Conversations with Beethoven/ by Sanford Friedman ; Introduction by Richard Howard

Total Page:16

File Type:pdf, Size:1020Kb

Conversations with Beethoven/ by Sanford Friedman ; Introduction by Richard Howard Warning Concerning Copyright Restrictions The Copyright Law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or reproduction is not to be used for any purpose other than private study, scholarship, or research. If electronic transmission of reserve material is used for purposes in excess of what constitutes "fair use," that user may be liable for copyright infringement. CONVERSATIONS I WITH BEETHOVEN l A Novel SANFORD FRIEDMAN Introduction by RICHARD HOWARD NEW YORK REVIEW BOOKS Efiiit New York THIS IS A NEW YORK REVIEW BOOK PUBLISHED BY THE NEW YORK REVIEW OF BOOKS 435 Hudson Street, New York, NY wo14 www.nyrb.com Copyright© 2014 by Sanford Friedman Introduction copyright© 2014 by Richard Howard All rights reserved. Library of Congress Cataloging-in-Publication Data Friedman, Sanford, 1928-20!0. Conversations with Beethoven/ by Sanford Friedman ; introduction by Richard Howard. pages cm. - (New York Review Books classics) ISBN 978-1-59017-762-4 (alk. paper) I. Beethoven, Ludwig van, 1770-1827-Fiction. 2. Composers-Germany­ Fiction. I. Title. PS3556.R564C66 2014 813'.54-de23 ISBN 978-1-59017-762-4 Available as an electronic book; ISBN 978-1-59017-788-4 Printed in che United Scates of America on acid-free paper. 10 9 8 7 6 5 4 J 2 l It is known that conversation with Beethoven had in part to be written; he spoke, but those with whom he spoke had to write down their questions and answers. For this purpose thick booklets of normal quarto writing paper and pencils were always close at hand. -FERDINAND HILLER, composer SPEAKERS FORM OF ADDRESS Karl van Beethoven, Beethoven's nephew Uncle Karl Holz, a young friend and musician Maestro Johanna van Beethoven, Karl's mother Ludwig Dog!, a local doctor Maestro Beethoven Stephan von Breuning, Beethoven's lifelong Ludwig friend Gerhard von Breuning, Stephan's young son Prospero Niemetz, Karl's best friend Mr. Beethoven Anton Schindler, Beethoven's first biographer Great Maestro Johann Wolfmayer, businessman and patron Dear Friend of Beethoven Ignaz Schuppanzigh, leader of the Honored Guest Schuppanzigh Quartet Seng, an assistant doctor at General Hospital Mister Johann van Beethoven, Beethoven's brother Brother S. H. Spiker, the Royal Librarian at Berlin Maestro Beethoven Michael Krenn, a young servant at Gneixendorf Master Brother Therese van Beethoven,Johann's wife Brother-in-Law Andreas Wawruch, Beethoven's Esteemed Patient attending physician Jakob Staudenheim, a prominent doctor Celebrated Patient Johann Baptist Bach, Beethoven's lawyer Worthy Friend Giovanni Malfatti, a Viennese doctor Beethoven Franz Schubert, a rising young composer Revered Maestro Heribert Rau, a banker Venerated Composer I BADEN, JULY 29, 1826 UNCLE, I keep thinking of the first time I came here. It was the summer after my father died, when you became my father, I mean my guard­ ian, and sent me to Mr. Giannatasio's boarding school. Thus I must have been ten years old-half my years! You took great pleasure in serving as our cicerone, showing us the thermal springs and other sights. I had never seen adults wheeled about in chairs, naturally. How I envied them that luxury (doubtless you will find in this the seeds of my prodigality), until someone told me that those in chairs were either sick or dying. The idea of a watering-place to which adults retired to die was difficult to grasp. Secretly it disgusted me. In any case it was with Mr. G. and his family that I visited you that summer, but later than this, in late August or early September, after my hernia operation. I remember because it was owing to the opera­ tion that you forbade me to climb up to Castle Rauhenstein. Some­ how or other you had neglected to mention the castle until it loomed overhead. Imagine! a medieval fortress on a hilltop; if Castle Rauhenstein had been the Colossus of Rhodes, I could not have been more excited! I started running up the path, but you stopped me. I begged you to let me go on, but you refused. Tears followed; whereupon you struck me soundly, explaining to the others that during my father's lifetime I would obey only when beaten. If you permitted me to climb up to the castle, I would surely rupture my­ self once more; it was, you said, for my own good. (How often there­ after did I hear those words! Was it for my own good when, two 9 10 • SANFORD FRIEDMAN CONVERSATIONS WITH BEETHOVEN . II years later, you pulled me out of a chair so violently that Dr. Smetana to say, your brother was misinformed. Only afi:er it became common had to be sent for?