The Life of Ludwig Van Beethoven :: Biographies

The Life of Ludwig Van van van BeethovenThe train of Ludwig van Beethoven into the ranks of historys greatestcomposers was paralleled by and in some slipway a consequence of his ownpersonal tragedy and despair. Beginning in the late 1790s, the increasingbuzzing and humming in his ears sent Beethoven into a panic, searching fora cure from doctor to doctor. By October 1802 he had written theHeiligenstadt Testament confessing the certainty of his growing deafness,his consequent despair, and suicidal considerations. Yet, condescension thepersonal tragedy caused by the infirmity in the one horse comprehend which ought tobe more perfect in him than in others, a sense which he once possessedin the highest perfection, a perfection such as few in his professionenjoy, it also served as a make force in that it challenged him totry and conquer the fate that was handed him. He would not surrender tothat jealous demon, my wretched health before proving to himself and the humankind the extent of his skill. Thus, faced with such great impending loss,Beethoven, keeping faith in his art and ability, states in hisHeiligenstadt Testament a promise of his greatness besides to be proven in thedevelopment of his heroic style.By round 1800, Beethoven was mastering the Viennese High-Classic style.Although the style had been first perfected by Mozart, Beethoven did extendit to some degree. He had unprecedently composed sonatas for the cellowhich in combination with the softly opened the era of the Classic-Romanticcello sonata. In addition, his sonatas for violin and diffuse became thecornerstone of the sonata duo repertory. His experimentation with additionsto the standard forms likewise do it apparent that he had reached thelimits of the high-Classic style. Having displayed the extended range ofhis 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 fullorchestra in his commencement Sym phony, op. 2. In the arena of piano sonata, hehad also gone beyond the three-movement design of Haydn and Mozart,applying sometimes the four-movement design reserved for symphonies andquartets through the addition of a minuet or scherzo. Having confidentlyproven the high-Classic phase of his sonata development with the GrandeSonate, op. 22, Beethoven locomote on to the fantasy sonata to allow himselffreer expression. By 1802, he had evidently succeeded in mastering thehigh-Classic style within each of its major instrumental genres-the pianotrio, string trio, string quartet and quintet, Classic piano concerto, duosonata, piano sonata, and symphony. Having reached the end of the great