Deaf composer Ludwig van Beethoven while writing "Solemn Mass"
Detail of a portrait by Karl Joseph Stieler, 1820
Source: wikimedia
Historian SERGEY TSVETKOV - about the proud Beethoven:
Why was it easier for a great composer to write a symphony than to learn to say “thank you”
and how he became an ardent misanthrope, but at the same time adored his friends, nephew and mother.
Ludwig van Beethoven was accustomed to leading an ascetic lifestyle from his youth.
I got up at five or six in the morning.
I washed my face, had hard-boiled eggs and wine for breakfast, and drank coffee, which had to be brewed
of sixty grains.
During the day, the maestro gave lessons, concerts, studied the works of Mozart, Haydn and -
worked, worked, worked...
Having taken up musical compositions, he became so insensitive to hunger that
that he scolded the servants when they brought him food.
They said that he constantly went unshaven, believing that shaving interfered with creative inspiration.
And before sitting down to write music, the composer poured a bucket of cold water on his head:
this, in his opinion, was supposed to stimulate brain function.
One of Beethoven's closest friends, Wegeler, testifies
that Beethoven “was always in love with someone, and mostly to a strong degree,”
and even that he rarely saw Beethoven except in a state of excitement,
often reaching the point of paroxysm. IN
Moreover, this excitement had almost no effect on the behavior and habits of the composer.
Schindler, also a close friend of Beethoven, assures:
“he lived his whole life with virginal modesty, not allowing the slightest approach of weakness.”
Even a hint of obscenity in conversations filled him with disgust. Beethoven cared about his friends,
was very affectionate with his nephew and had deep feelings for his mother.
The only thing he lacked was humility.
All his habits show that Beethoven is proud,
mostly due to unhealthy character.
His example shows that it is easier to write a symphony than to learn to say “thank you.”
Yes, he often spoke pleasantries (as the century obliged him to do), but even more often he spoke rudeness and barbs.
He flared up over every trifle, gave full vent to anger, and was extremely suspicious.
His imaginary enemies were numerous:
he hated Italian music, the Austrian government and apartments,
facing north.
Let's listen to how he scolds:
“I cannot comprehend how the government tolerates this disgusting, shameful smokestack!”
Having discovered an error in the numbering of his works, he exploded:
“What a vile fraud!”
Having climbed into some Viennese cellar, he sat down at a separate table,
he lit his long pipe and ordered newspapers, smoked herrings and beer.
But if he didn’t like a random neighbor, he would run away, grumbling.
Once, in a moment of rage, the maestro tried to break a chair over Prince Likhnovsky’s head.
The Lord God Himself, from Beethoven’s point of view, interfered with him in every possible way, sending him material problems,
sometimes illnesses, sometimes unloving women, sometimes slanderers, sometimes bad instruments and bad musicians, etc.
Of course, much can be attributed to his illnesses, which predisposed him to misanthropy -
deafness, severe myopia.
Beethoven's deafness, according to Dr. Maraj, represented the peculiarity
that "she separated him from outside world, that is, from everything,
which could affect his musical output..."
(“Reports on the meetings of the Academy of Sciences”, volume 186).
Dr. Andreas Ignaz Wawruch, professor at the Vienna Surgical Clinic, pointed out,
that in order to stimulate his weakening appetite, Beethoven began to abuse
alcoholic drinks, drink a lot of punch.
“This was,” he wrote, “the change in lifestyle that brought him to the brink of the grave.”
(Beethoven died of cirrhosis of the liver).
However, pride haunted Beethoven even in to a greater extent than his ailments.
The consequence of increased self-esteem was frequent moving from apartment to apartment,
dissatisfaction with house owners, neighbors, quarrels with fellow performers,
with theater directors, with publishers, with the public.
It got to the point that he could pour soup he didn’t like on the cook’s head.
And who knows how many magnificent melodies were not born in Beethoven’s head
because of a bad mood?
