What was Beethoven like? Why Beethoven was a strong personality

Ludwig Beethoven was born in 1770 in the German town of Bonn. In a house with three rooms in the attic. In one of the rooms with a narrow dormer window that let in almost no light, his mother, his kind, gentle, meek mother, whom he adored, often bustled about. She died of consumption when Ludwig was barely 16, and her death was the first major shock in his life. But always, when he remembered his mother, his soul was filled with a gentle warm light, as if the hands of an angel had touched it. "You were so good to me, so worthy of love, you were my most best friend! ABOUT! Who was happier than me when I could still pronounce the sweet name - mother, and it was heard! To whom can I tell it now? .. "

Ludwig's father, a poor court musician, played the violin and harpsichord and had a very beautiful voice, but suffered from conceit and, intoxicated by easy successes, disappeared in taverns, led a very scandalous life. Having discovered musical abilities in his son, he set out to make him a virtuoso, a second Mozart, at all costs, in order to solve the material problems of the family. He forced the five-year-old Ludwig to repeat boring exercises for five or six hours a day, and often, having come home drunk, woke him up even at night and half-asleep, crying, sat him at the harpsichord. But in spite of everything, Ludwig loved his father, loved and pitied him.

When the boy was twelve years old, a very an important event- it must be fate itself sent Christian Gottlieb Nefe, court organist, composer, conductor, to Bonn. This outstanding man, one of the most advanced and educated people of that time, immediately guessed in the boy brilliant musician and began to teach him for free. Nefe introduced Ludwig to the works of the greats: Bach, Handel, Haydn, Mozart. He called himself "an enemy of ceremonial and etiquette" and "a hater of flatterers", these traits were later clearly manifested in Beethoven's character.

During frequent walks, the boy eagerly absorbed the words of the teacher, who recited the works of Goethe and Schiller, talked about Voltaire, Rousseau, Montesquieu, about the ideas of freedom, equality, fraternity that freedom-loving France lived at that time. Beethoven carried the ideas and thoughts of his teacher through his whole life: “Gifting is not everything, it can die if a person does not have diabolical perseverance. If you fail, start again. Fail a hundred times, start again a hundred times. Man can overcome any obstacle. Giving and a pinch is enough, but perseverance needs an ocean. And in addition to talent and perseverance, self-confidence is also needed, but not pride. God bless you from her."

Many years later, Ludwig will thank Nefe in a letter for the wise advice that helped him in studying music, this “divine art”. To which he modestly answers: "Ludwig Beethoven himself was Ludwig Beethoven's teacher."

Ludwig dreamed of going to Vienna to meet Mozart, whose music he idolized. At 16, his dream came true. However, Mozart reacted to the young man with distrust, deciding that he performed a piece for him, well learned. Then Ludwig asked to give him a theme for free fantasy. He had never improvised with such inspiration! Mozart was amazed. He exclaimed, turning to his friends: “Pay attention to this young man, he will make the whole world talk about him!” Unfortunately, they never met again. Ludwig was forced to return to Bonn, to his dearly beloved sick mother, and when he later returned to Vienna, Mozart was no longer alive.

Soon, Beethoven's father completely drank himself, and the 17-year-old boy was left to take care of his two younger brothers. Fortunately, fate extended a helping hand to him: he had friends from whom he found support and comfort - Elena von Breuning replaced Ludwig's mother, and brother and sister Eleanor and Stefan became his first friends. Only in their house did he feel at ease. It was here that Ludwig learned to appreciate people and respect human dignity. Here he learned and fell in love for life epic heroes"Odyssey" and "Iliad", the heroes of Shakespeare and Plutarch. Here he met Wegeler, the future husband of Eleanor Braining, who became his best friend, a friend for life.

In 1789, the desire for knowledge led Beethoven to the University of Bonn at the Faculty of Philosophy. In the same year, a revolution broke out in France, and news of it quickly reached Bonn. Ludwig, together with his friends, listened to the lectures of the professor of literature Evlogy Schneider, who enthusiastically read his poems to students, dedicated to the revolution: “Crushing stupidity on the throne, fighting for the rights of mankind ... Oh, not one of the lackeys of the monarchy is capable of this. This is only possible for free souls who prefer death to flattery, poverty to slavery.”

