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Phenol was a critical material because two derivatives were in high growth phases. Bakelite, the original thermoset plastic, had been invented in 1909. Aspirin, too was a phenol derivative. Invented in 1899, it had become a block buster drug. Bayer had acquired a plant to manufacture in the US in Rensselaer, New York, but struggled to find phenol to keep their plant running during the war. Edison was able to oblige.
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Bayer relied on Chemische Fabrik von Heyden, in Piscataway, New Jersey, to convert phenol to salicylic acid, which they converted to aspirin. (See Great Phenol plot.) It is said that German companies bought up supplies of phenol to block production of ammonium picrate. Edison preferred not to sell phenol for military uses. He sold his surplus to Bayer, who had it converted to salicylic acid by Heyden, some of which was exported.
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In 1920, Edison spoke to "American Magazine", saying that he had been working on a device for some time to see if it was possible to communicate with the dead. Edison said the device would work on scientific principles not by an occult means. The announcement caused a press heyday, though the actual nature of this invention remained a mystery, as there were no details for some time. In 2015, Philippe Baudouin, a French journalist, found a copy of Edison's Diary in a thrift store with a chapter not found in the previously published editions. The new chapter details Edison's theories of the afterlife and the scientific basis by which communication with the dead might be achieved.
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Henry Ford, the automobile magnate, later lived a few hundred feet away from Edison at his winter retreat in Fort Myers. Ford once worked as an engineer for the Edison Illuminating Company of Detroit and met Edison at a convention of affiliated Edison illuminating companies in Brooklyn, NY in 1896. Edison was impressed with Ford's internal combustion engine automobile and encouraged its developments. They were friends until Edison's death. Edison and Ford undertook annual motor camping trips from 1914 to 1924. Harvey Firestone and naturalist John Burroughs also participated.
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In 1928, Edison joined the Fort Myers Civitan Club. He believed strongly in the organization, writing that "The Civitan Club is doing things—big things—for the community, state, and nation, and I certainly consider it an honor to be numbered in its ranks." He was an active member in the club until his death, sometimes bringing Henry Ford to the club's meetings.
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Edison was active in business right up to the end. Just months before his death, the Lackawanna Railroad inaugurated suburban electric train service from Hoboken to Montclair, Dover, and Gladstone, New Jersey. Electrical transmission for this service was by means of an overhead catenary system using direct current, which Edison had championed. Despite his frail condition, Edison was at the throttle of the first electric MU (Multiple-Unit) train to depart Lackawanna Terminal in Hoboken in September 1930, driving the train the first mile through Hoboken yard on its way to South Orange.
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This fleet of cars would serve commuters in northern New Jersey for the next 54 years until their retirement in 1984. A plaque commemorating Edison's inaugural ride can be seen today in the waiting room of Lackawanna Terminal in Hoboken, which is presently operated by New Jersey Transit.
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Edison was said to have been influenced by a popular fad diet in his last few years; "the only liquid he consumed was a pint of milk every three hours". He is reported to have believed this diet would restore his health. However, this tale is doubtful. In 1930, the year before Edison died, Mina said in an interview about him, "Correct eating is one of his greatest hobbies." She also said that during one of his periodic "great scientific adventures", Edison would be up at 7:00, have breakfast at 8:00, and be rarely home for lunch or dinner, implying that he continued to have all three.
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Edison became the owner of his Milan, Ohio, birthplace in 1906. On his last visit, in 1923, he was reportedly shocked to find his old home still lit by lamps and candles.
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Edison died of complications of diabetes on October 18, 1931, in his home, "Glenmont" in Llewellyn Park in West Orange, New Jersey, which he had purchased in 1886 as a wedding gift for Mina. Rev. Stephen J. Herben officiated at the funeral; Edison is buried behind the home.
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Edison's last breath is reportedly contained in a test tube at The Henry Ford museum near Detroit. Ford reportedly convinced Charles Edison to seal a test tube of air in the inventor's room shortly after his death, as a memento. A plaster death mask and casts of Edison's hands were also made. Mina died in 1947.
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On December 25, 1871, at the age of 24, Edison married 16-year-old Mary Stilwell (1855–1884), whom he had met two months earlier; she was an employee at one of his shops. They had three children:
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Mary Edison died at age 29 on August 9, 1884, of unknown causes: possibly from a brain tumor or a morphine overdose. Doctors frequently prescribed morphine to women in those years to treat a variety of causes, and researchers believe that her symptoms could have been from morphine poisoning.
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On February 24, 1886, at the age of 39, Edison married the 20-year-old Mina Miller (1865–1947) in Akron, Ohio. She was the daughter of the inventor Lewis Miller, co-founder of the Chautauqua Institution, and a benefactor of Methodist charities. They also had three children together:
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Wanting to be an inventor, but not having much of an aptitude for it, Thomas Edison's son, Thomas Alva Edison Jr., became a problem for his father and his father's business. Starting in the 1890s, Thomas Jr. became involved in snake oil products and shady and fraudulent enterprises producing products being sold to the public as "The Latest Edison Discovery". The situation became so bad that Thomas Sr. had to take his son to court to stop the practices, finally agreeing to pay Thomas Jr. an allowance of $35 () per week, in exchange for not using the Edison name; the son began using aliases, such as Burton Willard. Thomas Jr., experiencing alcoholism, depression and ill health, worked at several menial jobs, but by 1931 (towards the end of his life) he would obtain a role in the Edison company, thanks to the intervention of his half-brother Charles.
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Historian Paul Israel has characterized Edison as a "freethinker". Edison was heavily influenced by Thomas Paine's "The Age of Reason". Edison defended Paine's "scientific deism", saying, "He has been called an atheist, but atheist he was not. Paine believed in a supreme intelligence, as representing the idea which other men often express by the name of deity." In 1878, Edison joined the Theosophical Society in New Jersey, but according to its founder, Helena Blavatsky, he was not a very active member. In an October 2, 1910, interview in the "New York Times Magazine", Edison stated:
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Edison was accused of being an atheist for those remarks, and although he did not allow himself to be drawn into the controversy publicly, he clarified himself in a private letter:
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He also stated, "I do not believe in the God of the theologians; but that there is a Supreme Intelligence I do not doubt." In 1920, Edison set off a media sensation when he told B. C. Forbes of "American Magazine" that he was working on a "spirit phone" to allow communication with the dead, a story which other newspapers and magazines repeated. Edison later disclaimed the idea, telling the "New York Times" in 1926 that "I really had nothing to tell him, but I hated to disappoint him so I thought up this story about communicating with spirits, but it was all a joke."
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Edison was a supporter of women's suffrage. He said in 1915, "Every woman in this country is going to have the vote." Edison notably signed onto a statement supporting women's suffrage which was published to counter anti-suffragist literature spread by Senator James Edgar Martine.
