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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

We strive for accuracy and fairness.If you see something that doesn't look right, contact us !

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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Ludwig van Beethoven: a force of nature at the dawn of Romanticism

John Suchet profiles Ludwig van Beethoven - the composer who sparked a musical revolution

Read on for our guide to the life and music of perhaps the most influential composer in the history of classical music: Ludwig van Beethoven.

Who was Beethoven?

Beethoven was not only one of the greatest composers of all time - but also something of a revolutionary. Not just in the obvious sense that his compositions took music in a new direction.

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He was an artist imbued with the idea of revolution. Crucial to a full appreciation of Beethoven’s music is a knowledge of the times in which he lived, an understanding of the tumultuous events sweeping across Europe, bringing with them new orders and new ideas.

When and where was Beethoven born?

Bonn, where Beethoven was born in December 1770 , was an outpost of the Habsburg Empire . It was small, prosperous and sophisticated due to the fact that it was the seat of the Elector of Cologne and Münster. On the surface it was also conservative.

But Vienna – capital city of the Holy Roman Empire, formal and proper, with a growing network of spies, where dissent was not tolerated – was 500 miles and several days’ coach ride away. And so the burghers of Bonn, not to mention the elector, were prone to making decisions almost calculated to upset those at the heart of government.

Where did Beethoven grow up?

The young Beethoven remained in the town of his birth, Bonn, until the age of 21.

The first of these to have a lasting impact on the young musical prodigy in Bonn was the employment as court organist not only of an outsider, from Saxony, but a man of the wrong religion too. A Protestant, no less, who wasted no time in joining the proscribed organisation of like-minded dissidents, the Illuminati .

No one knows what persuaded the largely incapable and alcoholic Johann van Beethoven to employ Christian Gottlob Neefe as teacher to his son Ludwig, but it was an inspired choice. It does not take too much imagination to see Neefe, as well as encouraging his young pupil’s first attempts at composition, filling his head with ideas of religion, philosophy and politics. Neefe radicalised Beethoven.

An early breakthrough

Before Beethoven was ten, the old order passed with the death of Empress Maria Theresa . Emperor Joseph put in place immediate reforms, stripping the clergy of much of their power, introducing a measure of freedom of worship, and pushing through emancipation of the peasantry before he died, just 48, in 1790.

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That was when the musical establishment of Bonn took a truly extraordinary decision. They decided to commission a work to commemorate Joseph’s death, which would set to music words by a local poet, which in lauding Joseph’s break with the past were political dynamite, as well as a second piece to mark the accession of the new emperor.

And instead of choosing one of the several senior and respected musicians at court, they awarded the commission to the 19-year-old Ludwig van Beethoven. No matter that the orchestra refused to perform the pieces because they considered them unplayable, from these two Cantatas on, Beethoven would always be a political composer.

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When did B eethoven arrive in Vienna?

He left Bonn for Vienna in November 1792, never to return. At the time, Paris was undergoing the single most cataclysmic event of the age. Three years earlier the people had stormed the Bastille , initiating the French Revolution. Louis XVI and his Queen were under arrest. The King would go to the guillotine within two months, Marie Antoinette a matter of months after that. It was not long before the French set about exporting their revolution, a task made easier by the fortune that one of their citizens was on his way to becoming the greatest military commander in history. Vienna was steeped in old-world tradition and was therefore most vulnerable to the new French Revolutionary Army. It was a city living in fear.

While lauding the aims of the French Revolution, Beethoven condemned outright the violence and bloodletting it had led to. He also deplored the French occupation of Bonn and the Rhineland. But this revolutionary young composer had found a hero in the First Consul of France, Napoleon Bonaparte , to whom he dedicated the Eroica Symphony , the work that famously propelled music into the 19th century.

Napoleon and the Eroica

When Napoleon appointed himself Emperor, Beethoven withdrew the dedication, declaring him to be nothing more than a tyrant after all. Still, Beethoven could not help admiring Napoleon. The title page of the first edition bore the words: Sinfonia Eroica... per festeggiare il sovvenire di un grand Uomo [Heroic Symphony... to celebrate the memory of a great man], and Beethoven wrote to his publisher that ‘the title of the symphony is really Bonaparte ’.

The influence of the Revolution stayed with Beethoven. The French composer Méhul, much admired by the revolutionaries, composed five symphonies in this period. All four movements of his First Symphony bear striking stylistic similarities to Beethoven’s Fifth – regarded as the epitome of revolutionary musical writing – and both were composed in the same year.

Beethoven and Méhul

Who influenced whom? One suspects that if you suggested to Beethoven that he was influenced by Méhul, he would probably agree, and say that the revolutionary theme of his only opera, Fidelio , was also influenced by themes used by Méhul in his operas.

Several times in adult life, Beethoven actively contemplated a move to Paris – surely a desire to experience revolutionary times at first hand. In fact in 1808, an annus horribilis for him, plans for the move were well advanced. It never, of course, happened. After Napoleon’s final defeat and exile, Vienna, with the autocratic Metternich running things, was more or less shut down. There were secret police everywhere.

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Beethoven, by now deaf, had only one outlet for his ideas, and that was music. No wonder his compositions gave a new meaning to the world ‘revolutionary’. There had never been a piano sonata like the Hammerklavier . No composer had ever used voices in a symphony, as Beethoven would in his Ninth . The final Piano Sonata, Op. 111 shows his radical approach to form and his revolutionary brilliance stands out in every movement of his five Late Quartets, simply the greatest body of music ever composed.

When and why did Beethoven go deaf?

It is believed that Beethoven began to lose his hearing in his mid twenties. The cause of his hearing loss remains something of a mystery, though modern analysis of the composer's DNA has revealed some health issues - including large amounts of lead in his system.

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Beethoven later claimed that his deafness had its origins in a quarrel with a singer, back in 1798. In 1801, he wrote to friends describing his symptoms and how they were making life difficult for him, both as a composer and in society.

Then came the famous Heiligenstadt Testament . Beethoven spent around six months of the year 1802 in the small Austrian town of Heiligenstadt , just outside Vienna, on the advice of his doctor. This was where he wrote his famous Testament: a letter to his brothers, in which he reveals that his deafness has made him consider suicide, but that he has resolved to continue living through his art. Never sent, the letter was found among the composer's papers after his death.

Did Beethoven marry?

No. He did meet a young countess, Julie Guicciardi, for whom he developed strong feelings: he writes about his love for her in a letter written to a friend in November 1801.

Sadly, though, the young Beethoven was from humbler origins than Julie, and this class difference meant that a union would have been out of the question.

Then there was Antonie Brentano - a philanthropist, arts patron, and close friend of the composer. While he was at the spa resort of Teplitz in 1812, Beethoven wrote a ten-page love letter to his 'Immortal Beloved' - but the letter was never sent and the addressee never revealed. The identity of the 'Immortal Beloved' has been much discussed, but the musicologist Maynard Solomon has convincingly demonstrated that the intended recipient must have been Antonie Brentano.

When did Beethoven die?

Beethoven died on 26 March 1827 at the age of 56. Some 10,000 people attended his funeral procession six days later - including a young Franz Schubert .

What did Beethoven die of?

The precise cause of Beethoven's death is not known for certain, although cirrhosis of the liver and infectious hepatitis are among those causes put forward.

What were Beethoven's final words?

You may hear the story told that Beethoven's final deathbed words were 'applaud friends, the comedy is ended' (spoken in Latin, no less). In fact, however, we believe that his final words came after a publisher had sent the dying composer 12 bottles of wine as a gift. Beethoven's reaction (and last words)? 'Pity, pity, too late!'.

Did Mozart and Beethoven meet?

The young Ludwig van Beethoven intended to study with Mozart and, in 1787, when Beethoven was 16 and Mozart was 31, the younger composer travelled to Vienna to meet his would-be mentor, However, shortly after his arrival in Vienna, Beethoven's mother fell ill, meaning that he had to return to his hometown of Bonn in Germany.

Beethoven stayed in Bonn for five years, looking after his younger siblings. When he was finally able to undertake the trip to Vienna the great Mozart was, sadly, dead.