Ludwig was among Schneider's ardent admirers. Full of bright hopes, feeling in yourself huge forces, the young man again went to Vienna. Oh, if friends had met him at that time, they would not have recognized him: Beethoven resembled a salon lion! “The look is direct and incredulous, as if sideways watching what impression it makes on others. Beethoven is dancing (oh grace in the highest degree hidden), rides (poor horse!), Beethoven, who has a good mood (laughter at the top of his lungs). (Oh, if old friends had met him at that time, they would not have recognized him: Beethoven resembled a salon lion! He was cheerful, cheerful, danced, rode and looked askance at the impression he made on others.) Sometimes Ludwig visited frighteningly gloomy, and only close friends knew how much kindness was hidden behind outward pride. As soon as a smile illuminated his face, it was illuminated with such childish purity that in those moments it was impossible not to love not only him, but the whole world!

At the same time, his first piano compositions. The success of the publication turned out to be grandiose: more than 100 music lovers subscribed to it. Young musicians were especially eager for his piano sonatas. Future famous pianist Ignaz Moscheles, for example, surreptitiously bought and dismantled Beethoven's Pathétique sonata, which had been banned by his professors. Later, Moscheles became one of the maestro's favorite students. The listeners, with bated breath, reveled in his improvisations on the piano, they touched many to tears: "He calls spirits both from the depths and from the heights." But Beethoven did not create for money and not for recognition: “What nonsense! I never thought of writing for fame or for fame. I need to give an outlet to what I have accumulated in my heart - that's why I write.

He was still young, and the criterion of his own importance for him was a sense of strength. He did not tolerate weakness and ignorance, treated condescendingly as common people, and to the aristocracy, even to those nice people who loved him and admired him. With royal generosity, he helped friends when they needed it, but in anger he was ruthless towards them. In him, great love and the same force of contempt clashed. But in spite of everything, in the heart of Ludwig, like a beacon, lived a strong, sincere need to be the right people: “Never, since childhood, has my zeal to serve suffering humanity weakened. I have never charged any fee for this. I do not need anything but the feeling of contentment that always accompanies a good deed.

Youth is characterized by such extremes, because it is looking for an outlet for its internal forces. And sooner or later a person faces a choice: where to direct these forces, what path to choose? Fate helped Beethoven to make a choice, although her method may seem too cruel ... The disease approached Ludwig gradually, over the course of six years, and struck him between 30 and 32 years old. She hit him in the most sensitive place, in his pride, strength - in his hearing! Complete deafness cut off Ludwig from everything that was so dear to him: from friends, from society, from love and, worst of all, from art! new Beethoven.

Ludwig went to Heiligenstadt, an estate near Vienna, and settled in a poor peasant house. He found himself on the verge of life and death - the words of his will, written on October 6, 1802, are like a cry of despair: “O people, you who consider me heartless, stubborn, selfish - oh, how unfair you are to me! You do not know the secret reason for what you only think! From the early childhood my heart was inclined towards a tender feeling of love and benevolence; but consider that for six years now I have been suffering from an incurable disease, brought to a terrible degree by inept doctors ...

With my hot, lively temperament, with my love for communicating with people, I had to retire early, spend my life alone ... For me, there is no rest among people, neither communication with them, nor friendly conversations. I must live as an exile. If sometimes, carried away by my innate sociability, I succumbed to temptation, then what humiliation I experienced when someone next to me heard a flute from afar, but I did not hear! .. Such cases plunged me into terrible despair, and the thought of committing suicide often came to mind. Only art kept me from it; it seemed to me that I had no right to die until I had done everything to which I felt called ... And I decided to wait until the inexorable parks would please to break the thread of my life ...

I'm ready for anything; in my 28th year I was to become a philosopher. It is not so easy, and more difficult for an artist than for anyone else. O deity, you see my soul, you know it, you know how much love it has for people and the desire to do good. Oh people, if you ever read this, then remember that you were unfair to me; and let everyone who is unhappy take comfort in the fact that there is someone like him, who, in spite of all obstacles, did everything he could to be accepted among worthy artists and people.

However, Beethoven did not give up! And before he had time to finish writing his will, as in his soul, like a heavenly parting word, like a blessing of fate, the Third Symphony was born - a symphony unlike any that existed before. It was her that he loved more than his other creations. Ludwig dedicated this symphony to Bonaparte, whom he compared to a Roman consul and considered one of the greatest men of modern times. But, subsequently learning about his coronation, he was furious and broke the dedication. Since then, the 3rd symphony has been called the Heroic.

After everything that happened to him, Beethoven understood, realized the most important thing - his mission: “Let everything that is life be dedicated to the great and let it be the sanctuary of art! This is your duty to the people and to Him, the Almighty. Only in this way can you once again reveal what is hidden in you. The ideas of new works rained down on him like stars - at that time the Appassionata piano sonata, excerpts from the opera Fidelio, fragments of Symphony No. 5, sketches of numerous variations, bagatelles, marches, masses, the Kreutzer Sonata were born. Finally choosing your life path, the maestro seemed to have received new forces. So, from 1802 to 1805, works dedicated to bright joy appeared: “ Pastoral symphony”, piano sonata “Aurora”, “Merry Symphony” ...

