Relevant bibliographies by topics / Beethoven, Ludwig van, – 1770-1827

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Beethoven, Ludwig van, – 1770-1827'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2025

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Journal articles on the topic "Beethoven, Ludwig van, – 1770-1827"

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Čvorović, Ljiljana, Biljana Krstić, Milan Dragišić, Simona Ranđelović, Neda Mladenović, Aleksa Krugić, and Silvana Babić. "The deafness of Ludwig van Beethoven." Timocki medicinski glasnik 48, no. 4 (2023): 102–5. http://dx.doi.org/10.5937/tmg2304102c.

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Ludwig van Beethoven (1770-1827) began experiencing hearing loss in his thirties, which eventually progressed to profound deafness. Physicians and historians have sought for centuries to interpret the original sources from Beethoven's letters, medical documents, and autopsy reports to determine the causes of his deafness and systemic illnesses. This article reviews the current literature on the theories surrounding Beethoven's deafness and medical conditions. It is based on a PubMed® search spanning from 1958 to 2023 and provides a critical analysis of these theories.
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Qian, Jie. "Analysis of the Similarities between the Third Movement of Beethoven: Piano Sonata "Passion"(OP.57) and the Third Movement of the Piano Concerto NO 5 "Emperors" (OP.73)." Highlights in Art and Design 1, no. 3 (November 13, 2022): 15–18. http://dx.doi.org/10.54097/hiaad.v1i3.2706.

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Ludwig van Beethoven (1770-1827) was a representative composer in the European classical period. His Piano Sonata "Passion" (OP.57) and Piano Concerto NO.5 "Emperor" (OP.73) are masterpieces in Beethoven's piano music literature. This article will explore the commonness of these two works, which were created in Beethoven's mature period, in terms of creative techniques, musical style, historical status, etc., and strive to deepen the understanding of Beethoven's piano works in his mature period.
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Wolf, P. "Creativity and chronic disease Ludwig van Beethoven (1770-1827)." Western Journal of Medicine 175, no. 5 (November 1, 2001): 298. http://dx.doi.org/10.1136/ewjm.175.5.298.

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Perciaccante, Antonio, and Alessia Coralli. "The Silent Symphony of Ludwig van Beethoven (1770-1827)." American Journal of Medicine 133, no. 6 (June 2020): 768. http://dx.doi.org/10.1016/j.amjmed.2019.12.047.

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García Laborda, José María. "Beethoven en L’Associació de Música “Da Cámera” de Barcelona (1913-1936)." Cuadernos de investigación musical, no. 11 (December 15, 2020): 145–94. http://dx.doi.org/10.18239/invesmusic.2020.11.09.

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La finalidad de este trabajo es analizar la presencia de la música de Ludwig van Beethoven (1770-1827) en la Asociación de Música de Cámara de Barcelona (1913-1936). Al mismo tiempo, se pretende comparar los resultados de esta investigación con los datos que ya poseemos de la sociedad gemela en Madrid: La Sociedad Filarmónica (1901-1936), para así aportar nuevos datos sobre la historia de la recepción de Beethoven en España en el primer tercio del siglo XX.
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Sánchez Rodríguez, Virginia. "Prólogo de la coordinadora del número." Cuadernos de investigación musical, no. 11 (December 15, 2020): 3–4. http://dx.doi.org/10.18239/invesmusic.2020.11.02.

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El año 2020 pasará a la historia por haber sufrido la primera pandemia del siglo xxi, pero también será recordado por el ingente programa cultural dedicado a Ludwig van Beethoven (1770-1827) con motivo del 250 aniversario de su nacimiento. De acuerdo con esta efeméride, Cuadernos de Investigación Musical ha dedicado un monográfico extraordinario que, con una mirada poliédrica, y a través del trabajo de musicólogos de referencia del ámbito internacional, invita al lector a aproximarse al legado de Beethoven.
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Dexin, Xu. "The Principles and Techniques of Artur Schnabel’s Performance of the Piano Sonatas by Ludwig van Beethoven." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(2) (November 29, 2023): 133–38. http://dx.doi.org/10.31500/1992-5514.19(2).2023.294642.

