3rd Symphony

The first movement was in sonata form, in 3/4. It was quite long but full of excitement. The dynamics were a significant part of the composition. Just after beginning, the dynamics went down to piano, staying so quiet it was almost difficult to hear, then they built up and increased the tempo to create a running foreword sound. The work would start of quietly, using an oboe or two for a simple melody consisting of many major intervals, then repeat with adding other instruments. Then eventually it built up to something loud and triumphant, thereafter tricking you by going back to the quiet, simple section once more. This happened throughout the piece, but some of the piano sections were major, and some minor. Towards the ends, the violins played scales beginning on one note then moved and repeated on a different note to assist with the final build up. Once the dynamics began to stay in forte, the instruments played several repeated chords, leading to the finish. However, after all that waiting for the grand resolve, they reach the final tonic chord but in a very plain matter. A loud, triumphant finish was to be expected, but the audience did not get that satisfaction.

The second movement was a funeral march in the key of C minor. It also was a lengthy work, consisting of many sections. In contrast to the first movement, this one was mostly in minor, with a few major sections that gave an image of the sun peaking out from being the clouds on a rainy day. Being a funeral march, the minor key assisted in conveying the sadden, solemn emotion of mourning. However I do believe that a march typically has a base beat that keeps the piece going consistently, while this composition was all over in terms of tempo and dynamics–although doing so did create a more enjoyable piece. The most significant major section was pleasing to the ear, for it took the edge and intensity away from the slow, piano minor chords that built up to fast, forte ones. FInally, the ending, like the first movement, was very subtle. This one just faded away.

The third movement, the allegro, vivace, was in 3/4. Unlike the first two, this movement was rather lively and upbeat.Being in 3/4 it sounding similar to a waltz, or something one could dance to. Just as the others, dynamics played an important role in the composition, and the sudden contrast between piano and forte was refreshing. The motif used in this one was repeated many times and in different variations. The finale of this movement was satisfying to hear, unlike the other movements which just faded away. The performers played out a long tonic chord, fulfilling the desire for a grand resolve.

Finally, the fourth movement, the allegro molto, was based on variations of a theme previously used by Beethoven. This piece was perfect for the finale for such an epic. The dynamics were very evident and the tempo changes kept the work moving. The beginning was playful and lively, and as it went on, everything became more serious and grand. There were smiles on the faces of the audience, expressing the finishing sound to the piece. It was as if the piece was the music to a great hero story and this was the ending when everything turned out happily. The horns aided in creating a smooth, triumphant melody, and all the instruments worked together for the crescendos and climax. Words to describe the composition would be triumphant, beautiful, and engaging.

Chapters 9 & 10

In the 1800’s, the French Revolution and Napoleon had sprung out, changing the lives of many. And within the chaos, the composer, Beethoven, found a source for inspiration. After speaking with various sources, I have discovered Beethoven’s complicated love for Napoleon Bonaparte. Beethoven himself had a deep admiration and dislike for Napoleon. He felt that Napoleon was an intelligent man who individually achieved great things, therefore believing he was the “Napoleon” of music. However in 1804 he tore up the dedication page of his third symphony, to Napoleon after he took the crown form the pope. On the note of dedications, Beethoven quite often dedicates his pieces, however not as often in his earlier years. From 1802 to the present, his list of friends has expanded, therefore using them for dedications. He dedicates quite a lot of his works to patrons and people of higher class to receive gifts or money, however he still holds dearly the bonds of actual instead of superficial friendship by dedicating some to friends for nothing in return. Moving on, Beethoven’s experiences with women have been quite intriguing. During his days in Bonn, according to his friend, Franz Wegeler, “Beethoven was never out of love.” And since his arrival here in Vienna, word has it there have been a few women on record for the composer. Beethoven yearns for love on a deep level yet isn’t looking for such a commitment that distracts from his career.

As the years go by, Beethoven’s music is transforming and developing into something different. In 1804, he had completed the third symphony, titled Sinfonia Eroica, originally titled Bonaparte in honor of Napoleon, as written above. Beethoven’s third symphony is an epic. It is extensively long and breaks traditional theory rules to creates a sense of unity between the very contrasting movements. There are many new elements in this piece, such as dissonance with instruments, sounding almost as if some notes shouldn’t be playing. The heart of the piece is the idea of heroism, for it is about a great, fallen hero. It is an epic and a tragedy. Each movement represents a different hero and story, the first being of nobility and heart, second about mourning a fallen hero, and the finale brings the ideas of wisdom. Beethoven’s idea of “heroes” and “heroism” is flexible, and initially based of of Napoleon, as discusses previously.

beethoven and the illuminati

Being a great composer and musician, the “new Mozart” draws inspiration and ideas from the heart of his beliefs and past. After doing more research on Beethoven, I have discovered his history of Freemasonry and Illuminati experiences. His teacher, Neefe, had quite a rocky journey: beginning as the Bonn court organist to being replaced by his pupil, Beethoven, then was desperately in search for work after. But in the midst of his search he discovered the Freemasons, an organization promoting brotherhood, and soon after the Illuminati, there forward changing his life. Neefe was passionate about the Illuminati, which focused on for equality in the world, brotherhood, education, and much more. Eventually in his unemployment, Neefe became the head of an Illuminati lodge in Bonn, putting his efforts into bettering the world.

