BEETHOVEN: The man behind the notes.

Beethoven's musical output has traditionally been divided into three periods, a classification that dates to the first years after the composer's death in 1827 and was formalised with the publication of Wilhelm von Lenz's influential work Beethoven et ses trois styles (Beethoven and his Three Styles). Lenz proposed that Beethoven's creative output be marked by three periods of distinct stylistic personality and he identified specific compositions as milestones for each period.

Deaf Genius

Beethoven is reported to have dated his hearing loss from a fit he suffered 1798 induced by a rage at the interruption of his work; having fallen over, he got up to find himself deaf. His hearing only ever partially recovered and, during its gradual decline, was impeded by a severe form of tinnitus. As early as 1801, he wrote to friends describing his symptoms and the difficulties they caused in both professional and social settings (although it is likely some of his close friends were already aware of the problems).

Notable Influences

Mozart and Haydn

Mozart 1756-1791

Opera, Don Giovanni

Haydn 1732-1809

Symphony, Philosipher

In 1787 Beethoven travelled to Vienna for the first time hoping to be accepted by Mozart as one of his pupils. He met the genius from Salzburg and was indeed accepted. Some biographers maintain that Beethoven never actually received instruction from Mozart. This assertions supposed by the fact that Beethoven had to go back to Germany suddenly due to the unexpected death of his mother and that he did not return to Vienna for some time. On the other hand, other biographers claim, perhaps more convincingly, that Beethoven was indeed a pupil of Mozart's but only for a period of four months and the subject studied was composition.

In 1792 Beethoven began his studies with Haydn. These lasted three years, that is up to 1794 when Haydn moved to London. Beethoven venerated Haydn, and was the only man whom Beethoven was to bend his knee before, in order to kiss his hand.

Notable Subjects

Species Counterpoint

Sontata Form

Fugue

Canon/Round