-1 had indeed ruptured myself once more!) To knowledge that a well-known Finance Councilor had fathered the temper my disappointment one of the others said that it really made child, did I finally get up the nerve to ask my mother why she had no difference since the castle was nothing but ruins. Needless to say, named Ludovica for you. "To honor him," was all that she said.­ ten years ago I didn't know the meaning of "ruins." Forgive me, I mean no disrespect, yet I cannot help but laugh. From the window of this room I can see those ruins in the moon­ Ludovica! Was it merely a piece of mischief or was it a clever device light; afi:er all these years they beckon still. As a boy, whenever I to encourage the gossip which was already circulating at the time, climbed up there to the tower, I always tried to imagine the dungeon namely, that you were in love with my mother? Or, worse still, by in olden times, before it was buried under silt. Since, however, I had naming it Ludovica did she mean to imply falsely that you yourself never seen a dungeon, my notions came entirely from illustrations of were the child's father?-Whatever her object, it was not your des­ your Fidelio, the Act II mise-en-scene depicting Leonora's rescue of tiny to find in her or, to be sure, in any other woman, a true wife. Florestan. In my head I hear the music now, the words are on my Frankly, there were times when I felt convinced that you had settled lips-Leonora's "Ah, you are saved, thank God!" It never fails to stir for me in lieu of such a wife, made me your helpmate, housekeeper, me, nor to bring tears. (I should confess that I have had considerable amanuensis, as well as the supervisor of the servants, errands, mar­ wine; however, lest you reproach me for being profligate, rest assured keting, and God knows what. You even turned me into your wine that it's nothing but a local table wine.) "Ah, I am saved, thank God!" taster, a kind ofvariation on the theme of Ganymede, so fearful were sings Florestan. The trumpet, the torches, their glorious duet! Never you of being poisoned. But you are not Zeus; and I, alas, am still too has there been such sublime music for the stage, unless it is the final young to have found a wife. Indeed now I never shall. For God's chorus in praise of the man who finds a "true wife." sake! come to your senses-I am the one imprisoned in that dun­ That same year, my first at Mr. G.'s boarding school, an odd­ geon! I am Florestan. looking man dressed like a ragamuffin showed up one day at the Not since the Congress of Vienna has a Police Chief had a net­ playground. It turned out to be my mother! You and the High work of spies like yours. There is no other term for them, your Holz Court had forbidden her to visit me; thus she, like Leonora, ap­ and Breuning and Schindler, Uncle Johann and Dr. Bach; you even peared in disguise. Yet, unlike Leonora, her object was not to rescue found a way ofpressing into service the Director of my school, not to me-that would come later; on that occasion she wanted only to set mention my landlord and his wife. Imagine my being forbidden to eyes on me and give me her assurances that she had not abandoned leave the house afi:er dark without written permission from you-I me. -Well and good, but did you praise her for her trouble, did you am twenty years old! Only Talleyrand was ever kept under such call her a true wife or mother? Hardly! You called her the Queen of strict surveillance. You have even outdone the Secret Police. Instead the Night; you called her pestilential and a whore!-Not until much of your spies informing you of their suspicions, you inform them; later, when I was fourteen and my mother became pregnant with whereupon they set about to furnish the proof-I suspect the boy is Ludovica, did I even understand the meaning of such slurs. What is cutting classes, I suspect he is lying and stealing, I suspect him of more, I had no idea why she christened the baby Ludovica. Later drinking, gambling, whoring-whatever fancy comes to your mind, still, when I was old enough to understand, Uncle Johann told me and off they rush to catch me in flagrante delicto! Schindler claims that Ludovica's father was the Hungarian medical student who to have seen me at the billiard table in a tavern where, he reports, I lodged with us while my own father was still living.
