Message about Beethoven. Ludwig van Beethoven short biography Who was Beethoven's first teacher

Portrait of 1820
Joseph Karl Stieler

Ludwig van Beethoven. The exact date of birth of Ludwig van Beethoven is unknown, but the estimated date of birth is December 16, 1770. This assumption was made based on exact date his baptism is December 17th. The city of Bonn became Ludwig's permanent homeland.
Beethoven's family was highly educated and musical people. It was there, from an early age, that Ludwig was taught to play the organ, flute, violin and harpsichord.
First serious experience in music education Ludwig van Beethoven received the Nefe from the composer Christian Gottlob.
The first work in musical art dates back to 1782, when young Beethoven was only 12 years old. Then he began his career as an assistant organist at court. However, Beethoven’s activities cannot be limited to one work; besides this, he studied several languages ​​and tried to write musical works.
Beethoven loves to spend time reading a book. His favorite authors were Greek representatives such as Plutarch and Homer, as well as more modern Shakespeare, Goethe and Schiller.
The year 1787 becomes tragic for Ludwig and his entire family. His mother dies, and Beethoven undertakes to take on all material responsibilities. In the same year, he begins to work, playing in an orchestra, while simultaneously combining his studies and university lectures.
At home, Beethoven accidentally meets the great composer Joseph Haydn, where he asks him to take art lessons. But in order to study music with Haydn, Beethoven was forced to move to Vienna. Even while still unknown, the great Mozart, listening to the musical improvisations of Ludwig Beethoven, said that he would still have time to make the whole world talk to himself. After several lessons, Haydn sent Beethoven to study with Johann Albrechtsberger. The next person to pass on his mastery to Beethoven was Antonio Salieri.
Everyone who knew Beethoven's work noted that his musical improvisations were filled with gloom, melancholy and strangeness. However, it was they who brought Beethoven his unsurpassed piano playing past glory. While in Vienna and inspired by its nature, Beethoven wrote the Moonlight Sonata and the Pathetic Sonata. All musical works differ significantly from classical harpsichord playing techniques.
Ludwig van Beethoven was always like open book for friends, while at the same time remaining rude and proud in public.
The subsequent years of Beethoven's life were filled with illness. Having become very ill, Ludwig gets a complication in his ear - tinitis.
In great pain, Beethoven decides to retire to Heiligenstadt, where he begins to work on Heroic Symphony. Working often and fruitfully and constantly getting tired, Beethoven completely loses his hearing, moves away from people and society, and remains lonely. But even after losing his hearing, Ludwig did not force himself to give up his favorite art.
The last decade of his life, until 1812, became a real discovery for Beethoven. It was during this period of time that he began to create with special strong desire, creating well-known works - the Ninth Symphony, as well as the Solemn Mass.
Biographical information from this time period was filled with special popularity, glory and calling for Ludwig. Despite the fact that the government’s policy took a fairly strict position in relation to all creators of great art, no one dared to offend Ludwig Beethoven.
But, unfortunately, the excessive worries of Beethoven, who took custody of his nephew, aged the musician too quickly.
So, on March 26, 1827, Ludwig Beethoven passed away due to severe liver disease.

Beethoven was presumably born on December 16 (only the date of his baptism is known exactly - December 17) 1770 in the city of Bonn in musical family. From childhood he was taught to play the organ, harpsichord, violin, and flute.

For the first time, composer Christian Gottlob Nefe began to work seriously with Ludwig. Already at the age of 12, Beethoven’s biography included his first musical job – assistant organist at court. Beethoven studied several languages ​​and tried to compose music.

The beginning of a creative journey

After his mother's death in 1787, he took over the family's financial responsibilities. Ludwig Beethoven began playing in an orchestra and listening to university lectures. Having accidentally encountered Haydn in Bonn, Beethoven decides to take lessons from him. For this he moves to Vienna. Already at this stage, after listening to one of Beethoven’s improvisations, the great Mozart said: “He will make everyone talk about himself!” After some attempts, Haydn sent Beethoven to study with Albrechtsberger. Then Antonio Salieri became Beethoven's teacher and mentor.

The rise of a musical career

Haydn briefly noted that Beethoven's music was dark and strange. However, in those years, Ludwig's virtuoso piano playing brought him his first fame. Beethoven's works differ from classic game harpsichordists. There, in Vienna, the future famous works were written: Moonlight Sonata Beethoven, Sonata Pathétique.

Rude and proud in public, the composer was very open and friendly towards his friends. Beethoven's work in the following years was filled with new works: the First and Second Symphonies, "The Creation of Prometheus", "Christ on Mount of Olives" However future life and Beethoven's work were complicated by the development of an ear disease - tinitis.

