Austerlitz, Battle of, 116, 120
Bach, Johann Sebastian, 83, 131, 165
48 Preludes and Fugues, 18–19, 24
The Art of Fugue, 8
Goldberg Variations, 4
influence on Beethoven, 24, 161
St. Matthew and other Passions, 19, 104–105
Beethoven, Carl van and Johann van (brothers), 16, 37, 76
Beethoven, Johann van (father), 15, 16–17, 21, 30, 37, 40, 51, 76, 153
Beethoven, Karl van (nephew), 40
Beethoven, Ludwig van
3 Piano Quartets WoO 36, 23–24, 133, 136, 167
9 Variations on a March by Dressler WoO 63, 19
15 Variations and a Fugue on an Original Theme in E flat major Eroica Variations Op. 35, 70–71, 74, 79–80, 90, 107
33 Variations on a Waltz by Diabelli in C major Diabelli Variations Op. 120, 72, 157
and aristocracy/patrons, 28–29, 39, 41, 50, 52, 54–55, 61, 139, 142, 152 (see also Lichnowsky; Lobkowitz; Maximilian Francis; Rudolph of Austria)
bagatelles, 70
The Battle Symphony/Wellington’s Victory/The Battle of Vittoria Op. 91, 143–144, 157
Beethoven’s orchestra, 2, 65–66, 125, 145
birth/childhood, 15–18
canons/fugues, 7, 8–9, 71, 107, 128
Cantata on the Accession of Emperor Leopold II WoO 88, 33
Christus am Oelberge Op. 85, 80, 127
Classical and Romantic, 1, 12–13, 109
Contre-dance for Small Orchestra No. 7 in E flat major WoO 14, 70, 72, 107
as controversialist, 50–52
The Creatures of Prometheus, 64, 66–67, 70–72, 73
and critics, 66, 72–73, 127–134, 138, 143, 144, 157, 160–161
deafness, 59, 64, 74, 76–81, 108, 128, 132, 151
death (and after), 153–165
Fidelio/Lénore, 58–59, 74, 115
finances (and lack of them), 37, 40–41, 46, 54–55, 61, 143, 152
Funeral Cantata on the Death of Emperor Joseph II WoO 87, 33, 35
and genius, 15–16, 40, 65–66, 79, 86–87, 90, 109
contemporary assessment, 18, 19, 73, 129
Grosse Fuge in B flat major Op. 133, 147, 149, 157
‘Heiligenstadt Testament,’ 76–80, 108, 131
improvisation, 21, 23, 44–45, 142
influence on instrument-makers, 46
keyboard skill, 28–29, 31, 34, 41, 44–46, 70–71, 118, 127, 136
Mass in C major Op. 86, 154
middle period, 131
Piano Concerto No. 1 in C major Op. 15, 138
Piano Concerto No. 2 in B flat major Op. 19, 138
Piano Concerto No. 3 in C minor Op. 37, 119–120, 127, 138
Piano Sonata No. 1 in F minor Op. 2 No. 1, 24
Piano Sonata No. 8 in C minor Pathétique Op. 13, 60, 99, 138
Piano Sonata No. 11 in B flat major Op. 22, 133
Piano Sonata No. 12 in A flat major Maria funebre sulla morte d’un eroe Op. 26, 99, 154
Piano Sonata No. 13 in F flat major quasi una fantasia Op. 27 No. 1, 139, 142
Piano Sonata No. 14 in C sharp minor quasi una fantasia Moonlight Op. 27 No. 2, 139, 142
Piano Sonata No. 15 in D major Pastoral Op. 28, 157
Piano Sonata Nos. 16–18 Op. 31, 80
Piano Sonata No. 21 in C major Waldstein Op. 53, 31
Piano Sonata No. 23 in F minor Appassionata Op. 57, 121
