thw workd sks

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The rise of Ludwig van Beethoven into the ranks of history's greatest composers was paralleled by and in some ways a consequence of his own personal tragedy and despair. Beginning in the late 1790's, the increasing buzzing and humming in his ears sent Beethoven into a panic, searching for a cure from doctor to doctor. By October 1802 he had written the Heiligenstadt Testament confessing the certainty of his growing deafness, his consequent despair, and suicidal considerations. Yet, despite the personal tragedy caused by the "infirmity in the one sense which ought to be more perfect in [him] than in others, a sense which [he] once possessed in the highest perfection, a perfection such as few in [his] profession enjoy," it also served as a motivating force in that it challenged him to try and conquer the fate that was handed him. He would not surrender to that "jealous demon, my wretched health" before proving to himself and the world the extent of his skill. Thus, faced with su! ch great impending loss, Beethov en, keeping faith in his art and ability, states in his Heiligenstadt Testament a promise of his greatness yet to be proven in the development of his heroic style.

It seems undeniable then that the Heilingenstadt Testament in which Beethoven came to terms with and put to rest the incurable tragedy of his growing deafness, also set forth a determination to prove his skills before death should take him. This quest coincided with and perhaps led to his graduation from the Vienese hi-Classic style to the development of his own unique heroic style, a blend of French and Vienese elements. The "Eroica" can be viewed as a deliverance of both his life and his career from despair and futility. Beethoven recreates himself in a new guise, self-sufficient and heroic. The Testament thus is likened to a funeral work. The composer sets himself up as the tragic hero-"my heart and soul have been full of the tender feeling of good will, and I was ever inclined to accomplish great things"-withdrawn from the company of men, tortured by his growing deafness, tempted with thoughts of suicide, overcoming despair by the pure strength of faith in his own music, s! earching for "but one day of pur e joy." In a musical perspective, the "Eroica" Symphony established a milestone in Beethoven's development and in music history. His manipulation of sonata form to embrace the powerful emotions of heroic struggle and tragedy went beyond Mozart or Haydn's high-Classic style. Beethoven's new path reflected the turbulence of the developing politics of the day (especially the Napoleonic Wars), ignited perhaps by the hopelessness he felt in himself. He took music beyond the Vienese style which ignored the unsettling currents of Beethoven's terror, anxiety, and death. Indeed he placed tragedy at the center of his heroic style, symbolizing death, despair, and loss-paralleling his own sense of loss, pain and strife. But in addition, like his own triumph over suffering, there is hope, triumph and joy as expressed in the finale of the "Eroica."

In the Heiligenstadt Testament the composer comes to terms with his deafness and leaves what is beyond his control to what must be, trying to make a fresh start. It is quite evident that the Testament is filled with a preoccupation with death-he writes as though death were at his doorstep, waiting for him to finish his letter-"Farewell...How happy I shall be if I can still be helpful to you in my grave...With joy I hasten to meet death. Come when thou wilt, I shall meet thee bravely." He has set his old self-the almost-deaf, tired, hopeless Ludwig- to rest through the Testament so that he may rise and live again. Beethoven had stated previously that he has not yet revealed all of which he is capable. Coming to terms with his condition, he moves on to "develop all my artistic capacities." This eventually leads to his heroic period in which Symphony No. 3 in E-flat ("Eroica") composed in 1803 became one of the early principal works. The work broke from the earlier Vienese high -! Classic style; many older compo sers and music pedagogues, not able to accept his new style, called it "fantastic," "hare-brained," "too long, elaborate, incomprehensible, and much too noisy." In fact the style drew much from contemporary French music-the driving, ethically exalted, "grand style" elements combined with the highly ordered yet flexible structure of sonata form.

In the Heiligenstadt Testament the composer comes to terms with his deafness and leaves what is beyond his control to what must be, trying to make a fresh start. It is quite evident that the Testament is filled with a preoccupation with death-he writes as though death were at his doorstep, waiting for him to finish his letter-"Farewell...How happy I shall be if I can still be helpful to you in my grave...With joy I hasten to meet death. Come when thou wilt, I shall meet thee bravely." He has set his old self-the almost-deaf, tired, hopeless Ludwig- to rest through the Testament so that he may rise and live again. Beethoven had stated previously that he has not yet revealed all of which he is capable. Coming to terms with his condition, he

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Approximate Word count = 2940
Approximate Pages = 12 (250 words per page double spaced)

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