Beethoven's funeral in 1827 was a major public event, with crowds gathering outside his apartment, schools given the day off, and a torch-lit parade featuring prominent figures like Franz Schubert. This contrasts sharply with Mozart's modest funeral in 1791. Beethoven's status as a cultural icon and the Romantic ideal of the tortured genius contributed to the grandeur of his send-off.
Beethoven's father, a singer with a drinking problem, pushed him ferociously from the age of five, forcing him to practice until midnight and beating him for mistakes. Despite this harsh treatment, Beethoven showed talent but was not a prodigy on Mozart's level. His father's methods did not lead to immediate recognition, and it wasn't until he found a new teacher, Christian Gottlob Nefer, that his career began to flourish.
Beethoven's piano teacher, Christian Gottlob Nefer, was deeply influenced by Enlightenment thinkers like Voltaire and Kant. Nefer passed these ideas on to Beethoven, shaping his intellectual and artistic development. This Enlightenment influence is evident in Beethoven's later works, which often reflect themes of reason, virtue, and reform.
Beethoven admired Napoleon as a self-made man who embodied the ideals of the French Revolution. He planned to dedicate his Third Symphony, the Eroica, to Napoleon. However, when Napoleon crowned himself emperor in 1804, Beethoven saw this as a betrayal of revolutionary principles and scratched out the dedication, declaring Napoleon a tyrant.
Beethoven's deafness began in his late 20s and worsened over time, isolating him from the world. Despite this, he continued to compose some of his greatest works, including the Ninth Symphony. His deafness forced him to rely on conversation books for communication and eventually led him to stop performing in public. Yet, his struggle with deafness became central to his image as a Romantic hero battling adversity.
In 1808, three of Beethoven's patrons—Archduke Rudolf, Prince Kinski, and Prince Lobkowitz—offered him a groundbreaking deal: 4,000 florins a year for life, with no obligation to compose. This contract gave Beethoven unprecedented financial security and artistic freedom, allowing him to focus on creating works that he believed would endure for centuries.
Beethoven's Eroica Symphony, composed in 1804, was initially intended to honor Napoleon as a revolutionary hero. However, after Napoleon declared himself emperor, Beethoven saw him as a tyrant and removed the dedication. The symphony's radical structure and length were seen as a reflection of the revolutionary spirit, but its political message became more ambiguous as Beethoven distanced himself from Napoleon.
Fidelio, Beethoven's only opera, premiered in 1814 during a period of conservative reaction in Vienna. While it is often associated with revolutionary ideals, the opera's plot—where freedom is granted by a benevolent governor rather than a mob—reflects a more conservative message. It celebrated the restoration of the old order and freedom from Napoleon's tyranny.
Beethoven's Ninth Symphony, completed in 1824, features Friedrich Schiller's Ode to Joy, a hymn to Enlightenment values. Despite being completely deaf, Beethoven conducted the premiere, unable to hear the music or the audience's applause. The symphony's themes of universal brotherhood and joy stand in stark contrast to Beethoven's personal isolation and suffering, making it a powerful testament to his resilience.
Beethoven's image as a lonely, tormented genius battling deafness and personal demons perfectly embodied the Romantic ideal of the artist as a heroic figure. His music, which was often challenging and profound, appealed to the era's emphasis on individual expression and emotional depth. This made him a cultural icon whose influence extended far beyond his lifetime.
Ludwig Van Beethoven, like his precursor and possible acquaintance Mozart, is one of the most famous figures in Western musical history. With his wild hair and furrowed brow, his was a genius marked not by flamboyance and flare, but dark, bombastic gravity. Like Mozart, though, his musical talents also emerged at a young age. Born in Bonn, Germany, in 1770, he was initially taught by his father. Finding his home life dysfunctional however, he eventually moved to Vienna at the age of twenty-one. There he would study musical composition under the great composer Haydn, and garnered a reputation for being a talented pianist. By 1800, his symphonies were being performed to much acclaim. But, as music’s first true star and with the world seemingly before his feet, a terrible shadow was hanging over Beethoven - his encroaching deafness, which saw him becoming more and more anti-social. How was it, then, that in spite of this terrible affliction, he came to write some of his best known works during the height of his deafness? And what became of him?
Join Tom and Dominic at the Royal Albert Hall, featuring the Academy of St Martin in the Fields and the Philharmonia Chorus, conducted by Oliver Zeffman, as they delve into the life of Beethoven, one of the most venerated figures in the history of music. With his unkempt appearance, ferocious reputation, and famously ill-fated deafness, what was the truth behind the legends of this extraordinary man? And how did he come to write some of the most iconic pieces of classical music of all time?
Academy of St Martin in the Fields
Orchestra
Philharmonia Chorus
Chorus
Oliver Zeffman
Conductor
Stephanie Gonley
Leader & Violin Soloist
Mishka Rushdie Momen
Pianist
Nardus Williams Soprano
Katie Stevenson
Mezzo
Andrew Staples
Tenor
William Thomas
Bass
Twitter:
@TheRestHistory
@holland_tom
@dcsandbrook
Producer: Theo Young-Smith
Assistant Producers: Tabby Syrett + Anouska Lewis + Aaliyah Akude
Executive Producers: Jack Davenport + Tony Pastor
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