Often, without realizing it himself, Beethoven became a pure spring from which people drew strength and consolation. Here is what Beethoven's student, Baroness Ertman, recalls: “When my last child died, Beethoven for a long time could not decide to come to us. Finally, one day he called me to his place, and when I came in, he sat down at the piano and said only: "We will talk to you with music," after which he began to play. He told me everything, and I left him relieved. On another occasion, Beethoven did everything to help the daughter of the great Bach, who, after the death of her father, found herself on the verge of poverty. He often liked to repeat: "I do not know any other signs of superiority, except kindness."

Now the inner god was Beethoven's only constant interlocutor. Never before had Ludwig felt such closeness to Him: “... you can no longer live for yourself, you must live only for others, there is no more happiness for you anywhere except in your art. Oh Lord, help me overcome myself!” Two voices constantly sounded in his soul, sometimes they argued and were at enmity, but one of them was always the voice of the Lord. These two voices are clearly audible, for example, in the first movement of the Pathetique Sonata, in the Appassionata, in Symphony No. 5, and in the second movement of the Fourth Piano Concerto.

When the idea suddenly dawned on Ludwig during a walk or a conversation, he experienced what he called an "enthusiastic tetanus." At that moment, he forgot himself and belonged only to the musical idea, and he did not let go of it until he completely mastered it. This is how a new bold, rebellious art was born, which did not recognize the rules, "which could not be broken for the sake of more beautiful." Beethoven refused to believe the canons proclaimed by the harmony textbooks, he believed only what he had tried and experienced. But he was not guided by empty vanity - he was the herald of a new time and a new art, and the newest in this art was a man! A person who dared to challenge not only generally accepted stereotypes, but, first of all, his own limitations.

Ludwig was by no means proud of himself, he constantly searched, tirelessly studied the masterpieces of the past: the works of Bach, Handel, Gluck, Mozart. Their portraits hung in his room, and he often said that they helped him overcome suffering. Beethoven read the works of Sophocles and Euripides, his contemporaries Schiller and Goethe. God alone knows how many days and sleepless nights he spent comprehending great truths. And even shortly before his death, he said: "I begin to learn."

But how did the public receive the new music? Performed for the first time in front of selected listeners, the "Heroic Symphony" was condemned for "divine lengths." At an open performance, someone from the audience pronounced the verdict: “I’ll give a kreuzer to end all this!” Journalists and music critics did not get tired of instructing Beethoven: "The work is depressing, it is endless and embroidered." And the maestro, driven to despair, promised to write a symphony for them that would last more than an hour so that they find his "Heroic" short.

And he will write it 20 years later, and now Ludwig took up the composition of the opera Leonora, which he later renamed Fidelio. Among all his creations, she occupies an exceptional place: "Of all my children, she cost me the greatest pain at birth, she also gave me the greatest grief - that's why she is dearer to me than others." He rewrote the opera three times, provided four overtures, each of which was a masterpiece in its own way, wrote the fifth, but everyone was not satisfied.

It was an incredible work: Beethoven rewrote a piece of an aria or the beginning of some scene 18 times and all 18 in different ways. For 22 lines vocal music- 16 test pages! As soon as "Fidelio" was born, as it was shown to the public, but in auditorium the temperature was "below zero", the opera survived only three performances... Why did Beethoven fight so desperately for the life of this creation?

The plot of the opera was based on a story that took place during the French Revolution, its main characters were love and fidelity - those ideals that Ludwig's heart has always lived. Like any person, he dreamed of family happiness about home comfort. He, who constantly overcame illnesses and ailments, like no one else, needed the care of a loving heart. Friends did not remember Beethoven except as passionately in love, but his hobbies were always distinguished by extraordinary purity. He could not create without experiencing love, love was his sacred.

For several years, Ludwig was very friendly with the Brunswick family. The sisters Josephine and Teresa treated him very warmly and took care of him, but which of them became the one whom he called his "everything", his "angel" in his letter? Let this remain Beethoven's secret. The Fourth Symphony, the Fourth Piano Concerto, the quartets dedicated to the Russian prince Razumovsky, the cycle of songs “To a Distant Beloved” became the fruit of his heavenly love. Until the end of his days, Beethoven tenderly and reverently kept in his heart the image of the "immortal beloved".

