Famous works of Beethoven. Great musical works of Ludwig van Beethoven What Beethoven wrote names of works

More than two centuries have passed since the great German composer Ludwig van Beethoven was born. The heyday of his creativity fell on early XIX century in the period between classicism and romanticism. The pinnacle of this composer's creativity was classical music. He wrote in many musical genres: choral music, opera and musical accompaniment for dramatic performances. He composed a lot instrumental works: he wrote many quartets, symphonies, sonatas and concertos for piano, violin and cello, overtures.

What genres did the composer work in?

Ludwig van Beethoven composed music in different musical genres and for different compositions musical instruments. For a symphony orchestra he wrote only:

9 symphonies;
a dozen compositions of different musical forms;
7 concerts for orchestra;
opera "Fidelio";
2 masses with orchestra.

It is written to them: 32 sonatas, several arrangements, 10 sonatas for piano and violin, sonatas for cello and horn, many small ones vocal works and a dozen songs. Chamber music also plays an important role in Beethoven's work. In his work one can single out sixteen string quartets and five quintets, string and piano trios and more than ten works for wind instruments.

Creative path

Beethoven's creative path is divided into three periods. In the early period, Beethoven's music felt the style of his predecessors - Haydn and Mozart, but in a newer direction. The main works of this time:

the first two symphonies;
6 string quartets;
2 piano concertos;
the first 12 sonatas, the most famous of which is the Pathétique.

In the middle period, Ludwig van Beethoven was very worried about his deafness. He transferred all his experiences into his music, in which one can feel expression, struggle and heroism. During this time he composed 6 symphonies and 3 piano concertos and a concerto for piano, violin and cello with orchestra, string quartets and a violin concerto. It was during this period of her work that she wrote Moonlight Sonata and Appassionata, the Kreutzer Sonata and the only opera - Fidelio.

In the late period of the great composer’s work, new complex shapes. The fourteenth string quartet has seven interlocking movements, and the last movement of the 9th symphony adds choral singing. During this period of creativity, the Solemn Mass, five string quartets, and five piano sonatas were written. You can listen to the music of the great composer endlessly. All of his compositions are unique and leave a good impression on the listener.

The composer's most popular works

The most famous essay Ludwig van Beethoven "Symphony No. 5", it was written by the composer at the age of 35. At this time, he was already hard of hearing and was distracted by the creation of other works. The symphony is considered the main symbol of classical music.

"Moonlight Sonata"- was written by the composer during a time of strong experiences and mental anguish. During this period, he was already hard of hearing, and broke off relations with his beloved woman, Countess Giulietta Guicciardi, whom he wanted to marry. The sonata is dedicated to this woman.

"To Eliza"- one of best essays Beethoven. To whom did the composer dedicated this music? There are several versions:

to his student Teresa von Drossdieck (Malfatti);
close friend Elisabeth Reckel, whose name was Eliza;
Elizaveta Alekseevna, wife Russian Emperor Alexandra I.

Ludwig van Beethoven himself called his work for piano “a sonata in the spirit of fantasy.” Symphony No. 9 in D minor, called "Choral"- This is Beethoven's very last symphony. There is a superstition associated with it: “starting with Beethoven, all composers die after writing the ninth symphony.” However, many authors do not believe this.

Overture "Egmont"- music written for Goethe's famous tragedy, which was commissioned by the Viennese Courtier.

Concerto for violin and orchestra. Beethoven dedicated this music to his best friend Franz Clement. Beethoven first wrote this concerto for violin, but was not successful and then, at the request of a friend, he had to redo it for piano. In 1844, this concerto was performed by the young violinist Joseph Joachim along with the royal orchestra, led by Felix Mendelssohn. After this, this work became popular, it was listened to all over the world, and also greatly influenced the history of the development of violin music, which is still considered today best concert for violin and orchestra.

"Kreutzer Sonata" and "Appassionata" gave additional popularity to Beethoven.

List of works German composer multifaceted. His work includes the operas “Fidelio” and “The Fire of Vesta”, the ballet “The Works of Prometheus”, and a lot of music for choir and soloists with orchestra. There are also many works for symphony and brass orchestra, vocal lyrics and ensemble of instruments, for piano and organ.

How much music has been written by a great genius? How many symphonies did Beethoven have? All the work of the German genius still surprises music lovers. You can listen to the beautiful and expressive sound of these works in concert halls all over the world. His music sounds everywhere and Beethoven’s talent does not dry out.

More than two hundred years have passed since the Viennese public first heard Beethoven's works. But the music of the great composer still excites millions of people around the world.

Childhood

Ludwig van Beethoven, musical works which was included in the golden collection of world classics, was born in the city of Bonn, in the family of a tenor of the court chapel. The composer's father dreamed that his son would someday become the second Mozart. Therefore, under his leadership with early years Ludwig van Beethoven studied piano. The young pianist studied musical works with incredible diligence. However, young Beethoven, like Mozart, did not become a child prodigy.

