Riccardo Wagner felt that he should recognize in this innovation "a declaration of bankruptcy of instrumental music", but it is hardly possible to agree with this decision, given the expressive power that increases so much in the latest string quartets. Already in The Monstrous Chorus, Beethoven tried to present the choir in "an instrumental work, a piano concerto".

This monumental religious work stands out over time in the midst of the great flowering of secular music as an individual creative act. In structuring his Mass, Beethoven can no longer rely on the safe ground of a great tradition. For him, adaptation to the text of the Mass becomes a spasmodic struggle, personal in the deepest sense, with religious problems, a struggle that in turn leads him to the eschatological problems of human existence. From a Catholic family, Beethoven never heard or professed an Orthodox believer all his life.

When he was organist in Bonn, he was clearly practical in all acts of worship. On the other hand, the Prince-Elector Massimiliano Francesco was open to rationalistic ideas, and the circles visited by the young Beethoven were saturated with enlightenment ideas.

A man like him, who throughout his life was very concerned about going to the root of things, could not be a critical believer. A contemporary biographer says that Beethoven's religious ideas were not so much based on faith as they found their source in a deity. Without relying on any theory, he openly recognized God in the world, as well as the world in God. The problems faced by Beethoven in the composition of the mass text are so overwhelming that the work grows to enormous proportions.

The very same dimensions of the work make it difficult to enter the liturgy: even from the point of view of character, it is more a personal recognition than a liturgical work. It has big creative problems. So, gradually, his "worldly life", as he himself called it, is called. Natural relationships from person to person become impossible, and in its place are notes of conversations, invaluable documents for posters. now almost deaf, he was still able to taste Fidelio's first successes, reworked on the podium as an orchestra conductor, but it was the merit of the director Umlauf that it was behind him to correct the confusion caused by Beethoven.

And how did contemporaries judge his first interpretations? His way of playing the piano was wrong and his interception was often wrong, so the beauty of the music suffered. But who, how about that, could think of a concert player? When he was fascinated by his ideas, what did he need as her hands expressed her? As much in his youthful period as in the early Viennese period of his master's degree, the piano occupies the first place in his work as a means of communication. Of course, we must remember that it is on the eve of the century that it is culturally understood that the structure of the piano has undergone a profound transformation.

Although the ideal was a clear but tiny sound that allowed "melted and transparent interpretation", from the first moment of the Viennese period, Beethoven was a pianist who favored "strong and sonic interpretation". The Vienna period shows that Beethoven, as a composer, was intimately familiar with the sound and soul of these new instruments. Thus, these sonatas are, without a doubt, novelty, not only from a thematic, formal and harmonic point of view, but almost from the point of view of acoustics and "instrumentation".

The sound is also new, and the function of the sonatas is a new world of colorful shades and veiled sounds that cannot be attributed to deafness, but are clearly required. For Beethoven there is no longer a formal scheme, all works are different in their composition, without giving the impression of arbitrariness. They allow us to look again into the depths of his spiritual life: all feelings, tenderness, intimate exultation, romance, demonic power, pain, storm, all, almost without exception, are connected with the main motive, speak to us from them; an unprecedented intimate unit is now achieved.

He later said that in this work he wanted to achieve a reconciliation between the modern and the ancient world, which he tried to make Goethe in the second part of Faust, and there is nothing to indicate that this symphony should be only instrumental. Mass sharp minor kept him busy so tenaciously that he was already negotiating with publishers. He also thought about the requiem, oratory, music for Faust "the highest thing for me and art", written in his fist in a notebook, and Grillparzer widely discussed the project for Melusin works, and Rellstab other operatic topics.

The projects overlap. Fantasy is working feverishly than ever. When he feels better, he composes the song "Thanks" to the convalescent goddess in the quartet op. The first three were "ordered": Prince Galitsin, a young admirer of St. Petersburg, ordered him. The fact that Beethoven was enthusiastic about this genre showed how much it corresponded to his intimate need. If we did not know anything about the commission and other projects, no one would have thought that the quartets were not a necessary epilogue to his life as a composer.

An epilogue of ultimate strength, without a trace of the relaxation of creative power, in such a degree of spiritualization that, as for Johann Sebastian Bach, it is impossible to imagine anything more sublime. Nowadays, it's no surprise that it takes a long time, because the latest quartets have been more than admired, because they really contain something unusual. Even in Tsyaikovsky this world remains closed: C is a glimpse, but nothing more. The rest is chaos, over which, surrounded by impenetrable mists, the spirit of this musical Jehovah is annihilated.