There is question of whether or not Beethoven himself was ever associated with these groups, and after researching I can assure you he had some connections. Neefe, being his teacher, influenced Beethoven in a great way, teaching him the practices and morals of the Illuminati. However according to record, Beethoven never actually joined the organization officially. However in his music, signs of Freemason and Illuminati beliefs are evident. In fact, it is rumored that upon leaving Bonn, Beethoven has planned to use Schiller’s Ode To Joy–carrying Freemasonry beliefs about brotherhood–in a future piece. In addition, unity, a large part of the organizations is evident in his works. All the sections in his songs have some similarity and tie back together in the end. Beethoven has many ties to the Freemasons and Illuminati, but who is to say he was a part? Although it is not confirmed, Beethoven’s music and life includes principles of both groups, focusing mainly on brotherhood and unity.



Piano Sonata No. 1 in F minor, Op. 2, No. 1

Tonight Ludwig van Beethoven performed his Piano Sonata No. 1 in F minor, Op. 2, No. 1 written in 1795, dedicated to the great Joseph Haydn. The first movement, the allegro, was a magnificent creation in sonata form, having a exposition, development, and finishing with a recapitulation. The motif of the piece was a Mannheim Rocket, as they call it, arpeggiation the F minor chord, repeating it several times throughout the piece. The structure for this one was great in variety and kept the audiences listening and awake. The mannheim rocket would begin a section, then move into a phrase where both hands move quickly up and down the keys, all building up to a climax, and finishing with a resolve. This pattern was repeated serval times, resembling tonic prolongation.

The second movement, the lyrical adagio, was absolutely mesmerizing. The delicate yet advanced melody become more ornamented with long trills as the song went on and the left hands played a series of arpeggiated chords to accompany. Major thirds and sixths were pleasing to the ear because of the consonant qualities, and the few minor and dissonant intervals created an appreciation for the major. Feelings of joy and bittersweet sorrow were experienced as Beethoven’s fingers elegantly and emotional touched the keys. This piece included some tonic prolongation as well, however more subtle. The melody in the right hand would play trills, go up and down scales and leap, all coming back to tonic to resolve the phrase. In the end of the piece the melody withheld form resolving, very playfully creating a wonder for when the piece was going to return to tonic and end.

The third movement, was a 3/4 minuet, lively and played triumphantly. There were many sections in the piece, all concluding with the same motif of resolving twice. Scales were a big part of the piece, having the right hand excitingly while building in tempo travel up the keyboard. In addition, there were many octaves played in the right hand, creating open intervals. The piece ended quickly with a resolve, as the others.

Finally, the fourth movement of the piece was grand. Beethoven’s fingers flew about the keyboard, playing scales up and down, increasing in dynamics, then going to a section of pounding out chords. The tempo in this pieces was the fastest, so quick in fact Beethoven himself was sweating very slightly by the end. After loud sections, a quiet, playful melody began with major chords accompanying it. Trills were ornamenting the right hand and turned to octaves, then playing the original melody from the beginning piece thus bringing the magnificent piece all together. He finishes with drastic dynamic and tempo changes, building up to a major climax and pounding out the final resolve. The audience, despite the lack of background in Beethoven’s new music, was ecstatic and gave a standing ovation.