The father was rude and hot-tempered. Perhaps this is why the young musician did not immediately show his talent. The lessons of the bandmaster Nefe, to whom Ludwig became an apprentice, turned out to be much more effective than the exercises imposed by his father.

The beginning of creativity

Beethoven was only fifteen years old when he was entrusted with the position of organist of the chapel. And seven years later, on the orders of one of his mentors, he left for Vienna to continue his music studies. There he took lessons from Haydn and Salieri.

The most significant musical works of Beethoven in the eighties of the eighteenth century:

"Pathétique Sonata"
"Moonlight Sonata".
"Kreutzer Sonata".
Opera "Fidelio".

Beethoven's earliest musical works were not published. But children's sonatas and the song “Marmot” have survived to this day.

Return to Bonn

One day Mozart heard Beethoven's works. The great composer, according to the memoirs of his contemporaries, said: “This musician will make people talk about himself!” Mozart's prophecy came true. But later. Not later for a long time After Beethoven arrived in Vienna, his mother fell ill. The young composer was forced to return to his hometown.

After the death of his mother, all worries about the family fell on the shoulders of young Ludwig. In order to feed his younger brothers, he got a job in an orchestra as a violist. Beethoven's works were once heard by Haydn, who was returning from England and stopped in Bonn while passing through. This musician was also delighted with the compositions young Beethoven. In 1792, Ludwig left again for Vienna, where this time he lived for more than ten years.

Lessons from Haydn

The Austrian composer became Beethoven's teacher. However, his lessons, according to Ludwig, did not bring any benefit. Beethoven's works seemed strange and gloomy to his teacher. Soon Ludwig stopped taking lessons from Haydn and became a student of Salieri.

Style

The works of Ludwig Beethoven differed significantly from the works of contemporary composers. He used the upper and lower registers, the pedal. His style was different from the styles of other writers. In the second half of the eighteenth century, exquisitely lace works for the harpsichord were popular.

In addition, Ludwig van Beethoven, whose works seemed too extravagant to his contemporaries, was himself an unusual person. First of all, he stood out for his appearance. The unrecognized genius often appeared in public unkempt and carelessly dressed. In conversation he was often extremely harsh.

Once during a performance, one of those present in the hall had the imprudence to speak to his lady. Beethoven canceled the concert. No apologies or requests softened the pianist’s heart. But despite his proud and unshakable disposition, according to the memoirs of his contemporaries, he was an extremely kind and sympathetic person.

Hearing loss

The works of Ludwig Beethoven began to enjoy wide popularity in the nineties. During his ten years in Vienna, he wrote three piano concertos and about twenty sonatas. His works were well published and enjoyed success. But in 1796, a disease began to develop, which led to complete deafness.

Due to his illness, Beethoven rarely left the house. He became withdrawn and sullen. Surprisingly, he best works were created precisely when he lost his hearing. Essays recent years- “Solemn Mass”, Symphony No. 9. The last one was performed in 1824. The audience gave Beethoven a standing ovation that lasted so long that the police had to pacify the piano fans.

Recent years

After Napoleon's defeat, a curfew was introduced in Austria. The government imposed censorship on all areas of activity. Free thinking was severely punished. Beethoven, even in his youth, was distinguished by his independent judgment. One day, while walking with Goethe, he met Emperor Franz and his retinue. The poet bowed respectfully. Beethoven walked through the courtiers, slightly raising his hat. This story happened when the composer was still young. In the last years of his life, when spies and secret agents, Beethoven became completely unrestrained in his expressions. But his authority was so great that the authorities turned a blind eye to very harsh judgments.

Despite his deafness, the composer was aware of all musical and political news. He looked through the scores of Schubert and Rossini. During these years, Beethoven met Weber, the author of the operas “Euryanthe” and “The Magic Shooter”.

In 1926, the composer's health deteriorated sharply. He began to develop liver disease. In March 1927, Ludwig van Beethoven died. About twenty thousand people attended the funeral of the author of the Moonlight Sonata and other great works.

Beethoven wrote nine symphonies, eight symphonic overtures and five piano concertos. In addition, he is the author of several dozen sonatas and other musical works. Many monuments have been erected to Ludwig van Beethoven around the world. The first of them is in the homeland of one of the greatest composers, in Bonn.