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Nonviolence was key to Edison's political and moral views, and when asked to serve as a naval consultant for World War I, he specified he would work only on defensive weapons and later noted, "I am proud of the fact that I never invented weapons to kill." Edison's philosophy of nonviolence extended to animals as well, about which he stated: "Nonviolence leads to the highest ethics, which is the goal of all evolution. Until we stop harming all other living beings, we are still savages." He was a vegetarian but not a vegan in actual practice, at least near the end of his life. Following a tour of Europe in 1911, Edison spoke negatively about "the belligerent nationalism that he had sensed in every country he visited".
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Edison was an advocate for monetary reform in the United States. He was ardently opposed to the gold standard and debt-based money. Famously, he was quoted in the "New York Times" as stating: "Gold is a relic of Julius Caesar, and interest is an invention of Satan." In the same article, he expounded upon the absurdity of a monetary system in which the taxpayer of the United States, in need of a loan, can be compelled to pay in return perhaps double the principal, or even greater sums, due to interest. Edison argued that, if the government can produce debt-based money, it could equally as well produce money that was a credit to the taxpayer.
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In May 1922, he published a proposal, entitled "A Proposed Amendment to the Federal Reserve Banking System". In it, he detailed an explanation of a commodity-backed currency, in which the Federal Reserve would issue interest-free currency to farmers, based on the value of commodities they produced. During a publicity tour that he took with friend and fellow inventor, Henry Ford, he spoke publicly about his desire for monetary reform. For insight, he corresponded with prominent academic and banking professionals. In the end, however, Edison's proposals failed to find support and were abandoned.
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Several places have been named after Edison, most notably the town of Edison, New Jersey. Thomas Edison State University, nationally known for adult learners, is in Trenton, New Jersey. Two community colleges are named for him: Edison State College (now Florida SouthWestern State College) in Fort Myers, Florida, and
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Edison Community College in Piqua, Ohio. There are numerous high schools named after Edison (see Edison High School) and other schools including Thomas A. Edison Middle School. Footballer Pelé's father originally named him Edison, as a tribute to the inventor of the light bulb, but the name was incorrectly listed on his birth certificate as "Edson".
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In 1883, the City Hotel in Sunbury, Pennsylvania was the first building to be lit with Edison's three-wire system. The hotel was renamed The Hotel Edison upon Edison's return to the city on 1922.
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In 1954, Lake Thomas A Edison in California was named after Edison to mark the 75th anniversary of the incandescent light bulb.
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Edison was on hand to turn on the lights at the Hotel Edison in New York City when it opened in 1931.
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Three bridges around the United States have been named in Edison's honor: the Edison Bridge in New Jersey, the Edison Bridge in Florida, and the Edison Bridge in Ohio.
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In West Orange, New Jersey, the Glenmont estate is maintained and operated by the National Park Service as the Edison National Historic Site, as is his nearby laboratory and workshops including the reconstructed "Black Maria"—the world's first movie studio.
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The Port Huron Museum, in Port Huron, Michigan, restored the original depot that Thomas Edison worked out of as a young news butcher. The depot has been named the Thomas Edison Depot Museum. The town has many Edison historical landmarks, including the graves of Edison's parents, and a monument along the St. Clair River.
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In Detroit, the Edison Memorial Fountain in Grand Circus Park was created to honor his achievements. The limestone fountain was dedicated October 21, 1929, the fiftieth anniversary of the creation of the light bulb. On the same night, The Edison Institute was dedicated in nearby Dearborn.
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A bronze statue of Edison was placed in the National Statuary Hall Collection at the United States Capitol in 2016, with the formal dedication ceremony held on September 20 of that year. The Edison statue replaced one of 19th-century state governor William Allen that had been one of Ohio's two allowed contributions to the collection.
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The Edison Medal was created on February 11, 1904, by a group of Edison's friends and associates. Four years later the American Institute of Electrical Engineers (AIEE), later IEEE, entered into an agreement with the group to present the medal as its highest award. The first medal was presented in 1909 to Elihu Thomson. It is the oldest award in the area of electrical and electronics engineering, and is presented annually "for a career of meritorious achievement in electrical science, electrical engineering or the electrical arts".
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In the Netherlands, the major music awards are named the Edison Award after him. The award is an annual Dutch music prize, awarded for outstanding achievements in the music industry, and is one of the oldest music awards in the world, having been presented since 1960.
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The American Society of Mechanical Engineers has awarded the Thomas A. Edison Patent Award since 1997 to individual patents that demonstrate a significant impact on the practice of mechanical engineering.
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The United States Navy named the USS "Edison" (DD-439), a Gleaves class destroyer, in his honor in 1940. The ship was decommissioned a few months after the end of World War II. In 1962, the Navy commissioned USS "Thomas A. Edison" (SSBN-610), a fleet ballistic missile nuclear-powered submarine.
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Thomas Edison has appeared in popular culture as a character in novels, films, television shows, comics and video games. His prolific inventing helped make him an icon, and he has made appearances in popular culture during his lifetime down to the present day. Edison is also portrayed in popular culture as an adversary of Nikola Tesla.
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On February 11, 2011, on what would have been Thomas Edison's 164th birthday, Google's homepage featured an animated Google Doodle commemorating his many inventions. When the cursor was hovered over the doodle, a series of mechanisms seemed to move, causing a light bulb to glow.
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The following is a list of people who worked for Thomas Edison in his laboratories at Menlo Park or West Orange or at the subsidiary electrical businesses that he supervised.
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Ludwig van Beethoven (baptised 17 December 177026 March 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classical music repertoire and span the transition from the Classical period to the Romantic era in classical music. His career has conventionally been divided into early, middle, and late periods. His early period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his middle period showed an individual development from the styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as heroic. During this time, he began to grow increasingly deaf. In his late period, from 1812 to 1827, he extended his innovations in musical form and expression.
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Beethoven was born in Bonn. His musical talent was obvious at an early age. He was initially harshly and intensively taught by his father Johann van Beethoven. Beethoven was later taught by the composer and conductor Christian Gottlob Neefe, under whose tutelage he published his first work, a set of keyboard variations, in 1783. He found relief from a dysfunctional home life with the family of Helene von Breuning, whose children he loved, befriended, and taught piano. At age 21, he moved to Vienna, which subsequently became his base, and studied composition with Haydn. Beethoven then gained a reputation as a virtuoso pianist, and he was soon patronized by Karl Alois, Prince Lichnowsky for compositions, which resulted in his three Opus 1 piano trios (the earliest works to which he accorded an opus number) in 1795.