L. Beethoven. Allegro with fire (Symphony No. 5)
Materials used:
Kolunov K.V. “God in three actions”;
Strelnikov N. “Beethoven. Experience Characteristics";
Herriot E. “The Life of Beethoven”
Ludwig van Beethoven (baptized 12/17/1770, Bonn - 3/26/1827, Vienna), German composer. Born into a family of Flemish origin. Beethoven's grandfather was the leader of the Bonn court chapel, his father was a court singer. Ludwig van Beethoven early learned to play the harpsichord, organ, violin, viola, and flute. From 1781, Ludwig Beethoven's studies were supervised by H. G. Nefe, a composer, organist and prominent esthetician. Beethoven soon became accompanist of the court theater and assistant organist of the chapel. In 1789 he attended lectures on philosophy at the University of Bonn. Beethoven's views on the phenomena of political and social life They were distinguished by militant democracy and love of freedom. The revolutionary events in France of 1789 and the anti-feudal movement in the Rhineland played a huge role in the formation of the composer’s republican beliefs. Ludwig van Beethoven's passion for the music of revolutionary France left a significant mark on the composer's work.
Beethoven's biography as a composer begins in 1782 (variations for clavier on a march theme by composer E. K. Dresler). 2 youth cantatas (1790) - the first vocal and symphonic works of Ludwig van Beethoven. In 1787, young Beethoven visited Vienna and took several lessons from W. A. Mozart. In 1792, he left his homeland forever and moved to Vienna, where he lived almost forever until the end of his life. Beethoven's initial goal when moving to Vienna was to improve his composition under the guidance of I. Haydn. However, lessons with Haydn did not last long. Among Beethoven's teachers were also I. G. Albrechtsberger and A. Salieri. Ludwig van Beethoven quickly gained fame and recognition - first as Vienna's best pianist and inspired improviser, and later as a composer. Beethoven's brilliant, innovative work caused fierce controversy. Beethoven's playing combined deep, stormy drama and a wide, melodious cantilena.
At the peak of his creative powers, Ludwig van Beethoven showed tremendous efficiency. In 1801-12 such outstanding works appeared as the sonata in C sharp minor (the so-called “Moonlight”, 1801), the youthfully cheerful 2nd symphony (1802), “Kreutzer Sonata” (1803), “Eroica” (3rd i) symphony, sonatas “Aurora” and “Appassionata” (1804), opera “Fidelio” (1805), 4th symphony (1806), expressing a romantic perception of nature. In 1808, Beethoven completed one of the most popular symphonic works - the 5th symphony and at the same time the “Pastoral” (6th) symphony, in 1810 - the music for J. V. Goethe’s tragedy “Egmont”, in 1812 - the 7th (“ apotheosis of dance”, according to R. Wagner) and the 8th (“humorous”, according to R. Rolland) symphony.
From the age of 27, Beethoven suffered from deafness, which progressed all the time. A serious illness for the musician limited his communication with people, made it difficult for him to perform as a pianist, and finally forced Beethoven to abandon them completely.
The years 1813-17 in Beethoven's biography are marked by a decrease creative activity. In 1818, a new rise in the composer’s creativity began; he creates the last 5 piano sonatas (1816-22) and 5 string quartets (1823-26). The pinnacle of the “late” Beethoven’s creativity is the 9th Symphony (1824).
Towards the end of his life, Ludwig van Beethoven experienced severe financial need and loneliness. He did not hear even the loudest sounds of the orchestra; he used notebooks to communicate with his interlocutors. The composer found support only among a small circle of friends who shared his progressive views.
