beethoven’s music and worldview, providing readers with a nuanced understanding of the forces that shaped his artistic vision. Nohl also delves into Beethoven’s relationships with friends, family, and patrons, revealing the complexities of his personality and the dynamics of his social circle with sensitivity and depth.

In addition to its scholarly rigor and intellectual depth, “Life of Beethoven” is also highly accessible to readers of all backgrounds. Nohl’s prose is clear, engaging, and free from technical jargon, making the book both informative and enjoyable to read. Whether you’re a seasoned musicologist or a casual enthusiast, Nohl’s biography offers a compelling narrative that will captivate and inspire.

In conclusion, “Life of Beethoven” by Louis Nohl is a masterful biography that offers readers a comprehensive and nuanced portrait of one of the greatest composers in history. Nohl’s meticulous research, insightful analysis, and engaging prose make this book an indispensable resource for anyone interested in understanding the life, music, and enduring legacy of Ludwig van Beethoven. Whether you’re a dedicated Beethoven enthusiast or simply curious about the man behind the music, “Life of Beethoven” is sure to leave a lasting impression, deepening your appreciation for the genius and humanity of this iconic figure.

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“Beethoven, a Victorian Tribute” by Percy M. Young

From the outset, Young’s book immerses readers in the vibrant cultural milieu of the Victorian era, where Beethoven’s music held a special place of reverence and admiration. Drawing on a wealth of primary sources, including newspaper articles, concert reviews, and literary works, Young paints a vivid portrait of the Victorian perception of Beethoven as a towering figure of artistic genius and moral virtue.

One of the most compelling aspects of Young’s book is its exploration of the ways in which Beethoven’s music intersected with the moral, social, and political concerns of the Victorian age. Young examines how Beethoven’s compositions were interpreted and appropriated by Victorian society, from their use as moral exemplars of fortitude and resilience to their role in promoting nationalist sentiment and social reform. Through careful analysis of Victorian writings and cultural artifacts, Young reveals the multifaceted ways in which Beethoven’s music served as a mirror reflecting the values and aspirations of the Victorian age.

Moreover, Young’s book offers valuable insights into the Victorian reception of Beethoven’s music and its impact on subsequent generations of composers and musicians. He explores the influence of Beethoven on Victorian composers such as Mendelssohn and Brahms, as well as the broader legacy of Beethoven’s music in shaping the Romantic aesthetic and musical tradition.

In addition to its scholarly rigor and intellectual depth, “Beethoven, a Victorian Tribute” is also highly accessible to readers of all backgrounds. Young’s prose is clear, engaging, and infused with a sense of reverence and admiration for Beethoven’s music and legacy. Whether you’re a seasoned musicologist or a casual enthusiast, Young’s book offers a compelling narrative that will captivate and inspire.

In conclusion, “Beethoven, a Victorian Tribute” by Percy M. Young is a masterful exploration of the Victorian fascination with Ludwig van Beethoven and his music. Young’s meticulous research, thoughtful analysis, and engaging prose make this book an indispensable resource for anyone interested in understanding the cultural resonance of Beethoven’s music in the Victorian era and beyond. Whether you’re interested in music history, Victorian culture, or the enduring legacy of Beethoven’s genius, Young’s book offers a rich and rewarding journey into the heart of one of history’s greatest composers.

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“Ludwig van Beethoven – An Illustrated Biography” by Ernst Herttrich

“Ludwig van Beethoven – An Illustrated Biography” by Ernst Herttrich is a captivating exploration of the life, music, and enduring legacy of one of the greatest composers in history. Through a combination of insightful commentary and stunning visuals, Herttrich offers readers a comprehensive and immersive portrait of Ludwig van Beethoven’s remarkable journey.

From the very beginning, Herttrich’s book captivates readers with its exquisite illustrations and photographs, which bring Beethoven’s world to life in vivid detail. From portraits of the composer and his contemporaries to facsimiles of original manuscripts and historical documents, the visual elements of the book provide a rich and immersive experience, allowing readers to immerse themselves in the vibrant cultural milieu of 18th and 19th-century Europe.

