Ludwig van Beethoven (1770 – 1827)
Ludwig van Beethoven German composer, conductor and pianist, one of the three “Viennese classics”. Ludwig van Beethoven was born in Bonn into a family of musicians. Presumably the date of birth is December 16, 1770. The house in which Beethoven was born
Beethoven's first music teacher was his father. It is traditionally believed that he was very harsh towards little Ludwig, who “was often in tears at the instrument.” Christian Gottlob Nefe became Beethoven's real teacher. He introduced Ludwig to the works of Bach and Handel. Thanks to Nefa, Beethoven's first work was published - variations on the theme of Dressler's march. Beethoven was twelve years old at that time, and he was already working as an assistant to the court organist. Portrait of Beethoven at the age of 13
Three children's sonatas and several songs are known from the composer's youthful works, including “The Groundhog.” At the age of 17, Ludwig visited Vienna to study with Mozart. But the classes did not take place, because... his mother fell ill. After the death of his mother, a seventeen-year-old boy was forced to become the head of the family and take care of his younger brothers. He joined the orchestra as a violist.
In 1892, Beethoven again traveled to Vienna. Here Antonio Salieri becomes his mentor. Already in the first years of his life in Vienna, Beethoven gained fame as a virtuoso pianist. His performance amazed the audience. In Vienna, Beethoven did not immediately gain fame as a composer, despite the fact that he devoted a lot of time to composition studies. Portrait of Beethoven, probably 1800
Beethoven's first public performance in Vienna took place in March 1795, where he debuted his piano concerto. Beethoven's works began to be widely published and enjoyed success. Beethoven composes the Sixth Symphony
The disease Progressive deafness (the first signs of which appeared in 1797) forced Beethoven to reduce his concert activities, and in the last years of his life completely give up public speaking. Due to deafness, Beethoven rarely leaves the house and is deprived of sound perception. He becomes gloomy and withdrawn. It was during these years that the composer, one after another, created his most famous works Beethoven at work at home
Creativity of 9 symphonies: No. 1 (1799-1800), No. 2 (1803), No. 3 “Heroic” (1803-1804), No. 4 (1806), No. 5 (1804-1808), No. 6 “Pastoral” (1808 ), No. 7 (1812), No. 8 (1812), No. 9 (1824). 11 symphonic overtures, including Coriolanus, Egmont, Leonora No. 3. 5 piano concertos. 6 youth sonatas for piano. 32 piano sonatas, 32 variations and about 60 piano pieces. 10 sonatas for violin and piano. concerto for violin and orchestra, concerto for piano, violin and cello and orchestra (“triple concerto”).
5 sonatas for cello and piano. 16 string quartets. 6 trios. Ballet "Creations of Prometheus". Opera "Fidelio". Solemn Mass. Vocal cycle “To a distant beloved”. Songs based on poems by various poets and arrangements of folk songs
Death Beethoven died on March 26, 1827. Over twenty thousand people followed his coffin. Beethoven's grave at the Central Cemetery of Vienna, Austria
Thank you for your attention! Remember the classics!
To whom is it dedicated? Moonlight Sonata»One of the most famous in history musical works the great, unsurpassed Beethoven, called “Moonlight Sonata”, was dedicated to the young Juliet Guicciardi.
The girl won my heart young composer and then brutally smashed it. But it is to Juliet that we owe the fact that we can listen to the music of the best sonata of the brilliant composer, which penetrates so deeply into the soul.
Ludwig van Beethoven (1770-1827) was born in the German city of Bonn. The childhood years can be called the most difficult in the life of the future composer. It was difficult for the proud and independent boy to cope with the fact that his father, a rude and despotic man, noticing his son’s musical talent, decided to use him for selfish purposes.
Forcing little Ludwig to sit at the harpsichord from morning to night, he did not think that his son needed childhood so much. At the age of eight, Beethoven earned his first money - he gave a public concert, and by the age of twelve the boy was fluent in playing the violin and organ. Along with success came isolation, a need for solitude and unsociability for the young musician.
At the same time, Christian Gottlieb Nefe, his wise and kind mentor, appeared in the life of the future composer. It was he who instilled in the boy a sense of beauty, taught him to understand nature, art, and understand human life.
Nefe taught Ludwig ancient languages, philosophy, literature, history, and ethics. Subsequently, being a deeply and broadly thinking person, Beethoven became an adherent of the principles of freedom, humanism, and equality of all people.
