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

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

BYROS, VASILI. "LUDWIG VAN BEETHOVEN (1770–1827) THE LATE QUARTETS Quatuor Mosaïques Naive V5445, 2017; three discs, 188 minutes." Eighteenth Century Music 16, no. 1 (February 14, 2019): 76–79. http://dx.doi.org/10.1017/s147857061800043x.

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12

Sterpellone, Luciano. "Ludwig Van Beethoven: La Musica Del Silenzio." Giornale di Clinica Nefrologica e Dialisi 25, no. 4 (January 14, 2014): 343–51. http://dx.doi.org/10.33393/gcnd.2013.1073.

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Nell'estate del 1797 all'età di 27 anni e periodo che coincide con gli inizi dei disturbi uditivi, il musicista contrae una infezione, un tifo addominale dal quale non si riprenderà più completamente, con reiterati disturbi gastrointestinali negli anni a venire. Solo nel ottobre 1802 Beethoven ammette la propria sordità, accompagnata da acufeni, una patologia che avrebbe interessato prima l'orecchio sinistro, poi quello destro, e che sarà progressiva, sino alla sordità completa. Le cure cui verrà sottoposto saranno le più diverse, ma verosimilmente tutte inutili, Beethoven sarà un paziente sui generis, che fa di testa propria, ignorando le prescrizioni dei medici, bevendo molto vino e molto caffè, e non rispettando i dosaggi dei medicinali. Poco risolvono anche i cornetti acustici, applicati a lungo solo all'orecchio sinistro, perché, il destro è già completamente sordo. Viceversa per aumentare l'intensità dei suoni si serve di uno strumento ingombrante, una specie di coperchio di legno che mentre suona interpone tra sé e il pianoforte come cassa di risonanza. Nel 1822, alla prova generale del Fidelio non sente assolutamente nulla di ciò che si canta sulla scena. Nel maggio 1824, al termine di un concerto, una cantante deve prenderlo per le spalle e voltarlo verso il pubblico perché, si renda conto che lo stanno applaudendo freneticamente. Nel 1825 compaiono i segni dell'interessamento epatico con una ematemesi che origina verosimilmente da varice esofagee. Nel 1826 le condizioni generali peggiorano compaiono coliche addominali, diarrea, ittero, e l'asche richiede numerose paracentesi con aspirazione sino a 14 litri. Il 27 marzo del 1827 Ludwig van Beethoven muore, e due giorni dopo ventimila persone seguiranno il feretro; tra i presenti Franz Schubert, ignaro che appena un anno dopo riposerà vicino a Beethoven. Sulla sordità di Beethoven non si è giunti a conclusioni definitive. Otosclérosi, un'affezione dell'orecchio interno, una degenerazione del nervo acustico, una forma post-infettiva come nel tifo addominale, una improbabile degenerazione di origine luetica, un morbo di Paget. Dai reperti autoptici appare molto probabile che la morte del musicista possa essere addebitata ad una malattia epatica, dato che all'esame autoptico questo organo risulta molto più piccolo del normale e molto poco elastico; inoltre ambedue i reni appaiono infiltrati da un liquido marrone e opaco e i calici renali appaiono calcificati. È forse “merito” della sordità se Beethoven ha così interiorizzato la sua vis creativa da vedere aumentata la propria percezione della rappresentazione corticale dei suoni.

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13

Stokes, Ellen. "Salieri & Beethoven in Dialogue Antonio Salieri (1750–1825), Ludwig van Beethoven (1770–1827) Heidelberger Sinfoniker / Timo Jouko Herrmann (director) / Diana Tomsche, Joshua Whitener, Kai Preußker (soloists) Hänssler Classic HC20067, 2021; one disc, 48 minutes." Eighteenth Century Music 19, no. 1 (February 14, 2022): 85–87. http://dx.doi.org/10.1017/s1478570621000269.

