Biography and Chief Works of 

Ludwig van Beethoven

1770.

Born in Bonn.  Father a chorister in Elector of Cologne's chapel, a thriftless drunkard.  Two younger brothers.  Had little education or social culture, but, on showing signs of musical ability, his father tried to force and exploit his gifts.

1782.

Became deputy court organist and theatre accompanist.

1787.

Visited Vienna where he improvised before Mozart and may have had a few lessons from him.  But hurried home, as his mother was dying.  Stayed in Bonn for the next five years, where he had to run the home, as his father's drunkenness had caused his dismissal.  Continued in service of Elector, playing in court and opera orchestra, and adding to his income by teaching.  Acquired a circle of influential friends, particularly the Von Breuning family, and Count Waldstein.

1792.

Haydn passed through Bonn on way home from London. Met Beethoven, who then followed him to Vienna, where he stayed for the rest of his fife.  His father died soon after, and his brothers came to Vienna too.  Had lessons from Haydn, but found him too easy-going and transferred to other teachers, while still admiring him as a composer.  

Became immersed in all the activities of this most musical city, with its wealthy, aristocratic, musical patrons, many of whom became his friends.  Beethoven frequently dedicated his works to them, but tried not to be too dependent on them, and had no court appointment.  

Earned his living by playing the piano for the aristocracy -he was a great pianist and improviser; by occasionally giving a public concert; by teaching - largely members of the aristocracy; by publication of his compositions - which brought in little money; and by dedications of his works, for which he was sometimes paid.  One of the first musicians not to be in the paid service of either the Church or an aristocrat.

1795.

First publications: 3 piano trios, op. 1; and 3 piano sonatas, op. 2, all of which Haydn heard Beethoven play at Prince Lichnowsky's house.  

Continued to compose sonatas and chamber music, his first string quartets, op. 18, and his first 2 piano concertos.  These "first period" works show the influence of Haydn and Mozart, but have occasional fiery and unexpected touches that presage his later works.  

1800.

Gave his first public concert, at which he produced his first symphony.  Third piano concerto written this year.  The second symphony followed two years later.  

Began to become alarmed at growing deafness.  

While in the country in 1802, wrote a pathetic account of it in a last testament intended for his brothers, saying how it cut him off from society and from his art.  But he emerged with new courage and strength; and the "second period" works, which followed, show his maturity.

1803 

The third, 'Eroica' symphony, op. 55, composed in this year, marks the beginning of this middle period.  

It continues up to the eighth symphony, composed in 1812, and includes the 'Waldstein' and 'Appassionata' piano sonatas, the 'Rasumovsky' quartets, the 'Archduke' piano trio, the fourth and fifth piano concertos, the violin concerto, and his one opera 'Fidelio', unsuccessfully produced during the Napoleonic occupation of Vienna in 1805. Was given an annuity by three aristocrats in i8og, but the amount did not come up to expectations.  

During this period became friendly with many women, but never married.  Continually moved his lodgings, and enjoyed visits to the country.

1814.

'Fidelio' repeated, this time with success.  Congress of Vienna, 1814-1815, brought concerts, and money into his pocket.

1815.

Brother Caspar died, leaving his son Karl in the guardianship of his wife and his brother Ludwig.  Perpetual quarrels and lawsuits between the guardians resulted in Beethoven having sole charge after 1820.  But Karl responded to Uncle's affection with careless, spendthrift and deceitful ways, and was a continual source of trouble.  

Composed little in these years.

1820.

Was now busy composing his great mass in D, which was finished in 1823,' as was the ninth, 'Choral', symphony.  To these years belong also his last 3 piano sonatas, and his last 5 string quartets.  This is his 'third " period, sometimes called "the period of prophetic yearning", during which he seemed to be reaching out for something beyond his ken.  His use of the voice in the mass and the "choral” symphony exhibits a sense of striving-choral writing did not come easily to him.  He experimented with a combination of contrapuntal and harmonic forms, particularly in the piano sonatas and the quartets.  His deafness had now shut him in completely upon himself, and in his loneliness he turned to the solace of composition.

1824.

The ninth symphony and part of the mass in D performed.  

1826.  

Karl attempted to shoot himself.

 When convalescing they went together to Ludwig's youngest brother's country house.  Returning in the winter, under bad conditions, Beethoven fell ill, and never recovered.  

Died in March 1827.  

Thousands attended the funeral, and Schubert was a torchbearer.

A social rebel, with uncouth ways, who, in his efforts to get money, did not always deal fairly with his publishers.  But had noble, generous impulses, and was loved and revered by many.  

He was very self-critical and continually revised his works.  He enlarged the scope of the sonata and the symphony and made them more dramatic.  Although he began by writing in the style of Haydn and Mozart, he ended by looking to the future, and may be called the first "Romantic". . Nine symphonies, including the 'Eroica' (the third), the fifth in C minor, the 'Pastoral' (the sixth), and the 'Choral' (the ninth). 5 piano concertos, including the 'Emperor'; 1 violin concerto; 1 triple concerto for piano, violin and 'cello.

Overtures: 

4 for the opera 'Fidelio' - 'Leonora 1', '2', and ‘3' and 'Fidelio’; ‘Coriolanus'; 'Egmont'.

32 piano sonatas, including the 'Pathetique', the 'Pastoral', the ‘Moonlight’, the 'Waldstein', the 'Appassionata’, ‘Les Adieux', the ‘Hammerklavier'.  Several sets of piano variations. Bagatelles.                 

Much chamber music: 

16 string quartets, including the 3 ‘Rasumovsky’; 9 piano trios, including the 'Archduke'; 10 violin and piano sonatas, including the 'Kreutzer'; 5 'cello and piano sonatas; various works for wind combinations; etc.

One opera ‘Fidelio' and some incidental music.

Various choral works, the only really great one being the mass in D major.  A large number of songs – not his best works.

Canons.