The biographer writes: One of the most enlightened connoisseurs of Beethoven's music was his friend Count Franz von Brunswick of Pest, you can call your student. Our study of these quartets, carried out together with their excellent colleagues and lasting two whole winters, showed us harmonious beauties and, above all, techniques, but in recognizing the logical necessity to connect ideas, the result in each case was uncertain. The Earl of Brunswick, with his sharp telescope, at times thought he had found what he was looking for, but soon his discovery vanished into a mist and he returned to being stupid.

Only our century was able to overestimate and love the work deserves and found in a clear chaos of thoughts, impressions, feelings and images, musical logic in a transcendental center, around which they turn into a kaleidoscopic exchange. It is not surprising that Beethoven's last quartets have today become the starting point and starting point for the creation of modern chamber music. If you carefully read his inseparable companions, the great book of sketches, Beethoven will most likely turn to the Orleans Pulse, saying: "I cannot come without my flag."

Beethoven's storytelling and knowledge of sketch books they have the same value as the records of conversations about the life of a teacher, and in this respect Beethoven's predecessor is unique in its kind, and the number of these annotations, whole books or stop loss is huge. of course, they were left behind, but their number is irrelevant compared to Beethoven: a fact that can be justified by the diversity in the creative process of the two masters. Mozart drew inspiration from a rich intuitive vein. We were almost unthinkable, but Beethoven worked slowly and tediously.

His thoughts came to him, he had to try to change them several times before the final form came to a hard clean. In addition, Beethoven usually worked on different works at the same time, so that the memory could not always follow the continuous process of learning and correcting on the spot, so it was necessary to put down in writing what he did. During the preparation of the main works, most of the time was spent in sketching. This explains how the musician, despite thirty years of tedious activity, did not produce as many works as any of the other masters such as Haydn and Mozart.

However, his out-of-control life, his strong emotions and his stubbornness caused his original, strong cage to noticeably weaken over time. A slight improvement led to the fact that the sick person felt hopes of being reborn, or even wanted to start composing again. The tenth symphony, perhaps even the oratory, Saul and David, got him busy. Even her spirit did not sleep, and she felt a strong desire for "her oldest friends Hellas, Plutarch, Homer, Plato and Aristotle".

But the medical assistance of doctors could not stop the decline. The spirit was lost in power. When the time came, friends went out to look for a worthy burial. Only Hüttenbrenner and her daughter-in-law were present. Hüttenbrenner describes these memorable moments: "Lightning illuminated the dying man's room." He also had the look of wanting to apostrophize, as a daring leader, the fearsome soldiers: courage, soldiers, go ahead, believe me, the victory is definitely yours! As he placed his hand on his bed, his eyes sank.

No more breathing, no more heartbeat. The genius of the great musician has fled from this erroneous world into the realm of truth! The prophecy of Count Waldstein was to come true soon and wonderfully. At the same time, in its clarity, it is obvious that already in these first works there is a very unique personality of this kind and that a completely new spirit speaks of " new era". Music must make fire come from the spirit of man: these words constitute the highest measure of Beethoven's work, he does not have the ease of composing that so happily surrendered to most of his famous predecessors, his work was subjected to continuous file work, with severe self-criticism and books - this is eloquent evidence of this serious selfless precise work.

Each work of Beethoven is both an experience and a recognition. There were and will be thousands of princes; from Beethoven there is no "no one!" Then Beethoven came to the capital of music to stay all his life. Friendly restrictions between his hometown and the imperial residence on the Danube made things easier. The highlight of her musical life was her second wife, Mary Teresa, Princess of the Two Sicilies. Beethoven later dedicated the Settimnio to her, that charming musical serenade, unsurpassed in its popularity.

Since the high Viennese aristocracy and rivalry with it, the middle and low nobility, like the bourgeoisie, dared to compete with the court and often far exceeded its height. Some of these nobles had their own orchestras, especially Note that Prince Esterházy, as well as the principles of Liechtenstein, Lobkowitz and Kinsky, owned their own permanent musical companies, which were transferred during the summer to their lands belonging to the country. The Letters of the French on Travels to Germany states: Many noble families own a private orchestra, and all public music bands show that this branch of art here has an "excellent attitude" here.