Chapter 2

The recent arrival of Ludwig van Beethoven to Vienna, and the statement made by our esteemed colleague, the young count Waldstein regarding Beethoven’s ‘receiving the spirit of Mozart at the hands of Haydn” has led me to investigate Herr Beethoven’s early works. Beginning in 1782 with the piano sonatas titled the “Dressler” Variations was his first publication while being only 10 years old, or so was written. The piece was a march-sounding one in the key of c minor. Secondly notable, Beethoven’s “Electoral” sonatas WoO 47, dedicated to Max Friedrich, another great creation, however lacking in individuality for it was a rather stereotypical piece for the time. Despite that, the piece did show the artistic maturity young Beethoven had for it was on the same level of any creation by an adult. Another few significant works would be his cantata, one for the death of Emperor Joseph II, and the other for the celebration of Leopold II. These are notable for the deep thought put in and contrast between the two. The initial, for Joseph II, was a dramatic piece with dark lyrics, while Leopold II’s was more optimistic. Many of his works had great influence from Haydn and Mozart, being his main sources for inspiration in the 1780’s. Beethoven’s works leading to his arrival here in Vienna were/are lacking in imagination, especially compared to Mozart’s. In fact some of his pieces are more so imitations of Mozart, such as Beethoven’s C major piano quartet and Mozart’s C major violin sonata K. 296. Similar keys, movement types, and tempos were used. Beethoven’s deep love and respect for everything Mozart eventually overcame him and in 1790, he had written a small phrase of a song in c minor, and thought he plagiarized it from on of Mozart’s pieces. It was after this he decided to come study here in Vienna to gain more knowledge of music and composition. Yes, Beethoven’s works are original, however roles of Mozart come into play in many instances. Although, as the years go by, Beethoven is developing a less imitating-style but appreciation for Mozart by keeping his works and structure in mind but not copying it completely. Thus, while still using Mozart as inspiration, Beethoven is beginning to assemble his own style and individuality in recent works.

More notes on Beethoven’s early works–in 1786 he was composing the Romance Cantabile which was a grand pice however left unfinished. Had it been completed, it would have been of great significance in this day and age. This was rumored to be true, in addition to his “Kafka Papers”, which are paper leaves bound together acting as a sketchbook for ideas, exercises, and themes.

Chapter 1, 3, & 5 rewrite

Ludwig van Beethoven, the up and coming pianist/composer from Bonn played tonight in Vienna’s concert hall. The show was mesmerizing and Beethoven lived up to his ‘outstanding abilities’ that were rumored about the town. I fortunately had the opportunity to speak with the composer and asked him about his journey through life and exhibition from Bonn to Vienna. He had a rather short, muscular appearance with eyes full of passion. Asking about his childhood, I collected the facts that he had grown up in Bonn with his father, mother and two brothers. Originally, Beethoven was one of seven children however only three including him made it to adulthood. His father, Johann, was a rather useless figure in Beethoven’s life. Being an alcoholic, he did not do much in ways of supporting the family, however his mother, Maria Magdalena Keverich Leym, was known to be kind and held the family together. Beethoven had been a musical boy and had his first concert at the age of twelve. Starting off young, just as the famous Mozart, Beethoven practiced many musical aspects and had even participated in an orchestra at a young age. Piano being his main skill, he was taught by Christian Gottlob Neefe, a lively man that ended up moving into the empty place of a father figure for Beethoven. He spoke very highly of Neefe, indicating that a large sum of his credit for succeeding in the arts belongs to him. Now Beethoven, who lived and played in Bonn for many, many years, had visions of going to Vienna like the other musicians to further his career. He did visit once before in earlier years, however he eventually moved here in nineteen seventy-two. Beethoven did so to become a pupil of the legendary Haydn, who traveled to Bonn in nineteen seventy. He played one of his cantatas-one of which was for the death of Emperor Joseph II–for the famous musician and did indeed impress, therefore leading Haydn to invite Beethoven to move to Vienna and study under him.


In seventeen ninety-two, Beethoven set out for Vienna. However it was a risky exhibition for there were revolutionary French armies fighting Austrian troops about the Rhineland. Beethoven said he had tipped his driver for putting his life at risk to chauffeur him. Beethoven himself was up to date on all of the political issues in Europe and had made references to his beliefs on such subjects. For example, in a personal album of a woman he entered some verses from Don Carlos by Schiller that explained his thoughts on rights and freedom. With all the political problem clouds hovering Europe, Beethoven had been hired by Prince Karl Lichnowsky and his wife to perform. The prince gave him a place to stay, well pay, and a set of rare Italian stringed instruments. Despite being treated well, Beethoven could not deal with the fact they wanted him to be present at four everyday to play for dinner. In addition, Karl’s wife gave Beethoven a present however he claimed he could not accept it and in a strongly lettered word, wrote that giving presents humbled his work. Attempting to not let his explosive temperament-which he was known for-ruin all his relationships with friends a patrons, he eventually accepted the gift, saying only because he read the words accompanying the gift ten times and understand. Moving back to Haydn, studying under him was not the experience anyone would expect. Haydn was extremely busy with musical events and trips to London that even though they had worked together for six months, Beethoven was still on the first exercise. Beethoven moved on to work with other pianists to further his career.


