The Life Of Ludwig Van Beethoven Essay

, Research Paper

The rise of Ludwig van Beethoven into the

ranks of history’s greatest composers was parallelled by and in some ways

a consequence of his own personal tragedy and despair. Beginning in the

late 1790’s, the increasing buzzing and humming in his ears sent Beethoven

into a panic, searching for a cure from doctor to doctor. By October 1802

he had written the Heiligenstadt Testament confessing the certainty of

his growing deafness, his consequent despair, and suicidal considerations.

Yet, despite the personal tragedy caused by the “infirmity in the one sense

which ought to be more perfect in [him] than in others, a sense which [he]

once possessed in the highest perfection, a perfection such as few in [his]

profession enjoy,” it also served as a motivating force in that it challenged

him to try and conquer the fate that was handed him. He would not surrender

to that “jealous demon, my wretched health” before proving to himself and

the world the extent of his skill. Thus, faced with such great impending

loss, Beethoven, keeping faith in his art and ability, states in his Heiligenstadt

Testament a promise of his greatness yet to be proven in the development

of his heroic style.

By about 1800, Beethoven was mastering

the Viennese High-Classic style. Although the style had been first perfected

by Mozart, Beethoven did extend it to some degree. He had unprecedently

composed sonatas for the cello which in combination with the piano opened

the era of the Classic-Romantic cello sonata. In addition, his sonatas

for violin and piano became the cornerstone of the sonata duo repertory.

His experimentation with additions to the standard forms likewise made

it apparent that he had reached the limits of the high-Classic style. Having

displayed the extended range of his piano writing he was also begining

to forge a new voice for the violin. In 1800, Beethoven was additionally

combining the sonata form with a full orchestra in his First Symphony,

op. 2. In the arena of piano sonata, he had also gone beyond the three-movement

design of Haydn and Mozart, applying sometimes the four-movement design

reserved for symphonies and quartets through the addition of a minuet or

scherzo. Having confidently proven the high-Classic phase of his sonata

development with the “Grande Sonate,” op. 22, Beethoven moved on to the

fantasy sonata to allow himself freer expression. By 1802, he had evidently

succeeded in mastering the high-Classic style within each of its major

instrumental genres-the piano trio, string trio, string quartet and quintet,

Classic piano concerto, duo sonata, piano sonata, and symphony. Having

reached the end of the great Vienese tradition, he was then faced with

either the unchallenging repetition of the tired style or going beyond

it to new creations.

At about the same time that Beethoven had

exhausted the potentials of the high-Classic style, his increasing deafness

landed him in a major cycle of depression, from which was to emerge his

heroic period as exemplified in Symphony No. 3, op. 55 (”Eroica”). In Beethoven’s

Heiligenstadt Testament of October 1802, he reveals his malaise that was

sending him to the edge of despair. He speaks of suicide in the same breath

as a reluctance to die, expressing his helplessness against the inevitability

of death. Having searched vainly for a cure, he seems to have lost all

hope-”As the leaves of autumn fall and are withered-so likewise has my

hope been blighted-I leave here-almost as I came-even the high courage-which

often inspired me in the beautiful days of summer-has disappeared.” There

is somewhat of a parallel between his personal and professional life. He

is at a dead end on both cases. There seems to be no more that he can do

with the high-Classic style; his deafness seems poised inevitably to encumber

and ultimately halt his musical career. However, despite it all, he reveals

in the Testament a determination, though weak and exhausted, to carry on-”I

would have ended my life-it was only my art that held me back. Ah, it seemed

to me impossible to leave the world until I had brought forth all that

I felt was within me. So I endured this wretched existence…” Realizing

his own potential which he expressed earlier after the completion of the

Second Symphony-”I am only a little satisfied with my previous works”-and

in an 1801 letter-”I will seize Fate by the throat; it shall certainly

not bend and crush me completely”- he decides to go on. At a time when

Beethoven had reached the end of the musical challenge of the day, he also

faced what seemed to him the end of hope in his personal life. In his Testament,

death seems imminent-”With joy I hasten to meet death”-but hope and determination,

though weak and unsure, are evident.

In the Heiligenstadt Testament the composer

comes to t

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