Category: Beethoven

Introduction

Ludwig van Beethoven was a German composer, born in 1770 and died in 1827 while completely deaf (Kinderman 22). Beethoven was a key figure in Western art music and was monumental in the musical transition between the Classical era and the Romantic era.

His hearing problem set in his early twenties but it never deterred him from composing quality music. He continued to compose and perform even after he went completely deaf. Entirely, he composed nine symphonies and his most popular symphonies are Nos 3, 5 and 9 (Grove 27).

Analysis of the symphonies

Beethoven is one of the greatest composers of music in both the classical and modern music era. This is so because of his great symphonies. He only composed only nine symphonies, each of which is unique in a distinct way and composed in a different key. His most popular symphonies are Nos 3, 5 and 9 (Simpson 19). The histories of these three symphonies are familiar to almost every classical music enthusiast, but the other six are not very well known.

Symphony No. 1, Op, C Major

Beethoven started composing this symphony in 1799 and premiered it in 1800, one year later in Vienna. Relative to the other eight symphonies, this one has the most moderate sound (Lockwood 41). When it first premiered, the audience was surprised because they were used to listening to pure classical music, unlike this one that started on a dissonant chord.

Symphony No. 2, Op. 36, D major

Before its completion in 1802, Beethoven had been working on it for three years. This was a critical time in his life because his hearing ability was slowly diminishing. Musical critics believe that the mellow and sunny nature of this piece was a direct reflection of his will to overcome his predicament (Morris 33). He was even suicidal because of the hearing problem but others refute these claims.

Symphony No. 3, Op. 55, E-flat Major

This symphony is also called Eroica and it debuted in August 1804. From the writings of Lobkowitz, Beethoven first performed it in 1805 in Vienna. The performance was a bit off the point because the audience did not fully grasp the content of the symphony (Grove 31). This sparked debate with some claiming that it was his best work while others claimed that it expressed a longing for originality that never was.

Symphony no.4, Op. 60, B-flat Major

This symphony was composed in 1806 and is one of Beethovens simple symphonies (Grove 36). This is because of his interruption while he was working on it. After beginning work on it, he was commissioned to work on a symphonic request from the count of Sicilia. The reason behind suspending his symphony for the Counts is not clear.

Symphony No. 5, Op. 67, C Major

This symphony was composed between the years 1804 and 1888 and played first in 1808 at a theatre in Vienna (Lockwood 53). Of his entire symphonies, this is the most popular. This may be due to the familiarity in its four first notes. This symphony premiered together with symphony 6 but their numbers were switched.

Symphony No.6, Op. 68, F major

This is also referred to as pastoral. (Lockwood 56) When it premiered, it was recorded as recollection of country life on the performance program. Even though this symphony is believed to contain some of Beethovens most powerful writing, it was not well received by the audience. This may have resulted from the previous symphony that is the most popular with most classical music lovers. Despite bad reception, it is played in many places throughout the world.

Symphony No. 7, Op. 92, A Major

The composition of this symphony was finalized in 1812 and it premiered at the University of Vienna, one year later in 1813. It is widely considered a symphony that evokes dance moves. Wagner gave the title apotheosis of dance to the symphony owing to its consideration as a dance symphony.

Symphony No.8, Op. 93, F major.

This is the shortest symphony that Beethoven composed and runs for only 26 minutes. As such, it is widely known as the little symphony in F Major. In addition, this symphony is often times disregarded because of its shortness that many consider as simple. Beethoven composed it at the age of 42 and premiered it together with symphony 7 two years after he composed it.

Symphony No. 9, Op. 125, D Minor.

This is also referred to as choral and was Beethovens last symphony (Grove 42). Beethoven composed it in 1842, a time when he had gone fully deaf. In this symphony, the human voice and the sound of the instruments were integrated at the same level. The premiere was so dramatic that when the performance was over, he went conducting and his soloist had to intervene. This marked a triumphant and glorious end for one of the greatest composers of all time.

Conclusion

Ludwig van Beethoven is on of the greatest composers of all time and composed nine symphonies, all distinct in their structure. Of the nine, three are the most popular, 3,5 and 9, 5 being the most popular of the three (Grove 24).

He marked the transition between the classical era and the Romantic era. His hearing problem set in his early twenties but it never deterred him from composing quality music. He continued to compose and perform even after he went completely deaf. He performed his last symphony while entirely deaf and it marked his glorious end.

Works Cited

Grove, George. Beethoven and his Nine Symphonies. London: Kessinger Publishing, 2004. Print.

Kinderman, William. Beethoven. California: University of California Press, 1995. Print.

Lockwood, Lewis. Beethoven: The Music and the Life. New York: W.W, Norton, 2005. Print.

Morris, Edmund. Beethoven: The Universal Composer. New York: HarperCollins, 2010. Print.

Simpson, Robert. Beethoven Symphonies. New York: Ariel Music, 1986. Print.

Mozart and Beethoven are types of music played across the globe in contemporary society, even though they were produced several centuries ago. Mozart originated from Austria, while Beethoven was from Germany, and their works have continued to influence the music industry. The two pieces are almost similar types of music, and it can sometimes be difficult to differentiate at times. However, diverse techniques can be deployed to determine the two pieces.

Compare The Styles of Mozart and Beethoven

On one hand, Mozart considers the definition of music a pleasant sound to the ear. It begins with a tender sound where all the instruments are played at once in harmony (SinfonicadeGalicia 00:00:30 -0:00:37). It is easy to predict when the tempo climaxes as it begins from a softer and slower tempo which continues to rise steadily. Additionally, there are repetitions in the tone before a new rhythm is introduced. The transitions from one rhythm to another make this kind of music predictable, and the audience can quickly determine when the piece is approaching its peak. On the other hand, even though Beethovens music is also pleasant to the ear, it begins on a high tempo which eventually slows down (Beethoven 00:00:04-0:00:17). In addition, Beethoven has variations in pitches, and it is difficult to predict when the beat will be high or low.

