A Complete History of Music / for Schools, Clubs, and Private Reading

by W. J. Baltzell

The Breuning Family.—In 1787, his mother died; and this loss, together with his father’s intemperate habits, made his home extremely unpleasant. Fortunately for Beethoven, however, the enthusiasm for music which was rife in Germany at this time among people of culture and position was the cause of attracting to his side many true friends, who, appreciating his sterling qualities, were able to pardon his rough exterior and manners. Thus he was received as teacher and friend into the home of the cultivated von Breuning family, under whose refining influence he came into touch with the masterpieces of English and German literature. Here he first met his staunch friend, Count Waldstein; and here he had leisure for long walks amid the rural retreats which he heartily loved, and for meditation upon those musical ideas which he was accustomed to jot down in rough sketches, and which should later be translated into his immortal creations.

In Vienna.—Haydn, passing through Bonn, warmly praised a cantata of Beethoven’s; and the Elector, moved by such marks of approbation, sent him again to Vienna, in 1792, for serious study. Here he was instructed by Haydn till the latter’s departure for England, in 1794, when he went to Albrechtsberger, the celebrated contrapuntist, and others; but these exponents of an earlier school looked somewhat askance at the bold innovations which Beethoven introduced into recognized principles, and failed to understand the irrepressible genius which prompted them. Nothing daunted, he launched zealously into composition, supported by a growing circle of admirers to which the Elector’s patronage had introduced him; and soon became a favorite at the private soirées of the nobility, where, on account of his eccentric manners, he was known as an “original,” but where his wonderful extemporizing was received with ecstasy.

Successes as a Pianist.—Beethoven’s first public performance in Vienna occurred in 1795, when he performed his pianoforte concerto in C major at a concert. During a journey soon after, he played before King Friedrich Wilhelm II, at Berlin, who distinguished him with marks of favor, and to whom Beethoven dedicated two sonatas written for pianoforte with ’cello. Here also he met the conductor, Friedrich Himmel (1765-1814), a pianist and composer of high rank. We hear next of his trial of pianistic skill with Steibelt, a popular virtuoso, in which Beethoven won an overwhelming victory. With Wölfl, another distinguished rival, his relations were those of mutual esteem, and the two masters delighted to extemporize dashing capriccios on two pianofortes.

First Period.—The thirteen years, from 1790 to 1803, are usually considered to embrace his first period of activity as a composer, comprising his works to opus 50. His opus 1, three trios for piano, violin and ’cello, appeared in 1795, and soon after three piano sonatas, opus 2, dedicated to Haydn, were published. Among the other noteworthy works of this period were his first two symphonies, in C and D, three piano concertos, the piano sonatas including opus 27, the Kreutzer sonata for piano and violin, and his famous Septet for strings and wind instruments. In general, these compositions follow closely the lines laid down by Haydn and Mozart, although there is, notably in the piano sonatas, a gradual tendency toward freedom of expression, and the assertion of individuality.

Troubles now began to gather about him. About 1800 his hearing became defective, and the malady grew steadily from bad to worse, so that by 1816 he was obliged to use an ear-trumpet, and by 1822 he was stone-deaf. To add to his discomforts, his brothers Karl and Johann treated him shamefully, and a son of the former, to whom he was left guardian at the father’s death, and upon whom he lavished a father’s care, turned out a scapegrace, repaying his affection with the basest ingratitude. Weighed down by these misfortunes, Beethoven became irritable and morbid, distrusting his most faithful friends, and constantly imagining plots against himself. His utter ignorance of worldly matters, too, brought him into financial troubles, and involved his domestic affairs in a state of continual confusion.

Second Period.—Yet, as if to prove man’s ability to rise superior to every affliction, during this very time he was writing compositions which, for joyous freshness and spiritual elevation, have been scarcely, if ever, equalled. During his second period, extending to 1815, and including his compositions to about opus 90, he adopted a freedom of expression entirely untrammelled by formal limitations, enlarging and vivifying the Sonata Form, and varying it to suit his changing moods. The joy of living, with its intensity of passion and depths of emotion, is reflected in these works, which assert a character strong in its struggle against adverse fate, confidently looking toward the goal of ultimate good.

Compositions of this Period.—His most popular symphonies were written during this period, which embraces those from the third to the eighth, inclusive. The “Eroica,” number three, was originally written in homage to Napoleon, whom Beethoven honored as the guide of the French nation toward that assertion of independence and individuality which he dearly loved; but when the news arrived that Napoleon was declared Dictator, in 1804, he tore up the dedicatory page in a fit of anger. Another of his greatest compositions was his opera of “Fidelio,” upon which Beethoven spent an amazing amount of time and pains, whose overture he rewrote twice. Produced in Vienna, in 1805, soon after the occupation of the city by the French, it was received coldly; and only after several revisions did it score a success at all in keeping with its grand and inspiring conception. Several orchestral overtures; his violin concerto; an oratorio; a mass in C; some of his best chamber music, including the celebrated Rasumovsky string quartets; and his piano concertos in G and E-flat, were other fruits of about this time. Of fourteen piano sonatas, we find several which have continued in unbroken popularity, notably the two in opus 27, the “Pastorale,” opus 28, the “Waldstein,” opus 53, and the “Appassionata.”

Latter Years of His Life.—The latter part of Beethoven’s life, after 1815, was spent in Vienna, in a state of despondency from his troubles which his general recognition as the foremost musician of his day could scarcely alleviate. His many friends placed him, by their efforts, in comfortable pecuniary circumstances; yet he constantly imagined himself struggling with poverty. Sensitive to his affliction, he made himself exceedingly inaccessible, and passed his days in unceasing labor upon those works which eclipsed, in profundity and individuality, all of his former compositions, and which were an index to the conflicting struggles in his mind. Stone-deaf, he yet revelled in a spiritual world of tone, hearing his greatest compositions only in the realms of his imagination. An attack of pneumonia in 1826 left effects which proved lasting, and which caused his death on March 26, 1827. In his last illness he was surrounded by his circle of unfailing friends, among whom the modest Schubert was admitted; and a proof of his hold upon his countrymen is shown in the fact that 20,000 persons are said to have attended his funeral.

Last Great Works.—The greatest fruit of these later years was his last symphony, the Ninth, or “Choral,” in which, for the first time, he introduced voices as an aid to the instrumental climax. The free vent which he gave to his radical tendencies in this symphony, its unheard-of boldness of harmonic progressions, and its defiance of all conventional rules, aroused a storm of protest from his critics which was only lulled after succeeding generations had placed the stamp of unmistakable approval upon the work, and had recognized it as a monument of genius. Near to this in importance stands his “Solemn Mass” in D, a work imbued with all the religious fervor of his declining years.

Sonatas of Third Period.—Other notable achievements, in the line of chamber music, mark this period; and the last five piano sonatas, extending from opus 101 to opus 111, exhibit the same undaunted freedom that is found in the Ninth symphony. Enormous in their demands upon the pianist, they are food for none but virtuosi; but analyzed, they show a compendium of all known musical resources, from the choral fugue to the most daring flights of harmonic expression.