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The piano sonatas by Ludwig van Beethoven (1770–1827) represent the highest achievement of the First Viennese School in modern piano performance. The complexity and depth of the stage interpretation requires the study of the composer’s music based on its performance specifics. The study of the features of the piano sonata works by Beethoven on the example of performances by Artur Schnabel, one of the most prominent pianists of the twentieth century, will enrich modern knowledge about the style of Beethoven’s piano works. The objectives of the paper are to characterize the genre and stylistic features of Beethoven’s sonata works and to study the performing features of the German composer’s sonatas in Schnabel’s interpretation. Rationalistic approach is not typical for Schnabel’s interpretation of Beethoven’s sonatas. On the contrary, his performance has romantic features in terms of strength and depth of feeling but is classical in terms of the proportionality of expressive means. His performance impresses with its philosophical orientation and epic spirit. What is especially important to him in the musical composition is an individual approach to the intonation of recitatives, cadences, syncopation, and those stylistic components of playing that form an original interpretation of Beethoven’s music. Schnabel embodies Beethoven’s concepts on the basis of integrity, starting from the epic characteristics of Beethoven’s work
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Monteiro, Eduardo, and Mônica Lucas. "“O espírito de Mozart pelas mãos de Haydn”: 250 anos de Ludwig van Beethoven." Estudos Avançados 34, no. 100 (December 2020): 341–66. http://dx.doi.org/10.1590/s0103-4014.2020.34100.021.

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resumo Ao celebrar os 250 anos do nascimento de Ludwig van Beethoven (1770-1827), constata-se que sua obra preserva, intacto, o poder de fascinar seus ouvintes. Sua competência única coincidiu extraordinariamente com um momento histórico em que foram protagonizadas profundas mudanças estéticas, o que lhe permitiu alcançar uma posição fulcral no desenvolvimento da música ocidental. O conde Waldstein, um de seus protetores, declarou em 1792: “você receberá o espírito de Mozart pelas mãos de Haydn” (apud Rosen, 1997, p.19). Beethoven, de fato, empregou os processos herdados de seus mestres, incorporando a eles procedimentos novos e criativos que permitiram à sua música expressar uma gama de emoções muito mais ampla. O presente artigo assinala alguns aspectos musicais que colaboram para a compreensão da rara dimensão alcançada pelo compositor, abordando sua produção no contexto da música instrumental a partir do final do século XVIII.
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Floros, Constantin. "La Séptima de Beethoven: la segunda Eroica." Cuadernos de investigación musical, no. 11 (December 15, 2020): 5–14. http://dx.doi.org/10.18239/invesmusic.2020.11.03.

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El presente artículo está centrado en el estudio de la Séptima Sinfonía de Ludwig van Beethoven (1770-1827) y en sus semejanzas estilísticas con la Sinfonía nº3, por lo puede ser considerada como una segunda Sinfonía Eroica. Para ello se ha tenido en consideración las circunstancias que dieron lugar a su creación, así como las opiniones de contemporáneos del autor como Czerny y Ries o las visiones de Wagner y Mahler. El autor defiende asimismo que han pasado desapercibidas otras similitudes con obras de carácter heroico: la Danza eroica nº 8 del ballet “heroico-alegórico” Las Criaturas de Prometeo op. 43 y la variación en sol menor del “Finale” de la propia Sinfonía Eroica (1803). Asimismo se ha tenido en cuenta la influencia ejercida por los acontecimientos políticos de su tiempo en el origen deobras como La victoria de Wellington.
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Stiefelhagen, P. "Mozarts Geist aus Haydns Hönden Zum 175. Todestag von Ludwig van Beethoven (1770–1827)." Der Internist 43, no. 4 (April 2002): 567–70. http://dx.doi.org/10.1007/s00108-002-0584-y.

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Dissertations / Theses on the topic "Beethoven, Ludwig van, – 1770-1827"

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Hein, Hartmut. "Beethovens Klavierkonzerte : Gattungsnorm und individuelle Konzeption /." Stuttgart : F. Steiner, 2001. http://catalogue.bnf.fr/ark:/12148/cb37712750q.

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Brisson, Élisabeth. "Le sacre du musicien : place et fonction de la référence à l'antiquité dans la processus créateur de Beethoven." Paris, EHESS, 1997. http://www.theses.fr/1997EHESA038.