What are Beethoven's most famous pieces?

With such an incredible output to his name, this becomes a very thorny question in Beethoven's case. However, we'd certainly nominate the Third, Fifth , and Ninth Symphonies (although the Sixth and Seventh follow close behind, and to be honest all nine are masterpieces).

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On the concerto front, the Violin Concerto and the final two Piano Concertos are probably the best known.

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Among Beethoven's large and deeply impressive chamber music output, we'd have to single out the 'Archduke' Piano Trio, as well as the late String Quartets mentioned above.

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Most famous Beethoven sonatas

The best known Beethoven Piano Sonatas include the 'Hammerklavier' Sonata, the 'Moonlight' Sonata , the 'Waldstein' Sonata and the 'Pathétique' Sonata. Scared music lovers, meanwhile, will want to sample Beethoven's great choral work, the Missa Solemnis .

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How did Beethoven change music?

Like his forebear Bach, and more so than his immediate predecessors Haydn and Mozart, Beethoven had a profound impact on the direction that classical music was taking. Under his influence, some essential classical forms such as the sonata, the concerto, the string quartet and most obviously the symphony became bigger and wider in their ambitions.

Take Beethoven's Ninth Symphony, for example, which both rearranged the formal structure of a Classical symphony, and features - totally originally - the human voice in its final movement. Innovations such as these make Beethoven one of the earliest and best Romantic composers .

Or take the extraordinary 'Hammerklavier' Sonata: no other piano sonata covers such a vast ground, both musical and emotional. The final movement is a vast fugue, a mindblowingly complex composition that makes huge demands on the performer.

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Lastly, Beethoven's final five String Quartets attain a quality of transcendent beauty and emotional eloquence that was, quite simply, without precedent in the chamber music world.

Read reviews of the latest Beethoven recordings here

John Suchet

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Digital Editor and Staff Writer, BBC Music Magazine

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Beethoven 250

Beethoven's life, liberty and pursuit of enlightenment.

Tom Huizenga

A portrait of Ludwig van Beethoven, painted in 1804 by W.J. Mähler. Wikimedia Commons hide caption

A portrait of Ludwig van Beethoven, painted in 1804 by W.J. Mähler.

Two-hundred-fifty years ago, a musical maverick was born. Ludwig van Beethoven charted a powerful new course in music. His ideas may have been rooted in the work of European predecessors Wolfgang Amadeus Mozart and Josef Haydn , but the iconic German composer became who he was with the help of some familiar American values: life, liberty and the pursuit of happiness. That phrase, from the Declaration of Independence, is right out of the playbook of the Enlightenment, the philosophical movement that shook Europe in the 18th century.

"One way to look at it is what happened after Newton created the scientific revolution: Basically, people, for the first time, developed the idea that through reason and science, we can understand the universe and understand ourselves," says Jan Swafford, the author of Beethoven: Anguish and Triumph , a 1,000-page biography of the composer.

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Swafford says the Enlightenment idea embodied in the Declaration of Independence is that the aim of life is to serve your own needs and your own happiness. "But you can only do that in a free society," he says. "So freedom is the first requirement of happiness."

Other key components of the Enlightenment — including a cult of personal freedom and the importance of heroes — were vibrating in the air in Beethoven's progressive hometown of Bonn when he was an impressionable teenager. "There was discussion of all these ideas in coffeehouses and wine bars and everywhere," Swafford adds. "Beethoven was absorbed into all that and he soaked it up like a sponge."

You can hear ideas from the Enlightenment in Beethoven's Third Symphony, nicknamed "Eroica" — heroic. "There's an amazing place near the end of the first movement of the 'Eroica' where you hear this theme which I think represents the hero," Swafford points out. "It starts playing in a horn, and then it's as if it leads the whole orchestra into a gigantic proclamation, as if that is the hero leading an army into the future."

The hero of the "Eroica" Symphony was originally Napoleon — until Beethoven found out he was just another brutal dictator, and tore up the dedication page of the score. Overall, the hero of much of Beethoven's music is humanity itself.

"He was a humanist, above all," says conductor Marin Alsop, who had planned to mount Beethoven's Ninth Symphony on six continents this year, before the pandemic hit. Beethoven, she says, believed that each of us can surmount any obstacle.

"You can hear his perspective on this new philosophy of the Enlightenment, because it's very personal to Beethoven," Alsop says. "Throughout all of his works, you have this sense of overcoming."

You can hear that journey from darkness to light in pieces like the "Eroica," in the famous Fifth Symphony — and, Alsop says, at the very beginning the groundbreaking Ninth Symphony.

"It opens in the most unexpected way for a piece that's about to make a huge statement," Alsop says. "You can't even tell if it's a major or a minor key. It's kind of fluttering with a tremolo sound in the strings. It's this idea of possibility, an empty slate."

From there, Alsop adds, "Beethoven builds this whole journey of empowerment of unity. There's a lot of unison where the orchestra shouts out as one."

Those unisons are the way Beethoven depicts the connections between people – a pretty important thing for a man who began to go deaf before he was 30. He's a perfect symbol for this era of COVID, Alsop says, because of his severe isolation. That solitude sent the composer out for long walks in the woods outside Vienna.

"Beethoven absolutely loved and cherished nature, and thought of nature as a holy thing," says conductor Roderick Cox, who led performances of Beethoven's Symphony No. 6, the "Pastorale," this fall in Fort Worth, Texas. "Those are some of the principles of Enlightenment, of this music, the liberation of the human mind."

Cox also points to another Beethoven obsession: freedom, which is captured on stage, he says, in the composer's politically fueled opera Fidelio . "It really is the epitome of this Enlightenment spirit: This governmental prisoner, speaking out against the government for individual rights and liberty, has been jailed." In the opera, when the chorus of political prisoners leave their dungeon cells for a momentary breath of fresh air, Beethoven has them sing the word "Freiheit" — freedom.

Two and a half centuries after his birth, Beethoven continues to loom large over today's composers — literally, in some cases. American composer Joan Tower has a picture of Beethoven over her desk, and says he even paid her a ghostly visit once while she was trying to write music.

"He walked into the room right away," Tower says," and I said, 'Listen, could you leave? I'm busy here.' He would not leave. So I said, 'OK, if you're going to stay, then I'm going to use your music.' " And she did, in her piano concerto: Dedicated to Beethoven, the piece borrows fragments from three of his piano sonatas, including his final sonata, No. 32 in C minor.

"The thing I relate to is the struggle, because I struggle the way he does," Tower adds. "He was slow, and I'm slow. So there are certain connections that I'm so happy to have with him."

Everyone can connect to Beethoven, according to Alsop. "This is art that defies time, that defies culture, that defies partisanship, that unifies. And it can speak to each individual differently, but it speaks loudly to each of us," she says.

It's music that speaks to life, liberty and the pursuit of happiness — things we're all yearning for right now.

• Marin Alsop
• Ludwig van Beethoven

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Ludwig van Beethoven (1770-1827)

Ludwig van Beethoven (1770-1827) was a German composer and pianist, who is arguably the defining figure in the history of Western music.

Ludwig Van Beethoven was born in December 1770, but no-one is completely sure on which date. He was baptized on the 17th. The earliest recorded piece that Beethoven composed is a set of nine piano variations, composed in 1782. Beethoven moved to Vienna in 1792, where he met influential composers like Haydn and began to compose in earnest. By 1796, he had begun to suffer from tinnitus and was losing his hearing. Beethoven composed his Piano Sonata No. 14 ('Moonlight') in 1802. The Third Symphony, known as the 'Eroica', was completed in 1804. It went on to redefine the symphony as a genre. The opening motif to the Fifth Symphony from 1808 is one of the most famous musical excerpts in history. The 'middle period' of Beethoven's career also saw him compose piano works like the Waldstein and Apassionata sonatas, as well as his only opera, Fidelio, which went through countless rewrites and revisions. Beethoven's Ninth Symphony, the 'Choral' from 1824, is another work of his that has remained infinitely popular. It was the first time that a composer had used choral voices in a major symphony. Ill health and increasing deafness caused a drop in productivity at the end of Beethoven's life, but he still managed to produce important works like his 'Late Quartets' in 1825, which were wildly inventive for the time. Beethoven died in Vienna on the 26th March 1827 after a long illness that has variously been attributed to alcohol, hepatitis, cirrhosis and pneumonia. Did you know? Beethoven composed only one opera, Fidelio, which took years to get right. He re-wrote one aria no fewer than 18 times and came up with four different overtures before deciding upon the one he liked.