Specific Aspects of Mozart and Beethoven Music That Stand Out

Mozarts aspect that stands out is the pause it creates while transitioning from one rhythm to another. It is usually difficult to determine the transitions in a rhythm in most musical pieces as it usually flows continuously from one beat to another. However, in Mozarts music, silence is witnessed when there is any change in the rhythm. Additionally, the silence is prolonged when the succeeding rhythm is intense (Mozart 00:06:25-0:06:28). Therefore, the silence witnessed can be regarded as a preparing factor used to alert the audience to the change. Another specific aspect of Mozart is the repetition of the sections. Each section is repeated severally, which gives it a pleasing rhythm. In regards to Beethoven, the musical pitch is one of the aspects that makes it stand out. The pitch steadily climaxes in every section while the transitions are of low pitch (Beethoven 00:20:42-00:21:05). This aspect constantly makes the audience concentrate. In general, both Mozarts and Beethovens music is harmonious. All the instruments are played in harmony to produce a pleasing sound to the ear, which makes them stand out.

The Difference Between Mozart and Beethoven Music

Although Mozart and Beethoven can sometimes be challenging to differentiate because of their significant similarities, they differ in several instances. Based on the piece illustrated by Mozart, the symphony begins every section with a low tone which rises steadily as the music continues to play. Also, as initially stated, every section in the Mozart piece is repeated several times before playing the next part. This, therefore, makes the music have a predictable rhythm thus, at times, can raise boredom in the audience because of the predictability of the rhythm. In Beethoven, however, every section begins with a high tone; however, the tone decreases when the music reaches the transition phase. Additionally, in Beethoven, despite the repetition of the rhythm, no section is repeated. Therefore, the pitch can rise and fall at any time, and this aspect makes it unpredictable. As a result, it keeps the audience alert at every moment because of the suspense it creates.

The Similarities Between Mozart and Beethoven Music

Despite the differences, Mozart and Beethovens music is similar in the kind of harmony they create. Although various instruments are used to create these pieces, Mozart and Beethoven harmonize the sounds produced from the numerous devices. Even though the instruments are played concurrently, the strong harmony presented by the two pieces makes it difficult for the audience to distinguish the sound produced by each device unless one is keen enough or familiar with the sounds.

Additionally, both Mozart and Beethoven have a climax where some sections reach a particular peak. Usually, a climax is achieved when the tone of the music steadily rises, a section commonly known as a rising stage. It falls after reaching the optimum levels, referred to as the falling stage. Moreover, all the instruments are used harmoniously at the climax. Based on Mozart, climax in the symphony is achieved at 00:25:15. However, Beethoven indicates that the climax of symphony music is obtained at 00:25:10, where the pitch reaches its optimum level.

The Music Which Has a More Personal Impact on Me

Mozart has a significant personal impact on people because of the peaceful environment it creates. It starts from a low tone which many find to be soothing to the soul. Additionally, its transitioning style is smooth and predictable, enabling an individual to feel a sense of belonging since they can easily understand what the music is illustrating. As a result, Mozarts music has a substantial personal impact on several people.

In conclusion, Mozart and Beethoven are exciting pieces of music that can often be confused with many based on their similar style. Both Mozart and Beethoven have a comparable rhythm where they climax after reaching the optimum level. They also harmonize the sounds of the instruments used to produce a pleasant melody. However, the pieces have different tones, especially at the beginning of every section. Despite the similarities, most people prefer Mozart to Beethoven because of its soothing nature.

Works Cited

Beethoven. Beethoven  Symphony No. 5 (2012). YouTube, uploaded by Mandetriens, Web.

Mozart, Wolfgang Amadeus. W. A. Mozart: Symphony nº 41 Jupiter  Lorin Maazel  Sinfónica de Galicia. YouTube, 2013, Web.

Classical concerts by modernized orchestras typically have a specific audience in mind. However, due to the artists high professionalism and international renown, some performances are exceptional and not just for particular audiences. The Chicago Symphony Orchestra, one of the most renowned groups of the modern era, will be evaluating Beethovens Ninth Symphony as a concert. The orchestra gave a strong performance under the guidance of the renowned conductor Riccardo Muti, full of vigor and intensity interspersed with somber and melancholy transitions.

It is vital to mention that since Beethovens Ninth Symphony is not an opera and is constructed in a canonical form evocative of a church service, all musicians and vocalists are on stage for the concert. The fact that the audience and stage are divided shows a clear intention to distinguish between the performers and listeners and offer extra scrutiny. This choice was made with purpose because the concert reflects the spectacle culture prevalent in American society, and the 130-year-old Chicago Symphony Orchestra is a renowned ensemble. As a result, a polished performance enhanced by an engaging presentation fosters engagement while distancing the modern audience from the classical piece of musics canonical form.

Allegro ma nontroppo, un poco maestoso was the first piece the orchestra performed, and it included numerous flutes, clarinets, violins, and trumpets in motion. Adagio-style tempo and casualness characterized the musics initial movement. This movement allowed the listener to hear sounds intensifying as they warmed up into an allegro tempo. The orchestra also demonstrated how the instruments in the song begin to play and change the sound from a calm, subdued tone to a loud, dramatic change. The second piece, Molto Vivace, had a powerful beginning before swiftly switching to a softer section with just the cellos and violins. Clarinets and flutes were gradually added, and eventually, the performance reached what may be called its peak. Since it would rise, then remain in place, progressing into a descent, slowing down again, it had a significant emotional impact on the audience. The violins and cellos were used far more frequently than the other instruments in this performance.

The clarinets served as the primary instrument in the third piece, Adagio molto e cantabile  Andante moderato, until violins were added to support the clarinets as they played the mellower notes. The ensemble was then supplemented with a cello and trumpets to increase the sounds volume and tempo. The songs tempo increased significantly near the conclusion, but it ultimately remained stagnant and peaceful throughout, finishing quietly. Ode to Joy served as Beethovens 9th Symphonys climax, and from the opening bars, it was clear that this piece was different from the others because it began aggressively and moved quickly. The violins are added later when the cellos and trumpets are introduced. The cello starts playing solo after all the other instruments have finished playing, establishing a more thrilling composition before the violins, flutes, and drums are added later. The music sounded much more vibrant when the entire orchestra participated and lent life to a piece.

Overall, any of Beethovens compositions synthesize moods made possible by a wave structure. The main focus of the Ninth Symphony is on bowed instruments, such as violins and cellos, and wind instruments, such as flutes and clarinets. But in most of Beethovens compositions, especially the Ninth Symphony, the employment of timpani and double basses is essential to generating tension. Combining several instruments enables preserving the ascending and descending structure that serves as the pieces framework and adds to the audiences emotional impact by developing a range of emotions. As a result, the orchestra quickly changes from serene and lyrical symphony fragments into solemn sections, heightening the tension.

