Abstract
This paper is account of Mahler's "Fourth Symphony" as a response and commentary to Beethoven's "Ninth Symphony". It looks at Mahler's adoption of the theme of joy in Beethoven's symphony and his grafting it on to a vocal arrangement.

From the Paper
"In the chapter titled Ambivalent, Elysium Bonds develops the idea that Mahler's Fourth Symphony is a response to and commentary on Beethoven's Ninth. Whereas Beethoven's Ninth is dense and complex Bondargues Mahler's Fourth is ostensibly spare from an ..."

Tags:Mahler, Beethoven

Abstract
This paper describes the meaning, content and form of Beethoven's "Appassionata" sonata for piano, Opus 57 in F minor. The paper includes sections of the score. The paper also briefly examines Beethoven's life.

From the Paper
"Ludwig van Beethoven was even in his lifetime recognized for his profound genius wizardry of imagination and vice-like grip of sonata-based formal procedures. (Holoman) Widely acclaimed as the successor to Mozart, Beethoven set the ground rules for the nascent Roman tic movement in music. No composer has more greatly affected his age nor more profoundly disturbed and challenged his followers. (Holoman) This essay will briefly examine Beethoven's life and then focus on an analysis of one of his best-known and most often played..."

Tags:Beethoven, Appassionata Piano Sonata, music

Abstract
This paper deals with the Themes and Innovative Features in Beethoven's Eroica Symphony, and how to look at it both thematically and musically. It goes through Beethovens life and into the history of the Eroica Symphony, and deconstructs the music as well as the themes and innovations that surround this seminal piece of music. It is six pages with two sources, one being the piece of music itself.

From the Paper
Themes and Innovative Features in Beethoven's Eroica Symphony, No. 3, Op. 55. Program Note. Ludwig Von Beethoven's Eroica Symphony is a piece of unequivocal genius, no doubt because of the risks taken and the powerful- almost compulsory- thematics and emotion employed in the symphony. Ludwig Von Beethoven was born on December 16^th, 1770 and died on March 26^th, 1827. Beethoven was born in Bonn, Germany but moved to Vienna, Austria in his early twenties to study music with Joseph Haydn. There, he quickly became a skilled pianist. At this time, however, his hearing started to deteriorate and

Tags:beethoven, eroica, music

Abstract
In this article, the writer looks at the life of Ludwig van Beethoven, who by the time of his death in 1827, was already recognized as one of the greatest musical talents of his era. At the end of reading the biographies of both Geck and Jones, the writer notes that one is left with an impression of Beethoven that often confirms the stereotype of the Romantic genius at odds with his era. But, as both biographers point out, this is a notion that Beethoven played a major role in fostering. The writer discusses that as an emblematic figure of Romanticism, Beethoven not only composed some of the most important music of all time; he also gave rise to common beliefs about the myth of artistic genius. The writer concludes that ultimately, it may be impossible for a truly "objective" account of Beethoven's life to ever emerge, owing to the fact that mythology and reality are inextricable when considering the legacy of this great man - and the music that continues to live on, all these years later.

From the Paper
"At the same time, Geck shows the ways in which Beethoven fostered many of the myths surrounding his genius during his own lifetime. Geck admits early on that there continues to be some confusion regarding Beethoven's exact birth date, for example. Much of this confusion arises from the fact that Beethoven was not the first-born son of his parents - but he was the first-born son to survive. Two years prior to Beethoven's birth, they had had another son who was also named Ludwig, but who died in infancy. For this reason, Beethoven believed that he had been born in 1772, rather than 1770, as has commonly been believed.
"If there is a problem with Geck's biography, it is a structural one."

Tags:composition, genius, works, Romanticism

Abstract
This paper critically examines Maynard Solomon's portrayal, in his biography "Beethoven", of Ludwig van Beethoven's battle for custody of his nephew Karl. It argues that although Solomon delves into Beethoven's psychology and his motives for pursuing custody, the author fails to objectively depict the custody battle. The paper explains that, instead, Solomon's coverage is uneven and his perspective skewed, and he glosses over certain facts that might have shown Beethoven in a more unfavorable light.

From the Paper
"In the chapter "Beethoven and his Nephew," Maynard Solomon makes insightful observations about Beethoven's motives for fighting to gain custody of his nephew Karl, and about Beethoven's feelings toward both Karl and his mother Johanna. He examines Beethoven's psychology in depth, and forms interesting connections between Beethoven's actions and previous events in his life. Overall, however, Solomon does not succeed in accurately depicting the conflict. Despite his thorough analysis of Beethoven's psyche, Solomon glosses over how Beethoven's extreme actions affected Karl's development. He rarely mentions Beethoven's cruelty toward Karl and does not treat the boy as a full-blown character in the saga. As if this omission weren't enough, Solomon also attempts to excuse Beethoven's cruel and unethical actions regarding Karl and Johanna. Because of these shortcomings, Solomon fails to appropriately convey the gravity of the conflict; he neglects to devote an appropriate amount of space to Karl himself, and tries to soften the harsh facts of Beethoven's cruelty."

Tags:classical, biography, relationship, nephew

Abstract
This paper defines romanticism and romantic music, describes Beethoven's contribution to music and his innovations, and the ways in which his music linked with romanticism. Examples of some of his major works that depict romanticism are also discussed.