("Happy Funeral March")

Opus 27: Two sonatas for piano

No. 1: Sonata No. 13 Es major "Sonata quasi una fantasia"
No. 2: Sonata No. 14 Cis-minor "Sonata quasi una fantasia" ("Moonlight")

Opus 28: Sonata No. 15 in D major ("Pastoral")

Opus 31: 3 piano sonatas

No. 2: Sonata No. 17 D-minor ("Storm")
No. 3: Sonata No. 18 Es major ("Hunt")

Opus 49: 2 piano sonatas

Opus 53: Sonata No. 21 in C major ("Waldstein" or "Aurora")

Opus 57: Sonata No. 23 F minor ("Appassionata")

Opus 78: Sonata No. 24 Fis-dur ("A Thérèse")

Opus 81a: Sonata No. 26 Es-dur ("Farewell/Les adieux/Lebewohl")

Opus 106: Sonata No. 29 in B major ("Hammerklavier")

Even for Haydn and Mozart, the genre of the piano sonata did not mean so much and did not turn into either a creative laboratory or a kind of diary of intimate impressions and experiences. The uniqueness of Beethoven's sonatas is partly explained by the fact that, trying to equalize this previously purely chamber genre with a symphony, concert and even musical drama, the composer almost never performed them in open concerts. Piano sonatas remained a deeply personal genre for him, addressed not to abstract humanity, but to an imaginary circle of friends and like-minded people. However, each of us has the right to enter this circle, bringing something new and unique to the perception of Beethoven’s sonatas.

32 sonatas cover almost the entire creative path masters He began working on the first three sonatas (opus 2), dedicated to Joseph Haydn, in 1793, shortly after moving from Bonn to Vienna, and completed the last two in 1822. And if the sonatas opus 2 use some themes from very early works (three quartets of 1785), then the later ones have points of contact with the Solemn Mass (1823), which Beethoven considered his greatest creation.

The first group of sonatas (Nos. 1-11), created between 1793 and 1800, is extremely heterogeneous. The leaders here are the “grand sonatas” (as the composer himself designated them), in size not inferior to symphonies, and in difficulty surpassing almost everything written for the piano at that time. These are the four-part cycles opus 2 (nos. 1-3), opus 7 (no. 4), opus 10 no. 3 (no. 7), opus 22 (no. 11). Beethoven, who won laurels in the 1790s best pianist Vienna, declared himself as the only worthy heir of the deceased Mozart and the aging Haydn. Hence the boldly polemical and at the same time life-affirming spirit of most of the early sonatas, the courageous virtuosity of which clearly went beyond the capabilities of the then Viennese pianos with their clear, but not strong sound. However, in Beethoven’s early sonatas the depth and penetration of the slow movements are also amazing. “Already in the 28th year of my life, I was forced to become a philosopher,” Beethoven later lamented, recalling how his deafness began, at first invisible to those around him, but coloring the artist’s worldview in tragic tones. The author's title of the only program sonata of these years (“Pathetique”, No. 8) speaks for itself.

At the same time, Beethoven created elegant miniatures (two light sonatas opus 49, Nos. 19 and 20), designed for maiden or ladies' performance. Related to them, although far from being so simple, are the lovely sonata No. 6 (opus 10 no. 2) and the sonatas nos. 9 and 10 (opus 14), radiating spring freshness. This line was subsequently continued in sonatas No. 24 (opus 78) and No. 25 (opus 79), written in 1809.

After the militantly exemplary Sonata No. 11, Beethoven declared: “I am dissatisfied with my previous works, I want to stand on new way" In the sonatas of 1801-1802 (Nos. 12-18), this intention was brilliantly realized. The idea of a sonata-symphony was replaced by the idea of a sonata-fantasy. The two sonatas of opus 27 (nos. 13 and 14) are explicitly labeled “quasi una fantasia.” However, this designation could be used as a precursor to other sonatas. of this period. Beethoven seems to be trying to prove that the sonata is an original concept rather than a frozen form, and it is quite possible for a cycle to open with variations and include, instead of the traditional slow movement, the strict “Funeral March for the Death of a Hero” (No. 12) - or, conversely, the sonata cycle No. 14, at the beginning of which a piercingly confessional Adagio sounds, which evoked in the romantic poet Ludwig Relstab the image of a night lake illuminated moonlight(hence the non-author’s name “Moonlight Sonata”). Completely devoid of drama, Sonata No. 13 is no less experimental: it is a divertissement of almost kaleidoscopically changing images. But Sonata No. 17, with its tragic monologues, dialogues and wordless recitatives, is close to opera or drama. According to Anton Schindler, Beethoven connected the content of this sonata (as well as the Appassionata) with Shakespeare's The Tempest, but refused to give any explanation.

Even the more traditional sonatas of this period are unusual. Thus, the four-movement sonata No. 15 no longer claims to be related to the symphony and is designed rather in delicate watercolor tones (it is no coincidence that the name “Pastoral” was assigned to it). Beethoven valued this sonata very much and, according to the testimony of his student Ferdinand Ries, he was especially willing to play the restrained melancholic Andante.