Long-standing ovations were given to the orchestra and the conductor before and after the concert, expressing admiration and recognition. Although it may be challenging for a young child to understand, the Ninth Symphony has been modified for a contemporary performance style, allowing the premise that the intended audience may differ. Beethoven may have expressed his personal feelings through this music, and the listener may tell and hear this. All audience members applauded in unison after the concert due to the orchestras energy flowing into the audience through the music. Classical music is not limited by time or culture, and the audiences response supports the Ninth Symphonys ongoing importance as a magnificent example of the worlds musical heritage.

In conclusion, due to the wave structure of Beethovens Ninth Symphony, the concert of the Chicago Symphony Orchestra performed left viewers with conflicting emotions. The juxtaposition of bright major and calm minor harmonies produces the impression of being immersed in a dynamic atmosphere by impacting the audience through various emotions. The conductor and the musicians professionalism reflect the composers brilliance and the enthusiasm that the audience senses. Without a doubt, the live performance of Beethovens compositions is more powerful and expressive than the recorded one. Therefore, it is nearly impossible to fully experience the true grandiosity of the composers works without hearing them performed live. Without a doubt, the live performance of Beethovens compositions is more powerful and expressive than the recorded one. As the tangibility of the word was necessary for the final development of the central notion of the great philosophical system, it was a bold action that was ground-breaking. Beethoven broadened the musical conception intellectually and provided new directions for nineteenth-century symphonists.

Reference

Chicago Symphony Orchestra (2015). Beethoven 9  Chicago Symphony Orchestra  Riccardo Muti [Video]. YouTube. Web.

Ludwig van Beethoven is a German composer and pianist who entered history as a musical genius. Usually, his career is divided into three periods: early, middle, and late. The first period is characterized by notable Haydns influence, his teacher, and the most respected composer of the time. Despite this fact, even Beethovens works have something unique and innovative. The middle period of his musical art is often named a heroic one because it is characterized by the personal circumstances of his life presented in his art. The late period is marked by Beethovens isolation from society and the trend of reflexivity that was also transmitted into his works. Altogether, Beethoven wrote 32 piano sonatas; his art was traditionally seen as moving from the Enlightenment and Romanticism (Geck 6). Piano Sonata No. 23 in F minor, Op. 57, also known as Appassionata, is one of his most famous works, a unique masterpiece. It was composed between 1805 and 1806 and influenced the history of classical music, heralding the forthcoming Romantic period.

Appassionata is one of three famous piano sonatas of Beethovens middle period that marks the beginning of his mature musical creativity. One can note it in his biography and the history of this work. It was dedicated to Count Franz von Brunswicks sisters, with which Beethoven was in love. However, this love was not mutual; therefore, this situation can partly explain the real passion of the described sonata. The compositor was trying to overcome his souls controversial feelings and thoughts and represented this struggle in Appassionata. This, although is a characteristic feature of his work that was to have an influential impact in the nineteenth century (Quinn 17). Furthermore, this sonata was written after Beethovens famous Heiligenstadt Testament. In 1802 he wrote a letter to his brothers expressing his despair because of his progressive deafness. Fortunately, he decided not to stop creating and wrote after this letter such masterpieces as Waldstein, Op. 53, and Les Adieux, Op. 81a. Therefore, piano sonata No. 23 in F minor, Op. 57 is a product of Beethovens new and mature period work.

It is crucial to emphasize that Appassionata has a definite meaning, representing the tireless fight of humans against external circumstances. Everyone can see proof of it in Beethovens biography and the context of the creation of this composition. Personett notes that because of many compositors illnesses, Beethoven made the act of composition a source of personal catharsis rather than a source of reason (3). It means that he had a transitional period between the early and middle one that enormously changed the character of his work. Therefore, the compositors life circumstances dramatically interfered with his music-making, but he did not give up and expressed unwavering in the middle periods compositions.

The musical structure also represents the fighting spirit of Appassionata. The sonata is a form of sonata-allegro and consists of Allegro assai, Andante con moto, and Allegro ma non-troppo. The first one has two themes: initially, it draws an image of revolt and dark force, then a calm one. The first movements texture is characterized by enigmatic pulsations and wisps above and below, and its dynamics and tone allow the melody to progress quickly; its coda is unusually long. The second movement, Andante con moto, has simultaneously melodic simplicity and a counter-melody in the bass. The sonorous chordal sequence of D-flat major makes a foundation for four variations, with notes becoming progressively smaller. This movement brings balm after raucous Allegro assai. The third movement, Allegro ma non-troppo, has no break before itself, rapidly plunging into the extreme angst of Allegro assai, which is not surprising as they both have a sonata form. Moreover, it also uses the Neapolitan sixth chord and several written-out cadenzas. The culmination is a presto coda, becoming a mesmerizing finale of the work. Therefore, all elements of Beethovens masterpiece paint a picture of struggle and overcoming with all their orderliness and structure.

In conclusion, Beethoven is one of the most famous and influential compositors in human history. His Piano Sonata No. 23 in F minor marks the beginning of the mutual period of his work that can be named heroic because of the context of his life. Beethoven had many illnesses, and his deafness was progressing, but these circumstances did not break his will and prevent him from creating. In Appassionata, he most strongly expressed his resilience and unwavering. This work is about the revolt, fight, and struggle of human beings against any external circumstances that try to stop them from realizing their duty. It is a story about the battle with fate and dark forces depicted in Beethovens biography and the musical structure of this work. It is divided into three movements, and all of them are pervaded by Neapolitan harmonies. In general, Appassionata can serve as a milestone not only for a new phase of Beethovens work but for a new phase of all classical music, which he strongly influenced.

Works Cited

Geck, M. Beethovens Symphonies. Nine Approaches to Art and Ideas. University of Chicago Press, 2017.

Quinn, L. The Genesis and Development of an English Organ Sonata. Taylor & Francis, 2017.

Personett, T. Music and the Human Psyche: Beethovens Recovery through a Time of Personal Turmoil. Rocky Mountain College, 2016, Web.

Every concert is an opportunity for talented musicians to demonstrate their understanding and interpretation of certain musical pieces. The task becomes especially complicated when works dating from different styles and epochs are combined in one concert, since it requires careful selection of the pieces providing sufficient diversity without excessive dissimilarity. In this sense the college concert was a success, and the program choice appeared to be harmonious and fascinating.

