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| That Mozart's work continued to influence Beethoven is an uncontroversial claim. To give one example, the role played by Mozart's ] in the composition of Beethoven's ] can be documented from Beethoven's sketchbooks, where Beethoven copied out a sequence from Mozart's work that he adapted into his own symphony; see ]. It is also believed that some of Beethoven's works have direct models in comparable works by Mozart; for example ] sees Mozart's C minor piano concerto ] as a model for Beethoven's ] in the same key,<ref>Rosen 1997, 390, 450</ref>, the Quintet for Piano and Winds ] for Beethoven's comparable work | That Mozart's work continued to influence Beethoven is an uncontroversial claim. To give one example, the role played by Mozart's ] in the composition of Beethoven's ] can be documented from Beethoven's sketchbooks, where Beethoven copied out a sequence from Mozart's work that he adapted into his own symphony; see ]. It is also believed that some of Beethoven's works have direct models in comparable works by Mozart; for example ] sees Mozart's C minor piano concerto ] as a model for Beethoven's ] in the same key,<ref>Rosen 1997, 390, 450</ref>, the Quintet for Piano and Winds ] for Beethoven's comparable work | ||
| ],<ref name="Rosen 1997, 381">Rosen 1997, 381</ref> and the A major String Quartet ] for Beethoven's A major quartet ].<ref name="Rosen 1997, 381"/> | ],<ref name="Rosen 1997, 381">Rosen 1997, 381</ref> and the A major String Quartet ] for Beethoven's A major quartet ].<ref name="Rosen 1997, 381"/> Because it is reported that Beethoven wrote out a hand copy of K. 464 (which Mozart considered his own "Opera X, Nr. 5"), one may surmise that Joseph Haydn, to whom Mozart had dedicated Opera X, personally supplied Beethoven with the score of K. 464 and recommended that Ludwig study it intensively. | ||
| One of the most popular early Beethoven works, the "Moonlight Sonata" op. 27/2, closely emulates Mozart's Sonata K. 331, starting with a long profound slow movement, then a menuetto, and finally a rousing finale. (The finale of K. 331 is the ever-popular "Turkish Rondo".) | |||
| Beethoven also wrote ] (] 58) to the first and third movements of Mozart's D minor piano concerto ], as well as four sets of ] on Mozart's themes: | Beethoven also wrote ] (] 58) to the first and third movements of Mozart's D minor piano concerto ], as well as four sets of ] on Mozart's themes: | ||
Revision as of 01:06, 28 April 2009
Wolfgang Amadeus Mozart had a powerful influence on the work of Ludwig van Beethoven. Beethoven knew much of Mozart's work, and modeled a number of his own compositions on works of Mozart. In addition, the two may have met briefly in Vienna in 1787. This article covers both the possible meeting and the influence on Beethoven of Mozart's compositions.
The Vienna Meeting
There are some points on which there is scholarly agreement. First, the visit was brief, lasting roughly two weeks. Second, Beethoven returned at least in part because of his mother's medical condition (she was dying of tuberculosis, passing away in July of that year). Beethoven had a nearly-incapacitated alcoholic father and two younger brothers, so it is understandable that he would have felt obliged to go home to help keep his family together. Lastly, it is agreed that the written documentation for the facts of Beethoven's visit is thin.
As far as what happened during the visit, there are various views.
The 19th century biographer Otto Jahn gives the following anecdote:
- Beethoven made his appearance in Vienna as a youthful musician of promise in the spring of 1787, but was only able to remain there a short time; he was introduced to Mozart, and played to him at his request. Mozart, considering the piece he performed to be a studied show-piece, was somewhat cold in his expressions of admiration. Beethoven remarking this, begged for a theme for improvisation, and, inspired by the presence of the master he reverenced so highly, played in such a manner as gradually to engross Mozart's whole attention; turning quietly to the bystanders, he said emphatically, "Mark that young man; he will make himself a name in the world!"
Unfortunately, Jahn does not say where he got this from, mentioning only that "it was communicated to me in Vienna on good authority." No corroboration of the story from any contemporary document (for example, a letter of Beethoven's or Mozart's, or a reminiscence of any of Beethoven's contemporaries) supports the story.
Perhaps as a result, contemporary scholarship seems reluctant to propagate Jahn's story. Notably, the authoritative Grove Dictionary of Music and Musicians does not mention it; its account of the visit is as follows:
- In the spring of 1787 Beethoven visited Vienna. In the absence of documents much remains uncertain about the precise aims of the journey and the extent to which they were realized; but there seems little doubt that he met Mozart and perhaps had a few lessons from him.