The composer retires to the city of Heiligenstadt. There he works on the Third – Heroic Symphony. Complete deafness separates Ludwig from outside world. However, even this event cannot make him stop composing. According to critics, Beethoven's Third Symphony fully reveals him greatest talent. The opera “Fidelio” is staged in Vienna, Prague, and Berlin.

Last years

In the years 1802-1812, Beethoven wrote sonatas with special desire and zeal. Then entire series of works for piano, cello, the famous Ninth Symphony, and the Solemn Mass were created.

Let us note that the biography of Ludwig Beethoven in those years was filled with fame, popularity and recognition. Even the authorities, despite his frank thoughts, did not dare to touch the musician. However, strong feelings about his nephew, whom Beethoven took into custody, quickly aged the composer. And on March 26, 1827, Beethoven died of liver disease.

Many of Ludwig van Beethoven's works have become classics not only for adult listeners, but also for children.

There are about a hundred monuments to the great composer around the world.

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The content of the article

BEETHOVEN, LUDWIG VAN(Beethoven, Ludwig van) (1770–1827), German composer, who is often considered the greatest creator of all times. His work is classified as both classicism and romanticism; in fact, it goes beyond such definitions: Beethoven's works are, first of all, an expression of his genius personality.

Origin. Childhood and youth.

Beethoven was born in Bonn, probably on December 16, 1770 (baptized on December 17). In addition to German blood, Flemish blood also flowed in his veins: the composer’s paternal grandfather, also Ludwig, was born in 1712 in Malines (Flanders), served as a choirmaster in Ghent and Louvain and in 1733 moved to Bonn, where he became a court musician in the chapel of the Elector-Archbishop of Cologne . It was clever man, good singer, a professionally trained instrumentalist, he rose to the position of court conductor and enjoyed the respect of those around him. His The only son Johann (the other children died in infancy) sang in the same chapel since childhood, but his position was precarious, since he drank heavily and led a disorderly life. Johann married Maria Magdalena Lime, the daughter of a cook. To them were born seven children, of whom three sons survive; Ludwig, the future composer, was the eldest of them.

Beethoven grew up in poverty. The father drank away his meager salary; he taught his son to play the violin and piano in the hope that he would become a child prodigy, a new Mozart, and provide for his family. Over time, the father's salary was increased in anticipation of the future of his gifted and hardworking son. Despite all this, the boy was not confident in his use of the violin, and on the piano (as well as on the violin) he liked to improvise more than to improve his playing technique.

General education Beethoven was as unsystematic as he was musically. In the latter, however, practice played a big role: he played the viola in the court orchestra, performed as a performer keyboards, including the organ, which he managed to quickly master. K. G. Nefe, Bonn court organist from 1782, became Beethoven’s first real teacher (among other things, he went through the whole Well-tempered clavier J.S.Bach). Beethoven's duties as a court musician expanded significantly when Archduke Maximilian Franz became Elector of Cologne and began to take care of musical life Bonn, where his residence was located. In 1787, Beethoven managed to visit Vienna for the first time - at that time the musical capital of Europe. According to stories, Mozart, having listened to the young man’s play, highly appreciated his improvisations and predicted a great future for him. But soon Beethoven had to return home - his mother was dying. He remained the sole breadwinner of a family consisting of a dissolute father and two younger brothers.

The young man's talent, his greed for musical impressions, ardent and receptive nature attracted the attention of some enlightened Bonn families, and brilliant piano improvisations provided him with free entry into any musical gatherings. The Breuning family did especially a lot for him, taking custody of the clumsy but original young musician. Dr. F. G. Wegeler became his lifelong friend, and Count F. E. G. Waldstein, his enthusiastic admirer, managed to convince the Archduke to send Beethoven to study in Vienna.

Vein. 1792–1802.

In Vienna, where Beethoven came for the second time in 1792 and where he remained until the end of his days, he quickly found titled friends and patrons of the arts.

People who met the young Beethoven described the twenty-year-old composer as stocky young man, prone to panache, sometimes impudent, but good-natured and sweet in his relationships with friends. Realizing the inadequacy of his education, he went to Joseph Haydn, the recognized Viennese authority on the field instrumental music(Mozart had died a year earlier) and for some time brought him counterpoint exercises to check. Haydn, however, soon lost interest in the obstinate student, and Beethoven, secretly from him, began to take lessons from I. Schenck and then from the more thorough I. G. Albrechtsberger. In addition, wanting to improve his vocal writing, he visited for several years the famous opera composer Antonio Salieri. Soon he joined a circle that united titled amateurs and professional musicians. Prince Karl Lichnowsky introduced the young provincial into the circle of his friends.