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His first major orchestral work, the First Symphony, premiered in 1800, and his first set of string quartets was published in 1801. Despite his hearing deteriorating during this period, he continued to conduct, premiering his Third and Fifth Symphonies in 1804 and 1808, respectively. His Violin Concerto appeared in 1806. His last piano concerto (No. 5, Op. 73, known as the "Emperor"), dedicated to his frequent patron Archduke Rudolf of Austria, was premiered in 1811, without Beethoven as soloist. He was almost completely deaf by 1814, and he then gave up performing and appearing in public. He described his problems with health and his unfulfilled personal life in two letters, his Heiligenstadt Testament (1802) to his brothers and his unsent love letter to an unknown "Immortal Beloved" (1812).
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After 1810, increasingly less socially involved, Beethoven composed many of his most admired works, including later symphonies, mature chamber music and the late piano sonatas. His only opera, "Fidelio", first performed in 1805, was revised to its final version in 1814. He composed "Missa solemnis" between 1819 and 1823 and his final Symphony, No. 9, one of the first examples of a choral symphony, between 1822 and 1824. Written in his last years, his late string quartets, including the "Grosse Fuge", of 1825–1826 are among his final achievements. After some months of bedridden illness, he died in 1827. Beethoven's works remain mainstays of the classical music repertoire.
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Beethoven was the grandson of Ludwig van Beethoven, a musician from the town of Mechelen in the Austrian Duchy of Brabant (in what is now the Flemish region of Belgium) who had moved to Bonn at the age of 21. Ludwig was employed as a bass singer at the court of Clemens August, Archbishop-Elector of Cologne, eventually rising to become, in 1761, Kapellmeister (music director) and hence a pre-eminent musician in Bonn. The portrait he commissioned of himself towards the end of his life remained displayed in his grandson's rooms as a talisman of his musical heritage. Ludwig had two sons, the younger of which (Johann) worked as a tenor in the same musical establishment and gave keyboard and violin lessons to supplement his income.
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Johann married Maria Magdalena Keverich in 1767; she was the daughter of Heinrich Keverich (1701–1751), who had been the head chef at the court of Johann IX Philipp von Walderdorff, Archbishop of Trier. Beethoven was born of this marriage in Bonn, at what is now the Beethoven House Museum, Bonnstrasse 20. There is no authentic record of the date of his birth; but the registry of his baptism, in the Catholic Parish of St. Remigius on 17 December 1770, survives, and the custom in the region at the time was to carry out baptism within 24 hours of birth. There is a consensus (with which Beethoven himself agreed) that his birth date was 16 December, but no documentary proof of this.
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Of the seven children born to Johann van Beethoven, only Ludwig, the second-born, and two younger brothers survived infancy. Kaspar Anton Karl (generally known as Karl) was born on 8 April 1774, and Nikolaus Johann (generally known as Johann), the youngest, was born on 2 October 1776.
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Beethoven's first music teacher was his father. He later had other local teachers: the court organist Gilles van den Eeden (d. 1782), Tobias Friedrich Pfeiffer (a family friend, who provided keyboard tuition), Franz Rovantini (a relative, who instructed him in playing the violin and viola), and court concertmaster Franz Anton Ries for the violin. His tuition began in his fifth year. The regime was harsh and intensive, often reducing him to tears. With the involvement of the insomniac Pfeiffer, there were irregular late-night sessions, with the young Beethoven being dragged from his bed to the keyboard. His musical talent was obvious at a young age. Johann, aware of Leopold Mozart's successes in this area (with his son Wolfgang and daughter Nannerl), attempted to promote his son as a child prodigy, claiming that Beethoven was six (he was seven) on the posters for his first public performance in March 1778.
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In 1780 or 1781, Beethoven began his studies with his most important teacher in Bonn, Christian Gottlob Neefe. Neefe taught him composition; in March 1783 Beethoven's first published work appeared, a set of keyboard variations (WoO 63). Beethoven soon began working with Neefe as assistant organist, at first unpaid (1782), and then as a paid employee (1784) of the court chapel. His first three piano sonatas, WoO 47, sometimes known as (Elector) for their dedication to Elector Maximilian Friedrich, were published in 1783. In the same year, the first printed reference to Beethoven appeared in the "Magazin der Musik" – "Louis van Beethoven [sic] ... a boy of 11 years and most promising talent. He plays the piano very skilfully and with power, reads at sight very well ... the chief piece he plays is "Das wohltemperierte Klavier" of Sebastian Bach, which Herr Neefe puts into his hands". Maximilian Friedrich's successor as Elector of Bonn was Maximilian Franz. He gave some support to Beethoven, appointing him Court Organist and paying towards his visit to Vienna of 1792.
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He was introduced in these years to several people who became important in his life. He often visited the cultivated von Breuning family, at whose home he taught piano to some of the children, and where the widowed Frau von Breuning offered him a motherly friendship. Here he also met Franz Wegeler, a young medical student, who became a lifelong friend (and was to marry one of the von Breuning daughters). The von Breuning family environment offered an alternative to his home life, which was increasingly dominated by his father's decline. Another frequenter of the von Breunings was Count Ferdinand von Waldstein, who became a friend and financial supporter during Beethoven's Bonn period. Waldstein was to commission in 1791 Beethoven's first work for the stage, the ballet "Musik zu einem Ritterballett" (WoO 1).
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In the period 1785–90 there is virtually no record of Beethoven's activity as a composer. This may be attributed to the lukewarm response his initial publications had attracted, and also to ongoing problems in the Beethoven family. His mother died in 1787, shortly after Beethoven's first visit to Vienna, where he stayed for about two weeks and almost certainly met Mozart. In 1789 Beethoven's father was forcibly retired from the service of the Court (as a consequence of his alcoholism) and it was ordered that half of his father's pension be paid directly to Ludwig for support of the family. He contributed further to the family's income by teaching (to which Wegeler said he had "an extraordinary aversion") and by playing viola in the court orchestra. This familiarized him with a variety of operas, including works by Mozart, Gluck and Paisiello. Here he also befriended Anton Reicha, a composer, flautist and violinist of about his own age who was a nephew of the court orchestra's conductor, Josef Reicha.
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From 1790 to 1792, Beethoven composed several works (none were published at the time) showing a growing range and maturity. Musicologists have identified a theme similar to those of his Third Symphony in a set of variations written in 1791. It was perhaps on Neefe's recommendation that Beethoven received his first commissions; the Literary Society in Bonn commissioned a cantata to mark the occasion of the death in 1790 of Joseph II (WoO 87), and a further cantata, to celebrate the subsequent accession of Leopold II as Holy Roman Emperor (WoO 88), may have been commissioned by the Elector. These two "Emperor Cantatas" were never performed at the time and they remained lost until the 1880s when they were described by Johannes Brahms as "Beethoven through and through" and as such prophetic of the style which would mark his music as distinct from the classical tradition.
