Ludwig van Beethoven
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Helen Adams Keller:

Ludwig van Beethoven

Musician and instrumentalist.
Baptize: 17th December 1770 (presumably born on the 16th day of the month)
Died: 26th day of March 1827

composer; musician – a writer that tone set musical tones (music) as distinctive property of a complex sound (a voice or noise or musical sound) and if read to be able to exactly reproduce the same
instrumentalist - someone who plays a musical instrument as a profession
Classic era – of, property of appearance or arrangement, experienced to be of basic implication before the advanced age
Romantic era - a motion in creative writing of recognized artistic value, in the late 18th and early 19th centuries, that celebrated nature rather than civilization
Johannes Brahms - German musician who expanded the Romantic style of both lyrical and classical music (1833-1897)
Franz Joseph Haydn – an intellectually productive Oesterreich musician who influenced the classical form of the symphony (1732-1809)
Wolfgang Amadeus Mozart - an intellectually productive Oesterreich musician and boy wonder, master of the classical style in all its appearances in his life (1756-1791)
Franz Seraph Peter Schubert - an Oesterreich musician known for his musical creations for voice and piano (1797-1828)
Johann Strauss - Oesterreich musician musical creator of numerous celebrated waltzes and famed as the 'waltz king' (1825-1899).

Ludwig van Beethoven was a German born musician of instrumental music, especially symphonic and chamber music and an instrumentalist - someone who plays a musical instrument as a profession. He was a true musician, an artist who composes and conducts music as a profession.

He is recognized as one of the most famed creators of immortalized music and was a vital personage in the transformation phase between the Classic era and Romantic era "romanticism valued imagination and emotion over rationality" in the modern musical culture of western Europe and North America. His music and his high esteem and honor serve as the inciting cause of contemporaries and ensuing musicians, composers, and audiences.

While he is principally acknowledged presently as an author of classical symphonic music, Beethoven's fame as pianist was widely known in his sphere. Born in a city named Bonn on the Rhine River in western Deutschland, a Republic in central Europe, he relocated to Vienna (1792), located on the Danube in northeastern Oesterreich the capital and largest city of Oesterreich. A mountainous republic in central Europe, under the Habsburgs (1278-1918) Oesterreich maintained control of the Holy Roman Empire and was a leader in European politics until the 19th century. Vienna was also the home of Brahms, Haydn, Mozart, Schubert and Johann Strauss.

It was in this city and in its illustrious troupe that Beethoven, at the age of 22 settled, studying with Haydn and soon gained a general estimation as a musician who was a consummate master of technique and artistry with piano. At the age of 26, he in stages lost his hearing. When he was 34 he was profoundly deaf, but he went on, to produce one illustrious masterpiece to the next, until his death at the age of 57. Beethoven was also one of the first musicians to work independent and without commissioning, commissioning and being the custom for many decades, arranging a series of colligated performances, merchandising his opuses to publishing houses, and obtaining financial backing from an election of affluent frequenters and by teaching. He never sought an appointment from church or the aristocracy as was the custom by artists in his time.

The diagnosis of his deafness from a necropsy of the ears revealed, scar tissue in his inner ear on both sides that must have been the cause of severe trauma. Whether it was the result of an infection is not clear, but taken his habits and the disregard he had for medicinal compounds, it could well have been the reason. The historiographer, Russell Martin, studying documents on a scientific investigation on hair specimens of the composer revealed the presence of excessive lead particles. This may explain some of the temperamental conduct and suspicion Beethoven displayed after he became deaf. Notwithstanding, and despite of the deep depression he has succumbed to, some of his reatest works has come to light during this late time of his life.

His frequenters perceive, resounds of Beethoven's strife and struggle, pursued by jubilant victory as the overtures and recitals run through its paces. His inner circle revealed Beethoven's adverse personal troubles as the primary reason for his masterpiece creations.

