Today, I have the great honor of interviewing one of the greatest composers of all time, Ludwig van Beethoven.
1. Mr. Beethoven, you are still huge in the world of classical music today. Can you tell us what events in your early life made you get interested in the arts?
Well as a young boy it was already set in my life that I would be in music. I came from a musical background. Neither did have a choice to to get into music. There really was not anything else to be interested in because I had no choice (Beethoven, 1996).
One thing that did get me interested was Mozart. I wanted to be just as famous he was as a kid. That really did not happen until I became an adult (The Interior Beethoven, 1975)
2. Who was your mentor, and what role did they play in developing your talent as a master composer?
My father was my main mentor in the arts. He did strict things to make sure I was a gifted pianist . He would abuse me if I did not want to play the piano (Beethoven, 1996; Notes from Anna Weinstein).
Another good mentor that completed my work was Haydn. He taught me the most about piano style. With his leadership I developed my own style (Notes from Anna Weinstein).
3. What was it like for a composer when you first got started?
Very frustrating when I began. Most people were drawn into the church and live there music life. Alot of people were poor and not well paid if they didn't work for the church (Beethoven, 1996)
In spite of this, a lot of people were passionate about their music. The classical era was a one of a kind period. The best music in history was made during this era. You had Mozart, Haydn, and myself (The Interior Beethoven, 1975; Notes from Anna Weinstein).
4. Can you tell us how the major cultural, economic and political situations of the time impacted your work?
Well, we lived in a class system. That was how our government worked. Most of the time if you were born an a servants son you will live your life as a servant. I refused to go in that direction. Music was basiclly the best way to get out of a life of poverty (Beethoven, 1996)
Musicians in my time usually worked for a rich person. You worked very hard, and made very little money. I wanted to be the master of my own music, I did not want to be worked to death like my friend Mozart. I didn't care if I didn't get paid well I just wanted a life (The Interior Beethoven, 1975).
5. What were your greatest accomplishments, and how would you define your music style?
Many people consider my Fifth Symphony and Ninth Symphony to be the best of my nine symphonies. My most famous sonatas were the Appasionata Sonata, the Pathetique Sonata and the Moonlight Sonata, which told of love lost and found. Another famous piece that I wrote was Fur Elise, which was dedicated to a young lady that I hoped to marry (Yahoo Answers; Notes from Anna Weinstein)
I was one of the first of the Romantic composers of my time. I loved to express how I felt in my music. I could tell the world of my life through my eyes, of my hopes and my hurts (rpfuller.com).
6. What were key turning points in your life and your music?
I was able to work with one of the greatest composers of all time, Joseph Haydn. Another was to be in the presence of Mozart. What an incredible pleasure to be in a room with Mozart. He was a great influence on my music in the early years (Beethoven, 1996; Notes from Anna Weinstein)
A sad opportinity was to teach Elise. One of the first loves of my life. I wrote one of my favorite song Fur Elise. But she never loved me....(Notes from Anna Weinstein)
7. What personal choices did you make to become successful?
One of them was leaving my teacher Hayne. He taught me alot but I that it was time to persue bigger things. We both had different styles of music (The Interior Beethoven, 1975)
Also seperating my self from my father. He was one of my main fears in my life pressuring me for money. After that I Knew that I had real freedom (Beethoven, 1996).
Finally, I decided to fight for the right to my own music. I did not want to work for other people, and write music just for them, I was a free spirit, and wanted control of my own music (The Interior Beethoven, 1975)
8. What were some of the greatest hardships you had to endure as a musician?
My greatest problem as a child was living with a cruel, drunken, abusive father. Well at a young age I was forced into music. I was beaten to do my best (really). Each day was a struggle with my dads drinking (Beethoven, 1996; Notes from Anna Weinstein).
As an adult, the greatest hardship was my going deaf. However, even while my hearing was going I still made wonderful music to the world. My Ninth Symphony was made when I was almost totally deaf. Someone had to turn me around so that I could hear the thunderous applause after performing this piece in Vienna (The Interior Beethoven, 1975).
9. What were your greatest limitations as an artist and as a person?
Trying to find true happiness. I never was truly happy, never found love, never married and had kids, never had a true friend. Dad dying and leaving me with nothing (Beethoven, 1996; Notes from Anna Weinstein).
I wanted to have a great life. I created many brilliant pieces of work over the years, but my career was cut short by ill health, and my loss of hearing (The Interior Beethoven, 1975).
10. And finally, in closing, what would be your best story to illustrate how you became successful in the arts?
Sadly it was to get beat to be my best by my father. He got me up early to do my work on piano. All day I was pushed to the limit to be another Mozart (Notes from Anna Weinstein).
Second, the story about how I was able to compose music after going almost competely deaf is a testamony to my genius and great love of the music (The Interior Beethoven, 1975).
Last was how I put my heart into my music. How my music told stories of pain and sadness and heartbreak, like Moonlight Sonata. I may have had a hard and sad life, but my music made the world a happier one (Notes from Anna Weinstein).
Thank you so much, Mr. Beethoven, for your honest and moving words. Your music will live in our hears forever.
Source List
Geck, Martin. Beethoven. Haus Publishing Limited: London, 1996.
Kolodin, Irving. The Interior Beethoven. Alfred A. Knopf: New York.
Notes from interview with Anna Weinstein, Piano Department, S.C.P.A.
"Romantic Music (1850-1900)" http://www.rpfuller.com/gcse/music/romantic.html
Friday, May 7, 2010
Beethoven's Piano
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