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The Life of Ludwig Van Beethoven
The rise of Ludwig van Beethoven into the ranks of history's greatest
composers was paralleled by and in some ways a consequence of his own
personal tragedy and despair. Beginning in the late 1790's, the increasing
buzzing and humming in his ears sent Beethoven into a panic, searching for
a cure from doctor to doctor. By October 1802 he had written the
Heiligenstadt Testament confessing the certainty of his growing deafness,
his consequent despair, and suicidal considerations. Yet, despite the
personal tragedy caused by the "infirmity in the one sense which ought to
be more perfect in [him] than in others, a sense which [he] once possessed
in the highest perfection, a perfection such as few in [his] profession
enjoy," it also served as a motivating force in that it challenged him to
try and conquer the fate that was handed him. He would not surrender to
that "jealous demon, my wretched health" before proving to himself and the
world the extent of his skill. Thus, faced with su!ch great impending loss,
Beethoven, keeping faith in his art and ability, states in his
Heiligenstadt Testament a promise of his greatness yet to be proven in the
development of his heroic style.
By about 1800, Beethoven was mastering the Viennese High-Classic style.
Although the style had been first perfected by Mozart, Beethoven did extend
it to some degree. He had unprecedently composed sonatas for the cello
which in combination with the piano opened the era of the Classic-Romantic
cello sonata. In addition, his sonatas for violin and piano became the
cornerstone of the sonata duo repertory. His experimentation with additions
to the standard forms likewise made it apparent that he had reached the
limits of the high-Classic style. Having displayed the extended range of
his piano writing he was also begining to forge a new voice for the violin.
In 1800, Beethoven was additionally combining the sonata form with a full
orchestra in his First Symphony, op. 2. In the arena of piano sonata, he
had also gone beyond the three-movement design of Haydn and Mozart,
applying sometimes the four-movement design reserved for symphonies and
quartets through the addition of a minuet or scherzo. Having confidently
proven the high-Classic phase of his sonata development with the "Grande
Sonate," op. 22, Beethoven moved on to the fantasy sonata to allow himself
freer expression. By 1802, he had evidently succeeded in mastering the
high-Classic style within each of its major instrumental genres-the piano
trio, string trio, string quartet and quintet, Classic piano concerto, duo
sonata, piano sonata, and symphony. Having reached the end of the great
Vienese tradition, he was then faced with either the unchallenging repetion
of the tired style or going beyond it to new creations.
At about the same time that Beethoven had exhausted the potentials of the
high-Classic style, his increasing deafness landed him in a major cycle of
depression, from which was to emerge his heroic period as exemplified in
Symphony No. 3, op. 55 ("Eroica"). In Beethoven's Heiligenstadt Testament
of October 1802, he reveals his malaise that was sending him to the edge of
despair. He speaks of suicide in the same breath as a reluctance to die,
expressing his helplessness against the inevitability of death. Having
searched vainly for a cure, he seems to have lost all hope-"As the leaves
of autumn fall and are withered-so likewise has my hope been blighted-I
leave here-almost as I came-even the high courage-which often inspired me
in the beautiful days of summer-has disappeared." There is somewhat of a
parallel between his personal and professional life. He is at a dead end on
both cases. There seems to be no more that he can do with the high-Classic
style; his deafness seems poised inevitably to encumber and ultimately halt
his musical career. However, despite it all, he reveals in the Testament a
determination, though weak and exhausted, to carry on-"I would have ended
my life-it was only my art that held me back. Ah, it seemed to me
impossible to leave the world until I had brough forth all that I felt was
within me. So I endured this wretched existence..." Realizing his own
potential which he expressed earlier after the completion of the Second
Symphony-"I am only a little satisfied with my previous works"-and in an
1801 letter-"I will seize Fate by the throat; it shall certainly not bend
and crush me completely"- he decides to go on. At a time when Beethoven had
reached the end of the musical challenge of the day, he also faced what
seemed to him the end of hope in his personal life. In his Testament, death
seems imminent-"With joy I hasten to meet death"-but hope and determination,
though weak and unsure, are evident.