Allegro from Wolfgang Amadeus Mozarts Flute Quartet in D Major captivates by its simple elegance. Written in traditional sonata form, this piece represents a combination of wind and string instruments untypical of Mozarts chamber works. Flute, violin, viola and cello engage in a smooth flow dominated by the melody of flute that is as if substituting for the traditional first violin. The overall impression created by the piece is that of carefree joy, with the light timbre of the ensemble being an ideal means of expressing the composers intention.

The final Rondo from the same Quartet continues the optimistic line of the Allegro, with a lively dialogue between the flute sounding playful passages and the violin engaging into more lyrical episodes. The resulting dialogue is entered by cello and carried on by viola further on. The structure of the main theme of this rondo reminds that of baroque concerts, with the tutti of the orchestra voicing the theme and the soloist taking up; but in this case the explication of the theme is reversed.

One of the least renowned but nonetheless remarkable chamber pieces created by Mozart, Duo for violin and viola K424 captivates by its charming tunefulness. The second part of it, the elegant three-beat Andante cantabile E-flat Major, represents a masterpiece for the violin. The singing instrument seems to pours out an endless melody rich with extensive melisms reminding of the Italian bel canto tradition and leaving the audience breath-taken.

A historical excursion in the world of tango is undertaken through listening to Astor Piazzolas Café 1930 from the cycle Histoire du tango. The virtuosic guitar fingering as if asks one to a dance, and are answered by the languishing cues of the violin. The whole duet resembles the passionate dance by its exotic harmonies and rubato rhythm, with the guitar accompaniment carefully supporting the violin melody which winds around in fanciful arabesques. After a while of enthralling dialogue between the guitar and the violin, alternating with solos of either, the conciliatory E Minor returns the audience into the melancholy and spleen of a smoke-filled café.

Quite another atmosphere is created by the energetic Allegro con brio from Ludwig van Beethovens Trio for piano, clarinet and cello op.11. The vital and life-asserting B Major of the piece develops through a complicated dialogue between the instruments of the ensemble, with the piano playing a role of harmonic base, on the one hand, and of an independent driving force performing large solo pieces, on the other hand. The sharp four-beat meter is continuously emphasized in the accompaniment of the piano, and Beethovens determinate character is traced in the trochaic assertive phrases. The developmental phase of the sonata form is dominated by polyphonic motive development typical of Beethovens developments. Among the main performance difficulties in this piece is to achieve a well-balanced ensemble without overweighting any of the parties, and this task was skillfully solved by the musicians.

There were a lot of people who were called geniuses in different spheres of human activity. When music is concerned, probably, the first name that leaps into ones mind is Ludwig Van Beethoven, a composer, and pianist whose works and memory have been living for many centuries already. Such prominent and unique people as Beethoven leave a permanent mark everywhere where they stay. It concerns geographical places as well. Bonn was the town that gave birth to the man of genius and made an influence on him. In his turn, the composer left a permanent mark on the image of the town as the fact that he spent his early years in this town always attracted music worshippers to Bonn.

First, it is necessary to throw light on the importance of Bonn for the composer. No doubt, it was a special place for him since it was his hometown, the town that heard the first cry of a newly born Ludwig. As t is stated by Cooper (2008), the family surrounding & provided a sound if not ideal environment for a young composer. So, too, did the city of Bonn (p. 2). In fact, the composer himself once said about his home town that it was a small unimportant town (Cooper, 2008, p. 2). He meant that he had achieved everything he had due to his efforts only. This idea is only partially correct. In fact, Bonn was the official seat of the Archbishop Elector of Cologne along with the court that gave artists a perfect chance to get patronage. This is why Bonn provided the young genius with financial support. In fact, Bonn was the center of the Enlightenment (Kinderman, 1995, p. 15). This was the place where he met his first patron, Maximilian Friedrich (Clive, 2001, p. 230). Besides, Bonn was the town where young Beethoven met his first music teacher after his father, Gilles van den Eeden (Clive, 2001, p. xv). Thus, Bonn gave the composer a start in life. The place where Beethoven composed numerous songs, three piano sonatas, piano variations, concertos, and cantatas could not be insignificant for him (Stanley, 2000, p. 8).

In fact, Beethoven paid his debt to his hometown if he had any. The fact that Bonn is the birthplace of genius makes it a place of pilgrimage of music worshippers from all over the world. Bonners think that one cannot visit Bonn without knowing that Beethoven and Bonn are connected. Beethovens memory has been worshiped in Bonn, it is the city where the anniversaries of his birth are celebrated by stirring performances of Beethovens masterpieces that gather admirers from all over the world (Breuning, Solomon, & Mins, 1995, p.17). Now the Beethoven Festival is held every two years in Beethovenhalle, a concert hall that is famous for its acoustics (The Bonn Guidebook, 2009, p. 5).

It can be stated with certainty that the development of the city image, architecture, and landscape of Bonn is greatly influenced by Beethovens invention now. The first place every guide will recommend you when visiting Bonn is a museum devoted to Beethoven memorabilia (Castle, 1999, p. 45). There is the statue of the composer in the center of the town along with many other memorials to the immortal genius. As for the architecture of the town, the patterns of the beginning of the nineteenth century prevail as if everyone tried to keep the moment when Beethoven lived here.

To conclude, let us state that the city of Bonn has successfully performed its mission of giving birth and upbringing to the musical genius. This is why nowadays it is the place of pilgrimage of all admirers of Beethovens talent.

References

Beethoven. 2010, Web.

Breuning, G.V., Solomon, M., & Mins H. (1995). Memories of Beethoven: From the House of the Black-robed Spaniards. NY: Cambridge University Press.

Castle, A. (1999). Walking the River Rhine Trail, Germany. UK: Cicerone Press Limited.

Clive, H.P. (2001). Beethoven and His World: A Biographical Dictionary. NY: Oxford University Press.

Cooper, B. (2008). Beethoven. NY: Oxford University Press.

Kinderman, W. (1995). Beethoven. LA: University of California Press.

Stanley, G. (2000). The Cambridge Companion to Beethoven. UK: Cambridge University Press.

The Bonn, Germany Program Guidebook. 2010. Web.

