Ludwig Van Beethoven Biography Essay Introduction

My hero is Ludwig Van Beethoven but you may know him just as Beethoven. He was known for his beautiful music, often played on the piano. I believe that everybody has to have heard at least one of his symphonies, even though they might not have known it was him. He created nine symphonies and they all were successful. He suffered through a lot of medical problems and the fact that he turned deaf at a young age, but he still kept on going in life. He pushed me to just keep going even when the times get rough. My hero is Ludwig Van Beethoven.

Beethoven was born in Bonn, Germany around December 15, 1770. His father and grandfather worked for the electors of Cologne. He was born during a time when Europe was changing. This was a time when people were discovering a new life. Where everyone were beginning to see each other as equals, even men and women. They were going out and trying new things. Many musicians, artists, and writers began to come up with new ideas to begin a great new era of time. This became the Era of the Romantics. Beethoven did his share in changing Europe during this time. He just didn’t sit around watching these changes as they went by. He would be really happy to know that he was a part of a great era.

Beethoven is my hero because he had brought interesting music to the world during his time. His music is even more famous today. He also faced the symptoms of being deaf around the age of thirty and he soon believed that his career was coming to an end. He tried his best to continue his career but his deafness really got to him. He faced many medical problems. After months his suffering ended, he became completely deaf. He is my hero because he really inspired me to keep trying things in life, even though things might get a little tough. He inspired people to follow in his footsteps.

Beethoven once said” Speak louder, shout, for I am deaf…with joy I hasten to meet death. Despite my hard fate …I shall wish that it has come later; but I am content, for he shall free me of constant suffering. Come then, death, and I shall face thee with courage”- October 6, 1802.


Beethoven showed much interest in music as a young child. His father encouraged him to practice both piano and the violin. Beethoven’s father was hoping his child would be as sensational as the Musician Mozart. But his childhood wasn’t as good as everyone thought it was, especially around the time his father started drinking. Beethoven began taking music lessons at the age of eight years old. His music teacher was musician, C.G Neefe. At the age of eleven Beethoven was even Neefe’s assistant as the court’s organist. Thanks to Neefe, Beethoven learned the rules of composition and was able to master the techniques of a professional keyboard player. He was even making money at the court, and was composing his own short piano pieces. Neefe and the Elector believed that their young and talented student should have the opportunity to travel. So the Elector gave Beethoven permission to go to Vienna, which is the Empire’s capital.

When Beethoven went to Vienna he met and had lessons with the musical legend Mozart. But what Beethoven thought was a great time for him, ended very quickly because he had news that his mother was dying from tuberculosis. When he returned to Bonn his mother and baby sister had died. During this hard time Beethoven began to make his name known as a very fine musician. He even began to meet some very wealthy friends. Beethoven had another opportunity to once again visit Vienna with famous music composer Joseph Haydn. He was going to Vienna as a Pupil of Haydn. Once again problems struck because Beethoven wasn’t very safe because there was a battle going on during this time, but he still went.

As time went by Beethoven wasn’t really enjoying working with Haydn because he believed he wasn’t a really good teacher because he was “too keen of rules”. So he began taking different paths. He had to find a job in Vienna even though he was still getting paid from bond, but his father had died and he had to send money back to his two brothers. He began working at private parties. He was beginning to get a reputation as the most exciting pianist in Vienna by the way he amused his audiences.

At the age of thirty, Beethoven was realizing a really horrible thing. He was getting signs that he was going deaf. He was noticing these symptoms about three years earlier in 1798. He honestly thought that his career was over because of how difficult it was for him to do his job. He eventually had to give up playing the piano and teaching altogether. Beethoven created many things during his life time: symphonies, chorals, sonatas and his only opera, Fidelio. He wrote the Heiligenstadt {letters to his brothers}.

On March 26, 1827 around 5:45 p.m., there was a storm going on. It is said to be that Beethoven's room was soon filled with thunder and lightening. His eyes opened wide and he raised his right fist for just a few seconds and then fell back onto his pillow lifeless. Before he died he had put this expression on his face that nobody can tell what it meant or what was going on in his head for those couple of seconds. Twenty thousand people came to see his funeral. He was buried at Währing's Cemetery. But in 1888 his remains were brought to The Central Cemetery of Vienna.

Page created on 11/24/2006 11:00:02 AM

Last edited 7/14/2017 12:38:41 AM

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Vernon, Roland. Introducing Beethoven. Roland Vernon, 1994. 31 pages

The early years

Beethoven was the eldest surviving child of Johann and Maria Magdalena van Beethoven. The family was Flemish in origin and can be traced back to Malines. It was Beethoven’s grandfather who had first settled in Bonn when he became a singer in the choir of the archbishop-elector of Cologne; he eventually rose to become Kappellmeister. His son Johann was also a singer in the electoral choir; thus, like most 18th-century musicians, Beethoven was born into the profession. Though at first quite prosperous, the Beethoven family became steadily poorer with the death of his grandfather in 1773 and the decline of his father into alcoholism. By age 11 Beethoven had to leave school; at 18 he was the breadwinner of the family.

Having observed in his eldest son the signs of a talent for the piano, Johann tried to make Ludwig a child prodigy like Mozart but did not succeed. It was not until his adolescence that Beethoven began to attract mild attention.

