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| Composer : | Beethoven, Ludwig van (1770 - 1827) | ||
| Instrumentation : | Organ solo | ||
| Style : | Classical | ||
| Key : | C major | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Copyright © Mike Magatagan | ||
| Added by magataganm, 01 Feb 2021 Ludwig van Beethoven (1770 – 1827) was a German composer and pianist. Beethoven remains one of the most admired composers in the history of Western music; his works rank amongst the most performed of the classical music repertoire. His works span the transition from the classical period to the romantic era in classical music. His career has conventionally been divided into early, middle, and late periods. The "early" period, during which he forged his craft, is typically considered to have lasted until 1802. From 1802 to around 1812, his "middle" period showed an individual development from the "classical" styles of Joseph Haydn and Wolfgang Amadeus Mozart, and is sometimes characterized as "heroic". During this time he began to suffer increasingly from deafness. In his "late" period from 1812 to his death in 1827, he extended his innovations in musical form and expression. Born in Bonn, Beethoven's musical talent was obvious at an early age, and he was initially harshly and intensively taught by his father Johann van Beethoven. Beethoven was later taught by the composer and conductor Christian Gottlob Neefe, under whose tutelage he published his first work, a set of keyboard variations, in 1783. He found relief from a dysfunctional home life with the family of Helene von Breuning, whose children he loved, befriended, and taught piano. At age 21, he moved to Vienna, which subsequently became his base, and studied composition with Haydn. Beethoven then gained a reputation as a virtuoso pianist, and he was soon courted by Karl Alois, Prince Lichnowsky for compositions, which resulted in his three Opus 1 piano trios (the earliest works to which he accorded an opus number) in 1795. His first major orchestral work, the First Symphony, appeared in 1800, and his first set of string quartets was published in 1801. During this period, his hearing began to deteriorate, but he continued to conduct, premiering his Third and Fifth Symphonies in 1804 and 1808, respectively. His Violin Concerto appeared in 1806. His last piano concerto (No. 5, Op. 73, known as the 'Emperor'), dedicated to his frequent patron Archduke Rudolf of Austria, was premiered in 1810, but not with Beethoven as soloist. He was almost completely deaf by 1814, and he then gave up performing and appearing in public. He described his problems with health and his unfulfilled personal life in two letters, his "Heiligenstadt Testament" (1802) to his brothers and his unsent love letter to an unknown "Immortal Beloved" (1812). In the years from 1810, increasingly less socially involved, Beethoven composed many of his most admired works including his later symphonies and his mature chamber music and piano sonatas. His only opera, Fidelio, which had been first performed in 1805, was revised to its final version in 1814. He composed his Missa Solemnis in the years 1819–1823, and his final, Ninth, Symphony, one of the first examples of a choral symphony, in 1822–1824. Written in his last years, his late string quartets of 1825–26 are amongst his final achievements. After some months of bedridden illness, he died in 1827. Beethoven's works remain mainstays of the classical music repertoire. All three themes of the triple fugues in 4 voices are by Beethoven. This appears as Nr.1 in from Nottebohm's Beethovens Studien, Chapter XII, p.180, as corrected by Albrechtsberger. The fugue dates from about 1794-95. In these fugues written for Albrechtsberger the creativity of Beethoven is clearly constrained as the aim of works are to master the polyphonic style of Da Palestrina (1525-1594). Although Beethoven had already reached considerable heights in his own music at this time, in these fugues we see him surrender his creative powers in order to conform to the strict, and often petty, rules of his teacher. He did so because he understood that he had to learn things which were of the essence for his art: polyphony taught him not only to improve his voice leading, it is also, and has been throughout the centuries, the engine behind all harmonic innovation. Rather than the arrogant genius who rejects all outside influence, Beethoven is eager to learn from a style which is, viewed superficially, diametrically opposed to his own. This 4 part double fugue in F Major (Hess 243 No. 2) is from Nottebohm's chapter XI, p.158. This fugue is one of the very few written in "freien Satz" (free counterpoint). Both themes are probably by Beethoven himself. Together with a Prelude, also in "freien Satz", and also written for Albrechtsberger, this fugue is part of Hess 31, Prelude and Fugue in C for String Quartet and dates from about 1794-95. Source: Wikipedia (https://en.wikipedia.org/wiki/Ludwig_van_Beethoven) Although originally composed for Choir, I created this Interpretation of the Double Fugue in C Major (Hess 243 No. 3) for Pipe Organ (2 Manuals w/Pedals). | |||
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