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Beethoven was probably first introduced to Joseph Haydn in late 1790 when the latter was travelling to London and stopped in Bonn around Christmas time. A year and a half later, they met in Bonn on Haydn's return trip from London to Vienna in July 1792, when Beethoven played in the orchestra at the Redoute in Godesberg. Arrangements were likely made at that time for Beethoven to study with the older master. Waldstein wrote to him before his departure: "You are going to Vienna in fulfilment of your long-frustrated wishes ... With the help of assiduous labour you shall receive Mozart's spirit from Haydn's hands."
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Beethoven left Bonn for Vienna in November 1792, amid rumours of war spilling out of France; he learned shortly after his arrival that his father had died. Over the next few years, Beethoven responded to the widespread feeling that he was a successor to the recently deceased Mozart by studying that master's work and writing works with a distinctly Mozartian flavour.
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He did not immediately set out to establish himself as a composer, but rather devoted himself to study and performance. Working under Haydn's direction, he sought to master counterpoint. He also studied violin under Ignaz Schuppanzigh. Early in this period, he also began receiving occasional instruction from Antonio Salieri, primarily in Italian vocal composition style; this relationship persisted until at least 1802, and possibly as late as 1809.
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With Haydn's departure for England in 1794, Beethoven was expected by the Elector to return home to Bonn. He chose instead to remain in Vienna, continuing his instruction in counterpoint with Johann Albrechtsberger and other teachers. In any case, by this time it must have seemed clear to his employer that Bonn would fall to the French, as it did in October 1794, effectively leaving Beethoven without a stipend or the necessity to return. However, several Viennese noblemen had already recognised his ability and offered him financial support, among them Prince Joseph Franz Lobkowitz, Prince Karl Lichnowsky, and Baron Gottfried van Swieten.
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Assisted by his connections with Haydn and Waldstein, Beethoven began to develop a reputation as a performer and improviser in the salons of the Viennese nobility. His friend Nikolaus Simrock began publishing his compositions, starting with a set of keyboard variations on a theme of Dittersdorf (WoO 66). By 1793, he had established a reputation in Vienna as a piano virtuoso, but he apparently withheld works from publication so that their eventual appearance would have greater impact.
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In 1795 Beethoven made his public debut in Vienna over three days, beginning with a performance of one of his own piano concertos on 29 March at the Burgtheater and ending with a Mozart concerto on 31 March, probably the D minor concerto for which he had written a cadenza soon after his arrival in Vienna. By this year he had two piano concertos available for performance, one in B-flat major he had begun composing before moving to Vienna and had worked on for over a decade, and one in C major composed for the most part during 1795. Viewing the latter as the more substantive work, he chose to designate it as his first piano concerto, publishing it in March 1801 as Opus 15, before publishing the former as Opus 19 the following December. He wrote new cadenzas for both works in 1809.
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Shortly after his public debut he arranged for the publication of the first of his compositions to which he assigned an opus number, the three piano trios, Opus 1. These works were dedicated to his patron Prince Lichnowsky, and were a financial success; Beethoven's profits were nearly sufficient to cover his living expenses for a year. In 1799 Beethoven participated in (and won) a notorious piano 'duel' at the home of Baron Raimund Wetzlar (a former patron of Mozart) against the virtuoso Joseph Wölfl; and in the following year he similarly triumphed against Daniel Steibelt at the salon of Count Moritz von Fries. Beethoven's eighth piano sonata the Pathétique (Op. 13), published in 1799 is described by the musicologist Barry Cooper as "surpass[ing] any of his previous compositions, in strength of character, depth of emotion, level of originality, and ingenuity of motivic and tonal manipulation".
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Beethoven composed his first six string quartets (Op. 18) between 1798 and 1800 (commissioned by, and dedicated to, Prince Lobkowitz). They were published in 1801. He also completed his Septet (Op. 20) in 1799, which was one of his most popular works during his lifetime. With premieres of his First and Second Symphonies in 1800 and 1803, he became regarded as one of the most important of a generation of young composers following Haydn and Mozart. But his melodies, musical development, use of modulation and texture, and characterisation of emotion all set him apart from his influences, and heightened the impact some of his early works made when they were first published. For the premiere of his First Symphony, he hired the Burgtheater on 2 April 1800, and staged an extensive programme, including works by Haydn and Mozart, as well as his Septet, the Symphony, and one of his piano concertos (the latter three works all then unpublished). The concert, which the "Allgemeine musikalische Zeitung" described as "the most interesting concert in a long time", was not without difficulties; among the criticisms was that "the players did not bother to pay any attention to the soloist". By the end of 1800, Beethoven and his music were already much in demand from patrons and publishers.
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In May 1799, he taught piano to the daughters of Hungarian Countess Anna Brunsvik. During this time, he fell in love with the younger daughter Josephine. Amongst his other students, from 1801 to 1805, he tutored Ferdinand Ries, who went on to become a composer and later wrote about their encounters. The young Carl Czerny, who later became a renowned music teacher himself, studied with Beethoven from 1801 to 1803. In late 1801, he met a young countess, Julie Guicciardi, through the Brunsvik family; he mentions his love for Julie in a November 1801 letter to a friend, but class difference prevented any consideration of pursuing this. He dedicated his 1802 Sonata Op. 27 No. 2, now commonly known as the "Moonlight Sonata", to her.
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In the spring of 1801 he completed "The Creatures of Prometheus", a ballet. The work received numerous performances in 1801 and 1802, and he rushed to publish a piano arrangement to capitalise on its early popularity. In the spring of 1802 he completed the Second Symphony, intended for performance at a concert that was cancelled. The symphony received its premiere instead at a subscription concert in April 1803 at the Theater an der Wien, where he had been appointed composer in residence. In addition to the Second Symphony, the concert also featured the First Symphony, the Third Piano Concerto, and the oratorio "Christ on the Mount of Olives". Reviews were mixed, but the concert was a financial success; he was able to charge three times the cost of a typical concert ticket.
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His business dealings with publishers also began to improve in 1802 when his brother Kaspar, who had previously assisted him casually, began to assume a larger role in the management of his affairs. In addition to negotiating higher prices for recently composed works, Kaspar also began selling some of his earlier unpublished compositions and encouraged him (against Beethoven's preference) to also make arrangements and transcriptions of his more popular works for other instrument combinations. Beethoven acceded to these requests, as he could not prevent publishers from hiring others to do similar arrangements of his works.
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Beethoven told the English pianist Charles Neate (in 1815) that he dated his hearing loss from a fit in 1798 induced by a quarrel with a singer. During its gradual decline, his hearing was further impeded by a severe form of tinnitus. As early as 1801, he wrote to Wegeler and another friend Karl Amenda, describing his symptoms and the difficulties they caused in both professional and social settings (although it is likely some of his close friends were already aware of the problems). The cause was probably otosclerosis, perhaps accompanied by degeneration of the auditory nerve.