Recommended publications
  • Bakalářská Práce
    UNIVERZITA PALACKÉHO V OLOMOUCI FILOSOFICKÁ FAKULTA BAKALÁŘSKÁ PRÁCE Olomouc 2014 Michal Kadlec UNIVERZITA PALACKÉHO V OLOMOUCI FILOSOFICKÁ FAKULTA Katedra divadelních, filmových a mediálních studií POPULÁRNÍ OBRAZ LUDWIGA VAN BEETHOVENA VE FILMU POPULAR IMAGE OF LUDWIG VAN BEETHOVEN IN MOVIES (Bakalářská diplomová práce) Autor: Michal Kadlec Vedoucí práce: doc. Mgr. Zdeněk Hudec, Ph.D. Olomouc 2014 Univerzita Palackého v Olomouci Filosofická fakulta Tímto prohlašuji, že jsem bakalářskou diplomovou práci na téma Populární obraz Ludwiga van Beethovena ve filmu vypracoval samostatně pod odborným vedením vedoucího práce. V Olomouci, dne...................... Podpis:...................... Univerzita Palackého v Olomouci Filosofická fakulta Poděkování Rád bych poděkoval vedoucímu bakalářské práce doc. Mgr. Zdeňku Hudcovi, Ph.D. za od- borné vedení a pomoc při nalézání konečného tvaru práce. OBSAH OBSAH ...................................................................................................................................... 5 ÚVOD ........................................................................................................................................ 7 1. Téma ............................................................................................................................... 7 2. Cíl práce ......................................................................................................................... 7 2. VYHODNOCENÍ LITERATURY .....................................................................................
    [Show full text]
  • Volume 46, Number 01 (January 1928) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1928 Volume 46, Number 01 (January 1928) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 46, Number 01 (January 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/752 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. The Journal of the ^Musical Home Everywhere THE ETUDE ) ''Music MCagazi January 1928 NEW YEARS AMBITIONS Panted by C. W. Snyder PRICE 25 CENTS $2.00 A YEAR •/ ' * ' . • - - - V ■ / * ETV D E jssMastf-r ift 1 Outstanding Piano Composen Whose Works Are Worth Knowing festers fjruguay.H Canada,’ tiS* STjE? Auditor! Td WARD^JwOTtHHIPOTER “? , Subscrib/rs We will gladly send any ot tnese compositions to piano teachers, allowing the privilege of ex¬ amining them on our “On Sale” plan and per¬ mitting the return ofot those not desired.aesirea. Askask forior “On Order Blank and the details of ?his helpful plan if you have never enjoyed its jVL/ 12 IS d-1 ffir n kJ> PRINTED IN THE UN,TED STATES OP AMERICA * — ' - ™L,SHE, > -V THEODORE PRESSER CO.