Introduction

Ludwig van Beethoven was one of the greatest composers and pianists that had a significant influence on Classical music (Wooley 34). His music career started at a tender age, and his parents did everything to ensure that he achieved the level of success he desired. Scholars have argued that Beethovens music was greatly influenced by another great composer, Wolfgang Amadeus Mozart, who was about 15 years his senior (Paxman 27).

By the time Ludwig van Beethoven gained serious interest in music, Wolfgang was already a successful composer and pianist that had very powerful patrons in Vienna. He had already made successful tours to Munich, Paris, London, and The Hague, where his work received massive acceptance (Burnham 62). Accounts of the meeting between Beethoven and Mozart are scanty, and some are based purely on speculation. In fact, a section of scholars argues that the two never met at all and that Beethoven might have just seen Mozart perform without having the opportunity to engage him in a meaningful discussion.

However, these scholars have no doubt about the influence that Mozart had on Beethovens career and personal life. The historians had also confirmed that there was a period when the two great composers and pianists were both in Vienna for reasons related to their music careers. In this paper, the researcher seeks to investigate the impact that Mozart had on Beethoven, especially after their meeting in Vienna.

Discussion

According to Swafford, several German composers played a significant role in the transition of music from the Classical era to the Romantic era (40). Ludwig van Beethoven and Wolfgang Amadeus Mozart are some of the two greatest composers who played important roles during this era. Although many scholars argue that the meeting between the two had a profound impact on the approach that Beethoven took after the death of Mozart, Wooley explains that the two were independent artists with unique skills in music (73). It is important to analyze the life and career of the two artists before looking at how their meeting in Vienna influenced Beethoven to understand its relevance.

Wolfgang Amadeus Mozart

Mozart was born on January 27, 1756, to Anna Maria and Leopold Mozart, who at that time was living in Salzburg (Benedict 45). Mozart and his elder sister received a lot of love and attention from their parents, especially because his other siblings had died in infancy due to various illnesses (30). His father, Leopold Mozart, was a composer and a teacher of music. He was also the fourth violinist at the Count Leopold Anton von Firman and an author.

Paxman believes that growing up in a middle-class family with caring parents who were keen on ensuring that he achieved success in the field of music played a critical role in defining the future of Mozart (44). His father was his first music teacher. At the age of eight years, Mozart was already playing the piano and violin quite well. His family started making tours across Europe when he was about ten years. In such tours, he was the leading pianist while the father was playing the violin. His elder sister also had a role in the family band. One of his first compositions was inspired by Gregorio Allegri, a Roman Catholic priest, and composer (Swafford 34).

He listened to the performance of the priest and then wrote the same piece out of memory. It was the beginning of his career as a great composer of music. He transformed from composing other pieces to developing his own at the age of 21 years.

One of his first pieces that received massive success was the opera Mitridat re di Ponto composed in 1770 when he was in Milan (Paxman 62). The skills and dedication of Mozart attracted the attention of Prince-Archbishop Hieronymus Colloredo, the ruler of Salzburg, who hired him as a court musician (Swafford 51). He was offered a perfect environment to explore the field of music and be rewarded handsomely in the process. One of his greatest compositions, the six quartets (K. 387, K. 421, K. 428, K. 458, K. 464, and K. 465) that he dedicated to Haydn became successful in that period (Wooley 38).

He played a major role as a composer, a teacher, and a mentor to many musicians who were younger than him. His music style is largely classified as part of Classical Music. He is also credited with the creation and promotion of Die Entführung aus dem Serail, an Opera Singspiel that defined Classical music in that era (Benedict 103). Mozart had a family and children. The historical records show that Mozart started experiencing serious financial problems when he started his tours in Europe. The lifestyle that he embraced could not be supported by his earnings. The financial challenges had a profound impact on his career in his later years. He soon developed health problems that had a further negative impact on his career. He died on December 5, 1791, at the age of 35 years.

Ludwig van Beethoven

According to Burnham, Ludwig van Beethoven is considered one of the most influential and highly recognized composers of all time who helped to transition music from the Classical era to the Romantic era (75). The records do not clearly state the exact date when he was born, but his records show that he was baptized on December 17, 1770 (Swafford 73). His father was a pianist and a local music teacher.

Most of the family friends were musicians or lovers of music and member of the Roman Catholic Church. In 1779, he started studying music under the guidance of Christian Gottlob Neefe, a close associate of his father. Given that Neefe was also a Court Organist, Beethoven had the opportunity to access different musical instruments at a tender age. He helped Beethoven to compose his piece (WoO 63), a set of keyboard variations that was published in 1783 (Paxman 83). His artistic skills convinced Neefe to hire him as his assistant after a short period of being a student. He was convinced that the little boy had a potential that needed to be horned.

It is believed that the young Beethoven started embracing philosophies and ideas popular in freemasonry because his teacher, Neefe, and some of the prominent figures that he interacted with were members of the Order of the Illuminati, the local chapter. Some of his ideas were a radical departure from the teachings of the Roman Catholic. Although he did not express such radical ideas in his compositions, it was clear to the close associates that he had embraced Freemasonry, although he was never open about the issue.

He traveled to Vienna in December 1786, a trip that was fully funded by his teacher, who had also become his employer. Neefe wanted Beethoven to tour Europe, especially the city of Vienna, to interact with some of the prominent composers who could help him achieve greater success in his music career.

The Vienna Meeting

The meeting between Wolfgang Amadeus Mozart and Ludwig van Beethoven is believed to have taken place in early 1787. The primary goal of Beethoven visiting Vienna was to interact with some of his seniors in the music industry, and one of them was Mozart. Beethovens most influential teacher, Neefe, personally sponsored the tour as a way of making it possible for his student and assistant to meet with the renowned composer and pianist at that time.

Beethoven had studied the composition of Mozart and admired his artistry. In the month of December, Beethoven was unable to meet with Mozart. The existing historical records are in conflict about when and how the meeting took place. Wooley explains that it was impossible for Beethoven to meet Mozart (42). After several weeks of deliberate attempt to book for a meeting, it became apparent that it would not be possible.

As such, Beethoven decided to travel back home to attend to family issues and continue with his career in a place where he could get the support he needed. Other accounts hold that although Beethoven was unable to meet with Mozart at a personal level, he attended various functions where his role model performed. He was attentive to listen to his compositions and compared them with that of his teacher, Christian Neefe (Paxman 90). After a few weeks in Vienna and with clear indications that he would not get the attention of Mozart, he decided to end his visit.