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On the advice of his doctor, Beethoven moved to the small Austrian town of Heiligenstadt, just outside Vienna, from April to October 1802 in an attempt to come to terms with his condition. There he wrote the document now known as the Heiligenstadt Testament, a letter to his brothers which records his thoughts of suicide due to his growing deafness and records his resolution to continue living for and through his art. The letter was never sent and was discovered in his papers after his death. The letters to Wegeler and Amenda were not so despairing; in them Beethoven commented also on his ongoing professional and financial success at this period, and his determination, as he expressed it to Wegeler, to "seize Fate by the throat; it shall certainly not crush me completely". In 1806, Beethoven noted on one of his musical sketches: "Let your deafness no longer be a secret – even in art."
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Beethoven's hearing loss did not prevent him from composing music, but it made playing at concerts—an important source of income at this phase of his life—increasingly difficult. (It also contributed substantially to his social withdrawal.) Czerny remarked however that Beethoven could still hear speech and music normally until 1812. Beethoven never became totally deaf; in his final years he was still able to distinguish low tones and sudden loud sounds.
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Beethoven's return to Vienna from Heiligenstadt was marked by a change in musical style, and is now often designated as the start of his middle or "heroic" period, characterised by many original works composed on a grand scale. According to Carl Czerny, Beethoven said: "I am not satisfied with the work I have done so far. From now on I intend to take a new way." An early major work employing this new style was the Third Symphony in E-flat, Op. 55, known as the "Eroica", written in 1803–04. The idea of creating a symphony based on the career of Napoleon may have been suggested to Beethoven by General Bernadotte in 1798. Beethoven, sympathetic to the ideal of the heroic revolutionary leader, originally gave the symphony the title "Bonaparte", but disillusioned by Napoleon declaring himself Emperor in 1804, he scratched Napoleon's name from the manuscript's title page, and the symphony was published in 1806 with its present title and the subtitle "to celebrate the memory of a great man". The "Eroica" was longer and larger in scope than any previous symphony. When it premiered in early 1805 it received a mixed reception. Some listeners objected to its length or misunderstood its structure, while others viewed it as a masterpiece.
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Other middle period works extend in the same dramatic manner the musical language Beethoven had inherited. The Rasumovsky string quartets, and the "Waldstein" and "Appassionata" piano sonatas share the heroic spirit of the Third Symphony. Other works of this period include the Fourth through Eighth Symphonies, the oratorio "Christ on the Mount of Olives", the opera "Fidelio", and the Violin Concerto. Beethoven was hailed in 1810 by the writer and composer E. T. A. Hoffmann, in an influential review in the "Allgemeine musikalische Zeitung", as the greatest of (what he considered) the three Romantic composers (that is, ahead of Haydn and Mozart); in Beethoven's Fifth Symphony his music, wrote Hoffmann, "sets in motion terror, fear, horror, pain, and awakens the infinite yearning that is the essence of romanticism".
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During this time Beethoven's income came from publishing his works, from performances of them, and from his patrons, for whom he gave private performances and copies of works they commissioned for an exclusive period before their publication. Some of his early patrons, including Prince Lobkowitz and Prince Lichnowsky, gave him annual stipends in addition to commissioning works and purchasing published works. Perhaps his most important aristocratic patron was Archduke Rudolf of Austria, the youngest son of Emperor Leopold II, who in 1803 or 1804 began to study piano and composition with him. They became friends, and their meetings continued until 1824. Beethoven dedicated 14 compositions to Rudolf, including some of his major works such as the "Archduke" Trio Op. 97 (1811) and "Missa solemnis" Op. 123 (1823).
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His position at the Theater an der Wien was terminated when the theatre changed management in early 1804, and he was forced to move temporarily to the suburbs of Vienna with his friend Stephan von Breuning. This slowed work on "Leonore" (his original title for his opera), his largest work to date, for a time. It was delayed again by the Austrian censor and finally premiered, under its present title of "Fidelio", in November 1805 to houses that were nearly empty because of the French occupation of the city. In addition to being a financial failure, this version of "Fidelio" was also a critical failure, and Beethoven began revising it.
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Despite this failure, Beethoven continued to attract recognition. In 1807 the musician and publisher Muzio Clementi secured the rights for publishing his works in England, and Haydn's former patron Prince Esterházy commissioned a mass (the Mass in C, Op. 86) for his wife's name-day. But he could not count on such recognition alone. A colossal benefit concert which he organized in December 1808, and was widely advertised, included the premieres of the Fifth and Sixth ("Pastoral") symphonies, the Fourth Piano Concerto, extracts from the Mass in C, the scena and aria "Ah! perfido" Op. 65 and the Choral Fantasy op. 80. There was a large audience (including Czerny and the young Ignaz Moscheles), but it was under-rehearsed, involved many stops and starts, and during the Fantasia Beethoven was noted shouting at the musicians "badly played, wrong, again!" The financial outcome is unknown.
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In the autumn of 1808, after having been rejected for a position at the Royal Theatre, Beethoven had received an offer from Napoleon's brother Jérôme Bonaparte, then king of Westphalia, for a well-paid position as Kapellmeister at the court in Cassel. To persuade him to stay in Vienna, Archduke Rudolf, Prince Kinsky and Prince Lobkowitz, after receiving representations from Beethoven's friends, pledged to pay him a pension of 4000 florins a year. In the event, Archduke Rudolf paid his share of the pension on the agreed date. Kinsky, immediately called to military duty, did not contribute and died in November 1812 after falling from his horse. The Austrian currency destabilized and Lobkowitz went bankrupt in 1811 so that to benefit from the agreement Beethoven eventually had recourse to the law, which in 1815 brought him some recompense.
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The imminence of war reaching Vienna itself was felt in early 1809. In April, Beethoven completed writing his Piano Concerto No. 5 in E flat major, Op. 73, which the musicologist Alfred Einstein has described as "the apotheosis of the military concept" in Beethoven's music. Archduke Rudolf left the capital with the Imperial family in early May, prompting Beethoven's piano sonata "Les Adieux" (Sonata No. 26, Op. 81a), actually entitled by Beethoven in German "Das Lebewohl" (The Farewell), of which the final movement, "Das Wiedersehen" (The Return), is dated in the manuscript with the date of Rudolf's homecoming of 30 January 1810. During the French bombardment of Vienna in May, Beethoven took refuge in the cellar of the house of his brother Kaspar. The subsequent occupation of Vienna and the disruptions to cultural life and to Beethoven's publishers, together with Beethoven's poor health at the end of 1809, explain his significantly reduced output during this period, although other notable works of the year include his String Quartet No. 10 in E flat major, Op. 74 (known as "The Harp") and the Piano Sonata No. 24 in F sharp major op. 78, dedicated to Josephine's sister Therese Brunsvik.