In 1787, the young Beethoven left Bonn and went to Vienna.
Beautiful Vienna - a city of theaters and cathedrals, street orchestras and love serenades under the windows - won the heart young genius. But that's where young musician He was struck by deafness: at first the sounds seemed muffled to him, then he repeated unheard phrases several times, then he realized that he was completely losing his hearing. “I lead a bitter existence,” Beethoven wrote to his friend. - I'm deaf. With my profession, nothing could be more terrible... Oh, if I could get rid of this disease, I would embrace the whole world.”
But the horror of progressive deafness was replaced by happiness from meeting a young aristocrat, Italian by birth, Giulietta Guicciardi (1784-1856). Juliet, daughter of the rich and noble Count Guicciardi, arrived in Vienna in 1800. She was not even seventeen then, but the young girl’s love of life and charm captivated the thirty-year-old composer, and he immediately admitted to his friends that he had fallen in love ardently and passionately.
He was sure that the same tender feelings arose in the heart of the mocking coquette. In a letter to his friend, Beethoven emphasized: “This wonderful girl is so loved by me and loves me that I observe an amazing change in myself precisely because of her.”
A few months after their first meeting, Beethoven invited Juliet to take some free piano lessons from him. She happily accepted this offer, and in return for such a generous gift, she presented her teacher with several shirts embroidered by her. Beethoven was a strict teacher.
When he didn’t like Juliet’s playing, frustrated, he threw the notes on the floor, pointedly turned away from the girl, and she silently collected the notebooks from the floor. Six months later, at the peak of his feelings, Beethoven began creating a new sonata, which after his death would be called “Moonlight”. It is dedicated to Countess Guicciardi and was started in the state great love, delight and hope.
He, angry, asked the young countess not to come to him anymore. “I despised her,” Beethoven recalled much later. “After all, if I wanted to give my life to this love, what would be left for the noble, for the highest?” And the aristocratic student, having become Countess Gallenberg, left Vienna and went to Italy.
In mental turmoil in October 1802, Beethoven left Vienna and went to Heiligenstadt, where he wrote the famous “Heiligenstadt Testament”: “Oh, you people who think that I am evil, stubborn, ill-mannered, how unfair you are to me; you do not know the secret reason for what seems to you. In my heart and mind, since childhood, I have been predisposed to a tender sense of kindness, I have always been ready to accomplish great things.
But just think that for six years now I have been in an unfortunate state... I am completely deaf..."
Fear and the collapse of hopes give rise to thoughts of suicide in the composer. But Beethoven gathered his strength and decided to start new life and in almost absolute deafness he created great masterpieces.
Several years passed, and Juliet returned to Austria and came to Beethoven’s apartment. Crying, she recalled the wonderful time when the composer was her teacher, talked about the poverty and difficulties of her family, asked to forgive her and help with money. Being a kind and noble man, the maestro gave her a significant amount, but asked her to leave and never appear in his house.
Beethoven seemed indifferent and indifferent. But who knows what was going on in his heart, tormented by numerous disappointments. At the end of his life, the composer will write: “I was very loved by her and more than ever, I was her husband...”
Trying to erase his beloved from his memory forever, the composer dated other women. One day, seeing the beautiful Josephine Brunswick, he immediately confessed his love to her, but in response he received only a polite but unequivocal refusal.
Then, in desperation, Beethoven proposed to Josephine’s older sister, Teresa. But she did the same, coming up with a beautiful fairy tale about the impossibility of meeting the composer.
The genius more than once recalled how women humiliated him. One day, a young singer from a Viennese theater, when asked to meet with her, responded mockingly that “the composer is so ugly in his appearance, and besides, it seems too strange to her” that she does not intend to meet with him.
Ludwig van Beethoven really did not take care of his appearance and often remained unkempt. He could hardly be called independent in everyday life; he required constant care from a woman.
When Giulietta Guicciardi, while still a student of the maestro, noticed that Beethoven’s silk bow was not tied properly, tied it up and kissed his forehead, the composer did not take off this bow and did not change his clothes for several weeks, until friends hinted at his not quite fresh appearance suit.
Too sincere and open, disdainful of hypocrisy and servility, Beethoven often seemed rude and ill-mannered. He often expressed himself obscenely, which is why many considered him a plebeian and an ignorant boor, although the composer was simply telling the truth.