In the Heiligenstadt Testament the composer comes to terms with his
deafness and leaves what is beyond his control to what must be, trying to
make a fresh start. It is quite evident that the Testament is filled with a
preoccupation with death-he writes as though death were at his doorstep,
waiting for him to finish his letter-"Farewell...How happy I shall be if I
can still be helpful to you in my grave...With joy I hasten to meet death.
Come when thou wilt, I shall meet thee bravely." He has set his old self-
the almost-deaf, tired, hopeless Ludwig- to rest through the Testament so
that he may rise and live again. Beethoven had stated previously that he
has not yet revealed all of which he is capable. Coming to terms with his
condition, he moves on to "develop all my artistic capacities." This
eventually leads to his heroic period in which Symphony No. 3 in E-flat
("Eroica") composed in 1803 became one of the early principal works. The
work broke from the earlier Vienese high classic style; many older compo
sers and music pedagogues, not able to accept his new style, called it
"fantastic," "hare-brained," "too long, elaborate, incomprehensible, and
much too noisy." In fact the style drew much from contemporary French
music-the driving, ethically exalted, "grand style" elements combined with
the highly ordered yet flexible structure of sonata form.It seems
undeniable then that the Heilingenstadt Testament in which Beethoven came
to terms with and put to rest the incurable tragedy of his growing deafness,
also set forth a determination to prove his skills before death should take
him. This quest coincided with and perhaps led to his graduation from the
Vienese hi-Classic style to the development of his own unique heroic style,
a blend of French and Vienese elements. The "Eroica" can be viewed as a
deliverance of both his life and his career from despair and futility.
Beethoven recreates himself in a new guise, self-sufficient and heroic. The
Testament thus is likened to a funeral work. The composer sets himself up
as the tragic hero-"my heart and soul have been full of the tender feeling
of good will, and I was ever inclined to accomplish great things"-withdrawn
from the company of men, tortured by his growing deafness, tempted with
thoughts of suicide, overcoming despair by the pure strength of faith in
his own music, searching for "but one day of pure joy." In a musical
perspective, the "Eroica" Symphony established a milestone in Beethoven's
development and in music history. His manipulation of sonata form to
embrace the powerful emotions of heroic struggle and tragedy went beyond
Mozart or Haydn's high-Classic style. Beethoven's new path reflected the
turbulence of the developing politics of the day (especially the Napoleonic
Wars), ignited perhaps by the hopelessness he felt in himself. He took
music beyond the Vienese style which ignored the unsettling currents of
Beethoven's terror, anxiety, and death. Indeed he placed tragedy at the
center of his heroic style, symbolizing death, despair, and loss-
paralleling his own sense of loss, pain and strife. But in addition, like
his own triumph over suffering, there is hope, triumph and joy as expressed
in the finale of the "Eroica."
The Heiligenstadt Testament is a prophecy of the greatness to come of
Ludwig van Beethoven. At a time in his life where he had exhausted the
musical possibilities of the Vienese high-Classic tradition and where his
growing deafness foreshadowed a diminishing career, Beethoven seemed to
have come to halt in 1802. His Heiligenstadt Testament of that year
revealed a soul set to despair and futility. At the same time however,
despite the looming impossibility of recovery, his ambition to fully
realize his musical talent set him to establish a new milestone in musical
history-the creation of the heroic style. Symbolizing struggle, the
resistance of morality to suffering, and the triumph over despair, we can
see how the heroism of Beethoven's music reflected his own struggles with
fate and his own triumphs.
ADDITIONAL FEATURED ESSAYS
The Life Of Ludwig Van Beethov
The rise of Ludwig van Beethoven into the ranks of history's greatest composers was parallelled by and in some ways a co
Ludwig Van Beethoven
The rise of into the ranks of history\'s greatest composers was parallelled by and in some ways a consequence of his own
Ludwig Van Beethoven
The rise of into the ranks of history's greatest composers was paralleled by and in some ways a consequence of his own p
Beethoven
, Ludwig van (1770-1827) The composer of some of the most influential pieces of music ever written, Ludwig van created a
Beethoven
Ludwig van was born 1770 in Bonn Germany. His mother was a singer in the service; his father was a court musician that
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