Otto John, a 19th-century biographer, gives an account of a meeting between these two great composers when Beethoven traveled from Bonn to Vienna in early 1787 (Burnham 74). In this account, Beethoven visited Vienna when he was a promising young musician who was keen on meeting one of his most admired composers, Wolfgang Mozart. He was introduced to Mozart by a family friend.

In that meeting, Mozart requested Beethoven to play for him one of his pieces (Benedict 78). Keen on pleasing the music icon, Beethoven took time to present one of his masterpieces. Mozart was pleased with his skills as a composer and his capacity to play piano, violin, and other musical instruments. However, he was not keen on having him as one of his students or assistants. At that time, he already had a student who he believed in more than Beethoven. Mozart was also facing serious financial constraints and was keen on making money other than being a mentor to the upcoming musician. As such, although he liked the piece that was presented by Beethoven, he was relatively cold in expressing the admiration.

This account holds that after listening to several pieces that Beethoven presented to him, Mozart commented to his friend that the young musician would have a significant bearing in the music industry in the future. After spending a few weeks in Vienna listening and going through the compositions of Mozart, he received the news about the deteriorating condition of his mother back in Bonn. He wanted to stay longer, but the news forced him to travel home, hoping to come back after some time. Unfortunately, the mother passed on in July of that year. Beethovens father was incapacitated by alcoholism, and the responsibility of taking care of the younger sibling fell on Beethoven.

The new responsibility meant that Beethoven was unable to revisit Vienna soon after the first visit, and the two artists never met again. This account has faced a lot of criticism, but as Paxman suggests, it is the only record that shows the possibility that the two ever met when Beethoven made a trip to Vienna (63). Although historical records differ on whether the two met and the nature of their engagement during the meeting, there is a general agreement about the impact that Mozart had on Beethoven.

Impact on Personal Career

The interaction that Beethoven had with the works of Mozart had a profound impact on his career, especially because of the love and admiration that Beethoven had towards the senior musician. According to Burnham, one of the areas of the works of Beethoven that was significantly affected by the meeting was the composition (23). Unlike Christian Neefe, who had taught Beethoven for years, Mozart had a unique approach.

He was able to integrate life experiences and emotions into his work with ease. Beethoven was not keen on having something different in his composition slightly away from Classical opera. He wanted to break some of the conventional rules of music at that time while at the same time be able to develop and present interesting pieces. Mozart, although an ardent follower of classical music, was taking a slightly new approach that gave him some independence in his composition. It was one of the factors that had a significant influence on the career of Beethoven.

Swafford reports that in October 1790, Beethoven wrote down a brief C-minor passage in 6/8 meter, in two-staff piano score, and then wrote down these words, between the staves, about the little phrase: this entire passage has been stolen from the Mozart Symphony in C (96). Although many scholars and historians have not been able to ascertain the fact that the two great composers met at one time, the statement from Beethoven confirms that he was greatly influenced by the work of Mozart.

He was strongly convinced that he was redefining music in that era. Scholars compared the composition that Beethoven claimed he stole from Mozarts work and determined that it was an original piece that was not plagiarized in any way. Wooley explains that one of the reasons that made Beethoven claim that the work was plagiarized was the fact that it was a major shift from Classical opera (39). To Beethoven, it was only Mozart who had made an attempt to depart from classical music in that era.

Ludwig van Beethoven played a critical role in the shift of music from the Classical era to the Romantic era. This major shift was largely influenced by the works of Mozart. It is important to note that although Mozart was a passionate Classical era musician, he made attempts to shift his music by introducing some new approach to his composition without making the shift. However, Beethoven took a radical approach. He was keen on integrating his emotions into his music in many of his compositions. He is largely considered the founder of Romantic-era music. The impact that he had on music composition has had a major impact on modern-day composers.

Impact on Musical Career

Beethoven had very little time in understanding the private life of his senior, Mozart. The time they had to interact did not make it possible for the young musician to understand the personal challenges and successes of Mozart. However, it is believed that a careful study of his work made it possible for the upcoming composer to have a detailed knowledge of the experiences and challenges of Mozart. In some of these compositions, Mozart expressed the financial challenges that he faced and how they affected his career (Benedict 34).

When Beethoven studied the life of Mozart and his work during that period, he was able to see the actual impact of the financial problems on his seniors work. As such, one of the resolutions that he made was to manage his finances properly and avoid any financial challenges that might affect his career. The biographical records show that Beethoven, unlike Mozart, did not face financial challenges. He was able to secure his financial future by making the right investment. However, he had his own set of challenges.

One of the biggest challenges that Beethoven faced in his adult life was finding love. Given that most of his time was dedicated to composition or performing to the royalties, most of the women he fell in love with were of royal families. The problem that he faced was that at that time caste system was held in high regard. It was not possible for a person of a lower caste to marry a woman from a higher caste. Beethoven, despite his successful career in music, was considered a commoner. As such, it was not possible for him to marry any of the women he fell in love with from the royal families. It partly explains why most of his compositions were romantic.

He was frustrated with the love-life. Josephine Brunsvik was one of the women that Beethoven fell in love within 1804. His love was reciprocated, and it is recorded that from 1804 to 1810, he composed several pieces that were directly expressing the love he had towards her (Burnham 41). However, his status as a commoner made it impossible for the two to have a fruitful relationship. Beethoven went down in history as one of the most successful composers and pianists of all time, but his romantic life was a failure.

Conclusion

Beethoven and Mozart are some of the greatest composers and pianists of all time. They left a lasting impression in the field of music. Beethoven is directly credited with introducing Romantic era music at a time when most of the composers strictly followed the conventional rules of Classical-era music. In his personal life, he managed to achieve career success. At the height of his career, he was one of the most celebrated composers of his time in Europe.

However, his love life was not taking a similar great path. He was able to express these frustrations in his work, but in a way that attracted music lovers. He was able to identify with many men and women who struggle to find love, but several obstacles make it impossible to realize the dream. The interaction between these two great musicians had a profound impact on the approach that Beethoven took in his career.

Works Cited

Benedict, Top of FormTaylor. The Melody of Time: Music and Temporality in the Romantic Era. Oxford University Press, 2015.

Burnham, Scott. Mozarts Grace. Princeton University Press, 2013.

Paxman, Jon. A Chronology of Western Classical Music 1600-2000. Omnibus Press, 2014.