In the autumn of 1826, Beethoven fell ill. Grueling treatment and three complex operations could not get the composer back on his feet. All winter, without getting out of bed, completely deaf, he suffered because... he could not continue to work. On March 26, 1827, the great musical genius Ludwig van Beethoven died.
After his death, a letter “To the Immortal Beloved” was found in a desk drawer.<Так Бетховен озаглавил письмо сам (авт.)>: “My angel, my everything, my self... Why is there deep sadness where necessity reigns?
Can our love survive only at the cost of sacrifices and renunciation of completeness? Can’t you change the situation in which you are not entirely mine and I am not entirely yours? What a life! Without you! So close! So far! What longing and tears for you - you - you, my life, my everything...”
Many will then argue about who exactly the message is addressed to. But a small fact points specifically to Juliet Guicciardi: next to the letter was kept a tiny portrait of Beethoven’s beloved, made by an unknown master.
In this episode we will talk about recent years life of the great Beethoven.
In the previous issue, we talked about the composer’s life, overshadowed by a meager financial situation and consistent failures in relationships with the fair sex. But these details, as well as the character, which was far from the most beautiful character of the composer, did not prevent Ludwig from writing his beautiful music.
Today we, finishing our short excursion according to the biography of Beethoven, let's talk about the last twelve (1815-1827) years of his life.
Beethoven's family problems
It cannot be said that Beethoven ever got along well with his brothers, especially with Beethoven, who by that time was already a wealthy pharmacist who supplied medicines to the army.
In 1812, after meeting Goethe, the composer went to the city of Linz to visit Johann. True, apparently, Ludwig was prompted for this trip by a selfish idea, namely, to upset the engagement between Johann and one of his employees, Therese Obermayer, whom the composer simply could not stand. True, the result was not in Ludwig’s favor, because his younger brother did not listen to him.
A few years earlier, back in 1806, Ludwig prevented the marriage of his other brother, and also his secretary, Kaspar, and the attempt was equally unsuccessful. But all these attempts by the composer to interfere in the personal lives of his brothers were not without reason.
After all, the surname BEETHOVEN by that time was thundering throughout Europe, and the composer could not afford for his younger brothers to disgrace this family. After all, both Teresa and Johanna, potential daughters-in-law of the great composer, to put it mildly, were not worthy of bearing this surname. But it was still useless, because the brothers did not listen to him.
On the other hand, Kaspar himself will understand that he has made a stupid mistake - in 1811 he will be so disappointed in his wife that he even tries to divorce her, although he still will not get a final divorce. His wife, Johanna, turned out to be far from the most decent woman, as his older brother, Ludwig, predicted several years ago, in every possible way preventing their marriage.
Well, in 1815, Kaspar left this world. The late Kaspar Karl, in his dying will, asked Ludwig, his older brother, to become the guardian of his son, a nine-year-old boy also named Karl.
This boy, as he grew up, gave his uncle, the great Beethoven, huge amount troubles.Moreover, immediately after the death of his brother, Ludwig had to “fight” with the child’s mother, Kaspar’s widow Johanna, whom he could not stand. For five years, Beethoven tried with all his might to deprive Johanna of parental rights, and in 1820 he finally achieved his goal.
Financial problems still haunted the composer, who struggled to earn money to feed his beloved nephew and continue to engage in creativity.
There was even a case when the British pianist Charles Neate, together with Ferdinand Rees, advised Beethoven to hold a concert in England. Beethoven's music was greatly appreciated in this country. The composer had an excellent reputation in England, which means his performance at solo concert would guarantee him an excellent income.
Beethoven understood this perfectly well, and, in general, he had long dreamed of going on tour to London, as one of his teachers did in his time, Joseph Haydn. Moreover, the British Philharmonic sent Ludwig official letter with conditions that were simply amazing for a composer bathing in everyday problems ah, partly related to poor financial condition.
But at the last minute, Beethoven changed his mind, or rather, was forced to refuse to go to England due to illness. Moreover, the composer felt that he could not leave his nephew for such a long time, so he refused such a generous gift from fate.
We will not dwell on Beethoven’s nephew, because it will be dedicated to him. For now, let’s just note that the guy caused the composer a lot of everyday problems and emotional experiences, which affected Beethoven’s already “undermined” health for the worse.
But still, the composer madly loved his nephew and helped him in every possible way, despite all the bad sides of his character. After all, the composer understood that he would no longer have other heirs. Even in letters, the composer addressed his nephew as “Dear Son.”