Beethoven, because of his deafness, kept an exact record in his conversation books of all his dealings with people. He became very suspicious of all people and preserve and maintain such records. At his death, these records were saved for research and an in depth understanding of his thoughts is possible.

Obviously the greater influences in the life of this phenomenon was the input from childhood at home and later his student day's compatriot, Haydn, together with the predecessors Brahms, Haydn, Mozart, Schubert and Johann Strauss, but external influences in social order as well as his hearing loss, later, played a significant role.

In the beginning of the 18th century, the ideals that advocated, the use of reason in the reappraisal of accepted ideas, and social institutions, and the emerging ideals of literature and art, during the late 18th and early 19th centuries, that celebrated nature rather than civilization, in Europe, has interested Beethoven to a great extend, and the cognizance of it, is distinctive in his works.

The third symphony, “Eroica”, was created expressly, to accolade Napoleon Bonaparte, the little Corsican general, in the believes that he would become the protector of the French Revolution's doctrines. When Bonaparte chooses to retain all power in France, Beethoven renamed the symphony “Sinfonia Eroica, compasta per festeggiare il sovvenire di un grand Uomo” ("Heroic Symphony, composed to celebrate the memory of a great man").

The fourth movement of his 9th Symphony features a detailed choral composition of a German romantic writer (1759-1805), Johann Christoph Friedrich von Schiller, Ode an die Freude ("Ode to Joy") a lyric poem with complex stanza forms, endorsing the fraternity of humankind. The interpretation with instruments of the fourth movement has, since 1972 been the ordained national song of the E U.

Composition characteristics:
All compositional creations of Beethoven is classified into three distinctive periods that matches specific periods in his life.

Early period (1796).
During this period he strive to equal or match, especially by imitating the giants of exceptional importance and reputation, the antecedents of his experience, Haydn and Mozart. As he expands in attainment, he searched to obtain the structured interaction, his creations are famed for, and celebrated by critics as not yet surpassed. This was typically the stage in his life before his hearing was defected.

Middle period (1802).
These compositions express an inner struggle and perseverance. Ambitious creations of exceptional volume, latitude and ambit were flowing from his mind typifying the psychological conflict of the encroaching deafness and the impuissance he experienced. This was typically the stage in his life when realization has dawned on him about his vulnerability and the rebellion he experienced.

Late period (1816).
These compositions shows the noetic astuteness and mastery of this great talent and displays vivid inner manifestation and conventional design that still baffles and intrigues today. To this man, his hearing defection was a personal ignominy, a disaster of catastrophic dimensions. He would endeavor to hide the fact of his dysfunction at all cost and sudden violent explosions of fury would follow each suspected breach of this well kept secret, but there is a clear acceptance of the circumstances and a tone of melancholy about the fact. Al this is reflected in his later compositions.

List of works.
It is almost impossible to believe that one person could create the quality and the quantity of works in one lifetime, that was achieved by Ludwig van Beethoven. It consists of an enormous collection of works, a library of note, and it is speculated that no other person in history has created equal or more on his own, than this giant musician, an extraordinary talented person.
To view list of compositions:,_by_opus_number

Not considering the enormous heritage of musical display and still enjoyed by most with a deeper sense of being, the fact of the intellect of Beethoven, although constantly in strife with his deafness, was able to create unequaled works of art, for the hearing, and where the hearing sense is of critical import, while he was stone deaf himself.

George R Marek, Beethoven the Incredible, © 1965 The Reader's Digest Association Limited 'Great Lives Great Deeds' P; 163 – 167.
DeNora, Tia. "Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792-1803." Berkeley, California: University of California Press, 1995.
Clive, Peter. Beethoven and His World: A Biographical Dictionary. New York: Oxford University Press, 2001.
Martin, Russell. Beethoven's Hair. New York: Broadway Books, 2000.
6. Morris, Edmund. Beethoven: The Universal Composer. New York: Atlas Books / Harper Collins, 2005.
* - Original destroyed.