The Life of Ludwig Van Beethoven

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The rise of Ludwig van Beethoven into the ranks of history's greatest composers was

parallelled by and in some ways a consequence of his own personal tragedy and

despair. Beginning in the late 1790's, the increasing buzzing and humming in his ears

sent Beethoven into a panic, searching for a cure from doctor to doctor. By October

1802 he had written the Heiligenstadt Testament confessing the certainty of his

growing deafness, his consequent despair, and suicidal considerations. Yet, despite the

personal tragedy caused by the "infirmity in the one sense which ought to be more

perfect in [him] than in others, a sense which [he] once possessed in the highest

perfection, a perfection such as few in [his] profession enjoy," it also served as a

motivating force in that it challenged him to try and conquer the fate that was handed

him. He would not surrender to that "jealous demon, my wretched health" before

proving to himself and the world the extent of his skill. Thus, faced with such great

impending loss, Beethoven, keeping faith in his art and ability, states in his

Heiligenstadt Testament a promise of his greatness yet to be proven in the

development of his heroic style.

By about 1800, Beethoven was mastering the Viennese High-Classic style. Although the

style had been first perfected by Mozart, Beethoven did extend it to some degree. He

had unprecedently composed sonatas for the cello which in combination with the piano

opened the era of the Classic-Romantic cello sonata. In addition, his sonatas for violin

and piano became the cornerstone of the sonata duo repertory. His experimentation

with additions to the standard forms likewise made it apparent that he had reached the

limits of the high-Classic style. Having displayed the extended range of his piano writing

he was also begining to forge a new voice for the violin. In 1800, Beethoven was

additionally combining the sonata form with a full orchestra in his First Symphony, op.

2. In the arena of piano sonata, he had also gone beyond the three-movement design

of Haydn and Mozart, applying sometimes the four-movement design reserved for

symphonies and quartets through the addition of a minuet or scherzo. Having

confidently proven the high-Classic phase of his sonata development with the "Grande

Sonate," op. 22, Beethoven moved on to the fantasy sonata to allow himself freer

expression. By 1802, he had evidently succeeded in mastering the high-Classic style

within each of its major instrumental genres-the piano trio, string trio, string quartet

and quintet, Classic piano concerto, duo sonata, piano sonata, and symphony. Having

reached the end of the great Vienese tradition, he was then faced with either the

unchallenging repetition of the tired style or going beyond it to new creations.

At about the same time that Beethoven had exhausted the potentials of the

high-Classic style, his increasing deafness landed him in a major cycle of depression,

from which was to emerge his heroic period as exemplified in Symphony No. 3, op. 55

("Eroica"). In Beethoven's Heiligenstadt Testament of October 1802, he reveals his

malaise that was sending him to the edge of despair. He speaks of suicide in the same

breath as a reluctance to die, expressing his helplessness against the inevitability of

death. Having searched vainly for a cure, he seems to have lost all hope-"As the leaves

of autumn fall and are withered-so likewise has my hope been blighted-I leave

here-almost as I came-even the high courage-which often inspired me in the beautiful

days of summer-has disappeared." There is somewhat of a parallel between his personal

and professional life. He is at a dead end on both cases. There seems to be no more

that he can do with the high-Classic style; his deafness seems poised inevitably to

encumber and ultimately halt his musical career. However, despite it all, he reveals in

the Testament a determination, though weak and exhausted, to carry on-"I would have

ended my life-it was only my art that held me back. Ah, it seemed to me impossible to

leave the world until I had brought forth all that I felt was within me. So I endured this

wretched existence..." Realizing his own potential which he expressed earlier after the

completion of the Second Symphony-"I am only a little satisfied with my previous

works"-and in an 1801 letter-"I will seize Fate by the throat; it shall certainly not bend

and crush me completely"- he decides to go on. At a time when Beethoven had

reached the end of the musical challenge of the day, he also faced what seemed to him

the end of hope in his personal life. In his Testament, death seems imminent-"With joy I

hasten to meet death"-but hope and determination, though weak and unsure, are

evident.

In the Heiligenstadt Testament the composer comes to terms with his deafness and

leaves what is beyond his control to what must be, trying to make a fresh start. It is

quite evident that the Testament is filled with a preoccupation with death-he writes as

though death were at his doorstep, waiting for him to finish his letter-"Farewell...How

happy I shall be if I can still be helpful to you in my grave...With joy I hasten to meet

death. Come when thou wilt, I shall meet thee bravely." He has set his old self-the

almost-deaf, tired, hopeless Ludwig- to rest through the Testament so that he may rise

and live again. Beethoven had stated previously that he has not yet revealed all of

which he is capable. Coming to terms with his condition, he moves on to "develop all my

artistic capacities." This eventually leads to his heroic period in which Symphony No. 3

in E-flat ("Eroica") composed in 1803 became one of the early principal works. The work

broke from the earlier Viennese high classic style; many older composers and music

pedagogues, not able to accept his new style, called it "fantastic," "hare-brained," "too

long, elaborate, incomprehensible, and much too noisy." In fact the style drew much

from contemporary French music-the driving, ethically exalted, "grand style" elements

combined with the highly ordered yet flexible structure of sonata form.It seems

undeniable then that the Heilingenstadt Testament in which Beethoven came to terms

with and put to rest the incurable tragedy of his growing deafness, also set forth a

determination to prove his skills before death should take him. This quest coincided with

and perhaps led to his graduation from the Viennese hi-Classic style to the

development of his own unique heroic style, a blend of French and Viennese elements.

The "Eroica" can be viewed as a deliverance of both his life and his career from despair

and futility. Beethoven recreates himself in a new guise, self-sufficient and heroic. The

Testament thus is likened to a funeral work. The composer sets himself up as the tragic

hero-"my heart and soul have been full of the tender feeling of good will, and I was

ever inclined to accomplish great things"-withdrawn from the company of men, tortured

by his growing deafness, tempted with thoughts of suicide, overcoming despair by the

pure strength of faith in his own music, searching for "but one day of pure joy." In a

musical perspective, the "Eroica" Symphony established a milestone in Beethoven's

development and in music history. His manipulation of sonata form to embrace the

powerful emotions of heroic struggle and tragedy went beyond Mozart or Haydn's

high-Classic style. Beethoven's new path reflected the turbulence of the developing

politics of the day (especially the Napoleonic Wars), ignited perhaps by the

hopelessness he felt in himself. He took music beyond the Viennese style which ignored

the unsettling currents of Beethoven's terror, anxiety, and death. Indeed he placed

tragedy at the center of his heroic style, symbolizing death, despair, and

loss-paralleling his own sense of loss, pain and strife. But in addition, like his own

triumph over suffering, there is hope, triumph and joy as expressed in the finale of the

"Eroica."

The Heiligenstadt Testament is a prophecy of the greatness to come of Ludwig van

Beethoven. At a time in his life where he had exhausted the musical possibilities of the

Viennese high-Classic tradition and where his growing deafness foreshadowed a

diminishing career, Beethoven seemed to have come to halt in 1802. His Heiligenstadt

Testament of that year revealed a soul set to despair and futility. At the same time

however, despite the looming impossibility of recovery, his ambition to fully realize his

musical talent set him to establish a new milestone in musical history-the creation of

the heroic style. Symbolizing struggle, the resistance of morality to suffering, and the

triumph over despair, we can see how the heroism of Beethoven's music reflected his

own struggles with fate and his own triumphs.