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At the end of 1809 Beethoven was commissioned to write incidental music for Goethe's play "Egmont". The result (an overture, and nine additional entractes and vocal pieces, Op. 84), which appeared in 1810, fitted well with Beethoven's heroic style and he became interested in Goethe, setting three of his poems as songs (Op. 83) and learning about the poet from a mutual acquaintance, Bettina Brentano (who also wrote to Goethe at this time about Beethoven). Other works of this period in a similar vein were the F minor String Quartet Op. 95, to which Beethoven gave the subtitle "Quartetto serioso", and the Op. 97 Piano Trio in B flat major known, from its dedication to his patron Rudolph as the "Archduke Trio".
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In the spring of 1811, Beethoven became seriously ill, having headaches and high fever. His doctor Johann Malfatti recommended him to take a cure at the spa of Teplitz (now Teplice in the Czech Republic), where he wrote two more overtures and sets of incidental music for dramas, this time by August von Kotzebue – "King Stephen" Op. 117 and "The Ruins of Athens" Op. 113. Advised again to visit Teplitz in 1812 he met there with Goethe, who wrote: "His talent amazed me; unfortunately he is an utterly untamed personality, who is not altogether wrong in holding the world to be detestable, but surely does not make it any more enjoyable ... by his attitude." Beethoven wrote to his publishers Breitkopf and Härtel that "Goethe delights far too much in the court atmosphere, far more than is becoming in a poet." But following their meeting he began a setting for choir and orchestra of Goethe's "Meeresstille und glückliche Fahrt" "(Calm Sea and Prosperous Voyage)" (Op. 112), completed in 1815. After this was published in 1822 with a dedication to the poet, Beethoven wrote to him: "The admiration, the love and esteem which already in my youth I cherished for the one and only immortal Goethe have persisted."
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While he was at Teplitz in 1812 he wrote a ten-page love letter to his "Immortal Beloved", which he never sent to its addressee. The identity of the intended recipient was long a subject of debate, although the musicologist Maynard Solomon has convincingly demonstrated that the intended recipient must have been Antonie Brentano; other candidates have included Julie Guicciardi, Therese Malfatti and Josephine Brunsvik.
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All of these had been regarded by Beethoven as possible soulmates during his first decade in Vienna. Guicciardi, although she flirted with Beethoven, never had any serious interest in him and married Wenzel Robert von Gallenberg in November 1803. (Beethoven insisted to his later secretary and biographer, Anton Schindler, that Gucciardi had "sought me out, crying, but I scorned her".) Josephine had, since Beethoven's initial infatuation with her, married the elderly Count Joseph Deym, who died in 1804. Beethoven began to visit her and commenced a passionate correspondence. Initially, he accepted that Josephine could not love him, but he continued to address himself to her even after she had moved to Budapest, finally demonstrating that he had got the message in his last letter to her of 1807: "I thank you for wishing still to appear as if I were not altogether banished from your memory". Malfatti was the niece of Beethoven's doctor, and he had proposed to her in 1810. He was 40, she was 19 – the proposal was rejected. She is now remembered as the recipient of the piano bagatelle "Für Elise".
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Antonie (Toni) Brentano (née von Birkenstock), ten years younger than Beethoven, was the wife of Franz Brentano, the half-brother of Bettina Brentano, who provided Beethoven's introduction to the family. It would seem that Antonie and Beethoven had an affair during 1811–1812. Antonie left Vienna with her husband in late 1812 and never met with (or apparently corresponded with) Beethoven again, although in her later years she wrote and spoke fondly of him. Some speculate that Beethoven was the father of Antonie's son Karl Josef, though the two never met.
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After 1812 there are no reports of any romantic liaisons of Beethoven; it is, however, clear from his correspondence of the period and, later, from the conversation books, that he would occasionally meet with prostitutes.
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In early 1813 Beethoven apparently went through a difficult emotional period, and his compositional output dropped. His personal appearance degraded—it had generally been neat—as did his manners in public, notably when dining.
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Family issues may have played a part in this. Beethoven had visited his brother Johann at the end of October 1812. He wished to end Johann's cohabitation with Therese Obermayer, a woman who already had an illegitimate child. He was unable to convince Johann to end the relationship and appealed to the local civic and religious authorities, but Johann and Therese married on 8 November.
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The illness and eventual death of his brother Kaspar from tuberculosis became an increasing concern. Kaspar had been ill for some time; in 1813 Beethoven lent him 1500 florins, to procure the repayment of which he was ultimately led to complex legal measures. After Kaspar died on 15 November 1815, Beethoven immediately became embroiled in a protracted legal dispute with Kaspar's wife Johanna over custody of their son Karl, then nine years old. Beethoven had successfully applied to Kaspar to have himself named the sole guardian of the boy. A late codicil to Kaspar's will gave him and Johanna joint guardianship. While Beethoven was successful at having his nephew removed from her custody in January 1816, and had him removed to a private school in 1818 he was again preoccupied with the legal processes around Karl. While giving evidence to the court for the nobility, the Landrechte, Beethoven was unable to prove that he was of noble birth and as a consequence, on 18 December 1818 the case was transferred to the civil magistrate of Vienna, where he lost sole guardianship. He only regained custody after intensive legal struggles in 1820. During the years that followed, Beethoven frequently interfered in his nephew's life in what Karl perceived as an overbearing manner.
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Beethoven was finally motivated to begin significant composition again in June 1813, when news arrived of Napoleon's defeat at the Battle of Vitoria by a coalition led by the Duke of Wellington. The inventor Mälzel persuaded him to write a work commemorating the event for his mechanical instrument the Panharmonicon. This Beethoven also transcribed for orchestra as "Wellington's Victory" (Op. 91, also known as the "Battle Symphony"). It was first performed on 8 December, along with his Seventh Symphony, Op. 92, at a charity concert for victims of the war, a concert whose success led to its repeat on 12 December. The orchestra included several leading and rising musicians who happened to be in Vienna at the time, including Giacomo Meyerbeer and Domenico Dragonetti. The work received repeat performances at concerts staged by Beethoven in January and February 1814. These concerts brought Beethoven more profit than any others in his career, and enabled him to buy the bank shares that were eventually to be the most valuable assets in his estate at his death.
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Beethoven's renewed popularity led to demands for a revival of "Fidelio", which, in its third revised version, was also well received at its July opening in Vienna, and was frequently staged there during the following years. Beethoven's publishers, Artaria, commissioned the 20-year old Moscheles to prepare a piano score of the opera, which he inscribed "Finished, with God's help!" – to which Beethoven added "O Man, help thyself." That summer Beethoven composed a piano sonata for the first time in five years, his Sonata in E minor, Opus 90. He was also one of many composers who produced music in a patriotic vein to entertain the many heads of state and diplomats who came to the Congress of Vienna that began in November 1814, with the cantata "Der glorreiche Augenblick (The Glorious Moment)" (Op. 136) and similar choral works which, in the words of Maynard Solomon "broadened Beethoven's popularity, [but] did little to enhance his reputation as a serious composer".