The question of how much the environment and the spirit of the time influence creativity is ambiguous. Beethoven read the works of F. G. Klopstock, one of the predecessors of the Sturm und Drang movement. He knew Goethe and deeply revered the thinker and poet. Political and public life Europe at that time was alarming: when Beethoven arrived in Vienna in 1792, the city was excited by news of the revolution in France. Beethoven enthusiastically accepted revolutionary slogans and praised freedom in his music. The volcanic, explosive nature of his work is undoubtedly the embodiment of the spirit of the time, but only in the sense that the character of the creator was to some extent shaped by this time. The bold violation of generally accepted norms, the powerful self-affirmation, the thunderous atmosphere of Beethoven's music - all this would have been unthinkable in Mozart's era.

Nevertheless, Beethoven's early works largely follow the canons of the 18th century: this applies to trios (strings and piano), violin, piano and cello sonatas. The piano was then Beethoven's closest instrument, piano works he expressed his deepest feelings with utmost sincerity, and the slow movements of some sonatas (for example, Largo e mesto from sonata op. 10, no. 3) are already imbued with romantic languor. Pathetic Sonata op. 13 is also an obvious anticipation of Beethoven's later experiments. In other cases, his innovation has the character of a sudden invasion, and the first listeners perceived it as obvious arbitrariness. Published in 1801 six string quartets op. 18 can be considered the greatest achievement of this period; Beethoven was clearly in no hurry to publish, realizing what high samples Mozart and Haydn left quartet writing. Beethoven's first orchestral experience was associated with two concertos for piano and orchestra (No. 1, C major and No. 2, B-flat major), created in 1801: he, apparently, was not sure about them either, being well acquainted with the greats Mozart's achievements in this genre. Among the most famous (and least provocative) early works– septet op. 20 (1802). The next opus, the First Symphony (published at the end of 1801) is Beethoven's first purely orchestral work.

Approaching deafness.

We can only guess to what extent Beethoven's deafness influenced his work. The disease developed gradually. Already in 1798, he complained of tinnitus; it was difficult for him to distinguish high tones and understand a conversation conducted in a whisper. Horrified at the prospect of becoming an object of pity - a deaf composer, he spoke about his illness to a close friend– Karl Amenda, as well as the doctors who advised him to take care of his hearing as much as possible. He continued to move in the circle of his Viennese friends, took part in musical evenings, and composed a lot. He managed to hide his deafness so well that until 1812 even people who often met him did not suspect how serious his illness was. The fact that during a conversation he often answered inappropriately was attributed to bad mood or absent-mindedness.

In the summer of 1802, Beethoven retired to the quiet suburb of Vienna - Heiligenstadt. A stunning document appeared there - the “Heiligenstadt Testament”, the painful confession of a musician tormented by illness. The will is addressed to Beethoven's brothers (with instructions to read and execute after his death); in it he talks about his mental suffering: it is painful when “a person standing next to me hears a flute playing from afar, inaudible to me; or when someone hears a shepherd singing, but I cannot distinguish a sound.” But then, in a letter to Dr. Wegeler, he exclaims: “I will take fate by the throat!”, and the music that he continues to write confirms this decision: in the same summer the bright Second Symphony, op. 36, gorgeous piano sonatas op. 31 and three violin sonatas, op. thirty.

Second period. "New way".

According to the “three-period” classification proposed in 1852 by one of the first researchers of Beethoven’s work, W. von Lenz, the second period approximately covers 1802–1815.

The final break with the past was rather a realization, a continuation of trends early period, rather than a conscious “declaration of independence”: Beethoven was not a theoretical reformer, like Gluck before him and Wagner after him. The first decisive breakthrough towards what Beethoven himself called the "new way" occurred in the Third Symphony ( Heroic), work on which dates back to 1803–1804. Its duration is three times longer than any other symphony written previously. The first movement is music of extraordinary power, the second is a stunning outpouring of sorrow, the third is a witty, whimsical scherzo, and the finale is variations on a jubilant, holiday theme- its power far surpasses the traditional finales in the form of a rondo, composed by Beethoven's predecessors. It is often asserted (and not without reason) that Beethoven first dedicated Heroic Napoleon, but upon learning that he had proclaimed himself emperor, he canceled the dedication. “Now he will trample on human rights and satisfy only his own ambition,” these are, according to stories, the words of Beethoven when he tore up title page scores with dedication. In the end Heroic was dedicated to one of the patrons - Prince Lobkowitz.

Works of the second period.

During these years, brilliant creations came out of his pen one after another. The composer's major works, listed in order of their appearance, form an incredible stream brilliant music, this imaginary sound world replaces for its creator the world of real sounds leaving him. It was a victorious self-affirmation, a reflection of the hard work of thought, evidence of the rich inner life of a musician.