The years 1802-1812 are considered the culminating period of Beethoven's work, and the few sonatas of these years also belong to the master's peak achievements. Such, for example, was created in 1803-1804, in parallel with the Heroic Symphony, sonata No. 21 (opus 53), which is sometimes called “Aurora” (named after the goddess of the dawn). It is curious that initially between the first movement and the finale there was a beautiful, but extremely lengthy Andante, which Beethoven, after mature reflection, published as a separate piece (Andante favori - that is, “Favorite Andante”, WoO 57). The composer replaced it with a short, gloomy intermezzo, connecting the bright “daytime” images of the first movement with the gradually lightening colors of the finale.

The complete opposite of this radiant sonata is sonata No. 23 (opus 57), written in 1804-1805, which received the name “Appassionata” from the publishers. This is a huge essay tragic force, in which the knocking “motive of fate”, later used in the Fifth Symphony, plays an important role.

Sonata No. 26 (opus 81-a), created in 1809, is the only one of the 32 that has a detailed author’s program. Its three parts are entitled “Farewell - Separation - Return” and look like an autobiographical novel telling about parting, longing and a new date between lovers. However, according to the author's note, the sonata was written “for the departure of His Imperial Highness Archduke Rudolf,” Beethoven’s student and philanthropist, who on May 4, 1809 was forced to imperial family hastily evacuate from Vienna: the city was doomed to siege, shelling and occupation by Napoleon's troops. Besides the Archduke, almost all of Beethoven’s close friends and girlfriends then left Vienna. Perhaps among them was the true heroine of this novel in sounds.

The two-movement sonata opus 90 (No. 27), written in 1814, dedicated to Count Moritz Lichnowsky, who had the courage to fall in love, also has an almost romantic character. opera singer and enter into an unequal marriage with her. According to Schindler, Beethoven defined the character of the troubled first movement as “a struggle between the heart and the mind,” and compared the gentle, almost Schubertian music of the second with “a conversation between lovers.”

The last five sonatas (Nos. 28-32) belong to the late period of Beethoven’s work, marked by mysterious content, unusual forms and extreme complexity musical language. These very different sonatas are also united by the fact that almost all of them, except No. 28 (opus 101), written in 1816, were composed with the virtuoso and expressive capabilities of a new type of piano in mind - a six-octave concert grand piano from the English company Broadwood, obtained by Beethoven as a gift from this company in 1818. The rich sound potential of this instrument was most fully revealed in the grandiose sonata opus 106 (No. 29), which Hans von Bülow compared to the Eroica Symphony. For some reason, the name Hammerklavier (“Sonata for hammer piano”) was assigned to it, although this designation is on title pages all late sonatas.

In most of them, the idea of a fantasy sonata with a freely arranged cycle and a whimsical alternation of themes takes on new life. This evokes associations with the music of the romantics (every now you hear Schumann, Chopin, Wagner, Brahms, and even Prokofiev and Scriabin)... But Beethoven remains true to himself: his forms are always impeccably constructed, and his concepts reflect his inherent positive worldview. The romantic ideas of disappointment, restlessness and discord with the outside world that spread in the 1820s remained alien to him, although their echoes can be heard in the music of the mournful Adagio from Sonata No. 29 and the suffering Arioso dolente from Sonata No. 31. And yet, despite the tragedies and catastrophes experienced, the ideals of goodness and light remain unshakable for Beethoven, and reason and will help the spirit to triumph over suffering and earthly vanity. “Jesus and Socrates served as my models,” Beethoven wrote in 1820. The “hero” of the later sonatas is no longer a victorious warrior, but rather a creator and philosopher, whose weapons are all-pervading intuition and all-encompassing thought. It is not without reason that two of the sonatas (Nos. 29 and 31) end with fugues, demonstrating the power of the creative intellect, and the other two (Nos. and ) end with contemplative variations, representing, as it were, a model of the universe in miniature.

The great pianist Maria Veniaminovna Yudina called Beethoven’s 32 sonatas “the New Testament” piano music(“The Old Testament” was Bach’s “Well-Tempered Clavier” for her). Indeed, they look far into the future, without at all denying the 18th century that gave birth to them. And therefore, each new performance of this gigantic cycle becomes an event in modern culture.

(Larisa Kirillina. Text of the booklet for the concert cycle of T.A. Alikhanov (Moscow Conservatory, 2004))

But let's return to the composer Beethoven. All the variety of feelings he experienced during this period was reflected in his works. Active activity, passion, thirst for peace and humility - these opposite feelings harmoniously come into contact in the works written during this difficult period for Beethoven.

I cannot say that a person’s suffering contributes to his creative emancipation, but judge for yourself: Third Piano Concerto in C minor, op. 37 (1800); Sonata As major, op. 26 with a funeral march and “Sonata like a fantasy” (“Moonlight Sonata”, by the way, it was dedicated to Juliet Guicciardi) (1802); emotional and impulsive sonata in d minor with recitative, op. 31 (1802); “Kreutzer” sonata for violin and piano (1803) and a number of other works. They are great!

Now, years later, evaluating and analyzing the entire life of the great composer, we can say that he managed to escape, preserve his life and sanity, thanks to the same music. Beethoven simply had no time to die. Life for him has always been a struggle, with its victories and defeats, and he continued to fight, he could not do otherwise.