Maynard Solomon, who has written closely-researched biographies of both Mozart and Beethoven, likewise does not mention Jahn's tale. Instead he offers a rather harsh possibility, that Mozart might have given Beethoven an audition and then rejected him:
- In Bonn Beethoven was being groomed to be Mozart's successor by , who sent him to Vienna ... to advance that purpose. The sixteen-year-old Beethoven, however, was not yet ready to be on his own. At his father's urging, the young virtuoso left Vienna after only two weeks and returned home in a state of despondency over his mother's consumptive condition--and perhaps over a rejection by Mozart, who was preoccupied with his own affairs, including his worrisome financial condition, and may not have been able seriously to consider taking on another pupil, even one of great talent and backed by eminent patrons.
Solomon goes on to enumerate other matters that were keeping Mozart preoccupied at the time: his father's approaching death, a visit to Prague, the beginnings of work on Don Giovanni, and the writing of "a vast amount of other music." Moreover, Mozart at the time already had a pupil living in his home, the nine-year-old Johann Nepomuk Hummel. Lastly, he notes that Beethoven eventually returned to Vienna, but only in 1792--after Mozart had died in 1791.
A hypothesis that is apparently compatible with all the documentary evidence (other than Jahn's unsourced report) is that Mozart and Beethoven simply never met.
Irrespective of which of these hypotheses is true, it seems that the first Vienna visit was the start of an unhappy time for Beethoven. The Grove Dictionary notes:
- first surviving letter, to a member of a family in Augsburg that had befriended him on his way , describes the melancholy events of that summer and hints at ... ill-health depression.
Influence of Mozart's compositions on Beethoven
That Mozart's work continued to influence Beethoven is an uncontroversial claim. To give one example, the role played by Mozart's 40th Symphony in the composition of Beethoven's Fifth can be documented from Beethoven's sketchbooks, where Beethoven copied out a sequence from Mozart's work that he adapted into his own symphony; see Symphony No. 5 (Beethoven). It is also believed that some of Beethoven's works have direct models in comparable works by Mozart; for example Charles Rosen sees Mozart's C minor piano concerto K. 491 as a model for Beethoven's Third Concerto in the same key,, the Quintet for Piano and Winds K. 452 for Beethoven's comparable work Op. 16, and the A major String Quartet K. 464 for Beethoven's A major quartet Op. 18 No. 5. Because it is reported that Beethoven wrote out a hand copy of K. 464 (which Mozart considered his own "Opera X, Nr. 5"), one may surmise that Joseph Haydn, to whom Mozart had dedicated Opera X, personally supplied Beethoven with the score of K. 464 and recommended that Ludwig study it intensively.
One of the most popular early Beethoven works, the "Moonlight Sonata" op. 27/2, closely emulates Mozart's Sonata K. 331, starting with a long profound slow movement, then a menuetto, and finally a rousing finale. (The finale of K. 331 is the ever-popular "Turkish Rondo".) Beethoven also wrote cadenzas (WoO 58) to the first and third movements of Mozart's D minor piano concerto K. 466, as well as four sets of variations on Mozart's themes:
- on "Se vuol ballare" from The Marriage of Figaro for pianoforte and violin, WoO 40 (1792-3)
- on "La ci darem la mano" from Don Giovanni for two oboes and English horn, WoO 28 (?1795)
- on "Ein Mädchen oder Weibchen" from The Magic Flute for pianoforte and cello, Op. 66 (?1795)
- on "Bei Männern welche Liebe fühlen" from the same opera, for pianoforte and cello, WoO 46 (1801)
Notes
- Deutsch (1965, 288), somewhat unclearly, states that Beethoven was in Vienna from 7 April to 20 April, giving no source; then adds: "opinions about the precise time and duration of Beethoven's first sojourn in Vienna vary between March and June 1787."
- Grove Dictionary, "Ludwig van Beethoven", section 2; Deutsch 1965, 288
- Jahn 1882, 346
- Grove, section 2
- One source that endorses this view is Clive (1993, 22).
- Grove, ibid.
- Rosen 1997, 390, 450
- ^ Rosen 1997, 381
- These listings from Clive 1993, 22
References
- Clive, Peter (1993) Mozart and his circle: a biographical dictionary. New Haven: Yale University Press.
- Grove Dictionary of Music and Musicians. Online edition. Copyright 2007, Oxford University Press. The Beethoven article is written by Joseph Kerman, Alan Tyson, and Scott G. Burnham.
- Jahn, Otto (1856) Life of Mozart. English translation by Pauline Townsend, 1882. Oxford University Press. Viewable on line at Google books.
- Rosen, Charles (1997) The Classical Style: Haydn, Mozart, Beethoven. New York: Norton.
- Solomon, Maynard (1995) Mozart: A Life. Harper Collins.
- Solomon, Maynard (2001) Beethoven (revised edition).
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