Instrumental and, above all, symphonic creativity Ludwig van Beethoven has a pronounced programmatic character. The main content of Beethoven's works, heroic in concept, can be expressed in the words: “Through struggle to victory.” The dialectical struggle of life's contradictions finds vivid expression in Beethoven. artistic embodiment, especially in works of sonata form - symphonies, overtures, sonatas, quartets, etc. Ludwig van Beethoven widely developed the principle of sonatas, based on the opposition and development of contrasting themes, as well as contradictory elements within individual themes. Compared to the works of Beethoven's immediate predecessors in Viennese classical school- W. A. Mozart and J. Haydn - Beethoven's symphonies and sonatas are distinguished by their large scale of construction, the main thematic material is subjected to intensive extensive development, the connection between sections of the form deepens, the contradictions between contrasting episodes and themes become more acute. Beethoven started from the orchestral composition approved by Haydn and only slightly expanded it, but at the same time he achieved enormous power of orchestral sound and bright contrasts. Ludwig van Beethoven transformed the ancient minuet, which was part of symphonies and sonatas, into a scherzo, giving this “joke” a wide expressive range - from powerful sparkling fun (in the 3rd symphony) to an expression of anxiety and concern (in the 5th symphony). Special role devoted to finales in symphonies and codas (conclusions) in overtures, symphonies and sonatas; they are designed to express victorious feelings.
Ludwig van Beethoven is the greatest symphonic composer. He created 9 symphonies, 11 overtures, 5 piano concertos, a violin concerto, 2 masses and other symphonic works. The highest achievements of Beethoven's symphony include the 3rd (“Eroic”) and 5th symphonies; the idea of the latter is expressed by the composer in the words: “Fight with fate.” Active heroic character The 5th piano concerto, created at the same time as the 5th symphony, is different; the 6th symphony, containing a number of realistic pictures of rural life, reflected Beethoven's enthusiastic love for nature.
The top of everything creative life composer - 9th symphony. For the first time in the history of this genre, Ludwig van Beethoven introduced a choral finale (“To Joy” to words by F. Schiller). The development of the main image of the symphony goes from the menacing and inexorable tragic theme of the first movement to the theme of bright joy in the finale. Close to the 9th Symphony in concept, “Solemn Mass” (1823) is majestic monumental work philosophical nature, little connected with the traditions of cult music.
Beethoven's only opera "Fidelio" (post. 1805, Vienna, 2nd edition - 1806, 3rd - 1814) is dedicated to heroic deed a woman who saved her husband from death - a victim of the governor’s vindictiveness and arbitrariness - and exposed the tyrant to the people. Stylistically, Fidelio is close to the type of “salvation opera” that arose during the Great Patriotic War. french revolution, and at the same time opens the way to the symphonization of opera. Beethoven’s ballet “The Works of Prometheus” (designed by S. Vigano, 1801) is also dedicated to the heroic theme.
Beethoven's chamber music includes 32 piano sonatas (not counting 6 youth sonatas written in Bonn) and 10 sonatas for violin and piano, 16 string quartets, 7 piano trios and many other ensembles (string trios, septet for mixed composition). Beethoven's best chamber works - sonatas "Pathetique", "Appassionata" for piano, "Kreutzer Sonata" for violin and piano, etc. - are distinguished by the scale of their ideas, passionate, intense drama, and bold expansion expressive means tools. Among Beethoven's quartets, the central place belongs to 3 quartets, opus 59 (written by order of the Russian ambassador in Vienna A.K. Razumovsky), combining soulful lyricism with bright folk images (in 2 of these quartets the melodies of Russian folk songs). In Beethoven's last chamber works - piano sonatas Nos. 28-32 and quartets Nos. 12-16, aspirations for in-depth, concentrated expressiveness are manifested, as well as for the whimsicality of forms, subjective contemplation, which anticipated the art of the Romantic composers.
The novelty and significance of the content of Beethoven’s music led to the expansion of the existing musical forms and deep transformation of all kinds musical creativity. The decisive stage in historical development The concert genre included the 4th and 5th piano concertos and Beethoven's violin concerto, which are a synthesis of a symphony and a concerto. The form of the variations, which ranked first in Beethoven after the sonata form, also underwent significant changes (an outstanding example is the 32 variations in C minor for piano).
Absolutely new genre Beethoven created instrumental miniatures based on dances and other small pieces from an ancient suite - “bagatelles” (trifles, trifles).