The years 1822-1824 became especially difficult for the maestro. He tirelessly worked on the Ninth Symphony, but poverty and hunger forced him to write humiliating notes to publishers. He personally sent letters to the "main European courts", those who once paid attention to him. But almost all of his letters remained unanswered. Even despite the enchanting success of the Ninth Symphony, the fees from it turned out to be very small. And the composer laid all his hopes on the "generous Englishmen", who more than once showed him their enthusiasm.

He wrote a letter to London and soon received £100 from the Philharmonic Society on account of the academy being set up in his favor. “It was a heartbreaking sight,” one of his friends recalled, “when, having received a letter, he clenched his hands and sobbed with joy and gratitude ... He wanted to dictate a letter of thanks again, he promised to dedicate one of his works to them - the Tenth Symphony or Overture , in a word, whatever they wish.” Despite this situation, Beethoven continued to compose. His last works were string quartets, opus 132, the third of which, with his divine adagio, he entitled "A song of thanksgiving to the Divine from a convalescent."

Ludwig seemed to have a premonition imminent death- he copied the saying from the temple of the Egyptian goddess Neith: “I am what I am. I am all that was, is, and will be. No mortal has lifted my veil. “He alone comes from himself, and everything that exists owes being to this one,” and he loved to reread it.

In December 1826, Beethoven went on business with his nephew Karl to his brother Johann. This trip turned out to be fatal for him: a long-standing liver disease was complicated by dropsy. For three months, the illness severely tormented him, and he talked about new works: “I want to write a lot more, I would like to compose the Tenth Symphony ... music for Faust ... Yes, and a piano school. I think of it to myself in a completely different way than it is now accepted ... ”He did not lose his sense of humor until the last minute and composed the canon“ Doctor, close the gate so that death does not come. Overcoming incredible pain, he found the strength to console his old friend, the composer Hummel, who burst into tears, seeing his suffering. When Beethoven was operated on for the fourth time, and water gushed from his stomach when pierced, he exclaimed with a laugh that the doctor seemed to him to be Moses, who struck the rock with a rod, and immediately, to console himself, added: “Better water from the stomach than from - under the pen.

On March 26, 1827, the pyramid-shaped clock on Beethoven's desk suddenly stopped, which always foreshadowed a thunderstorm. At five o'clock in the afternoon a real storm broke out with a downpour and hail. Bright lightning lit up the room, there was a terrible thunderclap - and it was all over ... On the spring morning of March 29, 20,000 people came to see off the maestro. What a pity that people often forget about those who are near while they are alive, and remember and admire them only after their death.

Everything passes. Suns also die. But for thousands of years they continue to carry their light in the midst of darkness. And for thousands of years we receive the light of these faded suns. Thank you, great maestro, for an example of worthy victories, for showing how you can learn to hear the voice of the heart and follow it. Each person seeks to find happiness, each overcomes difficulties and longs to understand the meaning of their efforts and victories.

And maybe your life, the way you searched and overcame, will help to find hope for those who seek and suffer. And a spark of faith will light up in their hearts that they are not alone, that all troubles can be overcome if you do not despair and give all the best that you have. Maybe, like you, someone will choose to serve and help others. And, like you, he will find happiness in this, even if the path to it leads through suffering and tears.

Anna Mironenko, Elena Molotkova, Tatyana Bryksina Electronic edition "Man Without Borders"

II.Short biography:

Childhood

The approach of deafness.

Period mature creativity. « New way"(1803 - 1812).

Last years.

III. The most famous works.

IV. Bibliography.

Characteristics of Beethoven's creative style.

Ludwig van Beethoven is one of the most respected and performed composers in the world, a key figure in the Western classical music period between classicism and romanticism.

He wrote in all the genres that existed in his time, including opera, ballet, music for dramatic performances, choral compositions. The most significant in his work are instrumental works: piano, violin and cello sonatas, piano concertos, violins, quartets, overtures, symphonies.

Beethoven showed himself most fully in the genres of the sonata and symphony. It was Beethoven who first spread the so-called "conflict symphonism", based on the opposition and collision of brightly contrasting musical images. The more dramatic the conflict, the more complex and vivid the process of development, which for Beethoven becomes the main driving force.

Beethoven found intonations new for his time to express his thoughts - dynamic, restless, sharp. Its sound becomes more saturated, dense and dramatically contrasting. His musical themes acquire an unprecedented conciseness and severe simplicity.

Listeners brought up on the classicism of the 18th century were stunned and misunderstood by the emotional power of Beethoven's music, manifested either in stormy drama, or in grandiose epic scope, or in penetrating lyrics. But it was precisely these qualities of Beethoven's art that fascinated romantic musicians.

