Ludwig van Beethoven is felt by many to be amongst the greatest composers who ever lived. His remarkable contributions to the symphony, concerto, sonata, and string quartet to highlight a few, have provided musicians and audiences alike hours of pleasure.
Before we delve further into the title above, it is important to pause for a moment and take careful note of Beethoven’s dates of birth and death as they are significant. Beethoven was born in 1770, (17th December) in Bonn, Germany. His death was in Vienna, Austria on the 26th March 1827.
These dates are important in their own right but also point us in the right direction to understanding that Beethoven lived across two periods of musical history: Classical and Romantic. In many respects, this makes him even more unique. It is widely agreed that the Classical period of music stretches from 1730 to 1820.
Naturally, the Romantic period then followed. Beethoven’s short life spanned both periods.
Is Beethoven Classical or Romantic
The title suggests a wider area of exploration as even though we know Beethoven lived across two musical periods, can his music be classified in the same way.
Is Beethoven a Classical composer or a Romantic one? To address that question perhaps a brief look at the characteristics of both of these key periods of musical history would be useful.
Keep in mind, that the Classical period evolved out of the previous era of music: the Baroque. In many ways, the characteristics of Classical music were in complete contrast to the aesthetics that had been held in high regard during the previous period of music.
Classical composers moved away from the ornate, polyphonic style of Baroque music towards a sleeker, more streamlined style. Regular phrase lengths, homophony, and clarity of musical lines were key features of Classical music.
New musical structures emerged as Classical composers pushed the boundaries of existing forms. Amongst these came sonata forms that allowed a focus to be on the development of two contrasting themes. This structure Beethoven took to extreme lengths in his 32 Piano Sonatas.
In contrast, the Romantic period then pushed back against Classical ideas. This exciting period of music gave rise to some amazing composers including Brahms, Tchaikovsky, Mahler, and Mendelssohn to name but a few. The music of this era was about emotion, passion, stories, and places.
Structures curved and bent to accommodate an ever more elaborate and lengthier piece of music. Harmony became increasingly chromatic and daring to allow for ever greater freedom of expression. And at the end of one period and the start of the next Beethoven found himself living and composing some of the most celebrated music in Western cultural history.
Unlike Mozart’s career which began with an arduous schedule of touring, Beethoven’s career took much longer to flourish. In a similar way to Leopold Mozart, Beethoven’s father Johann saw the potential in the young Ludwig and according to many sources treated him appallingly badly in an attempt to make Beethoven the next Mozart. It did not succeed.
Beethoven did allegedly meet and possibly even studied with Mozart in Vienna but accounts differ. What we can be certain of is that Mozart’s music was an inspiration to the young Beethoven and would have served as a model on which to develop his compositions.
Beethoven’s world remained firmly in Bonn which offered his limited scope to make a name for himself. Through his teaching, and to an extent his performing, Beethoven found himself amongst the nobility where his reputation began to be noticed.
Joseph Haydn eventually came to know Beethoven through the circles in which he taught and worked and offered him the opportunity to study with him. Many stories have circulated about Beethoven’s relationship with Haydn, including one that claims Beethoven said he learned nothing from Haydn.
It seems highly unlikely, and alongside Mozart, the influences of both these great Classical masters are heard in Beethoven’s early work. In particular the influence of the waning ‘Manheim style’ tailored Beethoven’s compositions with flourishing arpeggios and extreme and sudden changes in dynamics.
Beethoven was no one-trick pony, and although Classical style shaped his early works, this was not the extent of his influence on him. Beethoven, I imagine would have been thirsty for music listening to many different types and styles including Italian, French, and possibly Slavic.
Folk music exerts its influence on Beethoven’s work too rhythmically and in phrase shape. To overlook Beethoven’s passion for literature would be a mistake. Even though Beethoven’s formal education was decidedly lacking, he loved to read with German authors such as Goethe and Schiller at the top of his list.
These elements among many allowed Beethoven to forge his unique compositional voice out of the old Classical world into the new Romantic one.
Where this led Beethoven is direct to the new ideals of Romantic music. Why, because Beethoven increasingly placed emotions and their expression of them at the centre of his compositions.
Apparently, Beethoven’s piano playing and extemporising were the same, full-bloodied, passionate, and breathtakingly innovative. Mozart was heralded as being the improviser of his age but many would argue that the young Beethoven surpassed even him.
Beethoven’s Op.27 Piano Sonatas offer a brilliant window into this emerging direction Beethoven took.
Scholars frequently divide Beethoven’s creative life into three musical periods; first, second and third. The second period broadly captures the 1800s onwards, including the Op.27 Sonatas that can be considered to mark the transition away from the restrictions of the Classical period. 1804 is the date for ‘The Eroica’, 1806, the 4th Piano Concerto.
These amongst many others are works that are uniquely Beethovian in character, more improvisatory, radical, and compelling. It feels, perhaps particularly with ‘The Eroica’ that Beethoven has defied the gravity of the Classical era and launched himself forward to worlds anew.
By Beethoven’s third period, Beethoven makes a return to the Baroque and in particular the music of GF Handel. Folk music and fugual forms begin to appear more frequently in Beethoven’s music.
At this stage of his life, he has redefined music, carved his niche in the creative world, and left his competitors for dust. Beethoven’s later string quartets are a supreme testament to this achievement along with his last symphony: the ninth.