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Les premiers chapitres sont consacres aux origines et au contenu de la culture antique de beethoven (plutarque et d'homere furent parmi ses auteurs preferes). Sa representation de l'antiquite eut une fonction essentielle dans son processus createur : plus qu'un signe d'appartenance a l'elite cultivee, elle lui a permis de soutenir l'audace de son geste createur et de se penser comme un artiste ayant un role a jouer dans le monde (son ideal etait de "venir en aide a l'humanite souffrante"). Beethoven disposa de sa culture antique de maniere tres personnelle, n'en retenant que certaines valeurs : la melancolie, condition du genie, la figure du heros et celle du grand homme, agents de la transformation du monde, l'amitie fondatrice du lien social, la fonction sacree du poete. La reference a l'antiquite (en tant que metaphore de certaines valeurs politiques et morales et de certains principes esthetiques) a accompagne l'elaboration et l'evolution de son ecriture et lui a permis de soutenir une conception nouvelle de la musique. Heros a la plutarque avant d'etre un nouveau promethee civilisateur, il s'attacha a trouver la forme qui correspondrait a sa conception de la musique : manierede vivre et moyen d'obtenir une transformation interieure, sur le modele de la philosophie antique. La fonction sacree de guider l'humanite sur la voie du bonheur a confere a ses oeuvres une organisation musicale qui repond aux categories ethiques et esthetiques elaborees, a la fin du 18ʿsiecle, a partir du modele antique (grandeur, simplicite, liberte, etc. ). Si la place de la reference a l'antiquite semble peu importante (quelques oeuvres seulement portent un titre antique), elle est en fait essentielle au regard des principes et des valeurs qui sous-tendent son processus createur. La fonction de l'antiquite est primordiale, en tant que metaphore d'une oeuvre musicale qui se veut l'equivalent de l'oeuvre d'homere : une source de bildung, lieu et moyen d'initiation.
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Gechter, Friedrich Charles. "Execution or interpretation? a study of interpretive approaches through selected editions and recordings of Beethoven's Sonata, opus 109 /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035944.

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Lin, Shen-An. "The Lieder of Beethoven: A Stylistic Analysis." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc500227/.

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Beethoven is generally acknowledged to be the most important composer of the 19th century. However, many critics and musicologists dismiss Beethoven's Lieder as being of less musical value and sophistication than his more instrumentally conceived late vocal writings. The true musical sophistication of Beethoven's Lieder can be discovered by a careful study of the harmonic structure and the relationship between the vocal and the piano part in Beethoven's Lieder. In discussing Beethoven's Lieder style based on analysis, a number of aspects shall be examined: (1) the harmonic idiom and key relationships; (2) the role of the piano; and (3) other stylistic features.
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Lagoumitzis, Nicolas. "Les sonates pour piano de Beethoven : regard sur l'évolution de l'interprétation des op. 2 N1, op. 53 et op. 111au XXème siècle." Paris 1, 1998. http://www.theses.fr/1998PA010588.