Huge number ideas and projects filled Ludwig’s mind, there are so many of them that he has to work on several works at the same time. The Third Symphony (Eroic Symphony) was created, and during the same period sketches for the Fifth Symphony and “Appassionata” appeared. The completion of work on the heroic symphony and sonata “Aurora” is nearing, and Beethoven is already starting to work on the opera “Fidelio” and finalizing the “Appassionata”. After the opera, work on the Fifth Symphony resumes, but not for long, as he is writing the Fourth. In the period between 1806-1808 the following were published: the Fourth, Fifth and Sixth (“Pastoral”) symphonies, the “Kriolan” overture, Fantasia for piano, choir and orchestra. Insane performance! And each subsequent work is absolutely different from the previous one, they all lie on different planes and each of them is brilliant! “On the title page of the Heroic Symphony, after which this period of the composer’s life was named, Beethoven’s hand wrote “Buonaparte”, and just below “Luigi van Beethoven”. Then, in the spring of 1804, Napoleon was the idol of many people who expected changes in world ideology, world order, people eager to throw off the burden of old prejudices. Bonaparte was the personification of republican ideals, a hero who was worthy of the Heroic Symphony. But another illusion was dispelled when Napoleon proclaimed himself emperor.

This one too ordinary person! Now he will trample underfoot all human rights, follow only his ambition, he will put himself above all others and become a tyrant! – the title page was torn to shreds by the author. “Eroica” is the new title of the symphony.

After the Third Symphony, the opera “Fidelio” was published, the only opera written by Beethoven, and one of his most beloved works, he said: “Of all my children, she cost me the greatest pain at birth, she also caused me the greatest grief, “That’s why she’s dearer to me than others.”

After this period, so rich in symphonies, sonatas and other works, Beethoven did not even think of resting. He creates the Fifth Piano Concerto, the Seventh and Eighth Symphonies (1812). Ludwig is planning to write music for Goethe’s tragedy “Egmont”, he really loved the poetry of his idol, it easily went to music. The two great contemporaries corresponded for some time; evidence of their collaboration was the music for “Egmont.” They even met once, but more on that later...

But how does Beethoven himself live, how did his life work out in Vienna? Despite being quite popular, it has certain problems from time to time. financially. Largely because of his notorious independence, but, it seems to me, thanks to this he retained his own style, which even now distinguishes him from other great composers around the world. The changes also affected my personal life. Back in 1799, Ludwig began teaching to two dear sisters Therese and Josephine Brunswick. Until recently, it was believed that he was in love with Teresa, but already in the twentieth century, letters from Beethoven dating back to that period were found, and they were addressed to Josephine. This is how official relations grew into a strong and cordial friendship, and friendship into love.

At the same time, he offers his services as a composer, writing a letter to the directorate of the royal and imperial court theaters, but they, in turn, did not even bother to respond. Why is a professional with a name known throughout old Europe obliged to beg for a job? Once again you are convinced that history always goes in a spiral... In other respects, he himself explained his position in the same letter: “the guiding thread for the undersigned (Beethoven.? Author) from time immemorial was not so much the acquisition of daily bread, but much more to a greater extent– service to art, ennoblement of taste and aspirations musical genius to high ideals and perfection... he was forced to struggle with all sorts of difficulties and so far he has not had the good fortune to create a position for himself here consistent with his desire to devote his life exclusively to art...” This is not pop! The answer never came; Beethoven himself described the “venerable” management very simply and laconically – a princely bastard.

Under the weight of all these failures, driven by circumstances, Ludwig decides to leave Vienna. This is where our “dear” patrons of the arts realized what they were losing. Archduke Rudolf, Count Kinsky and Prince Lobkowitz in 1809 undertake to pay the composer an annual pension, and in return he promises not to leave Austria. Later, it will be said about this notorious pension, the obligation of which was fulfilled only by Archduke Rudolf, that it brought Beethoven more trouble than help. “To feel capable of a great deed and not accomplish it, to count on a prosperous life and to be deprived of it due to terrible circumstances that do not destroy my need for family life, but only interfere with arranging it. Oh, God, God, have mercy on the unfortunate B.!” Need and loneliness accompany his life.