The vocal heritage of Ludwig van Beethoven consists of songs, over 70 choirs, and canons. From verse songs, arias and odes, where the text played a subordinate role, Beethoven gradually came to a new type of song, in which each stanza poetic text corresponded new music(songs to the words of J. V. Goethe, including “Mignon”, “Flow again, tears of love”, “Heart, heart”, etc.). For the first time, he combines a number of romance songs into a single cycle with a consistently unfolding plot plan (“To a Distant Beloved,” based on texts by A. Eiteles, 1816). The song “About a Flea” is the only text from Goethe’s Faust embodied by Beethoven, although the composer did not give up the idea of writing music for Faust until the end of his life. Beethoven arranged 188 songs of different nationalities for voice with instrumental accompaniment, and made piano transcriptions of folk songs (including Russian and Ukrainian). He introduced folk melodies into many instrumental compositions.
Beethoven's work is one of the peaks in the history of world art. His entire life and work speak of the titanic personality of the composer, who combined brilliant musical talent with an ebullient, rebellious temperament, endowed with an unbending will and the ability for enormous internal concentration. High ideology, based on the consciousness of public duty, constituted distinctive feature Beethoven - a musician-citizen. A contemporary of the Great French Revolution, Beethoven reflected in his work the great popular movements of this era, its most progressive ideas. The revolutionary era determined the content and innovative direction of Beethoven's music. Revolutionary heroism was reflected in one of the main artistic images Beethoven - a struggling, suffering and ultimately victorious heroic figure.
II.Brief biography:
Childhood
Approaching deafness.
Period mature creativity. « New way"(1803 - 1812).
Last years.
III. Most famous works.
IV. Bibliography.
Characteristic creative style Beethoven.
Ludwig van Beethoven is one of the most respected and performed composers in the world, a key figure in Western classical music in the period between classicism and romanticism.
He wrote in all genres that existed in his time, including opera, ballet, music for dramatic performances, choral works. The most significant works in his work are considered to be instrumental works: piano, violin and cello sonatas, piano concertos, violin, quartets, overtures, symphonies.
Beethoven showed himself most fully in the genres of sonata and symphony. It was with Beethoven that the so-called “conflict symphonism”, based on the juxtaposition and collision of brightly contrasting musical images, first became widespread. The more dramatic the conflict, the more complex and vibrant the development process, which for Beethoven becomes the main driving force.
Beethoven found new intonations for his time to express his thoughts - dynamic, restless, harsh. Its sound becomes more rich, dense and dramatically contrasting. His musical themes acquire unprecedented brevity and austere simplicity.
Listeners brought up on XVIII classicism centuries, the emotional power of Beethoven's music, manifested either in violent drama, or in a grandiose epic scope, or in soulful lyrics, stunned and caused misunderstanding. But it was precisely these qualities of Beethoven’s art that delighted romantic musicians.
Beethoven's connection with romanticism is undeniable, but his art in its main outlines does not coincide with it, and it does not fit into the framework of classicism. Beethoven is unique, individual and multifaceted.
Biography
Childhood
The family into which Beethoven was born lived in poverty; the head of the family earned money only for his own pleasure, completely disregarding the needs of his children and wife.
At the age of four, Ludwig's childhood ended. The boy's father, Johann, began to drill the child. He taught his son to play the violin and piano in the hope that he would become a child prodigy, a new Mozart, and provide for his family. The educational process crossed the boundaries of what was permitted, young Beethoven did not even have the right to walk with friends, he was immediately installed in the house to continue music lessons. Neither the child's sobs nor the wife's pleas could shake the father's stubbornness.
Intensive work on the instrument took away another opportunity - to receive a general scientific education. The boy had only superficial knowledge, he was weak in spelling and mental arithmetic. A great desire to learn and learn something new helped fill the gap. Throughout his life, Ludwig was engaged in self-education, becoming familiar with the works of such great writers as Shakespeare, Plato, Homer, Sophocles, Aristotle.