As seventeen ninety-eight came around, Beethoven began to notice subtle signs of deafness. A buzzing in his ear wold appear, and gradually he lost the ability to hear musical instruments play high notes. Three years after the first signs, Beethoven wrote a letter, addressed to his old friend, Wegeler, tell him of his misery. Wegeler was also the first person he confided in on this devastating happening. As the years went on, it became worse and Beethoven eventually cut himself off from the public for isolation was easier than asking people to “speak up” because he was deaf, after all, it was a secret that was going to be kept. Living in isolation, Beethoven wrote many pieces, including the famous ninth symphony while he was almost completely deaf. Finally, in 1802, the Heiligenstadt Testament was written by Beethoven himself, addressed to his brothers and the public. It was an emotion-filled letter, stating how difficult living was while deaf and feeling other symptoms of illnesses. He contemplated suicide and was depressed but the love for music and his destiny of artistic creation kept him alive, until he lost hope at the end, stating his fortune goes to his brothers and thank you’s. Beethoven experienced hundreds of hurdles and complications in his life yet managed to bring forth hundreds of pieces, giving much to the artistic world.

Chapters 1, 3, & 5

After finally having the chance to see the great Ludwig van Beethoven play, I can assure you he is one to remember. After his performance ended I had the opportunity to talk with him, and hear some background information that helped shape him to what he is today. Now he was a sort of unusual looking fellow, rather short but muscular but his eyes were full of passion. He had grown up in Bonn, with his parents and six siblings however only three including him made it to adulthood. I had asked him about his parents, and he said nice things about his mother, Maria Magdalena Keverich Leym–she was kind and held the family together. However, not much was said about his father besides he wasn’t the best figure in his life because of his weakness for alcohol. Beethoven said more about his old instructor, Christian Gottlob Neefe, who was more of a father figure to him. When he spoke of Neefe, I could feel the gratefulness and respect he had for him, for he spoke very highly of his teacher. Beethoven proceeded to speak about his childhood, saying his first performance was at age twelve. When he spoke, it sounded humble, and he nonchalantly threw out amazing facts like how many complicated pieces he could play at young ages, his first composition, and his musical abilities. “I wasn’t a “child prodigy” like Mozart, however I looked up so him more than anyone else. My father actually started a false statement saying I was born in seventeen seventy-two so audiences believed I was two years younger to seem as young and talented like Mozart.” I had heard rumors about his mother, Maria, who died in seventeen eighty-seven, and that Beethoven’s father, Johann, became more dependent on alcohol and depression. After some struggle, Beethoven managed to receive half of his fahters salary to help support his siblings and self for Johann was utterly useless. When he spoke about his father, which was very little, his tone became more seriously and solemn. He obviously didn’t particularity like his father, in fact, in seventeen ninety-two when Johann passed, Beethoven didn’t return home to Bonn from Vienna for the funeral and to be with his siblings, nor did he give any money to support the service. Other than his dark cloud for his father and stubbornness, Beethoven appeared to be young, full of passion, and a good man with a few rough edges.

Although I didn’t have a lot of time to speak with him, Beethoven mentioned working with Haydn, who came through Bonn in seventeen ninety on Christmas. Haydn then first heard Beethoven play, he said he had either played his funeral cantata for Joseph II or the cantata for his successor, Leopold II, he couldn’t remember. Hayden was indeed impressed, and therefore invited him to Vienna to become his pupil. Naturally, he accepted and arrived here. Now he is studying and performing, and thankfully I was able to see his mesmerizing concert tonight.



After speaking with Beethoven, I did some research and asked his close pupils for some more information on the “new Mozart”. I had gathered that Beethoven came to Vienna in 1792, which was a very dangerous time for travel–in fact apparently he had tipped his driver who brought him here because the trip was so risky. And he had at some point been hired to play by Prince Karl Lichnowsky and his wife, who had given him a place to live and rare Italian string instruments with a good salary. However Beethoven could not handle the fact that they wanted him to come play at 4 everyday for dinner. In fact when Prince Karl’s wife gave him a present, he couldn’t accept it and wrote a very strongly worded letter saying she should do that and humble his work. But eventually he managed to keep the gift, claiming that after reading the words accompanying it, everything was alright. Beethoven was a little off, and had an explosive temperament. There were several cases in which this was proved. Moving on to his learning, Beethoven was taught by Hayden, however Hyden himself was so busy with trips to London and performances that for the first six months they only worked on one exercise.



Moving on to 1797, Beethoven first noticed sign of deafness. Something was indeed wrong. There was a buzzing night and day in his ear, and eventually he was unable to hear the high notes of instruments. He had written a letter to his old friend, Wegeler, saying he was miserable and noticing all the signs of hearing loss. Of course, it got worse and to the point where he had a hard time interacting with people because he didn’t want anyone to know. He became so frustrated because all he wanted to do was compose but the very thing he needed most was disappearing. In 1802, Beethoven wrote the Heiligenstadt Testament, to his brothers, basically saying how hard life was and all the pain he was going through was unbearable. He was isolated and deaf, his low point in life.