Swafford, Jan. Beethoven: Anguish and Triumph. Faber and Faber, 2014.

Wooley, Allan. The Curmudgeons Quests. Book Venture Publishing LLC, 2017.

Wolfgang Amadeus Mozart and Ludwig van Beethoven rate among the most outstanding composers in the history of classical music. They both died over 150 years ago but their works continue to be studied, performed, and admired all over the world. Although both composers are equally popular, their music still differs considerably in style and message. Moreover, their backgrounds, approaches to work, understanding of music, and relations with public were also quite different though they undoubtedly share some common features.

Mozart was born on the 27^th of January, 1756, in Salzburg, Austria (14 years earlier than Beethoven). When he was three years old, he could play the piano, and by the age of four he had already started composing his own music. Besides, he was also a brilliant violin player (Woodford, 2016).

Beethoven was born on the 16^th of December, 1770, in Bonn, Germany, in the family of musicians (both his father and his grandfather played musical instruments). Although he made his first public appearance at the age of eight and started publishing his music at twelve, this art did not come so naturally to him as he was not such a prodigy as Mozart (who was already a famous composer at that time). His father forced him to practice day and night hoping to educate the second Mozart (Solomon, 2012).

Both composers had a difficult childhood as their fathers controlled every aspect of their lives and made them spend all their time on practicing. However, Mozart started travelling with concerts when he was much younger than Beethoven. He played mostly for royalty and nobility. His first opera, La finta semplice, was completed when he was still a teenager (Woodford, 2016).

Unlike Mozart, Beethoven spent his early years without any glory. His father punished him severely for every mistake. His first recital when he was eight received no attention from the press. In 1784, he became an Assistant Court Organist as he needed money to support his family. He took off for Vienne when he was seventeen but had to return because of his dying mother. Thus, he did not enjoy early fame (Solomon, 2012).

However, in later years Mozart was much less popular as he was no longer perceived as a wonder. He earned very little money and had to borrow from his friends to survive. He was very sick and could not afford treatment. He died in his thirties and was buried in a paupers grave (Woodford, 2016).

On the contrary, Beethoven became rich and famous later in life. He enjoyed recognition long before his death. However, gradual loss of hearing that lead to deafness had a great impact on him. His best works were composed when he could no longer hear. He died when he was 56 (Solomon, 2012).

As far as the style is concerned, Mozarts music is characterized by simplicity, clarity, and harmony. It is an archetype of the Classical music. His music is a reflection of his light and cheerful personality. It can be performed even by musicians who lack outstanding skills. He wrote in every possible genre: opera, concert, symphony, chamber music, etc. His best works include operas Don Giovanni, The Magic Flute and The Marriage of Figaro, Symphony No. 40 in G Minor, Requiem, etc. (Woodford, 2016).

The sound of Beethovens music is much gloomier and moodier. His style can be called transitory as it shares some features with both classicism and romanticism. His works are very hard to play as they have lots of variations and complex technical passages. Like Mozart, he created music of different genres and for different instruments. His major works include nine symphonies, an opera (the only one he wrote  Fidelio), and lots of shorter pieces (Solomon, 2012).

It would be fair to note that, despite a lot of differences in approaches to music, recognition, and life styles, these two composers are equally renowned as the greatest masters of all times.

References

Solomon, M. (2012). Beethoven. London, UK: Music Sales Group.

Woodford, P. (2016). New illustrated lives of great composers: Wolfgang Amadeus Mozart. New York, NY: Omnibus Press.

Introduction

In the movie Dead Poets Society Ludwig van Beethovens two renowned symphonies are used; Symphony number 9 and symphony number 5. The fifth symphony which was a division of PolyGram Classic was also known as Piano Concerto in the movie. This symphony was performed by Berliner Philharmoniker as the Berlin Philharmonic Orchestra, and it was however conducted by Feriand Leitner.

Symphony 5

The fifth symphony in C minor was written in 1804 -1808 by Ludwig van Beethoven and. This is the most common and well-known composition in all classical music ever written in the European arena being one of the most oft-played symphonies. The most unique feature of Beethovens symphony 5 is in its movements. The four movements began with a sonata-allegro; then an andante, followed by a fast scherzo that finally leads to the attacca.

In other words, it has an unyielding concentration on one octave, a terse repeated note figure that is unharmonized at the beginning in an attention-catching fortissemo. It was first performed in 1808 at Viennas Theater van der Wien. It immediately attained its reputation being described as one of the most important productions at the time. A distinct characteristic, this symphony is the short-short-short-long motif that is repeated twice.

Symphony 5 in the movie

The populace of the fifth symphony is through the four-note opening motif with the motif again appearing in universal cultures such as clubs and discos, including rock and roll to even films and television programs. The presence of the symphony affects the delivery of the message to the viewer from a movie. In particular, the four-note motif has been overtime used to denote time connotations. For instance, the BBCs use the four-note motif during World War II to introduce its radio news broadcasts.

This was appropriate at a time when most of the world nations were in utter demise from the results of wars. The Morse code letter V denoted by the four-note motif served as an indication of victory which is an anticipation of everyone on the battlefield. They henceforth managed to attract their listeners attention towards the news. The movies use of this symphony heightened the achievements that were intended by the students having heeded Mr. Keatings advice to stand on their feet.

Increased use of the 5^th symphony arose when there was pressure from several students against the minority to incline them with the regulatory stipulations according to the school rules and regulations. The director of the movie employs a similar four-note motif as the BBCs Morse code representation to portray danger when some students deviated from what was expected of them (Hopkins, p. 87).

Symphony 9

Beethovens ninth symphony was also a part of the movie Dead Poets Society. The symphony number 9 composed in D minor is Ludwig van Beethovens last symphony. This is one of the best works in Western classical repertoire and one of his greatest compositions having been completed in 1824. For the first time during its composition, the composer used voices in the symphony, which are sung by four vocal soloists and a chorus during the final movement. Its composition derived its words from Friedrich Schillers Ode to Joy in 1785. The revision was later conducted in 1803.

Just like the fifth symphony, symphony 9 had the movement format each with its mood. The symphony was composed of the first movement an allegro ma nontroppo, un poco maestoso with a sonata form and a stormy mood. The second movement was scherzo: molto vivace-presto which uses propulsive rhythms in addition to timpani solo. The third movement was adagio molto ecantabile-Andante Moderato being a loose variation form, while the fourth movement recitative: allegro assai.

