#german aritocracy

[roehenstart]

Prince Wilhelm of Urach, Count of Württemberg (1897–1957; here in a coloured photo by Krisgabwooshed) was a member of the German princely House of Württemberg and a senior automotive production engineer. Most of his professional career was spent working for Daimler-Benz in Stuttgart-Untertürkheim. Wilhelm married Elisabeth Theurer on 19 June 1928, in the teeth of opposition from his father voiced when they got engaged. By the date of his marriage, Wilhelm's father had been dead for nearly three months, but the marriage was nonetheless deemed morganatic, and he was required to renounce his right to the title Duke of Urach. Headship of the noble family instead passed to his younger brother, Karl Gero, Duke of Urach.

[yall-cant-handel-this-blog]

Blog Post 8

*Disclaimer*

I’m sorry this is so long, I got carried away and I enjoyed learning new things about someone I’ve grown up referencing, but never knew much of anything about!! (nerdy I know).

“Beethoven” The Greatest German Composers

1. What is the main idea of the first section? (1 sentence)

Beethoven may have experienced a life riddled with afflictions, yet due to these afflictions, he became one of the most unique, yet popular, composers of all time.

2. How old was Beethoven when he wrote the Eroica (No. 3) and Pastorale (No. 6) Symphonies?

Beethoven was born in 1770 and he wrote Symphony No. 3 “Erocia” between 1805 and 1808, meaning he was around 35 years old.

Interesting how he didn’t start composing until age 35 when Mozart was only able to compose till age 35.

3.Eroica means hero. Describe what happened between Beethoven and his admiration for Napoleon. How does this relate to Enlightenment thought? This work may be the first “romantic” work as we see a shift from absolute to programmatic music.

So through reading this chapter, and some use of the Wikipedia page on this lesser known symphony, I discovered that Beethoven was a fan of Napolean Bonapart in his earlier days during the French Revolution and Enlightenment (taking place during Beethoven’s life) when Napolean was in support of the movement against the monarchy and toward democracy. Thus, Beethoven wrote this symphony as a kind of love song to Napolean, indicating a rendering of the new programmatic (story-telling), and romantic kind of composition.

What’s really funny is how Beethoven revoked his dedication of this symphony to Napolean and gave it to someone else, because Napolean was a mean little man who wanted to defy democracy and ended up joining the aritocracy. Beethoven = real big democracy fan.

4. How would you describe Beethoven’s personality after reading this chapter?

From reading this chapter I get a few different indications of Beethoven’s personality traits. First and foremost I think he is probably an Introvert, because of the descriptions from his contemporaries indicating he often lashed out or hard to read. This also just shows that he’s plain grumpy and mean. However, reading his journal entries we can also understand that under that mean exposition he is struggling with the immense emotional pain of losing one’s hearing. Especially, someone who values sound so much such as Beethoven must’ve. So, was Beethoven mean? Maybe, but I also think he was just a deeply sad man grappling with a handicap. They also said he was determined, and highly passionate and an extremely hard worker when it came to his compositions.

Heiligenstadt Testament

1. How does your perception of Beethoven’s character change after reading this if at all?

This testament that Beethoven wrote to his brothers when he was about 29 before his composer career took off, initially made me sad for him.

I can’t imagine what it would be like to go through losing one’s hearing later in life after already knowing how beautiful some sounds can be *cough cough music cough*. He just felt so lonely, and just think of this time period in which I’m almost positive ASL (or I guess German Sign Language) was fairly nonexistent. He couldn’t communicate with anyone efficiently and then you are perhaps able to understand the source of passion for his compositions.

So again, was Beethoven mean? No. I still think he was really sad a lonesome and very passionate.

He also tells his brothers that he wants them to obtain his *small* (lol little did he know) fortune after his death and also that any animosity between them had been relieved. Beethoven here shows indication of a caring, even loving disposition.

Hearing Beethoven

*page 28 first paragraph has a psychology reference that makes me happy lol*

1. What did the physicians of Beethoven’s day say was the problem?

Originally Beethoven had abdominal and ear problems and his doctor was able to fix his belly aches, but not his hearing. He was installed with false-hope that his hearing would slightly return, but history shows it never would.

2. What are some of the explanations of today?

Today we know that Beethoven most likely suffered from the hearing implementation of tinnitus which is like an incessant ringing noise that would drive anyone nuts, (indicating his mean disposition and madness). We also know that it was not loud sounds that caused this to happen but rather a sickness that caused nerve damage to the inner ear functions. Also,  another explanation is a weird overgrowth of the small ear bones. Indicating that his hearing loss was likely in part sensorineural.

On the other hand, besides medical causes, some speculations have been made that it was self-inflicted, or possibly due to alcoholism, or even lead poisoning.

All symptoms point back to life long digestive tract problems.

3. What does the author say about his familial relationships (dad and nephew Karl)?

First, we learn that Beethoven’s dad was an alcoholic that just wanted to basically use Beethoven’s talent for his own personal gain. Because of this Beethoven grew up thinking his success was his fathers, putting immense pressure on him. Leading to a life of living for validation.

Second, we learn about Beethoven’s struggle to obtain custody of his nephew Karl, after his brother died. He became so dedicated to this that he lost some focus on composing. However, he later got right back into it with new vigor, maybe by inspiration from the love for his nephew.

4. Wallace speculates about how Beethoven was able to write so many masterpieces toward the end of his life and nearly 20 years after the Heiligenstadt Testament. Which were you most convinced by?

Wallace references a few reasons why Beethoven may perhaps have been able to compose so many great pieces later in his life. First Wallace suggests based on evidence that Beethoven wasn’t completely deaf but rather just really hard of hearing. For this reason his compositions would require Beethoven to use a combination of methods. I think I am most convinced that he in part used vibrations from the piano, his imagination, all fueled by his passion.

The Piano Sonata No.14 in C# minor “Quasi Una Fantasia” Opus 27 No.2 (Moonlight Sonata)

1. What would you say is the texture of the 1st movement and why?

I think the first movement is homophonic because there is a lot going on, like both a melody and a harmony.

2. I am assuming most of you have never heard the other movements of this sonata. What is your initial reaction to the second movement?

The second movement was completely new to me. I kind of wish I knew the motives behind this Sonata because it kind of didn’t fit with the themes of the first and third themes. I wouldn’t have grouped these songs together if I would’ve heard them seperately. I definetly didn’t enjoy the second movement as much as the first and I especially enjoyed the third.

3. How about the third? Around 13 minutes a few things happen that make this ending even more rewarding. Using musical terms and your own words, what happens?

I really enjoyed this movement it was kind of crazy to listen to and watch at how much skill takes to play this piece. The tempo made the song very entertaining to listen to. There were also a lot of crescendos and decrescendos that made it rewarding to listen to because it kept you on the edge of your seat.