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LVBEETHOVEN.COM

Ludwig van beethoven: the ultimate biography and resource.

Beethoven, Ludwig van 1770-1827

Ludwig van Beethoven: A Glimpse into the Life of a Genius

Born in 1770 in the city of Bonn, Ludwig van Beethoven was destined to be one of the greatest composers the world has ever known. From an early age, his prodigious talent was evident, and he soon moved to Vienna, the epicenter of musical innovation. Overcoming a series of personal trials, including the tragedy of progressive deafness, Beethoven crafted compositions that are celebrated for their emotion, depth, and revolutionary spirit. His works, spanning from intimate piano sonatas to powerful symphonies, not only reflect his own struggles and joys but also resonate with universal human experiences.

Throughout his life, Beethoven remained a figure of fascination, admiration, and at times, controversy. Yet, his undying commitment to his art and his indomitable spirit have inspired countless generations of musicians, scholars, and music lovers around the globe.

Your Resource for Everything Beethoven

This website is dedicated entirely to Ludwig van Beethoven and the rich tapestry of his life and works. Delve deeper and explore:

The Definitive Ludwig van Beethoven Biography

Covering all of the most significant events and contributions of the the masterclass Composer that defined an era.

Music & Masterpieces

A comprehensive library of his celebrated compositions.

Books & Literature

Reviews and insights into the best books about Beethoven.

Family Tree

Trace the lineage and uncover the history of the Beethoven family .

Historical Timeline

Key events that shaped the life and times of the maestro.

Portrait Gallery

A visual journey through the many faces of Beethoven.

Philatelic Collection

Rare stamps and postal memorabilia commemorating Beethoven’s influence on culture.

… and so much more!

Join us as we celebrate the life, music, and legacy of Ludwig van Beethoven, a luminary who continues to inspire the world.

What’s new?

Make sure to check out our recently updated section on Beethoven Music . Includes comprehensive guides to all of Beethoven’s most beloved Symphonies, Sonatas, Piano Concerto’s, and more!

We are also in the process of updating and expanding our section on Beethoven Films . We provide comprehensive guides to all of the most acclaimed films that portrayed Beethoven’s extraordinary impact on the world.

Beethoven – Did you know?

One of the most beloved musical geniuses of all-time, Beethoven remains one of the most popular people (albeit deceased) in the world.

• Beethoven began losing his hearing in his late 20s, and by the age of 49, he was almost completely deaf, yet he continued to compose groundbreaking music.
• He was baptized on December 17, 1770, in Bonn, Germany, but his exact birthdate remains unknown.
• Beethoven’s “Moonlight Sonata” was dedicated to his pupil, Countess Giulietta Guicciardi, with whom he fell in love.
• Despite his fame, Beethoven often struggled financially and was supported by a group of wealthy patrons.
• His Symphony No. 9 was the first example of a major composer using voices in a symphony.
• Beethoven was known for his fiery personality and frequent mood swings, often reflected in his music.
• He never married, but his Immortal Beloved letters suggest he had a mysterious, intense love affair.
• Beethoven’s “Für Elise,” one of his most famous pieces, was discovered and published 40 years after his death.
• He was a crucial figure in the transition between the Classical and Romantic eras in Western music.
• Beethoven’s last words were reportedly “Pity, pity—too late!”, as he was told of a gift of wine from his publisher.
• His Ninth Symphony’s “Ode to Joy” is the anthem of the European Union.
• Beethoven often dipped his head in cold water before composing, believing it stimulated his creativity.
• He wrote only one opera, “Fidelio,” which was revised multiple times and premiered in its final form in 1814.
• As a child prodigy, Beethoven gave his first public performance at the age of 7½.
• His “Heiligenstadt Testament,” a letter written to his brothers, reveals his thoughts on his growing deafness and his resolve to continue living through his art.
• Beethoven’s compositions include 9 symphonies, 5 piano concertos, 1 violin concerto, 32 piano sonatas, and 16 string quartets.
• He was known to have a messy living space and a disheveled appearance, often focusing so intensely on his work that he neglected his surroundings.
• Beethoven was a great admirer of Napoleon until Napoleon declared himself Emperor, after which Beethoven famously scratched out Napoleon’s name from the dedication of his “ Eroica ” Symphony.
• His music was influenced by his love of nature, often taking long walks in the countryside for inspiration.
• Beethoven’s funeral in Vienna in 1827 was attended by an estimated 10,000 to 30,000 people, reflecting his immense popularity.

Beethoven’s Influence in India: A Cultural Blend

Ludwig van Beethoven, a titan of Western classical music, has long echoed across continents, influencing myriad cultures with his profound compositions. While his impact is universally acknowledged in the Western world, his influence on Eastern traditions, particularly in India, presents a fascinating study of cultural synthesis. This article delves into how Beethoven’s musical genius has resonated within India, creating a

Beethoven in Africa: Symphonic Tributes Unveiled

The Timeless Appeal of Beethoven Ludwig van Beethoven, a towering figure in the world of classical music, continues to inspire audiences globally, centuries after his death. Known for his profound deafness and his revolutionary compositions, Beethoven’s music transcends cultural and geographical boundaries, resonating deeply with diverse audiences. In Africa, his legacy is celebrated not only in concert halls but also

Beethoven in China: Bridging Cultural Divides

Ludwig van Beethoven, a towering figure in the history of Western classical music, has also played a significant role in cultural exchanges between the East and the West. His music, embodying universal themes of human struggle, triumph, and the search for beauty, resonates well beyond its Western origins. In China, Beethoven is not just a symbol of Western music but

Beethoven’s Impact on Japan’s Classical Scene

Ludwig van Beethoven, a titan of Western classical music, has left an indelible mark on the global music landscape, and Japan is no exception. The influence of Beethoven in Japan stretches back to the Meiji period when Western music began to permeate Japanese culture. This period marked a significant transformation as Japan opened itself to the world, integrating Western musical

Beethoven in America: His Influence Unveiled

Ludwig van Beethoven, a towering figure in classical music, has left an indelible mark not only in Europe but also across the Atlantic in America. His compositions, transcending time and cultural boundaries, have deeply influenced the American musical and cultural scenes. This article explores how Beethoven’s legacy found a new home in America, becoming a staple in concert halls, influencing

Insights into Beethoven’s Lesser-Known Organ Works

Ludwig van Beethoven, a name synonymous with symphonic grandeur and profound piano sonatas, also ventured into the world of organ music, albeit less famously. Beethoven’s contributions to the organ repertoire may not be as extensive or well-known as his works for other instruments, but they offer a fascinating glimpse into his compositional genius and his exploratory spirit. The Organ in

Frequently Asked Questions about Ludwig van Beethoven

Yes, Beethoven began to lose his hearing in his late twenties, and it deteriorated progressively over time. By his late 40s, he was almost completely deaf. Despite this significant challenge, many of Beethoven’s most celebrated works were composed during the period when he was experiencing profound hearing loss.

For more thorough information on Beethoven’s Deafness check out this comprehensive article we wrote on the topic – “ Beethoven’s Deafness: Triumph of Creativity .”

There is no solid evidence to support the claim that Beethoven was black. The majority of historical records and portraits depict him as a European man of Caucasian descent. Over the years, there have been debates and speculations about his heritage, but there’s no concrete evidence to counter the widely accepted view of his ethnicity. Some of the debates arise from descriptions of Beethoven’s darker complexion, but this can be attributed to various reasons, including his health and the standards of description at the time.

Ludwig van Beethoven was born on December 17, 1770, in Bonn, a city in what is now Germany.

For more information check out our comprehensive Biography of Ludwig van Beethoven .