The fourth movement is represented in the famous chorale finale in the Universal Brotherhood by Beethovens musical representation. This was characterized by Charles Rosen as a symphony in another symphony because it contained four other movements playing uninterrupted.

The form of movement in the ninth symphony is a characteristic of the inner symphony with the four movements. The movements thereof are first movement has a theme and variation with slow introduction and variation from the main theme; second movement is a schrzo 6/8 military with a conclusion variation and chorus; third movement has a new theme on the text but slow meditation; and the fourth movement is fugato finale on both the first and third themes movements.

Consequently, the movements thematic coordination bases each part on the main theme; Seid umschlungen theme. Therefore the first movement within a movement has several sections including an introduction that starts with a Presto passage that previously quotes the three previous movements consecutively. Then a series of orchestra variations arise from the theme, followed by the repetition of the introduction from the Presto passage but the soloist taking up the recitative place earlier on suggested by bases and cellos. Finally, the main theme is changed by altering the vocal soloists and chorus (Hopkins, p. 117).

Unlike in the composition of all the other previous symphonies, Beethoven in the ninth symphony transformed the usual pattern of Classical symphonies by bringing the Scherzo movement in front of the slow movement.

Symphony 9 in the movie

In the movie Dead Poets Society, the ninth symphony abridges the denotations arising from the musical accompaniments of the sceneries. The effect of the symphony improves the quality of the soundtracks in the movie by inclining the message with the activity at hand. This is an adoption of the four movements in the Symphony 9 compositions whereby the message goes through a series of steps before it finally ends in the destined place.

Beethovens contributions

In the years that followed Beethovens compositions, many composers were influenced by his works. For instance, Richard Wagner contributed in the 9^th symphony when he had to decide which lines from the original composition had to be removed. Another composer who adopted Beethovens chromatic fourth for the third symphony was Anton Bruckner in the first movement composition.

Conclusion

The work of Beethoven in the composition of the symphonies has drastically changed the way music has been in the many centuries. Composers and musicians alike have benefited from the symphonies both by coming up with new movements or by adopting already existing formats

The works of Beethoven in the movie industry has been a cornerstone for the various developments that have occurred for centuries thus the change in this industry has and always will be attributed to him

References

Hopkins, Antony. The Nine Symphonies of Beethoven. London: Heinemann. 1981. pg. 87-117.

The Internet Movie Database, IMDb. Literature for Deat Poets Society-1989. Web.

Introduction

Beethoven is one of the most successful classical artists. His symphonies such as symphony erotica have remained relevant for a long time. Nature and natural landscape were important to classical and romanticism artists. Beethovens love for nature and natural landscape is especially featured in his sixth symphony, Pastoral symphony. Unlike his other symphonies that concentrated on freedom and political issues, the pastoral symphony is dedicated to nature.

Beethovens love for nature

Beethovens love for nature is seen in almost all his works. He fully personifies in his various symphonies. His work shows not only his fascination with the law of nature but also the power of nature. His greatest strength in portraying nature in his symphony was his emotional response to nature (Grove 54). Although many artists in romanticism have featured nature in their works, nonetheless, have managed to portray nature as described in the Pastoral symphony. The title of Beethovens symphony, Pastoral symphony, says much about nature and the natural landscape. At the time of composing the symphony, pastoralists were regarded as people who valued and respected nature. The symphony is divided into five parts, with each part showing some elements of nature and landscape.

Nature and landscape in Pastoral Symphony

Beethovens attitude towards nature is seen right from the start of the symphony. The first part shows Beethovens joy as he arrives in the countryside. The F key used in this part depicts the landscape of the countryside where pastoral activities are carried out. The part is in Romantic sonata form. The part also uses the method of placing themes in different contexts such as instrument, key, or format. This gives the impression of a sudden change of atmosphere and appearance in the countryside. Varied landscapes such as rivers, hills, and planes peculiar to the countryside are implied. The movement in this part also shows the emotions that one would have while in the countryside (Schindler & MacArdle 73). The first movement starts with both F and C pedal notes. These notes bring out a sound related to traditional country dance and fork songs. The pedal notes are periodically repeated in the movement by use of other instruments. This brings out the theme of cheer and joy in the countryside. Variety of articulation such as the use of staccato shows the different features of the landscape. Overall, the first part shows a beautiful countryside landscape that arouses a sense of joy in the composer.

The second part of the symphony paints the picture of a stream in the landscape (Rich 102). The B major used in this part brings the peace associated with a brook. Legato quaver figures bring out the flow of water in the stream (Jones 53). Beethoven succeeds in painting the picture of the brooks in his hometown. The landscape has brooks with cool water that flow smoothly down the streams. The composer brings out a feeling of peace and calmness through this movement.

The third movement brings out the joy of villagers in the countryside (Lockwood 49). The movement starts with F major to bring out the joy of merrymaking villagers. The countryside does not contain hills, valleys, or brooks alone but also has the villagers. The countryside is a source of joy to its occupants. The villagers in this part make merry in celebration of what nature has availed to them.

The fourth part of the symphony describes a storm. Besides the beautiful landscape of the countryside, cool brook, and the joy of villagers, the countryside also experiences a thunderstorm. The tension and anxiety of expecting a thunderstorm are brought out in the introductory part. The movement shows the trend from the anticipation of the storm to its dying down. The unpredictable rise and fall of the storm in the countryside are clearly depicted in the fourth part. The fifth part of the symphony is a thanksgiving song. This part brings back the picture of the pastoral nature of the first part. The movement brings out a feeling of contentment, happiness, and thanksgiving.

Conclusion

Beethoven succeeds in painting the nature of his hometown. Various aspects of nature such as the beauty of the countryside, cool brooks, joy of villages, and storms are brought out in the symphony. Besides painting a picture of nature, Beethoven also succeeds in bringing out emotions associated with nature.

References

Grove, George. Beethoven and his nine symphonies. New York: adamant Media Corporation, 1962.

Jones, David. Beethoven, Pastoral symphony. Massachusetts: Cambridge University Press, 1995.

Lockwood, Lewis. Beethoven: The music and the life. New York: Norton & Company, 2005.

Rich, Alan. Beethoven Rediscovered, A Ditch Treat. New York Magazine,11. 23.

Schindler, Anton, and MacArdle, Donald. Beethoven as I knew him. New York: Courier Dover Publications, 1996.