Beethoven's connection with romanticism is indisputable, but his art in its main outlines does not coincide with him, it does not fit into the framework of classicism either. Beethoven is unique, individual and multifaceted.

Biography

Childhood

The family in which Beethoven was born lived in poverty, the head of the family earned money only for his own pleasure, completely disregarding the needs of his children and wife.

At the age of four, Ludwig's childhood ended. The boy's father, Johann, began to drill the child. He taught his son to play the violin and piano in the hope that he would become a child prodigy, the new Mozart, and provide for his family. The educational process crossed the boundaries of what was permitted, the young Beethoven did not even have the right to take a walk with friends, he immediately returned to the house to continue music lessons. Neither the sobs of the child, nor the entreaties of the wife could shake the stubbornness of the father.

Intensive work at the instrument took away another opportunity - to get a general scientific education. The boy had only superficial knowledge, he was weak in spelling and oral calculation. A great desire to learn and learn something new helped to fill the gap. Throughout his life, Ludwig was engaged in self-education, joining the work of such great writers as Shakespeare, Plato, Homer, Sophocles, Aristotle.

All these hardships failed to stop the development of the amazing inner world of Beethoven. He was different from other children, he was not attracted to fun games and adventures, an eccentric child preferred loneliness. Having devoted himself to music, he very early realized his own talent and, in spite of everything, moved forward.

The talent has evolved. Johann noticed that the student surpassed the teacher, and entrusted classes with his son to a more experienced teacher - Pfeifer. The teacher has changed, but the methods have remained the same. Late at night, the child was forced to get out of bed and play the piano until the early hours of the morning. To withstand such a rhythm of life, you must have truly outstanding abilities, and Ludwig had them.

In 1787, Beethoven managed to visit Vienna for the first time - at that time the musical capital of Europe. According to the stories, Mozart, having listened to the young man's play, highly appreciated his improvisations and predicted a great future for him. But soon Beethoven had to return home - his mother lay near death. He remained the sole breadwinner of the family, which consisted of a dissolute father and two younger brothers.

First Vienna period (1792 - 1802).

In Vienna, where Beethoven came for the second time in 1792 and where he remained until the end of his days, he quickly found titled patrons of the arts.

People who met the young Beethoven described the twenty-year-old composer as stocky young man, inclined to panache, sometimes impudent, but good-natured and sweet in relations with friends. Realizing the insufficiency of his education, he went to Joseph Haydn, a recognized Viennese authority in the field of instrumental music (Mozart had died a year earlier), and for some time brought him exercises in counterpoint to check. Haydn, however, soon cooled off towards the obstinate student, and Beethoven, secretly from him, began to take lessons from I. Shenk and then from the more thorough J. G. Albrechtsberger. In addition, wanting to improve in vocal writing, he visited for several years the famous opera composer Antonio Salieri. Soon he joined a circle that united titled amateurs and professional musicians. Prince Karl Likhnovsky introduced the young provincial to his circle of friends.

Political and public life Europe of that time was alarming: when Beethoven arrived in Vienna in 1792, the city was agitated by the news of the revolution in France. Beethoven enthusiastically accepted revolutionary slogans and sang of freedom in his music. The volcanic, explosive nature of his work is undoubtedly the embodiment of the spirit of the times, but only in the sense that the character of the creator was to some extent shaped by this time. A bold violation of generally accepted norms, a powerful self-affirmation, a thunderous atmosphere of Beethoven's music - all this would have been unthinkable in the era of Mozart.

Nevertheless, Beethoven's early compositions largely follow the canons of the 18th century: this applies to trios (strings and piano), violin, piano and cello sonatas. The piano was then the closest instrument to Beethoven, in piano works he expressed his most intimate feelings with the utmost sincerity. The First Symphony (1801) is Beethoven's first purely orchestral composition.

The approach of deafness.

We can only guess to what extent Beethoven's deafness influenced his work. The disease developed gradually. Already in 1798, he complained of tinnitus, it was difficult for him to distinguish high tones, to understand a conversation conducted in a whisper. Terrified at the prospect of becoming an object of pity - a deaf composer, he told about his illness to a close friend - Carl Amenda, as well as doctors, who advised him to protect his hearing as much as possible. He continued to rotate in the circle of his Viennese friends, took part in musical evenings, wrote a lot. He was so good at hiding his deafness that, until 1812, even people who often met him did not suspect how serious his illness was. The fact that during the conversation he often answered inappropriately was attributed to a bad mood or absent-mindedness.