The last "Academy" of a deaf composer
Beethoven continues to write his beautiful music, radically different from the works written in his youth. The composer is finishing his last piano sonatas, while at the same time composing simple piano pieces and chamber music commissioned by publishers in order to provide himself and his nephew with income for subsistence.
One of major events This period of Beethoven's life is his last "Academy" held on May 7, 1824 in famous theater Kertnertor.
There his famous “Solemn Mass” was performed, and also the famous “Ninth Symphony” was presented to the public for the first time - a unique work that breaks all ideas about the traditional classical symphony.
Viennese old-timers testified that at this event there was an ovation previously unheard of at any concert of any other musician. Even now there is no need to invent anything about the success of the Ninth Symphony, because a fragment of this particular work was used in the anthem of the European Union.
Well, that evening, when the completely deaf composer first presented this masterpiece to the Viennese public, the delight of the listeners was indescribable. Hats and scarves flew through the air. The applause was so loud that it simply hurt the ears. But only the completely deaf composer, unfortunately, did not see anything of this (for he stood with his back to the audience) and did not hear until Caroline Unger, one of the vocalists, turned Ludwig towards the applauding audience.
The ovation touched Beethoven so emotionally that the composer, who saw flying scarves and tears in the eyes of the applauding listeners, literally fainted.
At that moment, the hall simply exploded with applause, which subsided with renewed vigor. The emotions were so powerful that after some time the police were forced to intervene. It was a huge success. Well, in less than 2 weeks the performance will be repeated in the Redoubt Hall of the same Vienna.
True, the artistic success of the work still did not bring serious material benefits to Beethoven. The financial side again let the composer down - both concerts turned out to be absolutely unprofitable and even unprofitable for Beethoven himself.
Of course, soon one reputable publishing house paid the composer both for the “Ninth Symphony” and for the “Solemn Mass” and several other works, but still the artistic success of the works was significantly higher than the material profit.
Beethoven was such a unique composer: all the dukes, barons, lords, kings and emperors of Europe knew his name. But until the end of his days he remained poor.
Progressive disease. Last months of life.
In 1826, Beethoven's health deteriorated further after twenty-year-old Karl, his favorite nephew, attempted suicide, possibly due to large gambling debts (however this is not confirmed).
After this reckless act of his nephew, Beethoven's health deteriorated so much that he would never recover, unlike Karl, who survived this moment and soon enlisted in the army.
Pneumonia, inflammation of the intestines, cirrhosis of the liver and subsequent dropsy, due to which the composer’s stomach was pierced several times - even in our age, the chances of recovery from such a set of diseases seem to be something supernatural.
IN last days life of the sick Beethoven was visited by the most different people: Cramolini with his bride, Hummel, Jenger, Schubert (although it is believed that he could not enter the composer’s room. And, in general, the fact of Schubert’s visit to Beethoven has not been proven) and other people who appreciated the composer’s work.
But most of the time with Beethoven was spent by the friends who looked after him - Schindler and another old friend - the same Stefan Breuning from Bonn, but now living nearby with his family.
Speaking about the Breuning family, it is worth noting that Stefan’s son, Gerhard, nicknamed “Ariel,” brought Beethoven especially much joy in these days darkened by illness. Beethoven simply adored this boy, who understood nothing and was constantly “shining,” and this love was mutual.
Even the stingy brother Johann began to spend a lot of time with the dying composer. And this, despite the fact that literally a few months before his death, Ludwig and his nephew (after his suicide attempt) came to Johann with some requests, and the latter treated his brother like a stranger - he took money from him and his nephew for an overnight stay , and also sent them home in an open carriage (after which Ludwig is believed to have contracted pneumonia).
The composer's material poverty in the last weeks of his stay was diluted by a good amount received from the London Philharmonic Society, and collected thanks to Moscheles, one of Beethoven's students.
Another joy for Ludwig was another, truly valuable and for that time extremely rare gift sent from the English capital by Johann Stumpf (harp maker) - it was full meeting works of Handel, whom Beethoven considered almost the greatest composer.
Modest, but at the same time very pleasant gifts for the composer in the form of jars of compote, were sent by Baron Pascalati, in whose house Beethoven lived for some time. The publisher Schot also distinguished himself by sending the dying Beethoven famous Rhine wines. Only Beethoven himself noted with regret that this gift was a little late, although in his heart he was glad about this parcel.
And, of course, two weeks before his death, Ludwig was finally awarded the title of honorary member of the Vienna Society of Music Lovers of the Austrian Empire. Only this title remained only symbolic, since it was not supported by any material benefit.