Contents
Romanticism
Beethoven and his Music
Early Music and Loss of Hearing
Early Influences
Different Phases of Beethoven's Music
The Eroica - Beethoven's Third Symphony
Beethoven's Sixth Symphony
The Ninth Symphony
Conclusion

From the Paper
"Romanticism was an artistic and intellectual movement that originated in the late 18th century as a revolt against "classicism" (and to a lesser extent against "rationalism".) It stressed strong emotion, feeling and imagination rather than correctness in form. Romanticism rejected order, calm, harmony, balance, idealization, and rationality that typified Classicism and the 18th century Neoclassicism. The movement took its inspiration in part from the libertarian and egalitarian ideals of the French Revolution. ("Romanticism"-Columbia Encyclopedia, 2000)
In Romantic Music emotion and expression of feelings is given more importance than formal balance and internal order. It became the dominant musical trend in classical music during the 19th century and period between 1800 and 1900 is often referred to as the Romantic Period. While Beethoven is thought to be the first romantic composer, other notable composers who used romanticism in their music include Chopin and Wagner."

Tags:classic, orchestra, ninth, fifth

Abstract
This study analyzes the psychological nature versus nurture elements found within the artistic genius of Luwig Van Beethoven and Vincent Van Gogh. The writer notes that by realizing the scope of environmental influence imposed on Beethoven by his father, one can realize the difficulty in defining his natural or environmentally influenced abilities. The writer discusses that although Beethoven certainly was a master, he differs slightly from the more innate abilities of Van Gogh to work outside of environmental nurturing.

Tags:art

Abstract
This paper compares the works of Ludwig van Beethoven and Johann Sebastian Bach. The paper points out that both musicians were great and influential men, but their styles and the way they conducted their lives and their music varied greatly. The works compared and contrasted are the first movement of Beethoven's "Symphony No. 5", belonging to the classical genre of music, and the first movement of Bach's "Brandenburg Concert No. 5", belonging to the late Baroque style. The paper also addresses the composers' tragic lives. To conclude, the author of the paper praises both composers, but ultimately prefers Beethoven's works.

From the Paper
"The Brandenburg Concertos were written by Johann Sebastian Bach between the years of 1715 and 1721. There are six different concertos, all of which individually call for a diverse group of soloists in the concertino. In the first movement of the Brandenburg Concerto No. 5, which was written in 1720 and lasts for a period of nine minutes and forty-one seconds, a brilliant use of the harpsichord can be heard by the listener. Bach's intent in writing the Brandenburg Concertos was to show off his ability to write challenging music for any instrument, which he does illustrate greatly in the first movement of the fifth concerto, as well as in all of the others. Johann Sebastian Bach lived from 1685 to 1750 and it is said that everything he did, everything that he wrote was for the glory of God. Bach's tragic life was not unlike Beethoven's in that Bach and his wife Anna had twelve children and eight of them died before they reached the age of five. This was not exactly uncommon for the time, but tragic nonetheless. Bach was the master of counterpoint, which means that he essentially mastered polyphony and the harmonious opposition of two or more independent musical lines. In this first movement of the fifth Brandenburg Concerto, the full orchestra is in competition for the attention of the listener with the concertino."

Tags:concertino, counterpoint, harmony, baroque, romantic, classical, music

Abstract
This paper examines various psychological factors within the behaviors and biographies of Ludwig Van Beethoven and Vincent Van Gogh. The psychological concept of "nature versus nurture" is examined to reveal the innate and behavioral aspects of Beethoven and Van Gogh's creative genius in music and art. It looks at how, although both artists often conveyed innate "natural" abilities, both artists were often supported through societal influences that provided them with the tools to create masterworks in their fields. In essence, the psychological aspects of "nature versus nurture" are analyzed, revealing the behavioral influences that nurtured the creative genius of Beethoven and Van Gogh.

From the Paper
"The life of Ludwig Van Beethoven is one that is wrought with a father's obsession to control his son's musical talents. When Beethoven was young, he was often forced by his father to practice the study of music and instrumentation. The psychological ramifications of nature versus nurture are very much a conflicting issue in Beethoven's early musical development. Although there is now way to gauge the innate talent of Beethoven, he certainly appears to be "naturally gifted" in the mind of his father."

Tags:music, talent, art

Abstract
This paper explains that Beethoven studied under Joseph Haydn, the "father of the string quartet," who inspired Beethoven's first six string quartets, including Opus 18/6, written for two violins, a viola, and a cello. The author points out that, because of his troubled personal life, his music often depicts a theme of struggle followed by triumph as is evident in Beethoven's first six string quartets, which were composed before he went deaf. The paper describes each of the four distinct movements of String Quartet Number 6, Opus 18/6: 1. Allegro con brio; 2. Adagio ma non troppo; 3. Scherzo: Allegro; and 4. La Malincona Adagio-Allegretto quasi Allegro. A listening chart for the First Movement is included.

From the Paper
"Beethoven began composing string quartets in his so-called "early period," the time of his musical career in which he was exploring different styles and primarily emulating his teacher Joseph Haydn. Moreover, Beethoven's "early period" is also the time before he began to go deaf, around age 30. When Beethoven began losing his hearing, his impending deafness led the musician into deep mental depression. His social life deteriorated and he became suicidal as well. Music written during Beethoven's "middle period" is characteristically grand, expressing "heroism and struggle.""

Tags:haydn, deafness, movement, theme, triumph