In the summer of 1802, Beethoven retired to a quiet suburb of Vienna - Heiligenstadt. A stunning document appeared there - the "Heiligenstadt Testament", a painful confession of a musician tormented by illness. The will is addressed to the brothers of Beethoven (with instructions to read and execute after his death); in it, he speaks of his mental suffering: it is painful when “a person standing next to me hears a flute playing from afar, which is not audible to me; or when someone hears a shepherd singing and I can't make out a sound." But then, in a letter to Dr. Wegeler, he exclaims: “I will take fate by the throat!”, And the music that he continues to write confirms this decision: in the same summer, the bright Second Symphony, magnificent piano sonatas op. 31 and three violin sonatas, op. thirty.

Deaf composer Ludwig van Beethoven writing the "Solemn Mass"

Fragment of a portrait by Karl Joseph Stieler, 1820

Source: wikimedia

Historian SERGEY TSVETKOV - about the proud Beethoven:

Why was it easier for a great composer to write a symphony than to learn how to say "thank you"

and how he became an ardent misanthrope, but at the same time adored his friends, nephew and mother.

Ludwig van Beethoven was accustomed to lead an ascetic life from his youth.

I got up at five or six in the morning.

I washed my face, had breakfast with hard-boiled eggs and wine, drank coffee, which had to be brewed

from sixty grains.

During the day, the maestro gave lessons, concerts, studied the works of Mozart, Haydn and -

worked, worked, worked...

When he took up musical compositions, he became so insensitive to hunger,

that he scolded the servants when they brought him food.

It was said that he constantly went unshaven, believing that shaving hindered creative inspiration.

And before sitting down to write music, the composer poured a bucket of cold water over his head:

this, in his opinion, was supposed to stimulate the brain.

One of Beethoven's closest friends, Wegeler testifies,

that Beethoven "was always in love with someone, and mostly to a great extent",

and even that he rarely saw Beethoven except in a state of excitement,

often to the point of paroxysm. IN

On the other hand, this excitement had almost no effect on the behavior and habits of the composer.

Schindler, too close friend Beethoven, says:

"he lived his whole life with virginal modesty, not allowing the slightest approach of weakness."

Even a hint of obscenity in conversations disgusted him. Beethoven cared about his friends,

was very affectionate with his nephew and had deep feelings for his mother.

The only thing he lacked was humility.

The fact that Beethoven is proud, all his habits say,

mostly due to unhealthy character.

His example shows that it is easier to write a symphony than to learn to say "thank you".

Yes, he often spoke courtesies (to which the century obliged), but even more often - rudeness and causticity.

He flared up over any trifle, gave full rein to anger, was extremely suspicious.

His imaginary enemies were numerous:

he hated Italian music, the Austrian government and apartments,

windows facing north.

Let's listen to him scold:

“I cannot comprehend how the government tolerates this disgusting, shameful chimney!”

Finding an error in the numbering of his works, he exploded:

"What a vile scam!"

Having climbed into some Viennese cellar, he settled down at a separate table,

lit his long pipe, ordered newspapers, smoked herrings and beer to be served.

But if he did not like a random neighbor, he ran away, grumbling.

Once, in a moment of rage, the maestro tried to break a chair on Prince Likhnovsky's head.

The Lord God himself, from the point of view of Beethoven, interfered with him in every possible way, sending material problems,

sometimes illnesses, sometimes unloving women, sometimes slanderers, sometimes bad instruments and bad musicians, etc.

Of course, much can be attributed to his illnesses, which predisposed to misanthropy -

deafness, severe myopia.

Beethoven's deafness, according to Dr.

that "she separated him from the outside world, that is, from everything

what could influence his musical output..."

(“Reports on the meetings of the Academy of Sciences”, volume 186).

Dr. Andreas Ignaz Wavruch, professor at the Vienna Surgical Clinic, pointed out,

that in order to excite a weakening appetite, Beethoven, in his thirtieth year, began to abuse

liquor, drink a lot of punch.

“This was,” he wrote, “the change in lifestyle that brought him to the brink of the grave.”

(Beethoven died of cirrhosis of the liver).

However, pride haunted Beethoven even more than his ailments.

The result of increased conceit was frequent moving from apartment to apartment,

dissatisfaction with the owners of houses, neighbors, quarrels with fellow performers,

with theater directors, with publishers, with the public.

It got to the point that he could pour the soup he did not like on the head of the cook.

And who knows how many great melodies were not born in Beethoven's head

because of a bad mood?