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In April and May 1814, playing in his "Archduke" Trio, Beethoven made his last public appearances as a soloist. The composer Louis Spohr noted: "the piano was badly out of tune, which Beethoven minded little, since he did not hear it ... there was scarcely anything left of the virtuosity of the artist ... I was deeply saddened." From 1814 onwards Beethoven used for conversation ear-trumpets designed by Johann Nepomuk Maelzel (a number of these are on display at the Beethoven-Haus in Bonn).
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His 1815 compositions include an expressive second setting of the poem "An die Hoffnung" (Op. 94) in 1815. Compared to its first setting in 1805 (a gift for Josephine Brunsvik), it was "far more dramatic ... The entire spirit is that of an operatic scena." But his energy seemed to be dropping: apart from these works, he wrote the two cello sonatas Op. 102 nos. 1 and 2, and a few minor pieces, and began but abandoned a sixth piano concerto.
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Between 1815 and 1819 Beethoven's output dropped again to a level unique in his mature life. He attributed part of this to a lengthy illness (he called it an inflammatory fever) that he had for more than a year, starting in October 1816. His biographer Maynard Solomon suggests it is also doubtless a consequence of the ongoing legal problems concerning his nephew Karl, and of Beethoven finding himself increasingly at odds with current musical trends. Unsympathetic to developments in German romanticism that featured the supernatural (as in operas by Spohr, Heinrich Marschner and Carl Maria von Weber), he also "resisted the impending Romantic fragmentation of the ... cyclic forms of the Classical era into small forms and lyric mood pieces" and turned towards study of Bach, Handel and Palestrina. An old connection was renewed in 1817 when Maelzel sought, and obtained, Beethoven's endorsement for his newly developed metronome. During these years the few major works he completed include the 1818 "Hammerklavier" Sonata (Sonata No. 29 in B flat major, Op. 106) and his settings of poems by Alois Jeitteles, "An die ferne Geliebte" Op. 98 (1816), which introduced the song cycle into classical repertoire. In 1818 he began musical sketches that were eventually to form part of his final Ninth Symphony.
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By early 1818 Beethoven's health had improved, and his nephew Karl, now aged 11, moved in with him in January (although within a year Karl's mother had won him back in the courts). By now Beethoven's hearing had again seriously deteriorated, necessitating Beethoven and his interlocutors writing in notebooks to carry out conversations. These 'conversation books' are a rich written resource for his life from this period onwards. They contain discussions about music, business, and personal life; they are also a valuable source for his contacts and for investigations into how he intended his music should be performed, and of his opinions of the art of music. His household management had also improved somewhat with the help of Nannette Streicher. A proprietor of the Stein piano workshop and a personal friend, Streicher had assisted in Beethoven's care during his illness; she continued to provide some support, and in her he finally found a skilled cook. A testimonial to the esteem in which Beethoven was held in England was the presentation to him in this year by Thomas Broadwood, the proprietor of the company, of a Broadwood piano, for which Beethoven expressed thanks. He was not well enough, however, to carry out a visit to London that year which had been proposed by the Philharmonic Society.
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Despite the time occupied by his ongoing legal struggles over Karl, which involved continuing extensive correspondence and lobbying, two events sparked off Beethoven's major composition projects in 1819. The first was the announcement of Archduke Rudolf's promotion to Cardinal-Archbishop as Archbishop of Olomouc (now in the Czech Republic), which triggered the "Missa solemnis" Op. 123, intended to be ready for his installation in Olomouc in March 1820. The other was the invitation by the publisher Antonio Diabelli to fifty Viennese composers, including Beethoven, Franz Schubert, Czerny and the 8-year old Franz Liszt, to compose a variation each on a theme which he provided. Beethoven was spurred to outdo the competition and by mid-1819 had already completed 20 variations of what were to become the 33 "Diabelli Variations" op. 120. Neither of these works was to be completed for a few years. A significant tribute of 1819, however, was Archduke Rudolf's set of forty piano variations on a theme written for him by Beethoven (WoO 200) and dedicated to the master. Beethoven's portrait by of this year, which was one of the most familiar images of him for the next century, was described by Schindler as, despite its artistic weaknesses, "in the rendering of that particular look, the majestic forehead ... the firmly shut mouth and the chin shaped like a shell, ... truer to nature than any other picture".
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Beethoven's determination over the following years to write the "Mass" for Rudolf was not motivated by any devout Catholicism. Although he had been born a Catholic, the form of religion as practised at the court in Bonn where he grew up was, in the words of Maynard Solomon, "a compromise ideology that permitted a relatively peaceful coexistence between the Church and rationalism". Beethoven's "Tagebuch" (a diary he kept on an occasional basis between 1812 and 1818) shows his interest in a variety of religious philosophies, including those of India, Egypt and the Orient and the writings of the Rig-Veda. In a letter to Rudolf of July 1821, Beethoven shows his belief in a personal God: "God ... sees into my innermost heart and knows that as a man I perform most conscientiously and on all occasions the duties which Humanity, God, and Nature enjoin upon me." On one of the sketches for the "Missa solemnis" he wrote "Plea for inner and outer peace".
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Beethoven's status was confirmed by the series of "Concerts sprituels" given in Vienna by the choirmaster Franz Xaver Gebauer in the 1819/1820 and 1820/1821 seasons, during which all eight of his symphonies to date, plus the oratorio "Christus" and the Mass in C, were performed. Beethoven was typically underwhelmed: when in an April 1820 conversation book a friend mentioned Gebauer, Beethoven wrote in reply "Geh! Bauer" (Begone, peasant!)
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It was in 1819 that Beethoven was first approached by the publisher Moritz Schlesinger who won the suspicious composer round, whilst visiting him at Mödling, by procuring for him a plate of roast veal. One consequence of this was that Schlesinger was to secure Beethoven's three last piano sonatas and his final quartets; part of the attraction to Beethoven was that Schlesinger had publishing facilities in Germany and France, and connections in England, which could overcome problems of copyright piracy. The first of the three sonatas, for which Beethoven contracted with Schlesinger in 1820 at 30 ducats per sonata (further delaying completion of the Mass), was sent to the publisher at the end of that year (the Sonata in E major, Op. 109, dedicated to Maximiliane, Antonie Brentano's daughter).