Beethoven passed away on March 26, 1827, in Vienna. The exact cause of his death is not definitively known. Over the years, various theories have been proposed, including lead poisoning, syphilis, and autoimmune disorders. During an autopsy, significant amounts of lead were found in Beethoven’s hair, lending support to the lead poisoning theory. However, the true cause of his death remains a subject of debate among historians and researchers.

Check out our comprehensive Biography of Ludwig van Beethoven for more information on this topic.

You may also want to check out Beethoven’s Family Tree .

Ludwig van Beethoven composed a total of 9 symphonies.

Visit (and listen) to Beethoven’s Symphonies and Music .

Also check out Beethoven’s Biography .

Use LVBeethoven.com as a resource to learn more about this extraordinary many.

Beethoven passed away on March 26, 1827.

For thorough information on the life of Ludwig van Beethoven check out Beethoven’s Biography.

Beethoven was born in Bonn, which is located in present-day Germany.

Here is a Chronology of Beethoven’s life – https://lvbeethoven.wpenginepowered.com/biography/chronology-of-beethovens-life/

Beethoven began to experience hearing loss in his late twenties. This hearing loss worsened progressively over the years, and by the time he was in his late 40s, he was almost completely deaf.

For the most comprehensive treatise on Beethoven’s Deafness check out “ Beethoven’s Deafness: Triumph of Creativity .”

No, Beethoven was not blind. He is famously known for his hearing impairment, but there are no records or evidence to suggest that he suffered from blindness.

For a comprehensive look at the life of Ludwig van Beethoven check out his BIO .

Yes, Ludwig van Beethoven was German. He was born in Bonn, a city in the Electorate of Cologne, which was a part of the Holy Roman Empire at the time of his birth. This region is now in modern-day Germany.

Here are a few helpful links to learn more about Ludwig van Beethoven:

LVBeethoven.com is your comprehensive resource for information about the impeccable Ludwig van Beethoven.

Perhaps the most famous piece by Ludwig van Beethoven is the Symphony No. 9 in D minor, Op. 125, often referred to as the “Choral” Symphony. This masterpiece is notable not just for its musical brilliance but also because it was the first time a major composer used voices in a symphony. The final movement of this symphony incorporates Friedrich Schiller’s “Ode to Joy,” sung by a chorus and soloists. This movement has since become an anthem for unity and fraternity. Moreover, the symphony’s structure, themes, and the sheer emotional power it exudes make it a groundbreaking work in the history of classical music. Today, the “Ode to Joy” theme is recognized worldwide and has been adapted for various purposes, including being the anthem of the European Union.

Check out our section dedicated to Beethoven’s Music .

Ludwig van Beethoven was a prolific composer, and throughout his lifetime, he composed a vast number of works across various musical genres. While it’s challenging to pinpoint an exact number due to variations in counting (some pieces have multiple parts, or movements), Beethoven wrote 9 symphonies, 32 piano sonatas, 16 string quartets, 5 piano concertos, 1 violin concerto, 1 opera (“Fidelio”), and many other compositions including sonatas for various instruments, overtures, choral works, and chamber music pieces. In total, he composed well over 200 individual works. His influence in shaping the Classical and Romantic eras of music is monumental, with many of his compositions being staples in the repertoires of orchestras, chamber groups, and soloists around the world.

BTW – you can learn more about Beethoven through Films and Literature .

While Beethoven wrote numerous renowned pieces throughout his lifetime, the Symphony No. 9 in D minor, Op. 125, also known as the “Choral” Symphony, stands out as one of his most celebrated. The piece’s final movement is particularly famous for its incorporation of Friedrich Schiller’s “Ode to Joy,” performed by a choir and soloists. This inclusion of a choral element was revolutionary for symphonic works at the time. The symphony as a whole, and especially its final movement, is emblematic of Beethoven’s vision for music as a powerful force for unity and shared humanity. It encapsulates his masterful ability to convey profound emotions and ideals through musical expression. This symphony’s enduring popularity is a testament to its universal appeal and its representation of Beethoven’s genius.

Don’t miss the Beethoven Biography for a thorough education on everything Beethoven.

Ludwig van Beethoven is buried in Vienna, Austria. Initially, he was interred at the Währing Cemetery, but in 1888, his remains, along with those of Franz Schubert, were moved to the Zentralfriedhof (Central Cemetery) in Vienna, one of the largest cemeteries in the world. The Zentralfriedhof is notable for its numerous graves of famous composers, making it a significant site for music enthusiasts and historians. Beethoven’s grave attracts countless visitors each year, who come to pay their respects to one of the greatest composers in the history of music. The grand monument marking his final resting place is a testament to the profound impact he left on the world of classical music and his enduring legacy.

Check out the chronology of Beethoven’s life .

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Ludwig van Beethoven

Born December 16, 1770 in Bonn, Germany Died March 26, 1827 in Vienna, Austria

NATIONALITY

Style/period.

Classical 1750-1820

FAMOUS WORKS

Symphonies 1 through 9, Moonlight Sonata, Fur Elise, Fidelio, and Missa Solemnis

Beethoven grew up in Bonn, Germany in a very unhappy home. He was forced to practice the  piano  by his father, an abusive alcoholic who would punish him mercilessly when he made mistakes. By the time he was twelve, he was earning a living for his family by playing  organ  and composing. He was eventually known as the greatest  pianist  of his time. One of Beethoven’s favorite foods was macaroni and cheese. He also loved strong coffee – exactly 60 coffee beans to one cup.

Beethoven never married even though he proposed to plenty of women who rejected him (he wasn’t very attractive and he had a rather nasty temper). Yet in spite of his unpleasant personality, Beethoven is best defined by his music.

His first two symphonies are very much in the same style and form as those of composers that came before him, most notably  Franz Joseph Haydn , his teacher. But Beethoven’s writing–as seen in his third symphony–had developed beyond that of his teacher. Named  Eroica , his Third Symphony was so different from the ones that had come before that it changed music forever. Its originality and innovation even inspired others to change the way that they composed. It was originally dedicated to Napoleon Bonaparte. But when Beethoven heard that Napoleon had proclaimed himself Emperor, he went into a rage and destroyed the title page.

Although Beethoven gradually lost his hearing, he continued composing.  He composed many of the most famous musical works of all time, such as his Ninth Symphony, after he had become totally deaf.

Ludwig van Beethoven

December 17, 1770 - Bonn (Germany) — March 26, 1827 - Vienna (Austria)

Ludwig van Beethoven, known throughout the world for the Hymn to Joy of his ninth symphony, is one of the greatest composers in musical history. Despite spending his early years in poverty and pain with a drunkard for a father, Beethoven received a solid musical education, particularly in Vienna with Haydn and Salieri.

A brilliant pianist and great improviser, Liszt fervently admired the composer whose work he divided into two distinct periods, “one where traditional form still dominates his thought and the other where his thought determines, recreates and shapes the form”. As early as 1798, Ludwig van Beethoven understood that his faculties were diminishing as the first signs of deafness appeared, which led him to attempt suicide in 1802. However, the energy and ardent desire to love won him over and the composer used his time for composition leaving masterpieces for humanity, which emerged from the light of silence. Beethoven’s work aims for communion and hope and hails the beauties of the world.

Ludwig van Beethoven's legacy

A solitary giant and misanthropist, Ludwig van Beethoven's work prolonged the balance of classicism and opens up the abysses of Romanticism. He was able to forge a new musical language, between tradition and modernity. René Leibowitz evoked, “a composer of the greatest inspiration, and what’s more, a musician racked by a visible obsession with an ideal of form and structure constantly pushed to the very limits of what the human mind is capable of apprehending, grasping and forming”. His influence would determine Liszt, Hector Berlioz , Robert Schumann and Johannes Brahms who venerated him.

Key moments in Ludwig van Beethoven's life

Born in Bonn, second child of Maria Magdalena (née Keverich) and Johann van Beethoven.

Several generations of musical background.

Mozart premieres Mitridate re di ponto .

