Ludwig van Beethoven

1. Ludwig van Beethoven and the Ninth Symphony

2. Born in Bonn, Germany Baptized on Dec. 17 1770 Grandfather was Kapellmeister at court Father sang in choir and taught voice and violin lessons from their home Background

3. First performance at age of 7 Took lessons with court organist, Christian Gottlob Neefe Neefe introduced him to the works of J.S. Bach, Joseph Haydn, and Wolfgang Amadeus Mozart 1782 - 1783: wrote several variations on an existing march and three piano sonatas Early Life

4. Went to Vienna to study with Mozart but had to return home to to his mother's failing health  Mother died and father became an alcoholic Got his first salaried position as an organist at court and also had part of his father's salary transfered to him 1792: returned to Vienna to study with Joseph Haydn (Mozart had died only a year earlier) Mozart and Haydn

5. 1795: funding for his studies was cut off due to the French Revolution Made a name for himself in the local salons; especially popular for his improvisation on the piano Starting in 1800, Prince Licknowski provided him a yearly stipend so he could focus on composing music Starting His Career

6. 1801: no longer able to hear high-pitched tones Retreated to village of Heiligenstadt where he wrote the Heiligenstadt Testament Hearing Loss "I will grasp Fate by the neck, it shall not bring me down entirely." - Beethoven

7. Beethoven's music reflected his mood while struggling with his hearing loss Moonlight Sonatas Eroica Symphony; originally intended as an homage to Napoleon Bonaparte Scratched Napoleon's name off the symphony after hearing he had declared himself emperor of France Dark Period

8. First opera, Fidelio, not very successful Falling out with long-time supporter, Prince Licknowsky Turned down for permanent post with Vienna opera Considered position as Kapellmeister for Napoleon's brother in Kassel Prince Kinsky, Prince Lobkowitz, and Archduke Randolph joined together to provide an annual stipend of 4000 florins Financial Worries

9. Publication of music reached its peak during 1810 to 1811 Wellington's Victory Revival of Fidelio 1816 - 1820: Guardianship battle for nephew Missa Solemnas Troubled Success

10. Symphony No. 9 and Ode to Joy Performed on May 7, 1824; met with thunderous applause Nephew attempted to kill himself and was sent to an army post Beethoven grew progressively sicker until confined to a bed by November 1826 Died March 26, 1827 Over 20,000 attended his funeral (funeral oration) Final Years

11. Delayed by guardianship battle and Missa Solemnas First time voices were included in      a symphony Group of Viennese art lovers petitioned Beethoven to have the first performance in Vienna Final concert before his death Symphony No. 9 - History

12. Listening Guide Listen • Beethoven's Symphony No. 9 Choral 4th Movement • Composed by Ludwig van Beethoven • Conducted by Zubin Mehta, a musical director of Florence, Italy • Performed by the NHK Symphony Orchestra and the Tokyo Opera Singers of Japan • This musical number was performed at a charity concert for the survivors of the March 11, 2011 Japan earthquake.

13. Listening Guide 0:00 - 2:30 0:00 - Bass drums and brass instruments in unison 0:30 - Abrupt changes from bass drums to brass and woodwinds; rapid violin notes then slow cello and basses 1:00 - Forte; dramatic, quick cello strokes become pianissimo then return to forte 1:30 - Bass strings and high pitched woodwinds take turns 2:00 - Slow to quick bass notes with woodwinds 2:30 - Bass instruments varying from high to low notes

14. Listening Guide 2:45 - 5:00 2:45 - Brief stop then "Ode to Joy" melody on bass and cello 3:15 - Melody continues 3:35 - Violins join then a bassoon 4:00 - Bassoon becomes louder the violins take over again 4:30 - Violins continue melody with violas harmonizing 5:00 - Full orchestra play melody and harmony then brass instruments begin to dominate the melody

15. Listening Guide 5:30 - 7:45 5:30 - Bass drums join trumpets on melody 6:00 - Forte, rapid music slows down to just woodwinds then full orchestra joins in and speeds up 6:30 - Orchestra stops and bass singer continues a Capella 7:00 - Singer continues with short bursts of music from orchestra; flutes and piccolos play softly in background 7:30 - Plucking violin and soloist on melody 7:45 - Full choir on melody then instrumental interlude

16. Listening Guide 8:15 - 10:15 8:15 - Two high pitched female singers and two low pitched male singers take over melody 8:30 - Full choir, forte, and orchestra take over melody 8:45 - Woodwind interlude then male singers on melody 9:15 - Orchestra and choir join together then slow down 9:45 - Pause, bassoon starts in unison with drum beat 10:15 - Flutes, piccolos, and trumpets continue with bassoon getting louder

17. Listening Guide 10:30 - 13:00 10:30 - Tenor soloist with drums, symbols, and triangle; music becomes a marching rhythm 11:00 - Male choir members join soloist; fortissimo 11:30 - Musical interlude with fast violins and woodwinds joined by trumpets then full orchestra 12:00 - Orchestra continues at rapid pace 12:30 - Musical interlude winds down 13:00 - Full orchestra and choir join in fortissimo union to complete the piece

18. Bibliography Autexier, Philippe. Beethoven, The Composer as Hero. New York:            Harry N. Abrams, Inc., 1992. Print. Geck, Martin. Beethoven. London: Haus, 2003. Print. Johnson, Stephen. Ludwig Van Beethoven: An Essential Guide to His      Life and Works. London: Pavilion, 1997. Print Wegeler, Franz Gerhard, and Ferdinand Ries. Beethoven      Remembered: the Biographical Notes of Franz Wegeler and     Ferdinand Ries. Arlington, VA: Great Ocean, 1987. Print. Wyn Jones, David. The Life of Beethoven. Cambridge: Cambridge      UP, 1998. Print.