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14

Cooper, Barry. "LUDWIG VAN BEETHOVEN (1770–1827), ED. JON CEANDER MITCHELL PIANO CONCERTO IN E FLAT MAJOR WoO 4 Recent Researches in the Music of the Classical Era80Middleton: A-R, 2010 pp. xii+99, ISBN978 0 89579 665 3." Eighteenth Century Music 9, no. 1 (January 27, 2012): 133–35. http://dx.doi.org/10.1017/s1478570611000443.

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15

Buurman, Erica. "Sonatas for Pianoforte and Violin Ludwig van Beethoven (1770–1827), ed. Clive Brown Kassel: Bärenreiter, 2020 Two volumes (each with score/urtext violin part/performance part), pp. lxxv + 151/49/49, lxxvii + 210/64/64, ISMN 979 0 006 56378 4." Eighteenth Century Music 19, no. 1 (February 14, 2022): 70–72. http://dx.doi.org/10.1017/s1478570621000294.

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16

"“Retrato de Ludwig van Beethoven”, 1770-1827." Revista Médica Clínica Las Condes 26, no. 2 (March 2015): 259. http://dx.doi.org/10.1016/j.rmclc.2015.04.018.

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17

Berezutsky, Vladimir, and Maryna Berezutska. "Thermo-Mineral Baths in the First Half XIX Century: The Case of Ludwig Van Beethoven." Physikalische Medizin, Rehabilitationsmedizin, Kurortmedizin, June 19, 2020. http://dx.doi.org/10.1055/a-1191-4586.

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Abstract Background The great German composer Ludwig van Beethoven suffered almost all his life from progressive deafness and diseases of the digestive system. The state of his health strongly influenced his work. Balneotherapy is the only aspect of Beethoven’s disease history that has not yet been thoroughly studied. While water treatment in the first half of the XIX century was the most important part of the therapeutic arsenal of doctors and was actively used in the treatment of Beethoven. Objectives To study the use of thermo-mineral baths in the treatment of Ludwig van Beethoven in the first half of the XIX century. Methods Scopus, WebOfScience, MedLine and PubMed databases, electronic archives were searched without time restriction for information on the use of thermo-mineral baths in European spa resorts in the first half of the 19th century. An analysis was also made of Beethoven’s letters and the work of his most respected biographers in order to identify information about thermal-mineral baths in his treatment. Results Since 1796, Beethoven suffered chronic enterocolitis and progressive hearing impairment, since 1820 portalcirrhosis of the liver. Thermo-mineral baths were the main part of Beethovens treatment from 1799 until his death in 1827. Conclusions The Beethoven’s physicians appointed him a treatment that corresponded to the advanced achievements of balneology of the first half of the 19th century. The composer spent annually at spa resorts up to 6 months, water treatment became part of his life. Beethoven until the last days of his life sincerely believed in the healing power of thermo-mineral baths.

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18

Trappe, Hans-Joachim. "To the 250th birthday of Ludwig van Beethoven: How sick was the genius musician really in his life?" Music and Medicine 13, no. 4 (October 25, 2021). http://dx.doi.org/10.47513/mmd.v13i4.777.

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Background: Ludwig van Beethoven was born 250 years ago on December 17th, 1770 in Bonn, Germany. Although he was one of the most brilliant composers of all time, his life was shaped by many illnesses. Many know that Beethoven was hard of hearing and later deaf and that he could not longer hear his own works. However, there are many diseases that were little and or not known and that still shaped his life significantly.Methods: This article reports the medical history of this artist, based on authoritative scientific sources.Results: Even when he was young, Beethoven fell ill with smallpox, which gave his face a typical appearance. Since 1804/1805 he had been unable to see properly and was wearing glasses. The first hearing disorders appeared in 1796, treatment began in 1800. From 1814, hearing loss worsened significantly. The cause of hearing disorders is still unclear. From the age of 25, there was colic, diarrhea and fever, probably caused by a chronic pancreatitis. It is certain that Beethoven suffered from hepatitis and cirrhosis of the liver, certainly significantly influenced by alcohol consumption. Liver cirrhosis and esophageal varices were the consequences, and certainly also psychological changes to his difficult personality. In 1825, there was a cough of blood, nosebleeds and ascites and until 1827, 30-40 l of ascites were punctured.. On March 26, 1827, Beethoven died in the liver coma.Conclusions: Beethoven was a brilliant musician and composer who had many illnesses in his life. Above all, his hearing impairment significantly influenced his life. He had also frequent gastroenterological diseases, especially pancreatitis, hepatitis and live cirrhosis. Alcohol certainly played an important role in his life and influenced many illnesses.