Everyone is now familiar with the famous Fifth Symphony, this is how fate knocks on the door. She also knocked on Beethoven's door. The endless Napoleonic wars, the secondary occupation of Vienna, the mass exodus from the capital of Austria - against the backdrop of these events Ludwig has to work. But one more circumstance influenced such a rapid rise in Beethoven’s popularity, and on the development of music in general: the invention of the metronome. The name of the famous mechanic-inventor Maelzel forever went down in history thanks to the metronome. “The Battle of Vittoria” - an essay on a very popular military theme- was written at the suggestion of the same Mälzel for the device he designed. The piece was very effective, it was played symphony orchestra, reinforced by two military bands, various devices reproduced rifle and cannon fire. The enormous success with the public elevated Beethoven to the pinnacle of his lifetime fame. The Imperial Theater suddenly remembers Beethoven's opera Fidelio, but deafness greatly hinders the author's ability to conduct; behind his back, conductor Umlauf carefully corrects mistakes... Fashion, precisely fashion, is growing for Beethoven. He is invited to presentations, excuse me, to social events, back then they were still receptions. To the credit of the great composer, he still prefers a circle of close friends in a modest restaurant. There, among friends, he gave free rein to his emotions, he said everything he thought, without fear of spies and informers. Everyone got it, the Austrian government, the Catholic religion, and the emperor. His hearing was practically lost, so Ludwig used special “Conversation Notebooks” in which questions and answers were written down. About 400 of these notebooks have reached us; the entries in them are more than bold:

“The ruling nobility have learned nothing!”, “Our time needs powerful minds to whip these vile human souls!”, “In fifty years there will be republics everywhere. " Beethoven still remained himself. And at this time, in the same restaurant, at the far table sits a young man who enthusiastically watches his idol, the name of this man is Franz Schubert.

From 1813 to 1818, Beethoven composed rather little and slowly, but even those written in a state of depression, his works are magnificent. Piano Sonata op. 90, e-moll, two cello sonatas, his arrangements are released folk songs. Not much, but during this period one can notice a change in the manner and style of writing; in our time it is called Beethoven’s “late style”. It is worth highlighting the cycle of songs “To a Distant Beloved”, which is absolutely original and has an air of novelty in it. It was this work that had a significant influence on romantic vocal loops Schubert and Schumann. In the period from 1816 to 1822, the last five piano sonatas appear; their composition is quite complex, as is the composition of the later quartets (1824-1826). He deviates from the classical forms of sonatas, once again destroys all boundaries, most likely this is due to his philosophical and contemplative mood.

Like the biggest gem wearing a royal crown, the Ninth Symphony took its dominant place among the works of the great Beethoven. Almost 170 years later, something similar will still happen, although of course on a different scale; already in our nineties of the twentieth century, the same place in Freddie Mercury’s discography will be occupied by his great, and already household name, “The Show Must Go On”. Who knows, maybe in another couple of centuries, it will already be ours modern music of the last thirty years will mean to our descendants what classical music means to us now.

The Ninth Symphony was conceived during the years of crisis, but this idea began to be realized only in 1822, in parallel with the Solemn Mass (Missa solemnis). In 1823, Beethoven finished the mass, and a year later the symphony. In the final part of his immortal creation, the author introduced a choir and solo singers, entrusting them with the words from Schiller’s ode “To Joy”: People are brothers among themselves! Hug, millions! Join in the joy of one!

For such grandiose ideas, an equally grandiose embodiment was found in music. The Ninth Symphony is a development of the theme of the famous “Eroica” and Fifth, “Pastoral” and Seventh symphonies, and the opera “Fidelio”. But it is still the most significant in Beethoven’s entire work, the most perfect in all respects.

Soon the fleeting fame passed, and everyone forgot about Ludwig again, many friends had long since left Vienna, some had died... Where is Beethoven himself? Let's try to find the composer in the bustling capital of Austria with the help of one of his contemporaries.

It seems that Mr. Beethoven lives nearby, I often saw him come here... - The herring seller pointed to the neighbor’s house.

The house looks very miserable, defying all our expectations. Stone steps, which smell cold and damp, lead to the third floor, straight to the master’s room. A short, stocky man with combed-back hair heavily streaked with gray, a man will definitely come out to meet you:

“I have the misfortune of being abandoned by all my friends and stuck alone in this ugly Vienna,” he will say, then he will ask to speak loudly, since now he hears very poorly. He is a little embarrassed, which is why he talks a lot and loudly. He says that he is often unwell, does not write much... He is dissatisfied with everything, especially curses Austria and Vienna.

I am chained here by circumstances,” he will say, hitting the piano with his fist, “but everything here is disgusting and dirty.” Everyone from top to bottom are scoundrels. You can't trust anyone. Music here is in complete decline. The Emperor does nothing for art, and the rest of the public is content with what they have... - When he is silent, his forehead wrinkles, and the composer looks especially gloomy, sometimes it’s even frightening.