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Ce travail est une étude historico-esthétique de l'interprétation des sonates pour piano de Beethoven, fondée sur la comparaison d'enregistrements réalisés au cours de diverses périodes du XXeme siècle. Selon la méthodologie adoptée - l'analyse interprétative comparée - nous relevons les options interprétatives de chaque exégète lors de sa lecture "personnelle" de ce corpus beethovenien considéré dans sa matérialité "objective". Nous essayons de dégager les perspectives esthétiques des artistes-interprètes en tenant compte des différentes périodes de composition des sonates, des différentes époques de leur interprétation et, de plus, de l'influence de la tradition interprétative du XIXeme siècle, comme de l'esthétique de certains courants d'art du XXeme siècle, sur les options exégétiques des pianistes. Les œuvres (op. 2 n01, op. 53 et op. 111) ont été choisies en tant que représentatives et révélatrices des trois périodes de la création beethovenienne entre classicisme et romantisme. Les interprètes (Artur Schnabel, Claudio Arrau, Tatiana Nikolayeva, Friedrich Gulda et Michael Levinas) possèdent tous des formations musicales distinctes car ils appartiennent à des écoles pianistiques européennes majeures aux fondements différents. Pour chacun d'entre eux, nous avons choisi le moment correspondant à l'enregistrement de l'intégrale des sonates pour piano, afin d'obtenir, grâce à leur comparaison, des éléments représentatifs de l'évolution de l'esthétique pianistique au XXème siècle
The present thesis is a historical-aesthetic study of the interpretation of Beethoven's piano sonatas. As such, it is based on the comparison of certain recordings during different periods within the 20th century. Through the methodology we e adopted -the comparative interpretative analysis- we reveal each artist's interpretative choice, consistent with his "individual" reading of beethoven's piano sonatas "corpus". We have strived to uncover the aesthetic perspectives of the artists taking into account the different chronological periods of the creation and interpretation of the sonatas, as well as the influence of the 19th century interpretative tradition and 20th century aesthetic currents, on the artists' interpretative preferences. The works (op. 2 n01, op. 53 and op. Ill) were selected as being representative and revealing of the three periods of beethoven's creation between "classicism" and "romanticism". The interpreters (Artur Schnabel, Claudio Arrau, Tatiana Nikolayeva, Friedrich Gulda and Michael Levinas) possess a remarkable musical education, especially as they all belong to grand european piano schools, each being characterized by different founding principles. Each artist has recorded beethoven's piano sonatas in their entirety. These complete recordings provided the chronological framework against which our comparisons were made. Our ultimate aim has been to capture those unique elements reflecting the evolution of piano- playing aesthetics in the 20th century
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Praxedes, Karina da Silva Santana. "An die ferne Geliebte, Op.98 de L. V. Beethoven : a relação texto-musica e o acompanhamento pianistico." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285123.

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Orientadores: Adriana Giarola Kayama, Antonio Rafael dos Santos
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Resumo: Este trabalho tem como objetivo verificar a relação texto-música, particularmente no acompanhamento pianístico do ciclo de canções An die ferne Geliebte de Ludwig van Beethoven (1816). Após uma contextualização histórica da obra, discursadas questões como o desenvolvimento do Lied, os lieder de Beethoven, o poeta Alois Isidor Jeitelles e o piano da época, bem como relacionadas as diferenças nas edições da obra utilizadas, foi necessária uma análise do ciclo, por meio do estudo de vários elementos musicais - texto poético, número dos compassos, extensão vocal, tonalidade, forma, andamento, estrutura Taseológica, harmonia, ritmo, dinâmica, timbre, textura - que, além de possibilitar uma definição clara das relações entre texto e música, evidencia a importância expressiva do piano nesse ciclo de canções, viabilizando, ainda, a discussão de aspectos interpretativos do mesmo - andamento, articulação e sonoridade, ornamentação, dinâmica, pedal e recursos para o cantor
Abstract: This work intends to verify the relation between text and music, particularly in the piano accompaniment of the Beethoven's song cycle An die ferne Geliebte (1816). Given a historical context of the piece, the development of the Lied and Beethoven's lieder, the poet Alois Isidor Jeitelles, and the specifications of the piano of the Classic Period, as well as related the differences in some editions of this piece. An analysis of the song cycle was made, by means of the study of some musical elements -poetic text, number of the measures, vocal range, tonality, form, tempo, phrasal structure, harmony, rhythm, dynamics, timbre, texture - which, besides making possible a clear definition of the relations between text and music, showed the expressive importance of the piano in this song cyc1e, allowing some considerations of its interpretative aspects - tempo, articulation and sound quality, omamentation, dynamics, pedaling and resources for the singer
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Cobra, De Oliveira Maximianno. "Les symphonies de Ludwig van Beethoven : une étude analytique, critique et historique en vue d'une nouvelle édition." Paris 4, 2000. http://www.theses.fr/1999PA040191.