All these adversities failed to stop the development of Beethoven's amazing inner world. He was different from other children, he was not attracted funny Games and adventure, the eccentric child preferred solitude. Having devoted himself to music, he realized his own talent very early and, no matter what, moved forward.
The talent developed. Johann noticed that the student surpassed the teacher, and entrusted classes with his son to a more experienced teacher, Pfeiffer. The teacher has changed, but the methods remain the same. Late at night, the child was forced to get out of bed and play the piano until the early morning. To withstand such a rhythm of life, you need to have truly extraordinary abilities, and Ludwig had them.
In 1787, Beethoven managed to visit Vienna for the first time - at that time the musical capital of Europe. According to stories, Mozart, having listened to the young man’s play, highly appreciated his improvisations and predicted a great future for him. But soon Beethoven had to return home - his mother was dying. He remained the sole breadwinner of a family consisting of a dissolute father and two younger brothers.
First Viennese period (1792 - 1802).
In Vienna, where Beethoven came for the second time in 1792 and where he remained until the end of his days, he quickly found titled friends and patrons of the arts.
People who met the young Beethoven described the twenty-year-old composer as stocky young man, prone to panache, sometimes impudent, but good-natured and sweet in his relationships with friends. Realizing the inadequacy of his education, he went to Joseph Haydn, a recognized Viennese authority in the field instrumental music(Mozart had died a year earlier) and for some time brought him counterpoint exercises to check. Haydn, however, soon lost interest in the obstinate student, and Beethoven, secretly from him, began to take lessons from I. Schenck and then from the more thorough I. G. Albrechtsberger. In addition, wanting to improve his vocal writing, he visited the famous opera composer Antonio Salieri for several years. Soon he joined a circle that united titled amateurs and professional musicians. Prince Karl Lichnowsky introduced the young provincial into the circle of his friends.
Political and public life Europe at that time was alarming: when Beethoven arrived in Vienna in 1792, the city was excited by news of the revolution in France. Beethoven enthusiastically accepted revolutionary slogans and praised freedom in his music. The volcanic, explosive nature of his work is undoubtedly the embodiment of the spirit of the time, but only in the sense that the character of the creator was to some extent shaped by this time. The bold violation of generally accepted norms, the powerful self-affirmation, the thunderous atmosphere of Beethoven's music - all this would have been unthinkable in Mozart's era.
However, Beethoven's early works largely follow the canons of the 18th century: this applies to trios (strings and piano), violin, piano and cello sonatas. The piano was then Beethoven’s closest instrument; in his piano works he expressed his most intimate feelings with utmost sincerity. The First Symphony (1801) is Beethoven's first purely orchestral work.
Approaching deafness.
We can only guess to what extent Beethoven's deafness influenced his work. The disease developed gradually. Already in 1798, he complained of tinnitus; it was difficult for him to distinguish high tones and understand a conversation conducted in a whisper. Horrified at the prospect of becoming an object of pity - a deaf composer, he told his close friend Karl Amenda about his illness, as well as doctors, who advised him to protect his hearing as much as possible. He continued to move in the circle of his Viennese friends, took part in musical evenings, composed a lot. He managed to hide his deafness so well that until 1812 even people who often met him did not suspect how serious his illness was. The fact that during a conversation he often answered inappropriately was attributed to bad mood or absent-mindedness.
In the summer of 1802, Beethoven retired to the quiet suburb of Vienna - Heiligenstadt. A stunning document appeared there - the “Heiligenstadt Testament”, the painful confession of a musician tormented by illness. The will is addressed to Beethoven's brothers (with instructions to read and execute after his death); in it he talks about his mental suffering: it is painful when “a person standing next to me hears a flute playing from afar, inaudible to me; or when someone hears a shepherd singing, but I cannot distinguish a sound.” But then, in a letter to Dr. Wegeler, he exclaims: “I will take fate by the throat!”, and the music that he continues to write confirms this decision: in the same summer the bright Second Symphony and magnificent piano sonatas op. 31 and three violin sonatas, op. thirty.
