Music
The turn of a century always seems to bring about anticipation for change. Consciously or not, this was the case at the dawn of the nineteenth century. Already the French Revolution had altered views about class structure. Concerts given by the great composers now were accessible to more people, not only the nobility. Churchgoers could hear Beethoven’s pieces, as could residents of Vienna who were able to attend one or more of the many concerts Beethoven himself orchestrated. Audiences were hungry for music, and between 1800 and 1815, Beethoven satisfied their needs. The huge, sweeping symphonies he wrote during this period reflect the immensely powerful changes that were sweeping over the European continent and the world in general.
The Symphonies
The Eroica
Early in the new century, in 1805, Beethoven debuted one of his great masterpieces, his Symphony no. 3, op. 55, or the Eroica Symphony. The Eroica Symphony, or Heroic Symphony, was written for Napoleon, the French general and leader whom Beethoven initially admired. Some people actually compared Napoleon and Beethoven, calling them both revolutionists. There was some truth to that, as even with all of Beethoven’s catering to his wealthy patrons, he never lost sight of the effect his works would have on the common people, whom he wanted to enlighten and empower. His view of the French leader changed in 1804 when he heard that Napoleon had declared himself emperor. He scratched out Napoleon’s name, which he had written on the title sheet for his new symphony, instead calling it “Sinfonia Eroica, Composed to Celebrate the Memory of a Great Man”. Beethoven probably was referring to the man Napoleon was before the French leader let his power go to his head. On the other hand, he may have simply meant it to be a generic title, referring to any heroic individual.
The lengthy work does evoke power and majesty of epic proportions. Audiences were left breathless upon hearing it. In 1809, when Beethoven conducted a repeat performance of the symphony at Vienna for a charity event, Napoleon may have been in the Austrian city. By this time, France was at war with Austria, and Napoleon’s soldiers occupied Vienna. It is unclear if Napoleon even knew of his former connection to the symphony, but he did not go to the concert. Napoleon’s army won a temporary victory in Vienna, but Beethoven’s music had already captured the hearts and interest of the public there.
The composer continued to produce other timeless pieces in the following months and years, including his Fourth to Eighth Symphonies; Piano Concerto no. 4, op. 58; Piano Concerto no. 5, op. 73; Emperor, Violin Concerto op. 61, and Fidelio, Beethoven’s only opera.
Beethoven’s Second Period
The Heiligenstadt Testament (1802) marked a turning point in Beethoven’s life and career. The period lasting from about 1800 to 1815 is referred to as Beethoven’s Second Period. During these years, he wrote what many consider to be some of the world’s best music.
Classical music today contrasts with popular music, a category that includes such styles as rock, pop, jazz, soul, and rhythm and blues. But in Beethoven’s day, when “classical” was new, it was one of the most popular forms of music. Usually, most popular songs today only contain a handful of melodies. When Beethoven composed a piece, he filled it with multiple melodies. Often he based them on an original motif, or a recurring theme, within a longer piece of music. Because his works contain so many motifs, longer melodies, and variations on these themes, it may require a bit more effort for the uninitiated to appreciate his creations. The rewards, however, are worth it. His mastery of so many instruments, his creativity, and the emotional depth that he gave his music are almost without compare.
From Classicism To Romanticism
For many reasons, Beethoven put a great deal of himself into his music. Because of his deafness and inability to write or speak well, music became his primary form of communication. So much feeling and thought went into his compositions. His talent and personality also contributed to the powerful emotions his music stirred in listeners. This went against the norm of classical music, which embodied a philosophy called Classicism. Classicism is a philosophy for art — and life in general — that emphasizes order, balance, simplicity, and lack of emotional extremes. Beethoven certainly was not a simple person, and one listen to his music makes it clear that he imbued his compositions with emotional extremes. Beethoven therefore helped to usher in a new philosophical movement that emphasized passion, creativity, expressiveness, imagination, individuality, and spontaneity. This movement is called Romanticism.
Romanticism became the dominant style of arts, philosophy, and literature throughout the entire nineteenth century. Beethoven did not consciously become a Romanticist. He was just following his own inner voice, which resonated with others. Much of the poetry, painting, literature, and of course, music that was produced during the Romantic era was inspired by Beethoven’s work.
Third Period Music
Beethoven’s third and final period, which lasted from about 1816 until his death in 1827, included many significant works. Two of the most famous are Missa solemnis, or Solemn Mass, and what was to become Beethoven’s final symphony, his Symphony no. 9, op. 125. For Missa solemnis, Beethoven studied religious compositions written as far back as the sixteenth century. Today’s musicians have a lot of written and recorded material to study, but documented music was still in its relative infancy during Beethoven’s lifetime. Rare, usually handwritten pieces could be difficult to obtain, but Beethoven persevered. Since he chose a religious theme for his later work, it is possible that he, too, was thinking more about spirituality and his own mortality.