Beethoven spends a lot of energy helping his nephew; after the death of his brother, he was able to give up all his unfulfilled need for love. But here again Ludwig had to fight, leaving a lot of strength and health in the courtroom, where the hearings on the issue of custody of Karl were held. The composer’s opponent was the boy’s mother, a selfish and unseemly bitch. The nephew himself did not appreciate everything that his uncle did for him, who spent the funds obtained with such great difficulty to hush up numerous scandalous stories associated with Karl. At the cost of incredible efforts of Beethoven's close friends, the Ninth Symphony was performed on May 7, 1824. This event is also notable for the fact that at this time spectacular works performed by virtuosos became most popular when Beethoven, especially his works late period, are distinguished by their depth and grandeur. The orchestra was conducted by Umlauf. The composer himself stood at the footlights, giving tempos for each movement, although by that time he had completely lost his hearing. The audience was delighted, thunderous applause! The musicians and singers were shocked by the success of the symphony, and only one person stood still, not reacting to the enthusiastic exclamations, he simply did not hear them... The symphony was still playing in his head. A young singer named Unger ran up to the composer, took his hand and turned him to face the audience. Only at this moment was he able to be convinced of the success of his work. The second performance of the Ninth Symphony took place in a half-empty hall, which once again confirmed the tastes, or rather the lack thereof, of the public of that time.

Conclusion

Shortly before his death, Beethoven goes to one of his brothers Johann. Ludwig undertook this burdensome journey in order to persuade Johann to draw up a will in favor of his nephew Karl. Having failed to achieve the desired result, an enraged Beethoven returns home. This trip became fatal for him. On the way back, Ludwig caught a bad cold, he never managed to get back on his feet, too much energy was spent, and after several months of serious illness, Ludwig van Beethoven died. Vienna was rather indifferent to his illness, but when the news of his death spread across the capital, a shocked crowd of thousands escorted the great composer to the cemetery. All educational institutions were closed that day.

Afterword

In 1812, at the then famous Czech resort of Teplice, two great creators of their time met, whose names were written in golden letters in the history of art - Beethoven and Goethe. On one of the alleys, the poet and composer met a group of Austrian nobility surrounding the empress. Goethe, taking off his hat and stepping aside to the edge of the road, greeted the “high” guests with respectful bows. Beethoven, on the contrary, pulled his hat low over his eyes and, clasping his hands behind his back, quickly walked through the thick of the high-society crowd. His face was stern, his head held high. He only lightly touched the brim of his hat.

Having passed the walkers, Beethoven turned to Goethe:

I waited for you because I respect and honor you as you deserve, but you showed these gentlemen too much honor. Unyielding in defending his convictions, both artistic and political, without bending his back to anyone, with his head held high, he passed his life path great composer Ludwig van Beethoven.

List of used literature

1. Koenigsberg A., Ludwig van Beethoven. L.: Music, 1970.

2. Klimovitsky A.I. About Beethoven’s creative process: Research – Leningrad: Music, 1979. – 176 pp., ill.

3. Khentova S. M. “Moonlight Sonata” by Beethoven. M., “Music”, 1975.–40 p.

You can listen to Beethoven's music endlessly. All of his works leave an indelible impression, but here we will consider only a small part of them.

Symphony No. 5, op. 67(1808). One of the most famous and frequently performed symphonies. Beethoven began writing this symphony when he was 35 years old (1804). At this time he already had serious hearing problems. His work on this masterpiece progressed slowly, he was often interrupted to write other works (Sonata No. 23, Symphony No. 4 and others). “So fate knocks on the door,” Beethoven said about main motive first movement of the symphony. In 1809, Beethoven wrote a dedication to the symphony - to Prince F. J. von Lobkowitz and Count A. K. Razumovsky. The symphony was completed in 1808, and the first public performance took place that same year. The symphony has become one of the symbols of classical music.

Piano Sonata No. 14, op. 27 No. 2 or “Moonlight Sonata”(1801). One of the most famous classical musical works, it is probably difficult to find a person who has never heard the “Moonlight Sonata” in their life. Beethoven finished this sonata in 1801, experiencing strong mental anguish. He was losing his hearing, and already at this time he had to come closer to the orchestra in order to hear high-pitched sounds. And the second blow was the break with the young Countess Giulietta Guicciardi, with whom Beethoven was in love and wanted to marry her. He dedicated this sonata to her.
The sonata owes its name to the music critic Ludwig Relstab, who compared it to “moonlight over Lake Firwaldstätt.” At the same time, many music critics They believe that there is nothing “lunar” in this sonata and the name “Moonlight Sonata” does not at all reflect the spirit of the work. Beethoven himself called this work “a sonata in the spirit of fantasy.”

Bagatelle No. 25 in A minor, WoO 59, “Für Elise”(circa 1810). One more worldwide famous work Beethoven. Widely used in training, and is included in the compulsory program in music schools all over the world. This bagatelle play was first published in 1867, after the composer's death. In 1865, the manuscript was found by Beethoven's biographer Ludwig Nohl. According to him, the date was April 27 without a year. The manuscript also contained sketches for Egmont (op. 84), and therefore Fur Elise was dated 1810. The manuscript itself is lost. There are several versions of who this bagatelle is dedicated to. According to one version, due to illegible handwriting, Nohl did not read the inscription correctly, but in fact the manuscript contained the inscription “To Teresa,” and Beethoven dedicated it to his student Therese von Drossdieck (Malfatti), with whom he was in love. According to another version, Beethoven dedicated this work to Elisabeth Reckel, close friend Beethoven, who in Vienna was called Elisa. According to another version, the play is dedicated to the wife of Russian Emperor Alexander I, Elizaveta Alekseevna. In 2009, Beethoven scholar Luca Chiantore suggested that Beethoven may not have authored Fur Elise as published by Ludwig Nohl, although the theme of the work and virtually all of the material are undeniably Beethoven's.