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Ce travail se propose de mettre en évidence les matériaux, les principes et quelques-uns des choix essentiels que nous semblerait devoir assumer une véritable Edition critique des symphonies de Beethoven, titre auquel aucune des éditions actuelles, même les plus récentes, ne peuvent prétendre. Une première partie d'ordre historique énonce quelques éléments et principes essentiels d'une approche objective féconde de l'époque de Beethoven. Illustration de notre méthode et échantillon de ce que devrait à nos yeux inclure une future Edition critique intégrale des symphonies de Beethoven, la seconde partie présente une étude critique complète de la cinquième symphonie ; l'étude du quatrième mouvement de la IXème symphonie; enfin une étude des indications textuelles de Beethoven concernant la VIème symphonie. La troisième partie dresse l'inventaire des documents musicaux et biographiques. En abordant par ces prismes la problématique de l’édition musicale des œuvres de Beethoven, nous espérons pouvoir réunir les éléments nécessaires à l'établissement d'un outil de travail utile aux éditeurs scientifiques, afin qu'ils puissent prétendre établir un texte éditorial proche de celui qu'eut pu souhaiter Beethoven.
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Lee, Hee Seung. "The "Beethoven Folksong Project" in the Reception of Beethoven and His Music." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/lee_hee_seung/index.htm.

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Esclapez, Christine. "Sémiotique musicale et figuration : la complexité temporelle des Quatuors à cordes de Beethoven." Aix-Marseille 1, 1992. http://www.theses.fr/1993AIX10003.

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Premier esprit moderne, ludwig van beethoven apparait, a la fin du dix-huitieme siecle et au tout debut du dix-neuvieme, comme l'agent privilegie d'une mutation. Cette transformation, musicale et anthropologique, se manifeste par l'intauration de sensibilites temporelles nouvelles, inscrites dans la phenomenologie intime de la forme musicale et etudiees a partir de la matier signifiante - a la fois homogene et hybride- que constituent ces dix-sept quatuors a cordes. Cette mutation met en evidence la variabilite historique des formes de la pensee sensible et ecarte ainsi tout inneisme et tout universalisme qui tenteraient d'expliquer l'activite creatrice par un quelconque lien causal. La decouverte des indices temporels dans les quatuors, c'est-a-dire, des inscriptions de ces mutations temporelles dans la matiere sensible decoule d'une pragmatique du texte ou le reseau de signigiance de l'oeuvre resulte d'un dechiffrement inferant, a partir de realites donnees, un systeme de sens. L'observation phenomenologique des quatuors nous a permis de relever deux-cent-vingt-trois moments temporels dont l'interpretation, elaboree a partir de l'analyse formelle des similitudes de bernard vecchione (1985), prouve l'existence d'une grammaire calculable de la temporalite dans les quatuors et en propose une elaboration modulaire le champ des connaissance s'elargit pour accueillir le sensible comme une forme de pensee non verbale aussi structuree et signifiante que les formes de pensee verbale. La temporalite comme semiosis met en evidence une representation possible, logique et calculable, de la sensibilite.
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Laurent, Guy. "Beethoven et le style classique." Paris 8, 1997. http://www.theses.fr/1997PA081395.

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Etude stylistique de la musique de beethoven visant a mettre en evidence ses particularites par rapport aux deux autres grands compositeurs classiques - haydn et mozart, dont certaines oeuvres sont egalement etudiees -, et mettant en relation ces pratiques musicales avec les structures de pensee du xviiie siecle, tant dans la domaine de la theorie musicale que dans ceux des sciences - sciences naturelles, entre autres - et de la philosophie
Study in stylistics of beethoven's works trying to show his characteristics related to the two other great classical composers - haydn and mozart, from whom a few piecess are also studied -, and relating these musical choices to the thinking structures of the eighteenth century, in musical theory as in science - natural science, for example -and philosophy
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Books on the topic "Beethoven, Ludwig van, – 1770-1827"

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B. Schott's Söhne (Mainz, Rhineland-Palatinate, Germany), ed. Ludwig van Beethoven, 1770-1827: Konzertführer. Mainz: Schott, 1988.

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Solomon, Maynard. Beethoven essays. Cambridge, Mass: Harvard University Press, 1988.

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Solomon, Maynard. Beethoven essays. Cambridge, MA: Harvard University Press, 1994.

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Robinson, Paul A. Ludwig van Beethoven, Fidelio. New York: Cambridge University Press, 1996.

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Venezia, Mike. Ludwig Van Beethoven. New York: Children's Press, 1996.

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Kinderman, William. Beethoven. 2nd ed. Oxford: Oxford University Press, 2009.

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Evan, Bonds Mark, Lockwood Lewis, Reynolds Christopher, and Sisman Elaine R, eds. Beethoven forum. Lincoln, Neb: University of Nebraska Press, 2001.