Piano Sonata No. 26 in E flat major Les adieux/Das Lebewohl Op. 81a, 145–146
Piano Sonata No. 29 in B flat major Hammerklavier Op. 106, 133, 147, 149
Piano Sonata No. 30 in E major Op. 109, 134, 157
Piano Sonata No. 31 in A flat major Op. 110, 157
Piano Sonata No. 32 in C minor Op. 111, 132, 157
piano teaching, 28–29, 30–31, 41, 54–55, 139
precocity/‘Wunderkind,’ 15–16, 76
puritanism, 51
quoted, 50, 51, 60, 66, 77, 78, 123
self-belief (and sometime lack of it), 23, 40, 65, 112, 127, 135, 139, 164–165
String Quartet Nos. 1–6 Op. 18, 136, 138, 157
String Quartet No. 12 in E flat major Op. 127, 157
String Quartet No. 13 in B flat major Op. 130, 147, 149, 157
String Quartet Nos. 14–16 Op. 131, 157
Symphonies
No. 1 in C major, 37, 57, 98, 101, 125, 127–128, 138
No. 2 in D major, 57, 80, 125, 127, 138
No. 5 in C minor, 2, 26, 84–86, 130–131, 145, 160–161, 164–165
No. 6 in F major, 76
No. 9 in D minor, 2, 28, 53, 78, 130–131, 144, 145, 163, 164–165
syncopation, 65–66, 102–103, 104
temper, 50, 76, 77, 113, 114, 121
Three Piano Sonatas
Kurfürstensonaten WoO 47, 19
violin skill, 34
Violin Sonata Nos. 6–8 Op. 30, 80
See also Bonn; French Revolution; Mozart; Vienna
Beethoven, Ludwig van (grandfather), 16
Beethoven, Maria van (mother), 17–18, 29–30
Beethoven’s Symphony No. 3 in E flat major Eroica
1st movement: Allegro con brio, 89–96, 128, 130–131
2nd movement: Marcia funebre–Adagio assai, 19, 87, 89, 96–100, 107, 123, 128, 154, 168
3rd movement: Scherzo: Allegro vivace, 65–66, 100–104
4th movement: Finale: Allegro molto, 71–72, 80, 104–108
composition, 57–58, 65–66, 80–81
French influences, 65–66, 96–100
‘Humanity,’ 111
influence, 130, 145–146, 162, 163
innovatory
in form, 4–5, 13, 71–72, 89–91, 94, 111–112, 135–136, 147, 149
in politics, 1, 46–47, 59, 112–114, 164–165
‘morally depraved’/morally uplifting, 129, 144–145, 164
and Napoleon, 2, 87, 89, 108, 110–116
ambivalence, 73, 110, 114, 122–123, 145
antipathy, 59–62, 112–113, 115
as inspiration, 58, 64–65, 81, 110–111
oboe, 107–108
‘Prometheus’ theme, 24–25, 26, 62, 63–65, 72, 73–74, 79–80, 89, 106–108
‘public music,’ 130–131, 161–162, 164
symbolism, 73–74
‘symphonic ideal,’ 130, 143–145, 147, 162
Berlioz, Hector, 163
Bernadotte, General Jean, 52–54
Birtwistle, Harrison: quoted, 133
Blake, William, 113–114
Bonaparte, Jérôme, 61
Beethoven’s boyhood home, 17–18, 29–30, 36, 47, 51, 77, 96–97, 153
Elector of Cologne’s court, 16, 18, 20, 26, 33–34, 37, 53
occupation by the French, 26, 36–37, 61
Bouilly, Jean-Nicholas, 58, 59
Boult, Sir Adrian, 164
Brahms, Johannes, 13, 162, 165
Symphony No. 1 in C minor Op. 68, 162
Brian, Havergal: Symphony No. 1 in D minor The Gothic, 164
Britten, Benjamin: quoted, 132
Brotherhood of Man, 2
Bülow, Hans von, 165
Byron, Lord (George), 109, 110
Cage, John, 132