Beethoven's house of birth, Bonn

First music education by his father Johann, tenor and music teacher, who, inspired by the memory of the Mozart siblings’ success story as travelling prodigies, tries to follow in their steps and prepares a tour where he presents Beethoven as being younger, in order to further fit the narrative of a child prodigy à la Handel-Haydn-Mozart.  

First public concert in Bonn, Germany (“Various keyboard concertos and trios”), but doesn't establish himself as a child prodigy. 

Stops formal education at elementary school in order to go on tour in The Netherlands. The tour is appreciated but not the expected success.

Johann, alcoholic, unable to properly manage the education and upbringing of Beethoven, ultimately places him under the musical instruction of composer and court organist Christian Gottlob Neefe .

Neefe introduces Beethoven to Bach ’s Well-Tempered Clavier.

Beethoven on Neefe :

" I thank you for the advice that you have very often given me about how to make progress in my divine art. Should I ever become a great man, you too will have a share in my success. "

First published work "9 Variations for the keyboard on a march by Dressler.”

First printed notice of Beethoven, by Neefe: “ Youthful genius… would surely become a second Wolfgang Amadeus Mozart if he were to continue as he has begun. ”

Publishes first three piano sonatas “Three Piano Sonatas, WoO 47” dedicated to Maximilian Friedrich, Prince-Elector of Cologne

First trip to Vienna, sponsored by Count Ferdinand Ernst Gabriel von Waldstein , introduced by Neefe, with the intention of meeting with Mozart and studying with him.

Meeting with Mozart is positive but ultimately unsuccessful.

Returns to Bonn to visit his mother, who dies during the summer.

Death of Leopold Mozart.

Death of Gluck .

Mozart premieres Don Giovanni in Prague.

Count Waldstein

French troops invade the Rhineland one month before Beethoven moves to Vienna to study with Haydn under the patronage of Count Waldstein who famously wished “You shall receive Mozart’s spirit from Haydn’s hands.”

Also studies counterpoint with Albrechtsberger and Italian vocal style with Salieri .

Johan van Beethoven dies in December.

Birth of Rossini .

Haydn premieres Symphony No. 94 “Surprise”

French troops in 19th century Vienna

Haydn leaves Vienna for London (second trip), without Beethoven.

Beethoven moves in with Prince Lichnowsky , to whom he dedicates his first published work with an opus number “ Three piano trios, op. 1 ” (1795).

Premieres first two concertos for piano and orchestra: Piano Concerto in B-flat (published in 1800 as No. 2, with opus number 19) and Piano Concerto in C (published in 1800 as No. 1, with opus number 15). These were composed with the intention of creating a name for himself in Vienna as a virtuoso pianist and composer; they are very similar to Mozart’s late concertos, both in structure and style, particularly Piano Concerto No. 26 also known as “Coronation concerto”.

Publication of first piano sonatas with an opus number “ Three piano sonatas, op. 2 ”, dedicated to Haydn .

Publication of “ Two cello sonatas, op. 5 ” after having met French cellist Jean-Pierre Duport the previous year.

Birth of Donizetti .

Premiere of Cherubini ’s Médée .

Publication of Piano Sonata No. 8 in C minor, Op. 13 “Pathétique” , dedicated to Prince Lichnowsky . One of the most beloved and popular pieces for piano, since its premiere. It is striking both because of the dramatic mood linked to the tonality and the ingenious thematic recalls throughout its three movements. Beethoven seems to have used Mozart’s sonata in the same tonality, No. 14, as a main source of inspiration.

Beethoven premieres the Septet in E-flat major for winds and strings, op. 20 and Symphony No.1 in C major op. 21 at the same concert in Vienna’s Burgtheater, with one of the attendees, none other than the Holy Roman Emperor Francis II, reportedly saying “There is something revolutionary in that music!.” Both works are heavily influenced by Mozart and Haydn’s own serenades and symphonies, on which he expands. Their popularity during Beethoven’s lifetime allowed him to also introduce and market himself as a forward-looking symphonic composer.

Publishes Piano Sonata No. 14 in C sharp Minor, op. 27 No. 2, "Moonlight" , dedicated to pupil Countess Giulietta Guicciardi. Beethoven titled both sonatas present in op. 27 Sonata quasi una fantasia ("sonata in the manner of a fantasy") which explains, especially regarding Moonlight , the innovative trajectory of the work, in three movements and with only the last one being truly fast. In spite of this novelty that rejects the conventional movement arrangement of the sonata form in the Classical period, the work was popular during Beethoven’s lifetime and continues to be one of the most known and beloved sonatas by the composer.

Premieres Symphony No. 2 in D major, op. 36 and Piano Concerto No. 3 in C minor, op. 37 with himself at the piano. The symphony, although of classical tradition, hints at the later characteristic “heroic” style of the composer with its fiery allegro and a scherzo taking the place of the traditional minuet. The concerto, reminiscent of Mozart’s 24th in the same tonality, is a virtuoso show-piece brimming with gravitas.

The Sonata for Violin and Piano No. 9 in A Major, op. 47 "Kreutzer Sonata" has a successful public premiere in Vienna (published later in 1805), with Beethoven at the piano and the original dedicatee, British violinist George Bridgetower on the violin. After a dispute, Beethoven decided to change the dedication to French violinist Rodolphe Kreutzer , considered the greatest at the time, and to whom we owe the colloquial name of the work "Kreutzer Sonata" . Curiously, the violin virtuoso never played the sonata which he considered "outrageously unintelligible". The sonata has an unusual length and is indeed one of the most demanding and virtuosic ever published, for both technical and emotional reasons. Moreover, the work makes a daring statement regarding the concept of democracy in chamber music, with a first movement that begins with a soft-spoken declamatory instrumental symmetry that represents equality.

Birth of Berlioz .

Completes Piano Sonata No. 21 in C Major, op. 53 "Waldstein" , dedicated to Count Waldstein . It surpasses all previous sonatas in its scope and technical difficulty, with an elaborate figuration, original pedal effects, astonishing use of trills and overall pianistic virtuosity. 

Premiere of Symphony No. 3 in E-flat  major, op. 55 “Eroica” and Fidelio (German opera).

Fidelio is the only opera composed by Beethoven and a German-language favorite, it is Mozartian in style and highly dramatic in its moral theme and symphonic scope. It tells the story of Leonore who goes to great lengths to rescue her unjustly imprisoned husband. Beethoven wrote no less than 5 overtures for the work. This grand Beethovenian overture is one of the precursors of the symphonic poem.

The Eroica symphony, considered a grand example of the aesthetic transition from Classicism to Romanticism , is of great importance in the history of music for a multitude of reasons. It is longer than the previous two and also longer than any symphony by Haydn or Mozart . The emotional range is grand and varied, all within a military subject matter. Perhaps the most controversial and famous aspect of this paramount composition is the intention behind its creation and the original dedication. Beethoven gave the work a title “Bonaparte”, for he admired the life and deeds of Napoléon Bonaparte , the First Consul who in his eyes embodied the democratic ideals of the French Revolution. He withdrew the dedication in a fit of rage and disappointment when he learned that Bonaparte had declared himself Emperor. The work was ultimately published in Italian with the title "Heroic Symphony, composed to celebrate the memory of a great man."

Bonaparte at the Pont d'Arcole by Gros

Composes Three String Quartets op. 59 “Razumovsky” after receiving a commission from the Russian Ambassador in Vienna, Count Andreas Razumovsky .

Beethoven is still attached to the 4-movement tradition for quartets, but greatly expands their musical content, technical difficulty and especially their emotional range. Highly esteemed today, they left their original public astonished and the interpreters upset because of the novelty and difficulty.

The least negative critique they received when publicly premiered said:

"Three new, very long and difficult Beethoven string quartets … are attracting the attention of all connoisseurs. The conception is profound and the construction excellent, but they are not easily comprehended."

Premieres Violin concerto in D major, op. 61 , unsuccessfully. It immediately fell into obscurity until it was revived in 1844 by Mendelssohn conducting the London Philharmonic Society, with 12-year-old violin prodigy Joseph Joachim as soloist. It is now one of the best known and most regularly performed violin concertos.

