Symphony No. 1 : Work information

Composers
Ludwig van Beethoven ( Music, Images,)
Performed by
Royal Philharmonic Orchestra, Barry Wordsworth (Conductor)

This work

Work name
Symphony No. 1
Work number
Op. 21
Key
C
Genre
A
Composed
1800-01-01 02:00:00

This recording

Label
Royal Philharmonic Orchestra
Producer
Alan Peters
Engineer
Dick Lewzey
Recording date
n/a

The Composers

Ludwig van Beethoven

Ludwig van Beethoven is regarded as one of the greatest composers in the history of Western music, and certainly the most dominant of the 19th century. In taking the Viennese Classicism of Mozart and Haydn to its limits and developing his own intensely personal style, his output heralds the birth of musical romanticism.

Although Beethoven's personal life was often turbulent, he managed to produce some of the most sublime music ever written. Among his most profound works can be counted the nine symphonies, the Missa Solemnis, many of the piano sonatas, the late string quartets, the Piano Concerto No. 5, and his only opera, Fidelio. All enjoy a permanent and important place in the musical canon.

Born in 1770, the son of an obscure musician in the provincial town of Bonn, Beethoven received his early musical training from his father and other local musicians. His talents for composition and the piano were quickly recognised and nurtured by court organist, Christian Gottlob Neefe, for whom the young Beethoven deputised.

Sent to Vienna in 1792 to study with Haydn, Beethoven spent the next decade establishing an enviable reputation as a virtuoso pianist and composer. He published an increasing number of works and enjoyed the patronage of Prince Lichnowsky and the Esterházys among others.

His gradual loss of hearing, though, threatened the course of his career. Realising that his condition was both incurable and permanent, Beethoven shunned social occasions to avoid revealing his potentially damaging secret. By 1818 he was virtually deaf and had to use conversation books to communicate.

Upon learning of his deafness, Beethoven suffered a period of fluctuating moods, powerfully voicing his despair in an 1802 letter to his brothers, the 'Heiligenstadt testament'. Managing to pull himself out of his malaise, Beethoven threw himself into the work that was now spreading his fame all over Europe.  

With financial stability finally achieved through the patronage of Beethoven's supporters, Archduke Rudolph, Prince Lobkowitz and Prince Kinsky, Beethoven's professional life reached a peak. His personal life, in contrast, was still in turmoil.

In 1812 he wrote a passionate love-letter to an unknown 'immortal beloved', now thought to be Antoine Brentano, a married and, hence, unavailable woman. This was the culmination of a series of unrequited or doomed love affairs and marked a turning point in the composer's life.

From this point on, Beethoven seems to have accepted the impossibility of marriage and, after a long period of diminished creativity, decided to dedicate his energies to composition. His recovery began in 1817 with the Hammerklavier sonata and continued with the Missa Solemnis, but further conflict with his sister-in-law over custody of his nephew, Karl, kept his personal life turbulent.

After the monumental Ninth Symphony of 1823-4, Beethoven dedicated his last years to the string quartet, though illness began to increasingly disrupt his compositional activities. Beethoven's relationship with his nephew also deteriorated and Karl's attempted suicide in August 1826 shattered the ailing composer. In late 1826 he developed jaundice and, after a lengthy illness, died on 26 March 1827; an estimated 10,000 people attended the funeral three days later.

Beethoven's influence, as both a composer and romantic artist, has proved enormous. His compelling private life and wonderful music ensured that his perceived 'heroic' struggle over personal obstacles became the idealised view of the composer in the romantic era. Similarly, there can be few composers born since that have escaped the shadow of his immense creativity and musicianship. He stands above virtually all others as one of  the most admired composers of all time.

Related Composers: Schubert, Mendelssohn, Weber

- MIDI FILE - Piano Sonata op.2 no.1: 1 Mov. (2'32'')

- MIDI FILE - Piano Sonata op.2 no.1: 2 Mov. (5'21'')

- MIDI FILE - Piano Sonata op.2 no.1: 3 Mov. (2'21'')

- MIDI FILE - Piano Sonata op.2 no.1: 4 Mov. (4'25'')

- MIDI FILE - Piano Sonata op.2 no.2: 1 Mov. (4'52'')

- MIDI FILE - Piano Sonata op.2 no.2: 2 Mov. (4'40'')

- MIDI FILE - Piano Sonata op.2 no.2: 3 Mov. (2'46'')

- MIDI FILE - Piano Sonata op.2 no.2: 4 Mov. (5'50'')

- MIDI FILE - Piano Sonata op.2 no.3: 1 Mov. (7'02'')

- MIDI FILE - Piano Sonata op.2 no.3: 2 Mov. (7'05'')

- MIDI FILE - Piano Sonata op.2 no.3: 3 Mov. (3'20'')

- MIDI FILE - Piano Sonata op.2 no.3: 4 Mov. (4'30'')

- MIDI FILE - from 5th Piano Concerto: Allegro (18'50'')

- MIDI FILE - from "Moonlight Sonata" op.27 n.2: 1th mov. (5'47'')

- MIDI FILE - Piano Sonata "Waldstein" (complete) (21'52'')

Track listing

  • Adagio molto - Allegro con brio 9:14 min
  • Andante cantabile con moto 8:27 min
  • Menuetto: Allegro molto e vivace 3:22 min
  • Adagio - Allegro molto e vivace 5:59 min

Notes

By the end of  1799, the idea for a symphony had been in Beethoven's mind for a long time. Three movements had been sketched between 1795 and 1797 but Beethoven had difficulties with the finale and set the work aside. The revelation of 1799 was to base the finale on the sketched first movement. Work proceeded quickly and the Symphony No. 1 in C was ready for performance by April 1800.

The concert on 2 April 1800 received a brief review in the Allgemeine Musikalische Zeitung of Leipzig which described it as 'truly the most interesting concert in a long time'. The symphony itself was regarded positively, though Beethoven's extensive use of the woodwind was criticised.

There are many novel features in this work that hint at the heights Beethoven would scale with his later symphonies. The opening was particularly daring; it begins with an out-of-key dominant 7th chord that would have astonished his audience. The quicksilver minuet was also unusual; the way it moves between the far-away keys of C and D flat major left the young Elgar "breathless" and "sank into his very soul".

The finale that provided the germ for the entire work is based on a rising scale and falling third. In conceiving this lively finale first, Beethoven was able to incorporate these thematic elements into the rest of the symphony. The result anticipates the organicism and coherence that Beethoven would achieve in his later symphonic works.