{"id":1757,"date":"2020-03-29T09:42:31","date_gmt":"2020-03-29T09:42:31","guid":{"rendered":"http:\/\/meumon.synology.me\/museu\/?p=1757"},"modified":"2026-03-16T10:01:43","modified_gmt":"2026-03-16T10:01:43","slug":"beethoven","status":"publish","type":"post","link":"http:\/\/meumon.synology.me\/museu\/beethoven\/","title":{"rendered":"Beethoven 1770 – 1827"},"content":{"rendered":"

M\u00fasica<\/a>\u00a0 |\u00a0 Compositors i int\u00e8rprets<\/a><\/p>\n

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1770 – 1786 Infantesa a Bonn<\/a>\u00a0\u00a0 |\u00a0\u00a0 1787 – 1802 Viena 1<\/a>\u00a0 |\u00a0\u00a0 1802 – 1812 Viena 2<\/a>, progressiva sordesa\u00a0 |\u00a0\u00a0 1813 – 1827 Darrers anys<\/a><\/p>\n

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1770 – 1786 \u00a0 Infantesa a Bonn<\/div>\n

Neix en una fam\u00edlia d’origen flamenc. Tant el seu pare com al seu avi\u00a0 tenien feina com a m\u00fasics a la cort del pr\u00edncep arquebisbe de Col\u00f2nia, amb seu a Bonn. El pare era un personatge mesqu\u00ed, addicte a la beguda que intent\u00e0 explotar el talent del seu fill com a concertista de piano fins i tot falsificant la seva edat per tal que sembl\u00e9s m\u00e9s un infant prodigi.<\/p>\n

(Groove)The comparative brevity of Beethoven\u2019s formal education, combined with the fact that most of his out-of-school hours must have been devoted to music, explains some of the gaps in his academic equipment, such as his blindness to orthography and punctuation and his inability to carry out the simplest multiplication sum.<\/span><\/p>\n

Christian Gottlob Neefe, organista de la cort no nom\u00e9s el formar\u00e0 musicalment sin\u00f3 culturalment, donant-li a con\u00e8ixer l’obra de pensadors i escriptors.<\/p>\n

El 1783 \u00e9s contractat com a m\u00fasic a la cort. Amplia el seu cercle d’amistats amb fam\u00edlies cultes com els Ries, von Breuning, Karl Amenda i el doctor Franz Gerhard Wegeler.<\/p>\n

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1787 – 1801 Viena<\/div>\n

Fa un primer viatge a Viena per con\u00e8ixer Mozart (Gr per\u00f2 nom\u00e9s s’hi estar\u00e0 dues setmanes). Mor la seva mare. El seu pare entra en depressi\u00f3 i augmenta el seu alcoholisme. Ludwig s’haur\u00e0 de fer c\u00e0rrec de la fam\u00edlia tocant el viol\u00ed i donant classes.\u00a0 T\u00e9 el suport de la fam\u00edlia Brening i del comte Waldstein. El pare morir\u00e0 el 1792.<\/p>\n


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G. From 1789, when the musical life of the town under the new elector was fully resumed, Beethoven played the viola in the orchestras both of the court chapel and of the theatre, alongside such fine musicians as Franz Ries and Andreas Romberg (violins), Bernhard Romberg (cello), Nikolaus Simrock (horn) and Antoine Reicha (flute); some of these were to remain almost lifelong friends. […] But for Beethoven the chief excitements of this year may have been outside Bonn itself. As Grand Master of the Teutonic Order, the elector had to preside for many weeks over its sessions at Mergentheim, and he saw to it that he had his orchestra with him. The players\u2019 journey up the Rhine was accompanied by much revelry and clowning; in later years Beethoven retained many happy memories of this, as well as one curious memento (a mock diploma). An ambitious series of concerts was given at Mergentheim, and Beethoven also seized the opportunity of going with friends to Aschaffenburg, a summer palace of the Electors of Mainz, to visit the famous pianist Sterkel. It is said that Sterkel\u2019s light touch and graceful, fastidious style were a revelation to Beethoven. But when Sterkel challenged him to play his own Righini variations, doubting his ability to do so, it was Beethoven\u2019s turn to cause amazement, particularly since he improvised extra variations in a style that imitated Sterkel\u2019s.<\/p>\n