L. Beethoven. Allegro with Fire (Symphony No. 5)

Materials used:

Kolunov K.V. “God in three actions”;

Strelnikov N. “Beethoven. Characterization Experience";

Herriot E. Beethoven's Life

Ludwig van Beethoven (Baptized 12/17/1770, Bonn - 3/26/1827, Vienna), German composer. Born into a family of Flemish origin. Beethoven's grandfather was the head of the Bonn court chapel, his father was a court singer. Ludwig van Beethoven learned early to play the harpsichord, organ, violin, viola, and also the flute. From 1781, Ludwig Beethoven's studies were led by H. G. Nefe, a composer, organist and prominent aesthetician. Beethoven soon became concertmaster of the court theater and assistant organist of the chapel. In 1789 he attended lectures on philosophy at the University of Bonn. Beethoven's views on the phenomena of political and social life distinguished by militant democracy and love of freedom. The revolutionary events in France in 1789 and the anti-feudal movement in the Rhineland played a huge role in shaping the composer's republican convictions. Ludwig van Beethoven's passion for the music of revolutionary France left a significant mark on the composer's work.

The biography of Beethoven as a composer begins in 1782 (variations for clavier on the theme of the march of the composer E. K. Dressler). 2 youthful cantatas (1790) - the first vocal and symphonic compositions of Ludwig van Beethoven. In 1787 the young Beethoven visited Vienna and took several lessons from W. A. ​​Mozart. In 1792, he left his homeland forever and moved to Vienna, where he lived almost without a break until the end of his life. Beethoven's initial goal when moving to Vienna was to improve his composition under the guidance of I. Haydn. However, classes with Haydn did not last long. Among Beethoven's teachers were also J. G. Albrechtsberger and A. Salieri. Ludwig van Beethoven quickly gained fame and recognition - first as the best pianist and inspired improviser in Vienna, and later as a composer. Bright innovative creativity Beethoven caused fierce controversy. Beethoven's playing combined deep, stormy drama and a wide, melodious cantilena.

In the prime of his creative powers, Ludwig van Beethoven showed tremendous capacity for work. In 1801-12, such outstanding works appeared as the sonata in C sharp minor (the so-called Moonlight, 1801), the youthfully cheerful 2nd symphony (1802), the Kreutzer Sonata (1803), the Heroic (3- i) symphony, sonatas "Aurora" and "Appassionata" (1804), opera "Fidelio" (1805), 4th symphony (1806), expressing the romantic perception of nature. In 1808 Beethoven completed one of his most popular symphonic works- the 5th symphony and at the same time the "Pastoral" (6th) symphony, in 1810 - music for the tragedy of J. W. Goethe "Egmont", in 1812 - the 7th ("the apotheosis of dance", by the definition of R. Wagner) and the 8th ("humorous", in the words of R. Rolland) symphony.

From the age of 27, Beethoven suffered from deafness, which progressed all the time. A serious illness for the musician limited his communication with people, made pianistic performances difficult and, finally, forced Beethoven to completely abandon them.

The years 1813-17 in Beethoven's biography are marked by a decrease creative activity. From 1818 a new upsurge in the composer's work began; he creates the last 5 piano sonatas (1816-22) and 5 string quartets(1823-26). The pinnacle of the "late" Beethoven's work is the 9th symphony (1824).

By the end of his life, Ludwig van Beethoven experienced severe material need and loneliness. He did not hear even the loudest sounds of the orchestra, he used notebooks to communicate with his interlocutors. The composer found support only among a small circle of friends who shared his advanced views.

Instrumental and above all symphonic creativity Ludwig van Beethoven has a pronounced programmatic character. The main content of Beethoven's heroic works can be expressed in the words: "Through struggle to victory." The dialectical struggle of the contradictions of life finds a vivid artistic embodiment in Beethoven, especially in works of the sonata form - symphonies, overtures, sonatas, quartets, etc. Ludwig van Beethoven developed the sonata principle extensively, based on the opposition and development of contrasting themes, as well as conflicting elements within individual themes. Compared with the works of Beethoven's immediate predecessors in the Viennese classical school- W. A. ​​Mozart and J. Haydn - Beethoven's symphonies and sonatas are distinguished by their large scale construction, the main thematic material subjected to intensive extended development, the connection between the sections of the form deepens, the contradictions between contrasting episodes and themes become aggravated. Beethoven proceeded from the orchestral composition approved by Haydn, and only slightly expanded it, but at the same time he achieved the enormous power of the orchestral sound, bright contrasts. Ludwig van Beethoven transformed the old minuet, which was part of the symphonies and sonatas, into a scherzo, giving this "joke" a wide expressive range - from mighty sparkling fun (in the 3rd symphony) to an expression of anxiety, anxiety (in the 5th symphony). A special role is assigned to finals in symphonies and codas (conclusions) in overtures, symphonies and sonatas; they are meant to express victorious feelings.