Complementing the visual feast is Herttrich’s insightful commentary, which offers readers a deeper understanding of Beethoven’s life, music, and personality. Drawing on a wealth of scholarly research and historical knowledge, Herttrich delves into the key moments and milestones of Beethoven’s life, from his early years in Bonn to his revolutionary compositions and his struggles with deafness and illness. Through meticulous analysis and empathetic insight, Herttrich paints a nuanced portrait of Beethoven as a complex and deeply human figure, whose music continues to resonate with audiences around the world.

Moreover, Herttrich’s biography is highly accessible to readers of all backgrounds, whether seasoned musicologists or casual enthusiasts. His prose is clear, engaging, and free from technical jargon, making the book both informative and enjoyable to read. Whether exploring Beethoven’s creative process, his relationships with friends and patrons, or the cultural and historical context in which he lived and worked, Herttrich’s commentary offers readers a comprehensive and compelling narrative that will captivate and inspire.

In addition to its scholarly rigor and intellectual depth, “Ludwig van Beethoven – An Illustrated Biography” is also a visually stunning work of art that will delight readers of all ages. Whether you’re flipping through its pages for inspiration, delving into its rich historical and cultural context, or simply admiring its beautiful illustrations, Herttrich’s book offers a treasure trove of insights and delights for anyone interested in the life and music of Ludwig van Beethoven .

In conclusion, “Ludwig van Beethoven – An Illustrated Biography” by Ernst Herttrich is a masterful celebration of one of history’s greatest composers. Through its combination of stunning visuals and insightful commentary, the book offers readers a rich and immersive journey into the life, music, and enduring legacy of Ludwig van Beethoven. Whether you’re a dedicated Beethoven enthusiast or simply curious about the man behind the music, Herttrich’s biography is sure to leave a lasting impression, deepening your appreciation for the genius and humanity of this iconic figure.

“Beethoven, The Composer as Hero” by Philippe Autexier

Autexier’s book offers readers a fresh perspective on Beethoven’s life and works, presenting him not only as a musical genius but also as a heroic figure who overcame immense challenges to leave an indelible mark on the world. Through meticulous research and insightful analysis, Autexier delves into the key moments and milestones of Beethoven’s life, from his early struggles with deafness to his revolutionary compositions and his enduring legacy.

One of the most compelling aspects of Autexier’s book is its exploration of Beethoven’s artistic vision and creative process. Autexier examines how Beethoven’s music was shaped by his personal experiences and philosophical beliefs, from his embrace of the ideals of the Enlightenment to his fervent belief in the power of music to inspire and uplift humanity. Through careful analysis of Beethoven’s compositions and their historical context, Autexier reveals the depth and complexity of the composer’s musical language, shedding light on the innovative techniques and revolutionary ideas that defined his oeuvre.

Moreover, Autexier’s book offers valuable insights into the cultural and historical context in which Beethoven lived and worked. He explores how Beethoven’s music reflected and responded to the social, political, and intellectual currents of his time, from the upheavals of the French Revolution to the rise of Romanticism and the emergence of a new musical aesthetic. Autexier also examines Beethoven’s relationships with friends, family, and patrons, revealing the complexities of his personality and the dynamics of his social circle with sensitivity and depth.

In addition to its scholarly rigor and intellectual depth, “Beethoven, The Composer as Hero” is also highly accessible to readers of all backgrounds. Autexier’s prose is clear, engaging, and infused with a sense of reverence and admiration for Beethoven’s music and legacy. Whether you’re a seasoned musicologist or a casual enthusiast, Autexier’s book offers a compelling narrative that will captivate and inspire.

In conclusion, “Beethoven, The Composer as Hero” by Philippe Autexier is a masterful celebration of one of history’s greatest composers. Through its combination of meticulous research, insightful analysis, and engaging prose, the book offers readers a rich and immersive portrait of Ludwig van Beethoven as a heroic figure whose artistic triumphs continue to resonate with audiences around the world. Whether you’re interested in music history, philosophy, or the enduring power of artistic genius, Autexier’s book is sure to leave a lasting impression, deepening your appreciation for the extraordinary life and legacy of Ludwig van Beethoven.

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• Beethoven: The Maestro of Musical Innovation
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