    [Show full text]
  • SESSION EIGHT November 3, 2016 BEETHOVEN the MAN Last Years Do Not Go Gentle Into That Good Night, Old Age Should Burn and Rave
    SESSION EIGHT November 3, 2016 BEETHOVEN THE MAN Last Years Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. So wrote the Welsh poet, Dylan Thomas, in the 20th century’s most famous poem about the end of life. Rage is a word often used to describe Beethoven. Gentle is not a word used to describe him, and he did not go gently. Two weeks ago, in Session 6, we observed the great surge in Beethoven’s popularity in his early and mid-forties: more performances, more publishers vying for his works, and a soaring income from performances, sales, royalties, and annuities. This was soon followed by a major decline in the popularity of his music and in his income. BEETHOVEN IN 1823 This sympathetic but realistic portrait at age 53 suggests that the continuous pain and discomfort Beethoven suffered contributed to his decline in composing, along with worsening health and behavior. WORSENING BEHAVIOR Accompanying these declines was a marked decline in his health and behavior. In grief over the death of his brother Carl, Beethoven turned to anger, and a prolonged, expensive and ultimately futile attempt to gain legal control of his nephew, also named Karl after his Father, from the influence of what he considered an immoral and uncaring Mother. This vendetta against his sister-in-law was only one of many signs of Beethoven’s increasingly erratic behavior. Franz Grillparzer, Beethoven’s long- time friend who would eventually deliver the eulogy at Beethoven’s funeral, remained
    [Show full text]
  • Ludwig Van Beethoven Hdt What? Index
    LUDWIG VAN BEETHOVEN HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1756 December 8, Wednesday: The Emperor’s son Maximilian Franz, the Archduke who in 1784 would become the patron of the young Ludwig van Beethoven, was born on the Emperor’s own birthday. Christoph Willibald Gluck’s dramma per musica Il rè pastore to words of Metastasio was being performed for the initial time, in the Burgtheater, Vienna, in celebration of the Emperor’s birthday. ONE COULD BE ELSEWHERE, AS ELSEWHERE DOES EXIST. ONE CANNOT BE ELSEWHEN SINCE ELSEWHEN DOES NOT. Ludwig van Beethoven “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1770 December 16, Sunday: This is the day on which we presume that Ludwig van Beethoven was born.1 December 17, Monday: Ludwig van Beethoven was baptized at the Parish of St. Remigius in Bonn, Germany, the 2d and eldest surviving of 7 children born to Johann van Beethoven, tenor and music teacher, and Maria Magdalena Keverich (widow of M. Leym), daughter of the chief kitchen overseer for the Elector of Trier. Given the practices of the day, it is presumed that the infant had been born on the previous day. NEVER READ AHEAD! TO APPRECIATE DECEMBER 17TH, 1770 AT ALL ONE MUST APPRECIATE IT AS A TODAY (THE FOLLOWING DAY, TOMORROW, IS BUT A PORTION OF THE UNREALIZED FUTURE AND IFFY AT BEST). 1. Q: How come Austrians have the rep of being so smart? A: They’ve managed somehow to create the impression that Beethoven, born in Germany, was Austrian, while Hitler, born in Austria, was German! HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1778 March 26, Thursday: In the Academy Room on the Sternengasse of Cologne, Ludwig van Beethoven appeared in concert for the initial time, with his father and another child-student of his father.