Symphony No. 9 in D minor, Op. 125(1824). This symphony is also called “Choral”. Beethoven's last completed symphony. He began writing it in 1822, although the theme of the second part was written as early as 1815. The first public performance of the symphony took place in Vienna in 1824. Leo Tolstoy reacted negatively to the symphony, writing in his essay: “This work belongs to bad art.” A fragment from this symphony, “Ode to Joy,” is now the anthem of the European Union. In Japan, there is a tradition to perform this symphony on New Year's Eve.
There is also one superstition associated with the symphony: “The Curse of the Ninth Symphony” - every composer, starting with Beethoven, who wrote the ninth symphony, soon dies. And some composers take this seriously, although there are many examples in the world that do not confirm this superstition.

"Egmont", op. 84(1810) – overture and music for tragedy of the same name Goethe. Beethoven received a commission for the music from the Vienna Court Theater in 1809. And in 1810 the premiere took place. Goethe's play describes the revolt of the people of the Netherlands under the leadership of Egmont against the Spaniards. As a result main character dies, but the people of the Netherlands gain independence.

Classical song "Marmot" (Marmotte), op. 52 No. 7(1805). Beethoven's music to Goethe's poems. Published 1805. Widely used in music schools for teaching. The song is performed on behalf of little boy with a trained marmot.
Lyrics of the song in Russian. Translation by S.S. Zayaitsky.

By different countries I wandered
And my groundhog is with me.
And I was always full everywhere
And my groundhog is with me.

Chorus:
And mine always, and mine everywhere,
And my groundhog is with me.
And mine always, and mine everywhere,
And my groundhog is with me.

I have seen quite a few gentlemen,
And my groundhog is with me.
And who loves whom, I knew
And my groundhog is with me.

I met funny girls
And my groundhog is with me.
I made them laugh, because I’m so small,
And my groundhog is with me.

I ask for a penny for my song,
And my groundhog is with me.
I love to drink and eat so much,
And my groundhog is with me.

Chorus.

Concerto for violin and orchestra, op. 61(1806). This concerto was performed for the first time on December 23, 1806 in Vienna. Beethoven dedicated it to his friend, the famous violinist and composer of that time Franz Clement. There is an opinion that Beethoven finished the solo part of this work immediately before the concert, which is why Franz Clement read some parts directly from the sheet during the performance. The premiere was not a success, and this violin concerto was not performed for a long time. At the request of a friend, Beethoven redid this concerto for piano. It was only in 1844, after a performance by the young violinist Joseph Joachim with the Royal Philharmonic Society Orchestra conducted by Felix Mendelssohn, that the concerto gained popularity. This is Beethoven's only completed violin concerto, which had a huge influence on the history of violin music, and, today, one of the most performed violin concertos.

Concerto for piano and orchestra No. 5, op. 73, "Emperor"(1811). The premiere took place on December 11, 1811 in Leipzig and was a great success. Beethoven dedicated this concert to Archduke Rudolf of Austria.

Sonata No. 9 for violin and piano, op. 47, "Kreutzer Sonata"(1802). The sonata premiered on May 24, 1803 in Vienna. Beethoven originally dedicated it to the violinist George Bridgetower, with whom Beethoven performed the sonata at the premiere. But when the sonata was published, it already included a dedication to Rodolphe Kreutzer. There is an opinion that after the premiere, Beethoven quarreled with Bridgetower, and because of this he changed the dedication. Leo Tolstoy wrote the story “The Kreutzer Sonata,” which gave additional popularity to Beethoven’s work.

Rondo Capriccio, op. 129, "Rage Over a Lost Penny"(1795). Beethoven never finished this work. It was published from drafts in 1828.

Piano Sonata No. 23, op. 57, "Appassionata"(1807). The first publication, one of the most famous sonatas Beethoven, was in Vienna in February 1807 and was dedicated to Count Franz von Brunswick.

Piano Sonata No. 8, op. 13, "Pathetic"(1799). Beethoven dedicated this sonata to Prince Karl von Lichnowsky. The first publication took place in December 1799 under the title "Great Pathetic Sonata".

Op. - opus, in Latin - “work”. The author's work number is usually in chronological order. Placed by the author or publisher.
WoO - "Werk ohne Opuszahl" is a work without an opus number. This term is applied to the non-composite works of Beethoven, R. Schumann and Brahms and was compiled by musicologists.