Catholic Church/Vatican, 8, 32, 61, 77
Cherubini, Luigi, 58–59
Hymne funèbre sur la mort du Gènèral Hoche, 98
Médée, 98
Chopin, Fryderyk, 12, 13, 151, 153
Classicism, 1, 12–13, 135–136, 138, 143, 145, 146–147
Clementi, Muzio, 25
cock crow, 101–102
conductors, 126
Czerny, Carl, 44–45, 123, 128–129
Dussek, Jan Ladislav, 118
Double Piano Concerto Op. 63, 121
The Enlightenment, 26, 31, 110, 111, 115
Forster, E. M.: Howards End
quoted, 84–86
Francis II, Holy Roman Emperor, 48, 52, 60, 112, 120
Frederick II of Prussia, King (Frederick the Great), 27, 31, 32, 118
Frederick William II of Prussia, King, 116
Freemasonry, 27–28, 32, 48, 53, 77
French Revolution/post-revolution, 36, 98, 110, 164
influence on Beethoven, 46–47, 52, 59–62, 96–100, 110, 114
Friedrich, Caspar David, 115
galant, 9–10
Gesellschaft der Musikfreunde in Wien/Musikverein, 152
Goethe, Johann Wolfgang von, 27, 110
Faust, 115
Gossec, François-Joseph, 33, 53
Gregorian chant, 5
Lamentations of Jeremiah, 21
Grove, George: quoted, 100, 103
Habsburg Empire, 44, 51, 54, 60, 61
Handel, George Frideric, 4, 8, 12
‘happy endings,’ 104–105
Hardy, Thomas: The Dynasts
quoted, 156–157
counterpoint/contrapuntalism, 5–9, 39, 53, 106, 107, 146–147
canons/fugues, 5–9, 19, 70, 71, 105–106, 106–107, 128, 144, 146–147, 149
Haydn, Joseph, 4, 25–26, 27, 36, 83, 90, 101
in Bonn, 34–35
burial, 154
and Classical style, 12, 136, 138, 146
instrumental proficiency, 21, 45
String Quartet Nos. 23–28 Sun Op. 20, 105–106
String Quartet No. 47 in B flat major Op. 55 No. 3, 94
Symphony No. 104 in D major London H. 1/104, 94
as teacher/father figure, 29, 35, 39–41, 66–67, 98, 161
Heller, Ferdinand, 21
Hoffmann, E. T. A., 83–84, 86, 161
Hoffmeister, Franz Anton, 60
Holy Roman Empire, dissolution of, 120
horns (‘natural’), 103
Ives, Charles: Universe Symphony, 163–164
Joseph II, Holy Roman Emperor, 29, 31–33, 35, 36, 47–48
Junker, Karl: quoted, 34
Kant, Immanuel, 110
Kapellmeisters, 16, 29, 41, 61
Kinsky, Prince, 61
Kocžwara, Franz, 144
Konzertmeisters, 126
Kreutzer, Rodolphe, 53
Landon, H. Robbins, 66–67
Le Sucur, Jean-François, 33, 53, 97
Leitmotiv/motifs, 90, 142–143, 147
Leopold II, 48
Lessing, Gotthold Ephraim: Nathan the Wise
quoted, 27–28
Lichnowsky, Prince Karl, 53, 55, 120–121, 122, 127
Elégie sur des motifs du Prince Ferdinand de Prusse, 119
Lobkowitz, Prince Joseph, 44, 55, 61, 93–94, 112–113, 119–120, 122
his orchestra, 112–113, 114, 119–120, 125
Louis Ferdinand of Prussia, Prince, 116, 118–120, 121–122
Louis XIV, 36
Louis XVI, 99
Mahler, Gustav, 131
Symphony No. 3 in D minor, 163
Symphony No. 8 in F flat major Symphony of a Thousand, 163
Marengo, Battle of, 54, 60, 99
Maria Theresa, Holy Roman Empress, 20, 32
Marie Antoinette, 36
Matthews, Colin: quoted, 133