    [Show full text]
  • Neuerwerbungen Bibliothek Januar Bis Juni 2020 Auswahlliste 2020,1
    1 BEETHOVEN-HAUS BONN Neuerwerbungen Bibliothek Januar bis Juni 2020 Auswahlliste 2020,1 1. Musikdrucke 1.1. Frühdrucke bis 1850 S. 1 1.2. Neuausgaben S. 5 2. Literatur 2.1. Frühdrucke S. 11 2.2. Neuere Bücher und Aufsätze S. 24 2.3. Rezensionen S. 28 3. Tonträger S. 32 2 1. Musikdrucke 1.1. Frühdrucke bis 1850 C 5 / 32 Beethoven, Ludwig van : [Op. 5 - Artaria, 689] Deux grandes sonates pour le clavecin ou piano-forte avec un violoncelle obligé : oeuvre 5me / composées, et dediées à sa Majesté Frédéric Guillaume II Roi de Prusse par Louis van Beethoven. - [Stimmen, spätere Auflage der Originalausgabe]. - Vienne : Artaria et Compagnie, [um 1820]. - 42 S. (Kl), 16 S. (Vc) ; Querformat Preisangabe: Pr. 3 f. - Stich. - Spätere Auflage 2 nach WV, mit Bogenzählung auf S. 1 (16B), die vollständige Preisangabe wäre Pr. 3 f 12 x C.M., teilweise getilgt (s. das digitalisierte Ex. der ÖNB http://data.onb.ac.at/rep/1026375E). - Datierung: Laut WV, Anhang Verlage wurde bei Artaria um 1820 in manchen Fällen eine Bogenzählung ergänzt. - Zahlr. Plattenkorrekturen sichtbar, etwa S. 28 (Kl), 2. System, 5. T., linke Hand; 3. System, 5. T., linke Hand; 5. System, Violinschlüssel, linke Hand. Änderungen vermutlich schon vor der Veröffentlichung gemacht worden, eine letzte Sicherheit hierin läßt sich nicht an Hand dieser Sammlung herstellen (vgl. Stroh: Op. 2). - Die Plattenrisse sind an denselben Stellen wie bei HCB C op. 5, aber ausgeprägter. - Mit Bogenzählung, s.a. C 5 / 25; HCB C op. 5 frühere Auflage ohne Bogenzählung. - Prägestempel auf der Titelseite: H. F. MUNSTER / TRIESTE.
    [Show full text]
  • The “Da Ponte” Operas : Music in the Seventeenth and Eighteenth Cent
    The “Da Ponte” Operas : Music In The Seventeenth And Eighteenth Cent... http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195... Oxford History of Western Music: Richard Taruskin See also from Grove Music Online Lorenzo da Ponte Le nozze di Figaro THE “DA PONTE” OPERAS Chapter: CHAPTER 9 Enlightenment and Reform Source: MUSIC IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES Author(s): Richard Taruskin After Die Entführung , Mozart did not complete another opera for four years. Part of the reason for the gap had to do with his burgeoning career in Vienna as a freelancer, which meant giving lots of concerts, which (as we will see) meant writing a lot of piano concertos. But it was also due to Joseph II’s unexpected disbanding of the national singspiel company and its replacement by an Italian opera buffa troupe at court whose regular composers Giovanni Paisiello, Vincente Martìn y Soler, and Antonio Salieri—Italians all (Martìn being a naturalized Spaniard)—had a proprietary interest in freezing out a German rival, especially one as potentially formidable as Mozart. 1 / 4 2011.01.27. 15:29 The “Da Ponte” Operas : Music In The Seventeenth And Eighteenth Cent... http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195... fig. 9-7 Lorenzo da Ponte, engraving by Michele Pekenino after a painting by Nathaniel Rogers (Mozarteum, Salzburg). Mozart’s letters testify to his difficulty in gaining access to Lorenzo da Ponte (1749–1838, original name Emmanuele Conegliano), the newly appointed poet to the court theater. (There was a certain typically Joseph II symbolism in the fact that a specialist in opera buffa should have been chosen to replace the aged Metastasio, the paragon of the seria , who died in 1782 at the age of 84.) “These Italian gentlemen are very civil to your face,” Mozart complained to his father in 1783.