Ludwig van Beethoven is the greatest symphonic composer. He created 9 symphonies, 11 overtures, 5 piano concertos, a violin concerto, 2 masses and other symphonic compositions. The highest achievements of Beethoven's symphony include the 3rd ("Heroic") and 5th symphonies; the idea of ​​the latter is expressed by the composer in the words: "Struggle with fate." The 5th piano concerto, created at the same time as the 5th symphony, is distinguished by an active heroic character, the 6th symphony, containing a number of realistic pictures of rural life, reflected Beethoven's enthusiastic love for nature.

The pinnacle of the composer's entire creative life is the 9th symphony. For the first time in the history of this genre, Ludwig van Beethoven introduced a choral finale (“To Joy” to the words of F. Schiller). The development of the main image of the symphony goes from the formidable and inexorable tragic theme of the first movement to the theme of bright joy in the finale. Close to the 9th symphony in its conception "Solemn Mass" (1823) - majestic monumental work philosophical nature, little connected with the traditions of cult music.

Beethoven's only opera, Fidelio (posted in 1805, Vienna, 2nd edition - 1806, 3rd - 1814) is dedicated to the heroic deed of a woman who saved her husband from death - a victim of revenge and arbitrariness of the governor - and exposed the tyrant before the people. Stylistically, "Fidelio" adjoins the type of "opera of salvation", which arose during the Great French Revolution, and at the same time opens the way to the symphonization of the opera. Beethoven's ballet The Creations of Prometheus (produced by S. Vigano, 1801) is also devoted to the heroic theme.

Beethoven's chamber music includes 32 piano sonatas (not counting 6 youthful sonatas written in Bonn) and 10 sonatas for violin and piano, 16 string quartets, 7 piano trios, and many other ensembles (string trios, septet for mixed composition). Beethoven's best chamber compositions - sonatas Pathetique, Appassionata for piano, Kreutzer Sonata for violin and piano, etc. means of expression tools. Among Beethoven's quartets, the central place belongs to 3 quartets, opus 59 (written by order of the Russian ambassador in Vienna A.K. folk songs). In Beethoven's last chamber compositions, Piano Sonatas Nos. 28-32 and Quartets Nos. 12-16, aspirations are manifested for in-depth, concentrated expressiveness, as well as for quirkiness of forms, subjective contemplation, which anticipated the art of romantic composers.

The novelty and significance of the content of Beethoven's music led to the expansion of the scope of existing musical forms and profound transformation of all kinds of musical creativity. The decisive step in historical development concert genre were the 4th and 5th piano concertos and Beethoven's violin concerto, which are a synthesis of symphony and concerto. Significant changes have also been made in the form of variations, which in Beethoven takes first place after the sonata (an outstanding example is 32 variations in C minor for pianoforte).

Absolutely new genre instrumental miniature created Beethoven on the basis of dances and other small pieces of the old suite - "bagatelles" (little things, trifles).

The vocal heritage of Ludwig van Beethoven consists of songs, over 70 choirs, canons. From couplet songs, arias and odes, where the text played a subordinate role, Beethoven gradually came to a new type of song, in which each stanza poetic text corresponded new music(songs to the words of I. V. Goethe, including “Mignon”, “Flow again, tears of love”, “Heart, heart”, etc.). For the first time, he combines a number of songs-romances into a single cycle with a consistently unfolding plot idea (“To a Distant Beloved”, to texts by A. Eiteles, 1816). The song "About a Flea" is the only text from Goethe's "Faust" embodied by Beethoven, although the composer did not leave the idea of ​​writing music for "Faust" until the end of his life. Beethoven processed 188 songs of different nationalities for voice with instrumental accompaniment, made piano transcriptions of folk songs (including Russian and Ukrainian). He introduced folk melodies into many instrumental compositions.

Beethoven's work is one of the pinnacles in the history of world art. All his life and work speak of the titanic personality of the composer, who combined a brilliant musical talent with an ebullient, rebellious temperament, endowed with an unbending will and the ability for great inner concentration. High ideology, based on the consciousness of public duty, was the hallmark of Beethoven as a musician-citizen. A contemporary of the French Revolution, Beethoven reflected in his work the great popular movements of this era, its most progressive ideas. The revolutionary era determined the content and innovative direction of Beethoven's music. Revolutionary heroism was reflected in one of the main artistic images Beethoven - a struggling, suffering and finally victorious heroic personality.