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Charlotte, Voake, and Associated Board of the Royal Schools of Music (Great Britain), eds. Ludwig van Beethoven. East Hendred: Moonlight Pub. & ABRSM Pub., 2001.

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Barry, Cooper. The Beethoven compendium: A guide to Beethoven's life and music. London: Thames & Hudson, 1996.

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Cooper, Barry. Beethoven. Oxford: Oxford University Press, 2008.

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Book chapters on the topic "Beethoven, Ludwig van, – 1770-1827"

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Hartung, Günter. "Beethoven, Ludwig van (1770–1827)." In Goethe Handbuch, 100–102. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03655-1_32.

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Arens, Detlev. "Einer, der im Lande blieb – Johann Joseph Eichhoff (1762-1827) als (Jugend-)Freund Ludwig van Beethovens." In Beethoven: Die Bonner Jahre, 357–70. Köln: Böhlau Verlag, 2020. http://dx.doi.org/10.7788/9783412519704.357.

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Schloßmacher, Norbert. "Die Taufe Ludwig van Beethovens am 17. Dezember 1770 in der Pfarrkirche St. Remigius zu Bonn." In Beethoven: Die Bonner Jahre, 33–52. Köln: Böhlau Verlag, 2020. http://dx.doi.org/10.7788/9783412519704.33.

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Tilmouth, Michael, David Kimbell, and Roger Savage. "Ludwig van Beethoven (1770-1827)." In The Classics of Music, 327–41. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198162148.003.0054.

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Abstract Ludwig van Beethoven’s family is traceable to a village near Louvain, in Belgium, in the seventeenth century. In I 6 50 a lineal ancestor of the composer settled in Antwerp. Beethoven’s grandfather, who came to Bonn in 1732 and became one of the court musicians of the archbishop-elector of Cologne, was an amiable man whom Ludwig van Beethoven, though only 4 years old when his grandfather died, remembered with affection to the end of his life. Beethoven’s father, a tenor singer at the archbishop-elector’s court, was a bad tempered man whose wage-earning capacity declined with his ability to keep sober.
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"Beethoven, Ludwig Van (1770–1827)." In Encyclopedia of Genetics, Genomics, Proteomics and Informatics, 200–201. Dordrecht: Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-6754-9_1656.

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Kozbelt, A. "Ludwig van Beethoven 1770–1827." In Encyclopedia of Creativity, 128–34. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-12-375038-9.00023-6.

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"Ludwig Van Beethoven (1770–1827)." In The Classical Music Lover's Companion to Orchestral Music, 49–86. Yale University Press, 2019. http://dx.doi.org/10.12987/9780300242720-006.

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Wilson, Miranda. "Ludwig van Beethoven (1770–1827)." In Notes for Cellists, 32–35. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197623770.003.0009.

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"Ludwig van Beethoven (1770–1827)." In Accompanied Voices, 42–48. Boydell and Brewer, 2015. http://dx.doi.org/10.1515/9781782045021-022.

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Phillips, Lois. "Ludwig van Beethoven (1770–1827)." In Lieder Line By Line and word for word, 1–17. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198790174.003.0001.

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Abstract Lonely your friend wanders in the spring garden, wrapped in a soft, enchanted light, that trembles through swaying blossoms, Adelaide! In the mirroring waves, in the snow of the Alps, in the golden clouds of declining day, in the firmament of stars your image shines, Adelaide! Evening breezes whisper in the delicate foliage; little silver bells of May stir in the grass; waves murmur and nightingales call: Adelaide!
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Conference papers on the topic "Beethoven, Ludwig van, – 1770-1827"

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Schmid, Roberta, and Giancarlo Lamberti. ""Beethoven in Heiligenstadt in the Museum dedicated to him: the Man and the Artist"." In Socratic Lectures 8. University of Lubljana Press, 2023. http://dx.doi.org/10.55295/psl.2023.ii23.

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The purpose of this contribution is to reflect on the human and musical figure of the great composer Ludwig van Beethoven. In 1802, Beethoven visited Heiligenstadt and in Octo-ber 6 he there wrote his famous "Testament" that was found after his death in 1827. The authors have visited the Museum dedicated to Beethoven in Heiligenstadt in the summer of 2022. Keywords: Beethoven; Music; Testament; Heiligenstadt
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