    [Show full text]
  • Louis Van Beethoven
    DasErste.de LOUIS VAN BEETHOVEN FREITAG, 25. DEZEMBER 2020, 20:15 Uhr ONLINE FIRST, 17. DEZEMBER 2020, ab 20:15 Uhr LOUIS VAN BEETHOVEN Freitag, 25. Dezember, 20:15 Uhr im Ersten 4 ................VORWORTE ...................................................................................... 8 ................BESETZUNG UND STAB ................................................................. Von 2:10 Uhr - 4:40 Uhr: 10 .................INHALT .............................................................................................. BEETHOVEN-NACHT „FREUDE SCHÖNER GÖTTERFUNKEN“ 12 ................DIE DARSTELLER UND IHRE ROLLEN .......................................... 14 ................INTERVIEW MIT TOBIAS MORETTI ............................................. DAS ERSTE ZEIGT EIN „BEST OF“ AUS DEN BEETHOVEN-PRODUKTIONEN 28 ................WARUM EINEN FILM ÜBER ......................................................... DER LANDESRUNDFUNKANSTALTEN DES ZURÜCKLIEGENDEN JAHRES. .................LUDWIG VAN BEETHOVEN MACHEN ........................................ ONLINE FIRST IN DER ARD-MEDIATHEK 30 ................PRODUCER'S NOTE ........................................................................ 32 ................BEETHOVEN ALS MUSTERBRECHER, ......................................... 17. DEZEMBER 2020, AB 20:15 UHR .................GRENZSPRENGER UND VERDICHTER ........................................ 34 .................ZUR FUNKTION DER MUSIK IM FILM ........................................ 35 .................DIE MUSIK BEETHOVENS,
    [Show full text]
  • Vorwort Er Den Wiener Verleger Joseph Eder in Tel in Leipzig in Seinem Brief Vom 18
    V Vorwort er den Wiener Verleger Joseph Eder in tel in Leipzig in seinem Brief vom 18. Ok- die Arbeiten ein, wofür er ihm offenbar tober 1802 die beiden Kompositionen das Recht zu eigenen Titelauflagen über- op. 34 und op. 35 an: „beyde sind auf ließ. eine wircklich ganz neue Manier bear- Nachdem Hoffmeister 1801 mit Am- beitet, jedes auf eine andre verschiedene Die Beschäftigung mit Variationen für brosius Kühnel in Leipzig das Bureau Art. […] jedes thema ist darin für sich Klavier umspannt im Leben Ludwig de Musique gegründet hatte, unternahm auf eine selbst vom andern Verschiede- van Beethovens (1770 – 1827) einen Hoffmeister eine Neuausgabe von WoO ne Art behandelt“ (Ludwig van Beet­ Zeitraum von mehr als 40 Jahren und 76, die im Reichsanzeiger am 8. und in hoven, Briefwechsel Gesamtausgabe, somit beinahe sein gesamtes Wirken als der Wiener Zeitung am 15. Dezember hrsg. von Sieghard Brandenburg, 7 Bde., Komponist. Sie beginnt bei ihm im Al- 1802 angezeigt wurde. Eine Neuauflage München 1996 – 98, Nr. 108; undatiert ter von etwa 12 Jahren mit seinem ers- mit angepasstem Titel erschien nach der beigelegt dem Brief Nr. 107 von Kas- ten veröffentlichten Werk überhaupt 1814 erfolgten Übernahme des Verlags par Karl Beethoven, datiert 18. Okto- (WoO 63, 1782), reicht über Gelegen- durch C. F. Peters. In der Allgemeinen ber 1802). Die Besonderheit der beiden heitswerke seiner frühen Jahre und die musikalischen Zeitung fand sich am Werke wollte Beethoven sogar in einer in „ganz neuer Manier“ geschriebenen 12. März 1800 eine lapidare Kurzrezen- eigenen, von ihm „Vorbericht“ genann- Variationen op. 34 und 35 bis zu den sion: „Leicht und gefällig, ohne sonst ten Erklärung zur Originalausgabe her- „Diabelli-Variationen“ op.