Es trasllada a Viena. Coneix Haydn amb qui far\u00e0 classe per\u00f2 la relaci\u00f3 no \u00e9s f\u00e0cil. Es formar\u00e0 amb Albrechtsberger, expert en contrapunt. Beethoven deia admirar H\u00e4ndel. Guanya fama com a concertista. S’enfronta en un duel musical amb Steibelt interpretant i millorant a vista les seves obres. Entre els concerts i clases a fam\u00edlies acomodades, millora la seva posici\u00f3 econ\u00f2mica i el 1801 t\u00e9 resolts els problemes econ\u00f2mics i viu c\u00f2modament amb servei.<\/p>\n


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G. His entry into Viennese circles was unobtrusive, and the sporadic entries in the little diary that he had started on his journey and kept at least until 1794 are the best guide to his immediate preoccupations. They show him looking for a piano and for a wig-maker, buying clothes, noting the address of a dancing-master, and the like. […] When Haydn left for England in 1794, he passed Beethoven on to another tutor, Johann Georg Albrechtsberger, the Kapellmeister at the Stephansdom and the best-known teacher of counterpoint in Vienna.[…] A third name is often linked with Haydn\u2019s and Albrechtsberger\u2019s: that of the imperial Kapellmeister Antonio Salieri. It was Salieri\u2019s genial custom to offer free tuition to impecunious musicians, especially in the setting of Italian words to music; and it is usually stated that Beethoven availed himself of this informal help soon after his arrival in Vienna. […] The aristocracy based on the Austrian capital surpassed all others of Europe in its devotion to music, and much of its time and a considerable part of its fortunes \u2013 a ruinous amount in some cases \u2013 was spent in the conspicuous indulgence of this taste. Not only did these aristocrats welcome virtuosos to their town palaces and country estates, but some of them, such as Prince Lobkowitz, kept private orchestras and even \u2013 like the Esterh\u00e1zys \u2013 opera companies as well. If their support was not on quite so lavish a scale, at least they employed a wind band or, like Prince Karl Lichnowsky and the Russian Count Rasumovsky, a quartet of string players. The Court Councillor von Kees was among the many who organized private concerts; a large library of music was assembled by the Baron van Swieten, a patriarch whose distinction it was to cultivate the music of Bach and Handel and introduce it to Viennese audiences. [….] t in the salons the stunning effect of Beethoven\u2019s solo playing, and particularly perhaps of his improvising, was immediately recognized. […] It is tempting to draw a connection between the selfconsciousness of this undertaking and a change in his working methods which coincided with it. Beethoven had always made sketches of the compositions that he was engaged in writing, and as time went on they became more voluminous. But hitherto they had been written on loose single leaves or bifolia of music paper. From the middle of 1798 he began to make his sketches in books of music paper. The first two of the sketchbooks contain sketches for four of the quartets that he was now writing, as well as for a considerable number of other works that he completed, revised or attempted to write in the same months.[…] Other friendships formed around this time were ultimately more fateful for Beethoven. In May 1799 the Countesses Therese and Josephine von Brunsvik, then 24 and 20, came to Vienna from Hungary on a short visit with their widowed mother, who wished them to take lessons from Beethoven.[…] On 2 April 1800 Beethoven gave his first concert for his own benefit, in the Burgtheater. The music included, besides a Mozart symphony and numbers from Haydn\u2019s Creation, two new works by Beethoven, the Septet (op.20) and the First Symphony. The former soon became one of his most popular works; the reception of the latter was appreciative, although the heavy scoring for the wind was remarked on.<\/p>\n

“Sotmetiment a les formes cl\u00e0ssiques. Fins al 1800, les seves obres no es distingeixen, formalment, de les de Haydn<\/a> i de Mozart<\/a>, per\u00f2 tenen trets originals molt caracter\u00edstics; les obres m\u00e9s destacables s\u00f3n les primeres sonates per a piano, els dos primers concerts per a piano i orquestra, la primera simfonia<\/i><\/a>, els quartets opus 18<\/i>, i el c\u00e8lebre Septet opus 20<\/i>. Cap a la fi d’aquesta \u00e8poca se li manifest\u00e0 la sordesa, que acab\u00e0 esdevenint total.”<\/p>\n