Publishes Piano Sonata No. 23 in F minor, op. 57 “Appassionata”  dedicated to Count Franz von Brunswick. One of the greatest, most iconic and technically challenging piano sonatas in the whole repertoire, it is also a beloved piece by performers and public alike. The colloquial nickname refers to the intense agitated character of the work, and does find its origin in the autograph manuscript which says "La Passionata" on the cover. Beethoven’s unpaid secretary Anton Schindler once asked the composer the meaning behind the sonata, and the famous answer he got was: “Read Shakespeare’s The Tempest !.”

Premieres Concerto for Violin, Cello, and Piano in C major, op. 56, “Triple Concerto” (published in 1804).

Premieres Symphony No. 5 in C minor, op. 67 and Symphony No.6 in F major, op. 68  along Piano Concerto No. 4 in G major, op. 58 and the Fantasy for Piano, Choir and Orchestra in C minor, op. 80, "Choral Fantasy" .

The Triple Concerto, a novel show-piece, premiered in a summer concert and was well received, especially in regards to the two string soloists, who have the most virtuoso, pyrotechnic writing. The later marathon concert (which lasted over 4 hours) saw the public premieres of four masterpieces and is in itself an iconic moment in the history of music. It took place during winter in the famous Theater an der Wien and wasn’t a success for several reasons, including the cold temperature inside the theater and a lack of preparation by the orchestra.

The Fifth symphony with its iconic four-note initial motif, often called the “fate” motif, further expands on the heroic subject matter of the Third. Romantic German author E.T.A Hoffmann wrote a very poetic essay titled “Beethoven’s instrumental music” which included a highly dramatic positive review of the symphony (“indescribably profound, magnificent symphony”). This greatly participated in the development of the Beethoven myth: an unavoidable romantic narrative of struggle and transcendence that presents Beethoven as a morally superior introspective individual with a character as strong as his music, and whose music is solely the expression of feelings of pain and suffering…

The Sixth symphony is a formidable example of a program symphony, with specific and explicit extra-musical inspiration. Here Beethoven brilliantly gives his varied impressions of nature a symphonic expression.

The Forth piano concerto was favorably received after its public premiere, but curiously fell into obscurity until it was revived by Felix Mendelssohn in 1836. It is considered today to be one of the best in the whole repertoire and it is also one of the most performed globally. Here, Beethoven not only expands the limits of the classical piano concerto form, with a complex dialogue between the piano and the orchestra, but also introduces one particular innovation: for the first time, the piano soloist starts the work and introduces the main theme of the first movement without the orchestra. It is known to be Martha Argerich ’s favorite piano concerto.

Forte Piano by Jakob Pfister, Würzburg

Public premiere of Piano Concerto No. 5 in E-flat Major, Op. 73 "Emperor" , dedicated to Archduke Rudolf, patron, friend and pupil of Beethoven. Unlike the previous concerto, Beethoven was unable to perform his own work at the premiere, because of his encroaching deafness. The concerto, in the same tonality as the Eroica symphony, is a pinnacle of Beethoven’s pianistic virtuosity, with a majestic character and an abundance of rhythmic figures evocative of the military style.

Birth of Franz Liszt .

Rudolf von Österreich by Johann Baptist von Lampi

Beethoven meets Goethe , while at the Bohemian town of Teplitz where he went a second time for a cure at the spa, as advised by his doctor. The impression of the polymath and poet on the composer is immortalized in correspondence: " His talent amazed me; unfortunately he is an utterly untamed personality, who is not altogether wrong in holding the world to be detestable, but surely does not make it any more enjoyable ... by his attitude. "

Premiere of Symphony No. 7 in A Major, op. 92 , at a charity concert in Vienna, with Beethoven conducting. Composed while he was in Teplitz and dedicated to Count Moritz von Fries, patron of the arts, its premiere was a public success and Beethoven himself was quite pleased with it. The now famous second movement Allegretto had to be encored immediately after performed, for the audience was filled with rapture and demanded it. It is a staple work in the symphonic repertoire and one of the most performed Beethoven symphonies, after the 5th and the 9th.  Composer Richard Wagner is one of its admirers in the 19th century and famously called it the "apotheosis of dance", thanks to the astonishing use of rhythmic devices evocative of dance.

Birth of Richard Wagner .

Premiere of Symphony No. 8 in F Major, op. 93 in Vienna, less than three months after the premiere of the 7th, with Beethoven conducting still. It is, unlike many of his works, without dedication. Also appreciated by Wagner , it is written in a manner highly reminiscent of Haydn and Mozart . This aspect makes it often pale in comparison to the surrounding 7th and 9th, the more “heroic” 3rd and 5th and the larger and more descriptive 6th (in the same tonality). Since Beethoven was effectively bringing forth a transformation of the symphonic tradition of the sublime and the digni?ed towards the monumental and the dramatic, the more lighthearted 8th seems peculiar. However, the factors of wit and surprise taken into consideration explain both the nod to Haydn as much as the work’s own deserving place in Beethoven’s output. While Beethoven did fondly refer to it as "my little Symphony in F", he also considered the 8th to be much better than the 7th.

Last public appearance as pianist.

Publishes Sonata for Violin and Piano No. 10 in G Major, op. 96 , dedicated to Archduke Rudolf, who played the piano part at the public premiere in 1813, with French violinist Pierre Rode. The last sonata composed by Beethoven for piano and violin, it is a charming and seemingly innocent forward-looking chamber music piece, with an elusive language and intimate musical texture. It is also peculiar in that it questions the general idea of Beethoven’s “three periods”, for it displays different aspects of the arbitrary boundary between the middle and late period. Beethoven himself refused to adhere to this concept during his lifetime and his musical output in itself proves the superficiality of the categorization (with a possible exception regarding the string quartets), it is only after his death that early biographers and music publishers constructed and popularized the narrative of three periods.

Rossini premieres The Barber of Seville in Rome.

Publication and premiere of Piano Sonata No. 28 in A Major, op. 101 , dedicated to pianist Baroness Dorothea Ertmann. Ertmann was one of the first pianists who became known specifically for her interpretations of Beethoven. This sonata, a highly intimate work, is the first of the last 5 piano sonatas of Beethoven and the very first time he used the German name for the pianoforte in the title Hammerklavier . These late works for the piano solo are of the most technically and psychologically challenging of the whole repertoire.

Rossini premieres La Cenerentola in Rome.

Publishes Piano Sonata No. 29 in B-flat Major, op. 106, "Hammerklavier" , Beethoven's most difficult piano work and the only of the late sonatas to revisit the four-movement plan characteristic of the earlier sonatas. 

Beethoven described it as “a sonata that will keep pianists busy when it is played 50 years hence”– an accurate prediction, since apart from Franz Liszt , Clara Wieck-Schumann and Hans von Bülow , few pianists tackled the immense musical, intellectual and psychological challenges of this great sonata before the last decades of the nineteenth century.

Birth of Jacques Offenbach, Clara Wieck-Schumann and Franz von Suppé .

Franz Liszt

Meets Rossini  and Franz  Schubert in Vienna.

Publishes the cantata Meeresstille und glückliche Fahrt op. 112 on Goethe’s poem and sends a copy of it with a letter to the poet;

“ The admiration, the love and esteem which already in my youth I cherished for the one and only immortal Goethe have persisted. ”

Goethe does not reply.

Prince Nikolaus Galitzin from St. Petersburg commissions three string quartets.

Franz Schubert by Wilhelm August Rieder

Publishes  33 Variations in C Major on a Waltz by Diabelli, op. 120 , Beethoven's greatest variations set and a pinnacle of pianistic virtuosity, praised by Hans von Bülow as a “microcosm of Beethoven’s genius” and by Alfred Brendel as “the greatest of all piano works.”

Meets with Liszt .

Beethoven by Ferdinand Georg Waldmuller

Premieres Missa Solemnis , op. 123 , dedicated to Archduke Rudolf of Austria , it is considered one of Beethoven's supreme symphonic achievements.