For so many people, Ludwig van Beethoven is the true embodiment of classical music. music of the XIX century. Indeed, this man managed to do a surprising amount, changing society’s attitude towards the very concept of “music”.
It is amazing that he was able to do this, quite early on losing the most important instrument of a musician - hearing.
Ludwig van Beethoven's father and grandfather were professional singers. So music career was destined for him. He performed for the first time in front of the public in March 1778, when he was only 7 years old. And at the age of 12 he wrote his first work - variations on the theme of Dressler's march. However, despite the fact that Ludwig demonstrated good success in playing the violin and piano, his interests were not limited to music alone. He was drawn to all sciences that seemed interesting to him. Perhaps because of this versatility, his progress in music was a little slower than it might have been.
Shadow Genius
Beethoven was always distinguished by the fact that he did not want to follow the beaten path, but tried to develop own ideas, starting from the fundamental principles of music. He pioneered many principles of composition and use musical instruments. When Mozart first heard him in 1787, the great Austrian exclaimed: “He will make everyone talk about himself!” And I was not mistaken.
At the end of the 18th century, all of Europe applauded the virtuoso pianist Beethoven. But few people loved Beethove the man. Even from his youth, he was not distinguished by the easiest disposition.
Beethoven's character was legendary. Once he was speaking at a social event, and one of the gentlemen began talking to the lady, distracted from the music. Beethoven abruptly stopped playing, slammed the lid of the piano and publicly declared: “I won’t play for such pigs!” At the same time, there were no titles or classes for him. Beethoven expressed contempt for secular conventions both in his behavior and appearance. In the shining and powdered 18th century, he allowed himself to walk around casually dressed, with tousled hair. This caused a lot of confusion and questions among high society. However, connoisseurs of the composer's talent, among whom were the highest-ranking people, believed that everything was allowed to a genius. Rudolf, Archduke of Austria, who took piano lessons from Beethoven, quite officially declared that any rules social etiquette do not apply to his eccentric mentor.
Tinnitus
Beethoven's harsh and hot-tempered character was largely due to his state of health. WITH youth he suffered from severe abdominal pain that did not go away, despite all the efforts of the doctors. But it was still possible to come to terms with this. A much more serious problem was the hearing problems that began with Ludwig in 1796. As a result of inflammation of the inner ear, he developed a complex form of tinnitus - “ringing in the ears.” The disease usually develops in people over the age of 55, but Beethoven began suffering from it at age 26.
It has not yet been established exactly what caused the inflammation that caused such a complication. Among the options are syphilis, typhus, and lupus erythematosus, but it is not known for certain whether the composer suffered from at least one of these diseases. But it is well known about his habit of working at night and periodically dipping his head in a basin with ice water to ward off sleep. Perhaps it was hypothermia that gave impetus to the development of the disease.
Constant ringing in his ears prevented Beethoven from making music. To overcome the disease, he retired for a long time to the town of Heiligenstadt near Vienna. But no recommendations from doctors brought relief. As Beethoven admitted in letters to friends, despair from the gradual loss of hearing more than once led him to thoughts of suicide. However, the belief that musical talent was given to him from above allowed him to push away these dark ideas.
It is believed that Beethoven lost his hearing completely in 1814. However, long before this he was forced to completely rebuild his life. The composer used a set of special hearing tubes that allowed him to hear music and speech. However, in everyday life he preferred that his interlocutors write their remarks in notebooks. He himself answered either out loud or by writing down his answer there. There were about 400 such “conversational notebooks,” but a little more than half have survived to this day.
A deep understanding of music theory and the ability to feel a melody with an “inner ear” allowed Beethoven to become acquainted with musical innovations simply by reading the score. That’s how, without hearing a sound, he became familiar with the operas of Weber and Rossini, as well as the songs of Schubert.