When in 1780 Joseph II became sole ruler of the Holy Roman Empire, he appointed his brother Maximilian Francis as adjutant and successor-designate to the archbishop-elector of Cologne. Under Maximilian’s rule, Bonn was transformed from a minor provincial town into a thriving and cultured capital city. A liberal Roman Catholic, he endowed Bonn with a university, limited the power of his own clergy, and opened the city to the full tide of the German literary renaissance associated with Gotthold Ephraim Lessing, Friedrich Gottlieb Klopstock, and the young Goethe and Schiller. A sign of the times was the nomination as court organist of Christian Gottlob Neefe, a Protestant from Saxony, who became Beethoven’s teacher. Although somewhat limited as a musician, Neefe was nonetheless a man of high ideals and wide culture, a man of letters as well as a composer of songs and light theatrical pieces; and it was to be through Neefe that Beethoven in 1783 would have his first extantcomposition (Nine Variations on a March by Dressler) published at Mannheim. By June 1782 Beethoven had become Neefe’s assistant as court organist.

In 1783 he was also appointed continuo player to the Bonn opera. By 1787 he had made such progress that Maximilian Francis, archbishop-elector since 1784, was persuaded to send him to Vienna to study with Mozart. The visit was cut short when, after a short time, Beethoven received the news of his mother’s death. According to tradition, Mozart was highly impressed with Beethoven’s powers of improvisation and told some friends that “this young man will make a great name for himself in the world”; no reliable account of Beethoven’s first trip to Vienna survives, however.

For the next five years, Beethoven remained at Bonn. To his other court duties was added that of playing viola in the theatre orchestra; and, although the archbishop for the time being showed him no further mark of special favour, he was beginning to make valuable acquaintances. Sometime previously he had come to know the widow of the chancellor, Joseph von Breuning, and she engaged him as music teacher to two of her four children. From then on, the Breunings’ house became for him a second home, far more congenial than his own. Through Mme von Breuning, Beethoven acquired a number of wealthy pupils. His most useful social contact came in 1788 with the arrival in Bonn of Ferdinand, Graf (count) von Waldstein, a member of the highest Viennese aristocracy and a music lover. Waldstein became a member of the Breuning circle, where he heard Beethoven play and at once became his devoted admirer. At a fancy dress ball given in 1790, the ballet music, according to the Almanach de Gotha (a journal chronicling the social activities of the aristocracy), had been composed by the count, but it was generally known that Beethoven had written it for him. The same year saw the death of the emperor Joseph II. Through Waldstein again, Beethoven was invited to compose a funeral ode for soloists, chorus, and orchestra, but the scheduled performance was canceled because the wind players found certain passages too difficult. He then added to it a complementary piece celebrating the accession of Joseph’s brother Leopold II. There is no record that either was ever performed until the end of the 19th century, when the manuscripts were rediscovered in Vienna and pronounced authentic by Johannes Brahms. But in 1790 another great composer had seen and admired them: that year Haydn, passing through Bonn on his way to London, was feted by the elector and his musical establishment; when shown Beethoven’s score, he was sufficiently impressed by it to offer to take Beethoven as a pupil when he returned from London. Beethoven accepted Haydn’s offer and in the autumn of 1792, while the armies of the French Revolution were storming into the Rhineland provinces, Beethoven left Bonn, never to return. The album that he took with him (preserved in the Beethoven-Haus in Bonn) indicates the wide circle of his acquaintances and friends in Bonn. The most prophetic of the entries, written shortly after Mozart’s death, runs:

The spirit of Mozart is mourning and weeping over the death of her beloved. With the inexhaustible Haydn she found repose but no occupation. With the help of unremitting labour you shall receive Mozart’s spirit from Haydn’s hands. (Waldstein)

The compositions belonging to the years at Bonn—excluding those probably begun at Bonn but revised and completed in Vienna—are of more interest to the Beethoven student than to the ordinary music lover. They show the influences in which his art was rooted as well as the natural difficulties that he had to overcome and that his early training was inadequate to remedy. Three piano sonatas written in 1783 demonstrate that, musically, Bonn was an outpost of Mannheim, the cradle of the modern orchestra in Germany, and the nursery of a musical style that was to make a vital contribution to the classical symphony. But, at the time of Beethoven’s childhood, the Mannheim school was already in decline. The once famous orchestra was, in effect, dissolved after the war of 1778 between Austria and Prussia. The Mannheim style had degenerated into mannerism; this particular influence is reflected in a preoccupation with extremes of piano (soft) and forte (loud), often deployed in contradiction to the musical phrasing, that may be found in Beethoven’s early sonatas and in much else written by him at that time—which is not surprising, since the symphonies of later Mannheim composers formed the staple fare of the Bonn court orchestra. But what was only an occasional effect for Mozart and others influenced by the Mannheim composers was to remain a fundamental element for Beethoven. The sudden pianos, the unexpected outbursts, the wide leaping arpeggio figures with concluding explosive effects (known as “Mannheim rockets”)—all these are central to Beethoven’s musical personality and were to help him toward the liberation of instrumental music from its dependence on vocal style. Beethoven may indeed be described as the last and finest flower on the Mannheim tree.

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