    [Show full text]
  • Ludwig Van Beethoven ­ Pianist, Composer ­ Biography.Com
    1/23/2016 Ludwig van Beethoven ­ Pianist, Composer ­ Biography.com HAPPY BIRTHDAY VIDEO Mariska William Hargitay Shakespeare Ludwig van Beethoven Pianist, Composer (c. 1770–1827) Ludwig van Beethoven was a deaf German composer and the predominant musical figure in the transitional period between the Classical and Romantic eras. Synopsis NAME Composer Ludwig van Beethoven was baptized on December 17, Ludwig van Beethoven 1770, in Bonn, Germany. He was an innovator, widening the scope of sonata, symphony, concerto and quartet, and combining vocals and OCCUPATION Pianist, Composer instruments in a new way. His personal life was marked by a struggle against deafness, and some of his most important works were BIRTH DATE composed during the last 10 years of his life, when he was quite c. December 16, 1770 unable to hear. DEATH DATE March 26, 1827 PLACE OF BIRTH Early Years Bonn, Germany Composer and pianist Ludwig Van Beethoven, widely considered the PLACE OF DEATH Vienna, Austria greatest composer of all time, was born on or about December 16, 1770 in the city of Bonn in the Electorate of Cologne, a principality of the Holy Roman Empire. Although his exact date of birth is uncertain, Beethoven was baptized on December 17, 1770. Since as a matter of law and custom, babies were baptized within 24 hours of birth, December 16 is his most likely birthdate. However, Beethoven himself mistakenly believed that he was born two years later, in 1772, and he stubbornly insisted on the incorrect date even when presented with official papers that proved beyond any reasonable doubt that 1770 was his true birth year.
    [Show full text]
  • Denkanstöße Durch Punk
    26. Jahrgang Dezember 2020 fiftyfifty Titelstory: Freiheit, Wohnungslose von der Straße lesen. Gleichheit, 2,40 Euro, davon 1,20 Euro für den/die VerkäuferIn Beethoven. soziales/politik/wirtschaft/kunst/kultur fiftyfifty.de Vorwort: Bundespräsident Steinmeier fiftyfifty wünscht allen Leserinnen und Lesern ein frohes und gesundes Weihnachtsfest! Exklusiv für fiftyfify: Denkanstöße Beethoven Grafik von durch Punk MARKUS LÜPERTZ s. S. 9 / 24 CAMPINO im ff-Interview Foto: © Daniel Hofer Foto: 02_intro kabarett_03 Liebe Leserinnen und Leser, seit mehr als 25 Jahren gibt es Straßenmagazine und –zeitungen in Deutsch- land. Seit zweieinhalb Jahrzehnten sind sie Menschen, die auf der Straße leben, eine Hilfe zur Selbsthilfe. Und sie leben von der Straße, vom Straßen- verkauf. Monat für Monat – bis zu diesem April, als viele von ihnen nur mehr digital erscheinen konnten. Denn die Straße, das öffentliche Leben, unser aller Leben, steht seit nunmehr einem dreiviertel Jahr unter dem Einfluss der welt- weiten Corona-Krise. Was bedeuten die Infektionsgefahr und die Kontaktbeschränkungen für Men- schen, die weiter auf der Straße leben, die auf Einkünfte aus dem Straßenver- Frank-Walter Steinmeier, Bun- despräsident der Bundesrepublik kauf angewiesen sind, deren Anlaufstellen nur noch im Notbetrieb arbeiten Deutschland. Foto: Bundesregie- können, die keinen Rückzugsraum haben? Ein öffentlicher Raum ohne Men- rung/Steffen Kugler schen, ohne Kommen und Gehen, ist wie ein blinder Fleck. Doch gerade jetzt sind die Menschen, die weiter auf der Straße und von der Straße leben, auf Wahrnehmung angewiesen, darauf, dass sie nicht aus dem Blick geraten in dieser Krise. Durch Corona sind wichtige Anlaufstellen und Auf- enthaltsorte für wohnungslose Menschen nur noch eingeschränkt nutzbar.