Beethoven on Missa Solemnis :

" my primary goal in composing this grand Mass was to awaken and permanently instill religious feelings in both the singers and listeners. "

Premieres  Symphony No. 9 in D Minor, op. 125 , dedicated to the King of Prussia, Frederick William III. It is a choral symphony with text adapted from Schiller 's poem Ode to Joy  and the first example of a major composer using voices in a symphony. Admired all over the world and widely considered Beethoven's greatest work, it is also one of the most known and performed symphonies. It made an influence in many composers of the late Romantic period and continues to inspire artists and audiences today.

Birth of Anton Bruckner , Bedrich Smetana .

Beethoven by Joseph Karl Stieler

Suffers continuous worseing illnesses. Works on the last string quartets and canons. 

Death of Carl Maria von Weber .

Publication of  String Quartets opp. 131 , 132 , 135 , and Grosse Fuge op. 133 .

26 march: Death of Beethoven at the age of 56.

29 march: large public funeral service in Vienna, with Franz Schubert among the torchbearers. 

Beethoven's funeral

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Critic’s Notebook

Beethoven’s 250th Birthday: His Greatness Is in the Details

Brahms, Wagner, even Sondheim: All have followed the great master in building their works from small bits of music.

By Anthony Tommasini

The classical music industry had planned to go all out commemorating Beethoven’s 250th anniversary this year, culminating in his birthday this week. As it happens, the precise date of his birth is uncertain. Records indicate that he was baptized in Bonn, Germany, on Dec. 17, 1770. Since it was customary then to carry out that ritual within 24 hours of a birth, it’s been assumed he was born on Dec. 16 — but we don’t know for sure.

Performances were scheduled throughout the year and around the world. The Boston Symphony Orchestra planned to open its season this fall with a cycle of the nine symphonies. The Barbican Center in London was presenting a yearlong festival. Carnegie Hall said it would devote roughly a fifth of its 2019-20 season to his music.

But when the pandemic hit, Beethoven’s birthday party was largely canceled, along with the rest of the global performing arts calendar.

Have no fear, though: He’s doing just fine. As Carnegie’s promotional materials put it, Beethoven “rouses our spirits, moves us to tears, and inspires our most profound thoughts”; he is “without challenge the face of Western classical music.” Whew. Indeed, I was impressed that the New York Philharmonic chose mostly to ignore the anniversary. Instead, this February the orchestra began Project 19 , commemorating the centennial of the 19th Amendment by commissioning works by 19 female composers. Here was an important venture that would honor the heritage that Beethoven epitomizes by bringing it into the present and empowering fresh voices.

Beethoven’s dominance of classical programming is a little crazy. Yet he was indisputably amazing. He cultivated the mystique of the composer as colossus, as a seer and hero striding the earth, channeling messages from on high and revealing them to us mere mortals.

In person, he may not have advanced this image. Unkempt and ornery, he had delusions about having royal blood, kept falling for women of the upper ranks in Vienna who were unattainable matches, and, in a pathetic attempt at having a family, spent years in court fighting to gain custody of his nephew from the boy’s widowed mother, whom he considered morally unfit. (He succeeded, with predictably fraught results.)

Yet perhaps his odd appearance and manner, as well as his valiant struggle with deafness, actually contributed to the spell he cast. And whatever his personality, his music does seem to define grandeur and heroism.

What do we hear in the film “The King’s Speech” when George VI of England addresses his subjects at the start of World War II? The slow movement of Beethoven’s Seventh Symphony — music that sounds like a solemn, steadily determined march.

Still, there is a long tradition of debunking the heroic trappings of Beethoven’s works. In a 1945 review of George Szell conducting the New York Philharmonic in Beethoven’s Fifth Symphony, Virgil Thomson acknowledges the history of hearing the piece as expressing victory, fate, the hope of conquered nations to resist tyranny, and the like. Sure enough, he writes, Szell conducted a “thoroughly demagogic and militarized version of it.” But not to worry: “The piece will recover from its present military service just as easily as it has from its past metaphysical and political associations.”

Yes, Beethoven wrote heroic pieces. But those scores are often filled out with audacious flights. And he wrote just as many brazenly humorous, even hilarious works, like the Presto finale of his early Piano Sonata No. 6 in F, which could be the score for a slapstick silent film.

Even the finale of the “Eroica” Symphony, for all its Promethean energy, is boisterous and full of musical jokes. Beethoven takes a kind of comic tune and puts it through a series of improbable yet triumphant variations. Yet all these works, whether riotous, near-crazed, strangely mystical or sublime, somehow embody greatness and come across as inevitable, as if the music simply must be the way it is. Why?

It’s all in the details. Beethoven was a master — maybe the ultimate master — of the technique of using small motifs (a few notes, a melodic fragment, a rhythmic gesture) to generate an entire movement, even an entire composition. This is something he learned in part from Haydn during the time he spent with the older master in Vienna, as well as from studying and copying out Haydn’s scores, which he continued to do for years.

But Beethoven took the technique to a new level of sophistication. Concertgoers may not consciously pick up all the recurrences and manipulations of motifs in a Beethoven piece. Still, those interrelated elements come through subliminally, even for those not trained in music. That’s why a wild romp, like the frenetic, dancing final movement of the Seventh Symphony, also seems a cohesive, coherent entity, a truly great piece.

Achieving motivic coherence in his scores was not easy for Beethoven to pull off. Leonard Bernstein made a few attempts to explain this in his televised lectures, including once in a famous 1954 Omnibus program on Beethoven’s Fifth Symphony, when he examined how the opening four notes — the so-called “fate” motif — are used like a “springboard for the symphonic continuity to come.”

Then, at the piano and with an orchestra, Bernstein performed passages reconstructed from sketches Beethoven had discarded; he wanted to show how ineffective some of these rejects were — until Beethoven got it right. Bernstein dug deeper into Beethoven’s procedures during one of his 1973 Norton Lectures (broadcast in 1976), when he took apart the first movement of the “Pastoral” Symphony. He asked the audience to get rid of all its notions that the piece is about “birds and brooks and rustic pleasures,” and proceeded to reveal how the whole movement is constructed out of materials contained in just the first four measures.

Composers after Beethoven were powerfully influenced by this technique, and not just Brahms and Mahler in their symphonies. Wagner adapted Beethoven’s approach in his operas, using “leitmotifs” to organize works that lasted hours. Puccini had his own version of the procedure.

Stephen Sondheim, fresh from college, studied the scores of Beethoven quartets, among other works, during private lessons with the 12-tone composer Milton Babbitt. The most important thing he learned from these lessons, Mr. Sondheim told me in an interview many years ago, was the principle of “long-lined composition.”

“How do you organize materials to last for three minutes, 15 minutes, 33 minutes?” he said. “This turned out to be very useful when I started writing long songs and scenes, like ‘Someone in a Tree’ [in ‘Pacific Overtures’] and the opening of Act II in ‘Sweeney Todd.’”

In “Merrily We Roll Along,” the songs are “interconnected through chunks of melody, rhythm and accompaniment,” Mr. Sondheim wrote in the liner notes for the original cast recording. Surely that’s the way Beethoven would have written a score for a Broadway musical.

Even today I’ll often read, for example, a composer’s program note explaining that a new chamber music piece written in a single 15-minute movement and an essentially atonal language is based on a five-note motif. Beethoven would approve.

In his late period, Beethoven entered a sphere that seemed almost mystical, and considered himself not just a composer but also a “Tondichter” (“tone poet”). Yet even when exploring new realms of structure and sound, Beethoven generated these late scores from small motifs. Wagner studied the seven-movement Op. 131 String Quartet obsessively, seeing in it a model for ways to structure a music drama.

It is telling that the last concert I heard before the pandemic closed theaters worldwide was at Carnegie Hall on March 8, when the violinist Leonidas Kavakos, the cellist Yo-Yo Ma and the pianist Emanuel Ax played, yes, Beethoven, ending with the majestic and awesome, searching and impetuous “Archduke” Trio. Even if Beethoven’s big birthday has not been what we expected, that superb performance of his trio, just before everything stopped, has kept coming back to me, a lasting party.