It is also worth noting that until his death, Ludwig, despite incurable disease, thought more than adequately. Even suspecting that he could die at any moment, Beethoven still continued to read the most complex philosophical and other literature on different languages, thereby continuing to enrich themselves intellectually.
Already on March 24, 1827, the composer signed a will, according to the contents of which, all his property would be inherited by his nephew, Karl. On the same day, Beethoven is visited by a priest.
The death of the great Beethoven occurred after three days of hellish torment - March 26, 1827. This happened in Vienna, in the very house where Beethoven lived recent months life. This house had interesting name"Schwarzpanierhaus", which translates as "House of the Black Spaniard".
At the time of his death, the composer's friends, Breuning and Schindler, were not around. At that moment, foreseeing Ludwig’s imminent death, they went to negotiate a burial place (possibly with Ludwig’s brother, Johann), leaving a common friend, Anselm Hutenbrenner, next to the composer.
It was the latter, perhaps together with Therese (the wife of Johann, Ludwig's brother), who witnessed the death of the great Beethoven. He will then tell you how great Ludwig van Beethoven met his death by looking menacingly into her eyes and shaking his fist (literally) to the sound of thunder. It was Hutenbrenner who closed the eyes of the great composer, whose soul from that moment left this world.
Ludwig van Beethoven was buried on March 29. The scale of the ceremony is amazing: about 20 thousand people took part in the procession - this is almost a tenth of the entire population of Vienna at that time.And this is surprising, given the fact that compared to the funeral of Beethoven, the scale of the funeral of the older classics, Mozart and Haydn, was much less significant.
One of the torchbearers of the funeral ceremony was another great composer, Franz Schubert, who, by the way, will die literally next year.
A variety of people, from ordinary Viennese citizens to representatives of the imperial palace, came to send the great Beethoven on his last journey.
As a composer, is that he raised to the highest degree the ability of expression instrumental music when conveying emotional moods and extremely expanded its forms. Based on the works of Haydn and Mozart in the first period of his work, Beethoven then began to give the instruments the expressiveness characteristic of each of them, so much so that they, both independently (especially the piano) and in the orchestra, acquired the ability to express the highest ideas and deepest moods human soul. The difference between Beethoven and Haydn and Mozart, who also had already brought the language of instruments to high degree development lies in the fact that he modified the forms of instrumental music derived from them, and added deep inner content to the impeccable beauty of the form. Under his hands, the minuet expands into a meaningful scherzo; the finale, which in most cases was a lively, cheerful and unpretentious part for his predecessors, becomes for him the culminating point of the development of the entire work and often surpasses the first part in the breadth and grandeur of its concept. In contrast to the balance of voices, which gives Mozart’s music the character of dispassionate objectivity, Beethoven often gives predominance to the first voice, which gives his compositions a subjective shade, which makes it possible to connect all parts of the work with the unity of mood and idea. What he indicated in some works, such as the Heroic or Pastoral symphonies, with appropriate inscriptions, is observed in most of his instrumental works: poetically expressed in them emotional moods are in close relationship with each other, and therefore these works fully deserve the name of poems.
Portrait of Ludwig van Beethoven. Artist J. K. Stieler, 1820
The number of Beethoven's works, not counting works without opus designation, is 138. These include 9 symphonies (the last with a finale for chorus and orchestra on Schiller's ode to Joy), 7 concertos, 1 septet, 2 sextets, 3 quintets, 16 strings quartets, 36 piano sonatas, 16 sonatas for piano with other instruments, 8 piano trios, 1 opera, 2 cantatas, 1 oratorio, 2 large masses, several overtures, music for Egmont, The Ruins of Athens, etc., and numerous works for piano and for single and polyphonic singing.
Ludwig van Beethoven. Best works
By their nature, these writings clearly outline three periods, with a preparatory period ending in 1795. The first period covers the years from 1795 to 1803 (until the 29th work). In the works of this time, the influence of Haydn and Mozart is still clearly visible, but (especially in the piano works, both in the form of a concerto and in the sonata and variations), a desire for independence is already noticeable - and not only from the technical side. The second period begins in 1803 and ends in 1816 (until the 58th work). Here is genius composer in the full and rich flowering of mature artistic individuality. The works of this period, revealing a whole world of rich life sensations, at the same time can serve as an example of a wonderful and complete harmony between content and form. The third period includes works with grandiose content, in which, due to Beethoven’s renunciation due to complete deafness, outside world, thoughts become even deeper, become more exciting, often more spontaneous than before, but the unity of thought and form turns out to be less perfect in them and is often sacrificed to the subjectivity of mood.