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Then from 1800 to 1802 he produced at high speed a series of increasingly experimental pieces which must be seen in retrospect as a transition to the middle period. It is in this sub-period that the relative effects of genre and familiarity are especially clear. In 1798 and 1799 the piano sonatas are fluid and visionary but the earliest string quartets are relatively stiff. By 1800 the quartet writing moves more easily but the first of his symphonies is still decidedly conservative. \/\/\/ Cminor. As has been mentioned above, when Haydn heard the op.1 trios he praised them but thought the public would not understand or accept the third, in C minor. One suspects that Haydn himself may have been put off by the extremes of tempo, dynamics, texture and local chromatic action in this piece, and still more by the resulting emotional aura. He would not have been the last listener to find something callow and stagey, which is to say essentially impersonal, in these insistent gestures of pathos and high drama. Beethoven of course paid no attention to his advice and published increasingly sophisticated C minor items in nearly every one of his composite sets of works over the next eight years (opp.9, 10, 18, 30). In these years C minor was practically the only minor key he used for full-length pieces (though D minor is used for the impressive slow movements of op.10 no.3 and op.18 no.1, as well as for the \u2018Tempest\u2019 Sonata op.31 no.2). The most successful early embodiments of Beethoven\u2019s \u2018C minor mood\u2019 are no doubt the Sonate path\u00e9tique op.13 (1797\u20138) and the Third Piano Concerto (?1800\u201303). Still to come were the 32 Variations on an Original Theme, for piano, the Coriolan Overture, the Fifth Symphony and the last piano sonata. \/\/\/ Novelties of conception can be detected all along. They are multiplied in the Sonate path\u00e9tique of 1798 \u2013 the integration of the introduction into the first movement proper, the perfectly managed bold modulations in the second group, the prophetic breakdown on the dominant in the middle of the rondo; not to speak of the overall coherence of mood which has made the Path\u00e9tique the most famous piece in Beethoven\u2019s early output. Another famous early piece, the first movement of the Quartet in F op.18 no.1, is his first exhaustive study in motivic saturation. The turn-motif of bars 1\u20132 forces its way into every available nook and cranny of the second group, the transitions, the development and coda. (When Beethoven revised op.18 no.1, after having given a fair copy of it to Amenda, he reduced the appearances of the turn-motif by nearly a quarter.) \/\/\/ The last two quartets of op.18, composed around 1800, show a rather new treatment of the traditional four-movement form (one that had recently been essayed by Haydn in several of his op.76 quartets). The first movements are not extensive and decisive but instead swift, bland and symmetrical, so that the later movements all seem (and were surely meant to seem) weightier or more arresting. The most visionary of these later movements is the composite finale of the Quartet in B op.18 no.6, where a slow, strange-sounding chromatic labyrinth entitled \u2018La malinconia\u2019 alternates with a swift, limpid little dance evocative of the Viennese ballrooms. \/\/\/ It is perhaps at this time that one first begins to be aware of the striking individuality of all Beethoven\u2019s pieces, a characteristic that has often been noted. Prime examples are the so-called \u2018Pastoral\u2019 Sonata in D op.28 (also the locus classicus for successive thematic fragmentation in a development section), the Sonata in E op.31 no.3, and those great and deserving favourites of the Romantic era, the Path\u00e9tique, the \u2018Moonlight\u2019 and the D minor op.31 no.2. \/\/\/ The opening reverie of the \u2018Moonlight\u2019 is such a startling conception, even today, that Beethoven\u2019s very careful plotting of the sequence of the movements in this sonata seems to pale by comparison. Unprecedented for a sonata opening is the half-improvisatory texture, the unity of mood, and especially the mood itself \u2013 that romantic mestizia which will have overwhelmed all but the stoniest of listeners by the end of the melody\u2019s first phrase. An equally bold and emotional, but also more intellectual, experiment marks the opening of op.31 no.2. Here the first theme in a sonata form movement consists of antecedent and consequent phrases of radically different characters: a slow improvisatory arpeggio and a fast, highly motivic agitato. Both of these ideas can be heard echoing in the later movements of the sonata.<\/p>\n

SONATES DE PIANO<\/p>\n