The last chord
The most amazing thing is that, having lost his hearing, Beethoven did not stop composing music. Having already lost his sound connection with the world, he composed his most famous works: sonatas, symphonies and his only opera, Fidelio. In his inner world he heard notes and harmonies with the same distinctness as before. The situation with performances was worse. Here there were not enough internal sensations; an “external” ear was needed to understand the emotions of the audience. In 1811, Beethoven was forced to interrupt the performance of his piano concerto No. 5 and since then never played in public.
The deaf composer remained a hero and idol for all music lovers. In 1824, at the premiere of his last symphony (Ninth Symphony in D minor), the audience gave such a stormy ovation that police officials demanded that the applause stop, believing that only the emperor could be greeted so loudly. Alas, Beethoven himself, conducting the orchestra and standing with his back to the audience, did not hear these stormy applause. Then one of the singers took him by the hand and turned him to face the enthusiastic audience. Seeing the applauding crowd, the composer burst into tears, unable to contain his emotions - joyful and sad at the same time.
The illness made Beethoven's character even tougher than before. He did not hesitate to express the most categorical criticism of the authorities and personally of Emperor Franz I. It is believed that many of his “conversation notebooks” were burned by friends to hide the seditious statements of the great composer. There is a legend that one day Beethoven, walking in the company of famous writer Johann Wolfgang von Goethe in the Czech resort of Teplice, met the emperor, who was vacationing there, accompanied by courtiers. Goethe respectfully stepped to the side of the road and froze in a bow. Beethoven calmly walked through the crowd of courtiers, only lightly touching his hat with his hand. What would have cost anyone else their heads, the brilliant troublemaker got away with.
In the last months of his life, Beethoven was very ill and bedridden. His life was cut short on March 26, 1827. He died during a severe thunderstorm and his last words, according to some sources, were: “In heaven I will hear.”
Already in our time, studies have been carried out on preserved samples of Beethoven's hair. It turned out that the lead content in them is very high. Based on this, a version was built that the doctor Andreas Vavruch, who treated Beethoven for abdominal pain, repeatedly pierced his peritoneum to remove the fluid, and then applied lead lotions. It is possible that it was lead poisoning that provoked both the composer’s hearing loss and his early death at the age of 56 years.
“The concept of personality” - Task “Spell by letter”. Subject. Structure of the individual: (Ananyev B.G.) – properties of a person as an individual: “Personality is the highest level of human development. "Psychology of Personality". Individuality is defended." They become a person. The relationship between the concepts “individual”, “subject”, “individuality”, “personality”.
“Personality development” - Model of personality structure according to K. K. Platonov: Guiding principle schooling: Continuous development of the entire set of personality qualities. A harmoniously developed personality. Student Personality Development secondary school. Outline of the report: Personal temperament level. Principles and forms of work aimed at developing the child’s personality.
"Vincent van Gogh" - In March 1868, in the middle of school year, Vincent unexpectedly dropped out of school and returned to his father's house. On October 1, 1864, van Gogh went to boarding school in Zevenbergen, 20 km from his home. Van Gogh hardly played with other children. Vincent, although he was born second, became the eldest of the children... Vincent is good at languages - French, English, German.
“Personal Biography” - Contents of the program for the study of biographical material. The pages of the biography are an introduction to the most striking periods of the author’s life that are morally significant for modern students. How good life is when you do something good and true. Grades 5-6 – the period of “naive realism” Most often people are interested in individual bright episodes of the writer’s biography.
“Biography of Beethoven” - From the age of 13, organist of the Bonn Court Chapel. In 1800, Beethoven's 1st symphony was performed. About the composer. Since 1780, he was a student of K. G. Nefe, who raised Beethoven in the spirit of the German Enlightenment. BEETHOVEN Ludwig Van (1770-1827) - German composer, pianist, conductor. Great and always famous.
“Personality structure” - V.N. Myasishchev. Thus, V.N. Myasishchev characterizes the unity of personality by the dynamics of neuropsychic reactivity. 3. Freud. personality structure 3. Freud. K.G. Jung (1875-1961). 3. “Block” strategy for studying personality structure. 2. “Factor” strategy for studying personality traits. Personality structure and approaches to the question of the combination of biological and social.