Ludwig van Beethoven was born in an era of great changes, the main one of which was French Revolution. That is why the theme of heroic struggle became the main one in the composer’s work. The struggle for republican ideals, the desire for change, a better future - Beethoven lived with these ideas.
Childhood and youth
Ludwig van Beethoven was born in 1770 in Bonn (Austria), where he spent his childhood. Frequently changing teachers were involved in educating the future composer; his father’s friends taught him to play various musical instruments.
Realizing that his son had musical talent, the father, wanting to see a second Mozart in Beethoven, began to force the boy to study long and hard. However, hopes were not justified; Ludwig did not turn out to be a child prodigy, but he received good compositional knowledge. And thanks to this, at the age of 12, his first work was published: “Piano Variations on the Theme of Dressler’s March.”
Beethoven began working in a theater orchestra at the age of 11 without finishing school. Until the end of his days he wrote with errors. However, the composer read a lot and learned French, Italian and Latin without outside help.
The early period of Beethoven's life was not the most productive; in ten years (1782-1792) only about fifty works were written.
Vienna period
Realizing that he still had a lot to learn, Beethoven moved to Vienna. Here he attends composition classes and performs as a pianist. He is patronized by many music connoisseurs, but the composer behaves coldly and proudly towards them, sharply responding to insults.
This period is distinguished by its scale, two symphonies appear, “Christ on the Mount of Olives” - the famous and only oratorio. But at the same time, a disease makes itself known - deafness. Beethoven understands that it is incurable and is progressing rapidly. Out of hopelessness and doom, the composer delves into creativity.
Central period
This period dates from 1802-1012 and is characterized by the flowering of Beethoven's talent. Having overcome the suffering caused by the disease, he saw the similarity of his struggle with the struggle of the revolutionaries in France. Beethoven's works embodied these ideas of perseverance and steadfastness of spirit. They manifested themselves especially clearly in the “Eroica Symphony” (symphony No. 3), the opera “Fidelio”, “Appassionata” (sonata No. 23).
Transition period
This period lasts from 1812 to 1815. At this time in Europe there are big changes, after the end of Napoleon's rule, it is going to be carried out, which contributes to the strengthening of reactionary-monarchist tendencies.
Following political changes, the cultural situation also changes. Literature and music depart from the heroic classicism familiar to Beethoven. Romanticism begins to take over the vacated positions. The composer accepts these changes, creates symphonic fantasy“Battle of Vattoria”, cantata “Happy Moment”. Both creations were a great success with the public.
However, not all of Beethoven's works from this period are like this. Paying tribute to the new fashion, the composer begins to experiment, look for new ways and musical techniques. Many of these finds were considered ingenious.
Later creativity
The last years of Beethoven's life were marked by political decline in Austria and the composer's progressive illness - deafness became absolute. Having no family, immersed in silence, Beethoven took in his nephew, but he only brought grief.
Beethoven's works late period are strikingly different from everything he wrote before. Romanticism takes over, and the ideas of struggle and confrontation between light and dark acquire a philosophical character.
In 1823, Beethoven's greatest creation (as he himself believed) was born - “Solemn Mass,” which was first performed in St. Petersburg.
Beethoven: "Fur Elise"
This work became Beethoven's most famous creation. However, during the composer's lifetime, Bagatelle No. 40 (formal title) was not widely known. The manuscript was discovered only after the composer's death. In 1865, it was found by Ludwig Nohl, a researcher of Beethoven's work. He received it from the hands of a certain woman who claimed that it was a gift. It was not possible to determine the time when the bagatelle was written, since it was dated April 27 without indicating the year. The work was published in 1867, but the original, unfortunately, was lost.
It is not known for certain who Eliza is, to whom the piano miniature is dedicated. There is even a suggestion, put forward by Max Unger (1923), that the original title of the work was “Für Teresa,” and Nohl simply misread Beethoven’s handwriting. If we accept this version as true, then the play is dedicated to the composer’s student, Teresa Malfatti. Beethoven was in love with the girl and even proposed to her, but was refused.
Despite the many beautiful and wonderful works, written for piano, Beethoven for many is inextricably linked with this mysterious and enchanting piece.