Maximilian Francis of Austria, Archduke/Elector of Cologne, 20, 21, 26, 28–29, 31, 33–34, 37, 41, 51
Elector’s orchestra, 19–20, 31, 34, 51, 53
Medieval music, 5
Mendelssohn Bartholody, Felix, 15, 19, 53, 106, 119, 129
Mozart, Wolfgang Amadeus, 4, 25–26, 27, 45, 47–48, 83, 101, 156
Bastien et Bastienne K. 50/46b, 89–90
as child prodigy/genius, 15, 16–17, 19, 86, 89–90
and Classical style, 12, 136, 138
Die Entführung aus dem Serail, 32
grave (lack of known), 154
and his father, Leopold, 15
as inspiration to Beethoven, 23, 29, 36, 138, 161
Piano Concerto No. 17 in G major K. 453, 107
Piano Concerto No. 24 in C minor K. 491, 107
Piano Sonata No. 13 in B flat major K. 333/315c, 94
Serenade No. 12 for Winds in C minor K. 388/384a, 107
String Quartet No. 4 in G minor K. 516, 105
String Quartet No. 13 in D minor K. 173, 106
Symphony No. 40 in G minor KV. 550, 96–98, 126
Symphony No. 41 in C major Jupiter K. 551, 146–147
Violin Sonatas, 23
Napoleon I, Emperor (Napoléon Bonaparte), 26, 52, 61–62, 73, 109, 110, 116, 120, 156–157
declares himself First Consul/Emperor, 54, 113
See also Beethoven’s Symphony No. 3
Neefe, Christian Gottlob, 18–19, 20, 27, 28, 77
Noli, Fan S.: quoted, 52
Oberdöbling, 80, 108, 114, 127, 165
Paganini, Niccolò, 152–153
‘people’s music,’ 53
Razumovsky, Count Andreas, 55
Ries, Ferdinand, 55, 57–59, 93, 112
quoted, 113
Romanticism, 1, 12–13, 19, 83, 84, 87, 105, 109, 110, 119, 135, 139, 143, 146, 161
Rorem, Ned, 132
Rosen, Charles: quoted, 146
Ross, Alex: quoted, 160, 161–162
Rossini, Gioachino, 152
Rousseau, Jean-Jacques, 31, 97
Rudolph of Austria, Archduke, 61, 145–146
Ruskin, John: quoted, 129
Saalfeld, Battle of, 121
Saint-Saëns, Camille: Symphony No. 3 in C minor Organ Symphony Op. 78, 163
Schiller, Friedrich, 110
Schneider, Eulogius, 47
Schumann, Clara (née Wieck), 118–119
Schumann, Robert, 2, 12, 13, 87, 115, 118–119
Simrock, Nikolaus, 51, 55–56, 58, 112
sonata form, 10–13, 23, 104, 136, 138–139, 145, 147
Strauss family, 153
Stravinsky, Igor: quoted, 160
Canon, 6
Spem in alium, 6
Tchaikovsky, Pyotr Ilyich, 143
Tippett, Michael, 132
Ulm, Battle of, 120
van Swieten, Baron Gottfried, 48, 55, 126
Vienna, 37, 47, 54, 55, 59, 60, 98
Beethoven out of fashion, 152
Beethoven settles, 24, 28, 50–51, 61, 80
Beethoven’s first visit, 29, 45
Beethoven’s second visit, 35, 36–37, 45–52
Burgtheater, 64
as competitive environment, 23, 44, 111–112
as inspiration, 20
musical traditions, 12, 32, 45, 50, 94, 96, 100–104, 114, 146, 151–152
politics, 47–48, 50, 52–54, 152
Theater an der Wien, 59, 126–127, 128
threatened/taken by Napoleon, 61–62, 112–113, 120, 151–152
Viganò, Salvatore, 64–65
von Breuning family, 30–31, 35–36
Waldstein, Count Ferdinand von, 31, 36, 41
Weber, Carl Maria von, 152
Weber, William, 162
Wegeler, Dr. Franz, 31
Wilde, Oscar, 160
Wranitzky, Paul, 98–99