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The start of 1821 saw Beethoven once again in poor health, having rheumatism and jaundice. Despite this he continued work on the remaining piano sonatas he had promised to Schlesinger (the Sonata in A flat major Op. 110 was published in December), and on the Mass. In early 1822 Beethoven sought a reconciliation with his brother Johann, whose marriage in 1812 had met with his disapproval, and Johann now became a regular visitor (as witnessed by the conversation books of the period) and began to assist him in his business affairs, including him lending him money against ownership of some of his compositions. He also sought some reconciliation with the mother of his nephew, including supporting her income, although this did not meet with the approval of the contrary Karl. Two commissions at the end of 1822 improved Beethoven's financial prospects. In November the Philharmonic Society of London offered a commission for a symphony, which he accepted with delight, as an appropriate home for the Ninth Symphony on which he was working. Also in November Prince Nikolai Galitzin of Saint Petersburg offered to pay Beethoven's asking price for three string quartets. Beethoven set the price at the high level of 50 ducats per quartet in a letter dictated to his nephew Karl, who was then living with him.
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During 1822, Anton Schindler, who in 1840 became one of Beethoven's earliest and most influential (but not always reliable) biographers, began to work as the composer's unpaid secretary. He was later to claim that he had been a member of Beethoven's circle since 1814, but there is no evidence for this. Cooper suggests that "Beethoven greatly appreciated his assistance, but did not think much of him as a man".
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The year 1823 saw the completion of three notable works, all of which had occupied Beethoven for some years, namely the "Missa solemnis", the Ninth Symphony and the "Diabelli Variations".
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Beethoven at last presented the manuscript of the completed "Missa" to Rudolph on 19 March (more than a year after the archduke's enthronement as archbishop). He was not however in a hurry to get it published or performed as he had formed a notion that he could profitably sell manuscripts of the work to various courts in Germany and Europe at 50 ducats each. One of the few who took up this offer was Louis XVIII of France, who also sent Beethoven a heavy gold medallion. The Symphony and the variations took up most of the rest of Beethoven's working year. Diabelli hoped to publish both works, but the potential prize of the Mass excited many other publishers to lobby Beethoven for it, including Schlesinger and Carl Friedrich Peters. (In the end, it was obtained by Schotts).
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Beethoven had become critical of the Viennese reception of his works. He told the visiting Johann Friedrich Rochlitz in 1822:You will hear nothing of me here ... "Fidelio"? They cannot give it, nor do they want to listen to it. The symphonies? They have no time for them. My concertos? Everyone grinds out only the stuff he himself has made. The solo pieces? They went out of fashion long ago, and here fashion is everything. At the most, Schuppanzigh occasionally digs up a quartet. He, therefore, enquired about premiering the "Missa" and the Ninth Symphony in Berlin. When his Viennese admirers learnt of this, they pleaded with him to arrange local performances. Beethoven was won over, and the symphony was first performed, along with sections of the "Missa solemnis", on 7 May 1824, to great acclaim at the Kärntnertortheater. Beethoven stood by the conductor Michael Umlauf during the concert beating time (although Umlauf had warned the singers and orchestra to ignore him), and because of his deafness was not even aware of the applause which followed until he was turned to witness it. The "Allgemeine musikalische Zeitung" gushed, "inexhaustible genius had shown us a new world", and Carl Czerny wrote that the Symphony "breathes such a fresh, lively, indeed youthful spirit ... so much power, innovation, and beauty as ever [came] from the head of this original man, although he certainly sometimes led the old wigs to shake their heads". The concert did not net Beethoven much money, as the expenses of mounting it were very high. A second concert on 24 May, in which the producer guaranteed him a minimum fee, was poorly attended; nephew Karl noted that "many people [had] already gone into the country". It was Beethoven's last public concert. Beethoven accused Schindler of either cheating him or mismanaging the ticket receipts; this led to the replacement of Schindler as Beethoven's secretary by Karl Holz, the second violinist in the Schuppanzigh Quartet, although by 1826 Beethoven and Schindler were reconciled.
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Beethoven then turned to writing the string quartets for Galitzin, despite failing health. The first of these, the quartet in E♭ major, Op. 127 was premiered by the Schuppanzigh Quartet in March 1825. While writing the next, the quartet in A minor, Op. 132, in April 1825, he was struck by a sudden illness. Recuperating in Baden, he included in the quartet its slow movement to which he gave the title "Holy song of thanks (Heiliger Dankgesang) to the Divinity, from a convalescent, in the Lydian mode". The next quartet to be completed was the Thirteenth, op. 130, in B♭ major. In six movements, the last, contrapuntal movement proved to be very difficult for both the performers and the audience at its premiere in March 1826 (again by the Schuppanzigh Quartet). Beethoven was persuaded by the publisher Artaria, for an additional fee, to write a new finale, and to issue the last movement as a separate work (the Grosse Fugue, Op. 133). Beethoven's favourite was the last of this series, the quartet in C minor Op. 131, which he rated as his most perfect single work.
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Beethoven's relations with his nephew Karl had continued to be stormy; Beethoven's letters to him were demanding and reproachful. In August, Karl, who had been seeing his mother again against Beethoven's wishes, attempted suicide by shooting himself in the head. He survived and after discharge from hospital went to recuperate in the village of Gneixendorf with Beethoven and his uncle Johann. Whilst in Gneixendorf, Beethoven completed a further quartet (Op. 135 in F major) which he sent to Schlesinger. Under the introductory slow chords in the last movement, Beethoven wrote in the manuscript "Muss es sein?" (Must it be?); the response, over the faster main theme of the movement, is "Es muss sein!" (It must be!). The whole movement is headed "Der schwer gefasste Entschluss" (The difficult decision). Following this in November Beethoven completed his final composition, the replacement finale for the op. 130 quartet. Beethoven at this time was already ill and depressed; he began to quarrel with Johann, insisting that Johann made Karl his heir, in preference to Johann's wife.
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On his return journey to Vienna from Gneixendorf in December 1826, illness struck Beethoven again. He was attended until his death by Dr. Andreas Wawruch, who throughout December noticed symptoms including fever, jaundice and dropsy, with swollen limbs, coughing and breathing difficulties. Several operations were carried out to tap off the excess fluid from Beethoven's abdomen.
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Karl stayed by Beethoven's bedside during December, but left after the beginning of January to join the army at Iglau and did not see his uncle again, although he wrote to him shortly afterwards: "My dear father ... I am living in contentment and regret only that I am separated from you." Immediately following Karl's departure, Beethoven wrote a will making his nephew his sole heir. Later in January, Beethoven was attended by Dr. Malfatti, whose treatment (recognizing the seriousness of his patient's condition) was largely centred on alcohol. As the news spread of the severity of Beethoven's condition, many old friends came to visit, including Diabelli, Schuppanzigh, Lichnowsky, Schindler, the composer Johann Nepomuk Hummel and his pupil Ferdinand Hiller. Many tributes and gifts were also sent, including £100 from the Philharmonic Society in London and a case of expensive wine from Schotts. During this period, Beethoven was almost completely bedridden despite occasional efforts to rouse himself. On 24 March, he said to Schindler and the others present "Plaudite, amici, comoedia finita est" ("Applaud, friends, the comedy is over"). Later that day, when the wine from Schott arrived, he whispered, "Pity – too late."
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