Anthony Tommasini is the chief classical music critic. He writes about orchestras, opera and diverse styles of contemporary music, and he reports regularly from major international festivals. A pianist, he holds a Doctorate of Musical Arts from Boston University. More about Anthony Tommasini

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Beethoven: A Life in Nine Pieces by Laura Tunbridge – review

The author lets the music do the talking in this pithy new biography, which uses the composer’s works to shed new light on his life

A book about the most famous composer in the western canon, a “dead white male” at that, isn’t an obvious place to look for insights into our current plight. Yet from the opening paragraph, Laura Tunbridge’s short, illuminating study of Beethoven (1770-1827), published to coincide with the 250th anniversary of his birth, casts a loose net across the centuries and deftly gathers in the connections. Not that she could have known quite how pertinent her starting point would be. Beethoven: A Life in Nine Pieces opens with a prolonged campaign, begun soon after his death and lasting nearly two decades, for a monument to the composer to be built in his birth city, Bonn. If our current preoccupation is more about knocking down than erecting, this statuary episode reminds us of our compulsion to honour, in lifelike replica or exhaustive biography, those we celebrate.

How can anyone say anything new about a composer who ranks alongside Shakespeare and Dante? Beethoven biographies have poured forth steadily since his death: from Johann Aloys Schlosser’s in 1827, to key works by Alexander Wheelock Thayer (three volumes, published 1866-79), Maynard Solomon and, most recently, and massively, Jan Swafford. If you can’t add musicological novelty, fiction could be the answer. Paul Griffiths (former music critic of the New Yorker ) and Jessica Duchen (the Independent critic, and a blogger) have produced novels to coincide with the inevitably thwarted anniversary: Griffiths’s Mr Beethoven (Unbound), with a formidable display of fantasy scholarship, depicts him living in and travelling to America. Duchen’s Immortal (Unbound) explores the enduring mystery of Beethoven’s unidentified “immortal beloved”, if she existed at all.

Tunbridge’s pithy A Life in Nine Pieces is different and welcome: a biography presented through the focus of nine different compositions, each casting light on aspects of Beethoven’s life, character and, given equal and readily comprehensible attention, the music. Her choices span early to late repertoire: from one of his first successes in Vienna, the Septet, to the Grosse Fuge, via Symphony No 3 “Eroica ” , the opera Fidelio , and the Missa Solemnis. Tunbridge, an Oxford professor here publishing her first non-academic book, writes clearly, explaining technical terms on the go and with ease: never an easy combination.

More interested in reality than myth – with Beethoven, there’s rather too much of it about – she is particularly sharp-eyed, and refreshing, on the practicalities that shape any artist’s life. How to make a living is a priority. “Reference is made throughout this book to the sums Beethoven earned,” reads the first introductory note. “He was strapped for cash,” she observes baldly, in those or similar words, more than once. How to find a venue, how to get a score published, how many rehearsals can be squeezed in (usually only one, leading to some disastrous premieres), how much tickets should cost, how to wheedle rich sponsors into donating, how to deal with the uncomfortable business of self-promotion: all make the difference between food on the table or hunger, performance or silence. Ask any composer working today. The issues have not changed.

Beethoven lived in some 60 different apartments in Vienna, at times maintaining more than one at once. From within the walls of these various stuffy, messy, less than hygienic dwellings, the world variously circled by or pressed in. Complaints from the neighbours about noise, musical or verbal – he was famous for having explosive arguments with his servants – may in part explain his peripatetic habit. At times the intrusion came from the political situation. He grumbled that the Napoleonic invasion of Vienna, with its “drums, cannons and human misery”, had put a stop to his singing parties with friends. Since at least one of these gatherings involved performing Handel’s oratorio Messiah – perhaps in Mozart’s version? – you can see why he objected. Public and political, private and domestic, are held deftly in balance.

In 288 pages, Tunbridge gives us detail enough to create a rounded portrait. She challenges, by example rather than theory, the presumption that Beethoven was curmudgeonly, friendless, loveless. Eccentric, yes, and with a canny knack at getting the best deals for his work, but a sympathetic figure too, frustrated by his ever-growing deafness. Her sensitive handling of Beethoven’s ongoing legal battle for custody of his nephew, Karl, and the pleas of Karl’s distressed mother for access, raises many questions. What generosity or need in Beethoven made him want to adopt the boy in the first place? What lack of humanity put him at war with an evidently loving, if low-born, mother? If these emotional trials caused some creative hiatus around that time, we should hardly be surprised. Yet out of this chaos he would write one of his most majestic and complex works, the piano sonata Op 106, “Hammerklavier” (1817-18).

Genius is too often treated as a rarefied commodity. Tunbridge places it, robustly and unflinchingly, at the centre of a hard-working life. She makes us marvel at Beethoven all the more. Her book closes in the summer of 2019, back in Bonn with an art installation called Ode to Joy – a reference to the famous last movement of his Ninth Symphony – in which 700 waist-high, coloured statues of Beethoven were installed in one of the main squares. What a field day for iconoclasts, should they find fault in this grandly humanitarian and all too human hero.

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Immortal Beloved

The life and death of the legendary Ludwig van Beethoven. Besides all the work he is known for, the composer once wrote a famous love letter to a nameless beloved, and the movie tries to fin... Read all The life and death of the legendary Ludwig van Beethoven. Besides all the work he is known for, the composer once wrote a famous love letter to a nameless beloved, and the movie tries to find out who this beloved was--not easy, as Beethoven has had many women in his life. The life and death of the legendary Ludwig van Beethoven. Besides all the work he is known for, the composer once wrote a famous love letter to a nameless beloved, and the movie tries to find out who this beloved was--not easy, as Beethoven has had many women in his life.

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• Trivia Gary Oldman actually played all of the Beethoven pieces he performed in the film. A different musician performed in the official soundtrack. When Oldman learned he would be playing the lead role, he spent six weeks practicing on a Steinway piano for six hours a day in his hotel, and completely immersed himself in the music as his research for the character. In an interview with the South Bank show in 1997, Oldman quoted an article that said "he mimes very well" in the film. He then laughed and said "I'm playing it! I can play that!"
• Goofs At his first public recital, Ludwig was eight years-old (some sources report seven) and his father announced him as six, yet the movie conveys, via voiceover, that Ludwig was "12 and his father told the court he was nine".

Ludwig van Beethoven : [in reference to "Violin Sonata in A Major, Op. 47" - "Kreutzer"...] Do you like it?

Anton Felix Schindler : Shh!

Ludwig van Beethoven : I cannot hear them, but I know they are making a hash of it. What do you think? Music is... a dreadful thing. What is it? I don't understand it. What does it mean?

Anton Felix Schindler : It - it exalts the soul.

Ludwig van Beethoven : Utter nonsense. If you hear a marching band, is your soul exalted? No, you march. If you hear a waltz, you dance. If you hear a mass, you take communion. It is the power of music to carry one directly into the mental state of the composer. The listener has no choice. It is like hypnotism. So, now... What was in my mind when I wrote this? Hmm? A man is trying to reach his lover. His carriage has broken down in the rain. The wheels stuck in the mud. She will only wait so long. This... is the sound of his agitation. "This is how it is... ," the music is saying. "Not how you are used to being. Not how you are used to thinking. But like this."

• Connections Featured in Siskel & Ebert: Disclosure/Drop Zone/Nell/The Last Buffalo/Into the Deep/Immortal Beloved (1994)
• Soundtracks Missa Solemnis in D Major, Op. 123 Written by Ludwig van Beethoven Performed by London Symphony Orchestra Conducted by Georg Solti (as Sir Georg Solti) Performed by Renée Fleming soprano - Ann Murray alto - Vinson Cole tenor - Bryn Terfel bass with London Voices Chorus master: Terry Edwards

User reviews 149

• Feb 1, 2005
• How long is Immortal Beloved? Powered by Alexa
• January 27, 1995 (United States)
• United Kingdom
• United States
• Tình Yêu Bất Hủ
• Zentralfriedhof, Vienna, Austria
• Icon Entertainment International
• Icon Productions
• Majestic Films International
• See more company credits at IMDbPro
• Dec 18, 1994

Technical specs

• Runtime 2 hours 1 minute
• Dolby Digital

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