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19

Zhang, Daniel. "Ideological Symphonies: Beethoven and the French Revolution." Scholarly Review Journal Summer 2021, no. 1 (July 1, 2021). http://dx.doi.org/10.70121/001c.121639.

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The development of western art music from the Classical era to the Romantic era is often treated as a narrative separate from its contemporary political history, despite the importance of the historical backdrop against which this shift began – the French Revolution and the Napoleonic Wars. It was during this period, characterized by the rise of individualism and resistance against Europe’s absolutist monarchies, that the musical giant Ludwig van Beethoven (1770-1827) produced some of his most important works. While not all of Beethoven’s works had explicit political connections, over time, there were stylistic developments within his pieces that captured the political progressiveness of the historical period. This research paper uses a range of primary and secondary sources, as well as music score evidence, to compare stylistic choices and developments over time in Beethoven’s music with the political and ideological narrative of the French Revolution, from reformist reticence to unreserved revolutionary violence. Additionally, it argues that starting from the Third Symphony, the structure of each symphony reflects the Jacobin revolutionary ideal, from violence and terror to the ultimate utopian victory. The paper concludes that while it remains unclear whether Beethoven intended the political connotation in his works, his progressive compositions present a parallel narrative to that of the French Revolution, and the stylistic developments echoing the revolutionary vigor, radicalism, and violence across his symphonies served as a means of radicalizing the public and glorifying the ideals of the French Revolution.

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20

Galon, Lucas Eduardo Da Silva. "Sobre Beethoven, O Silêncio de Hegel." Revista da Tulha 5, no. 2 (December 18, 2019). http://dx.doi.org/10.11606/issn.2447-7117.rt.2019.164253.

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É amplamente reconhecida a magnitude que ganhou a música como objeto do pensamento filosófico no século XIX. Mesmo compositores, antes considerados na condição de artesãos, tornaram-se pensadores influentes, na esteira da importância da música no pensamento de grandes filósofos. Ludwig van Beethoven (1770-1827) se destaca como pioneiro de uma tendência que culminará na relevância adquirida por Richard Wagner para a história da filosofia: no século XIX os mais importantes filósofos darão certa primazia à estética – incluindo a musical – há pouco organizada como disciplina. É o caso de G. W. F. Hegel (1770-1831), o mais influente filósofo contemporâneo de Beethoven. A hipótese deste estudo parte da não relação entre esses dois importantes protagonistas, o que, na conjuntura histórica indicada, é estranhamente notável. Hegel, em suas muitas preleções dedicadas à arte e à música, jamais cita Beethoven entre os muitos compositores dos quais lança mão como seus exemplos; além disso, é possível que haja determinadas censuras veladas de caráter poético-estilístico desenvolvidas em seus escritos, aplicáveis à música do compositor alemão. Por outro lado, embora não haja registro de comentários de Beethoven acerca de sua ausência na filosofia de Hegel, a hipótese deste estudo sugere que a resposta ao programa hegeliano possa ter se dado no campo artístico, especificamente através de sua Nona Sinfonia. Ainda pouco explorada, a conjunção arte-filosofia, tomada no âmbito da relação entre compositores e filósofos, pode encontrar aqui uma prévia menos ruidosa do consagrado embate Nietzsche-Wagner. Assim sendo, devido aos muitos pontos movediços que são base da hipótese proposta, curiosamente, este ensaio visa especular justamente sobre aquilo que surge do silêncio de ambos os atores em questão: aquilo que Hegel não disse, e o que este silêncio quer dizer; aquilo que Beethoven não expôs em forma de registro escrito, respondendo ao silêncio hegeliano sobre si com uma obra musical, e a efetividade desta resposta.

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