    [Show full text]
  • Vorwort Fensichtlich Von Dieser Aus Seiner Sicht Genzblatt Der Allgemeinen Literatur-Zei­ Nur Scheinbaren Neuigkeit Deutlich Ab- Tung Wurde Ihr Erscheinen Am 23
    II Vorwort fensichtlich von dieser aus seiner Sicht genzblatt der Allgemeinen Literatur-Zei- nur scheinbaren Neuigkeit deutlich ab- tung wurde ihr Erscheinen am 23. Juli grenzen. 1803 angezeigt (Sp. 1214 f.). Kurz da- Erste Entwürfe entstanden im Früh- vor, am 11. Mai 1803, hatte die Allge- Die Beschäftigung mit Variationen für jahr und Sommer des Jahres 1800, aus- meine musikalische Zeitung (Nr. 33, Klavier umspannt im Leben Ludwig gearbeitet wurden die Variationen op. 34 Sp. 556 f.) bereits eine Rezension ge- van Beethovens (1770 – 1827) einen im Sommer und Herbst 1802. Beetho- bracht. Zeitraum von mehr als 40 Jahren und vens Korrespondenz gibt keine Auskunft Beethoven hatte offensichtlich keinen somit beinahe sein gesamtes Wirken als zur Entstehung des Werks. Erst der Be- Korrekturabzug erhalten; im September Komponist. Sie beginnt bei ihm im Al- gleitbrief zur Übersendung seiner auto- schrieb er an den Verlag: „die Variatio- ter von etwa 12 Jahren mit seinem ers- graphen Niederschriften von Opus 34 nen wovon sie so gütig waren mir einige ten veröffentlichten Werk überhaupt und 35 an Breitkopf & Härtel im Dezem- Exemplare zu schicken, waren doch nicht (WoO 63, 1782), reicht über Gelegen- ber 1802 liefert ein gesichertes Endda- so ganz korrekt. – ich wünschte bey alle heitswerke seiner frühen Jahre und die tum. Zuvor, im September, wurden bei- dem von den andern [Opus 35] Ein Ex- in „ganz neuer Manier“ geschriebenen de Werke von Beethovens Bruder Kaspar emplar vorher sehen zu können, da ich Variationen op. 34 und 35 bis zu den Karl bereits Franz Anton Hoffmeister immer fürchte, daß in den andern vie- „Diabelli-Variationen“ op.
    [Show full text]
  • Copying Beethoven (Io E Beethoven) Un Film Musicale Di Agnieszka Holland (2006)
    FONDAZIONE GIORGIO CINI ONLUS THE LUDWIG VAN PICTURE SHOW n. 22 – 16 agosto 2008 – ore 17 a Palazzo Cini Copying Beethoven (Io e Beethoven) Un film musicale di Agnieszka Holland (2006) Agnieszka Holland Nel 2005 il cinema è tornato a rivolgere la sua attenzione a una delle figure più incisive e affascinanti della storia della musica, Ludwig Van Beethoven, e lo ha fatto attraverso l'opera della regista polacca Agnieszka Holland (vedi foto qui sopra) che vanta una nomination all'Oscar per Europa Europa. Copying Beethoven è basato su un soggetto accattivante e forzatoi di Stephen J. Rivele e Christopher Wilkinson, ed è tutto incentrato su un personaggio d’invenzione: una tale Anna Holtz, incantevole e talentuosa allieva di un immaginario Conservatorio di Vienna che ottiene a dispetto dei pregiudizi sul suo sesso il posto di copista ufficiale presso il grande compositore, il quale è alle prese con la stesura della leggendaria Nona Sinfonia. Incidentalmente, la ragazza si ritrova a fare di tutto: baby sitter, dama di compagnia consigliere e musa privata dell'anziano Beethoven, un uomo, sofferente, rude e intrattabile, feroce e volgare: tanto ruvido che il suo editore lo chiama "la Bestia". Ora, ben si sa che forzature e anacronismi sono tratti irrinunciabili per lo sviluppo delle biopic: essi servono a fornire un ritratto modellato sulle potenzialità di accostamento da parte di un vasto pubblico a personaggi complessi la cui personalità e la cui opera una vita di studi spesso non basta a padroneggiare. Il film della Holland lotta con il rischio di degenerare sempre in una involontaria caricatura, regge e non regge a tratti, a tratti è emozionante, a tratti risibile.
    [Show full text]