Approaching deafness Beethoven, Ludwig van: Violin Sonata No. 9 in A Major, Op. 47 (Kreutzer) Excerpt from the first movement, “Adagio sostenuto—Presto,” of Beethoven's Violin Sonata No. 9 in A Major, Op. 47 (Kreutzer); from a 1950 recording by violinist Zino Francescatti and pianist Robert Casadesus. © Cefidom/Encyclopædia Universalis A change in direction occurred with Beethoven’s gradual realization that he was becoming deaf. The first symptoms had appeared even before 1800, yet for a few years his life continued unchanged: he still played in the houses of the nobility, in rivalry with other pianists, and performed in public with such visiting virtuosos as violinist George Bridgetower (to whom the Kreutzer Sonata was originally dedicated). But by 1802 he could no longer be in doubt that his malady was both permanent and progressive. During a summer spent at the (then) country village of Heiligenstadt he wrote the “Heiligenstadt Testament.” Ostensibly intended for his two brothers, the document begins: Britannica Quiz High Art in Song How many dances did Johann Strauss write? O ye men who think or say that I am malevolent, stubborn or misanthropic, how greatly do you wrong me. You do not know the cause of my seeming so. From childhood my heart and mind was disposed to the gentle feeling of good will. I was ever eager to accomplish great deeds, but reflect now that for six years I have been in a hopeless case, made worse by ignorant doctors, yearly betrayed in the hope of getting better, finally forced to face the prospect of a permanent malady whose cure will take years or even prove impossible. He was tempted to take his own life, But only Art held back; for, ah, it seemed unthinkable for me to leave the world forever before I had produced all that I felt called upon to produce.… There is a Werther-like postscript: As the leaves of autumn wither and fall, so has my own life become barren: almost as I came, so I go hence. Even that high courage that inspired me in the fair days of summer has now vanished. More significant, perhaps, are his words in a letter to his friend Franz Wegeler: “I will seize fate by the throat.…” Elsewhere he remarks, “If only I were rid of my affliction I would embrace the whole world.” He was to do both, though the condition he hoped for was not fulfilled. From then on his days as a virtuoso were numbered. Although it was not until about 1819 that his deafness became total, making necessary the use of those conversation books in which friends wrote down their questions while he replied orally, his playing degenerated as he became able to hear less and less. He continued to appear in public from time to time, but most of his energies were absorbed in composing. He would spend the months from May to October in one or another of the little villages near Vienna. Many of his musical ideas came to him on long country walks and were noted in sketchbooks. These sketchbooks, many of which have been preserved, reveal much about Beethoven’s working methods. The man who could improvise the most intricate fantasies on the spur of the moment took infinite pains in the shaping of a considered composition. In the sketchbooks such famous melodies as the adagio of the Emperor Concerto or the andante of the Kreutzer Sonata can be seen emerging from trivial and characterless beginnings into their final forms. It seems, too, that Beethoven worked on more than one composition at a time and that he was rarely in a hurry to finish anything that he had on hand. Early sketches for the Fifth Symphony, for instance, date originally from 1804, although the finished work did not appear until 1808. Sometimes the sketches are accompanied by verbal comments as a kind of aide-mémoire. Sometimes, as in the sketching of the Third Symphony (Eroica), he would leave several bars blank, making it clear that the rhythmic scheme had preceded the melodic in his mind. Many of the sketches consist merely of a melody line and a bass—enough, in fact, to establish a continuity. But in many works, especially the later ones, the sketching process is very elaborate indeed, with revisions and alterations continuing up to the date of publication. If, in general, it is only the primitive sketches and jottings that have survived, this is because Beethoven kept them beside him as potential sources of material for later compositions.

Beethoven and the theatre Ludwig van Beethoven: Symphony No. 2 in D Major Third movement, “Scherzo—Allegro,” of Beethoven's Symphony No. 2 in D Major, Opus 36; from a recording by the San Francisco Symphony Orchestra conducted by Pierre Monteux. © Cefidom/Encyclopædia Universalis The next few years were those of Beethoven’s short-lived connection with the theatre. In 1801 he had provided the score for the ballet Die Geschöpfe des Prometheus (The Creatures of Prometheus). Two years later he was offered a contract for an opera on a classical subject with a libretto by Emanuel Schikaneder, who had achieved fame and wealth as the librettist of Mozart’s The Magic Flute and who was then impresario of the Theater an der Wien. Two or three completed numbers show that Beethoven had already begun work on it before Schikaneder himself was ousted from the management and the contract annulled—somewhat to Beethoven’s relief, as he had found Schikaneder’s verses “such as could only have proceeded from the mouths of our Viennese applewomen.” When the new management reengaged Beethoven the following year, it was largely on the strength of his now almost-forgotten oratorio, Christus am Ölberg (Christ on the Mount of Olives), which had been given in an all-Beethoven benefit concert, together with the first two symphonies and the Third Piano Concerto. Ludwig van Beethoven: Symphony No. 3 in E-flat Major, Opus 55 (Eroica) Excerpt from the first movement, “Allegro con brio,” of Beethoven's Symphony No. 3 in E-flat Major, Opus 55 (Eroica); from a recording by the NBC Symphony Orchestra conducted by Arturo Toscanini. © Cefidom/Encyclopædia Universalis The year 1804 was to see the completion of the Third Symphony, regarded by most biographers as a landmark in Beethoven’s development. It is the answer to the “Heiligenstadt Testament”: a symphony on an unprecedented scale and at the same time a prodigious assertion of the human will. The work was to have been dedicated to Napoleon, intermittently one of Beethoven’s heroes, but Beethoven struck out the dedication on hearing that Napoleon had taken the title of emperor. Outraged in his republican principles, he changed the title to Eroica and added the words “for the memory of a great man.” From then on the masterworks followed hard on one another’s heels: the Waldstein Piano Sonata, Opus 53; Piano Sonata in F Minor, Opus 57, known as the Appassionata; the Piano Concerto No. 4 in G Major, Opus 58; the three Razumovsky Quartets, Opus 59; the Fourth Symphony, Opus 60; the Violin Concerto, Opus 61. To this period also belongs his one opera, Fidelio, commissioned for the winter season of 1805. The play concerns a wife who disguises herself as a boy in order to rescue her husband, imprisoned for political reasons; in setting this to music, Beethoven was influenced by Ferdinando Paer and by Luigi Cherubini, composer of similar “rescue” operas and a musician whom he greatly admired. Fidelio enjoyed no great success at first, partly because the presence of French troops, who had occupied Vienna after the Battle of Austerlitz, kept most of the Viennese away. With great difficulty Beethoven was persuaded to make certain changes for a revival in the following spring, with modified libretto. This time the opera survived two performances and would have run longer but for a quarrel between Beethoven and the management, after which the composer in a fury withdrew his score. It was not until eight years later that Fidelio, heavily revised by Beethoven himself and a new librettist, returned to the Vienna stage, to become one of the classics of the German theatre. Beethoven later turned over many other operatic projects in his mind but without bringing any to fruition.