We can name only the most important works of the second period: violin sonata in A major, op. 47 ( Kreutzerova, 1802–1803); Third Symphony, op. 55 ( Heroic, 1802–1805); oratorio Christ on the Mount of Olives, op. 85 (1803); piano sonatas: Valdshteinovskaya, op. 53; F major, op. 54, Appassionata, op. 57 (1803–1815); piano concert No. 4 in G major, op. 58 (1805–1806); Beethoven's only opera Fidelio, op. 72 (1805, second edition 1806); three “Russian” quartets, op. 59 (dedicated to Count Razumovsky; 1805–1806); Fourth Symphony in B flat major, op. 60 (1806); violin concerto, op. 61 (1806); Overture to Collin's tragedy Coriolanus, op. 62 (1807); Mass in C major, op. 86 (1807); Fifth Symphony in C minor, op. 67 (1804–1808); Sixth Symphony, op. 68 ( Pastoral, 1807–1808); cello sonata in A major, op. 69 (1807); two piano trios, op. 70 (1808); Piano Concerto No. 5, op. 73 ( Emperor, 1809); quartet, op. 74 ( Harp, 1809); piano sonata, op. 81a ( Parting, 1809–1910); three songs on poems by Goethe, op. 83 (1810); music for Goethe's tragedy Egmont, op. 84 (1809); Quartet in F minor, op. 95 (1810); Eighth Symphony in F major, op. 93 (1811–1812); piano trio in B-flat major, op. 97 ( Archduke, 1818).

The second period includes highest achievements Beethoven in the genres of violin and piano concerto, violin and cello sonatas, operas; The piano sonata genre is represented by such masterpieces as Appassionata And Valdshteinovskaya. But even musicians were not always able to perceive the novelty of these compositions. They say that one of his colleagues once asked Beethoven whether he really considered one of the quartets dedicated to the Russian envoy in Vienna, Count Razumovsky, to be music. “Yes,” the composer answered, “but not for you, but for the future.”

The source of inspiration for a number of compositions were the romantic feelings that Beethoven felt for some of his high-society students. This probably refers to the two sonatas “quasi una Fantasia”, Op. 27 (published in 1802). The second of them (later named “Lunar”) is dedicated to Countess Juliet Guicciardi. Beethoven even thought about proposing to her, but realized in time that a deaf musician was not a suitable match for a flirtatious social beauty. Other ladies he knew rejected him; one of them called him a “freak” and “half crazy.” The situation was different with the Brunswick family, in which Beethoven gave music lessons to his two older sisters - Teresa (“Tesi”) and Josephine (“Pepi”). It has long been discarded that the addressee of the message to the “Immortal Beloved” found in Beethoven’s papers after his death was Teresa, but modern researchers do not rule out that this addressee was Josephine. In any case, the idyllic Fourth Symphony owes its conception to Beethoven's stay at the Brunswick Hungarian estate in the summer of 1806.

Fourth, Fifth and Sixth ( Pastoral) symphonies were composed in 1804–1808. The fifth, probably the most famous symphony in the world, opens with a brief motif about which Beethoven said: “Thus fate knocks at the door.” The Seventh and Eighth Symphonies were completed in 1812.

In 1804, Beethoven willingly accepted the order to compose an opera, since success in Vienna opera stage meant fame and money. The plot in brief was as follows: a brave, enterprising woman, dressed in men's clothing, saves her beloved husband, imprisoned by a cruel tyrant, and exposes the latter before the people. To avoid confusion with a pre-existing opera based on this plot - Leonora Gaveau, Beethoven's work was called Fidelio, after the name the heroine takes on in disguise. Of course, Beethoven had no experience composing for the theater. The climactic moments of the melodrama are marked by excellent music, but in other sections the lack of dramatic flair does not allow the composer to rise above the operatic routine (although he very much strived for this: in Fidelio there are fragments that were redone up to eighteen times). Nevertheless, the opera gradually won over listeners (during the composer’s lifetime there were three productions of it in different editions - in 1805, 1806 and 1814). It can be argued that the composer did not put so much effort into any other composition.

Beethoven, as already mentioned, deeply revered the works of Goethe, composed several songs based on his texts, music for his tragedy Egmont, but met Goethe only in the summer of 1812, when they ended up together at a resort in Teplitz. Refined manners the great poet and the harsh behavior of the composer did not contribute to their rapprochement. “His talent amazed me extremely, but, unfortunately, he has an indomitable temper, and the world seems to him a hateful creation,” says Goethe in one of his letters.

Friendship with Archduke Rudolf.

Beethoven's friendship with Rudolf, the Austrian Archduke and half-brother of the Emperor, is one of the most interesting historical stories. Around 1804, the Archduke, then 16 years old, began taking piano lessons from the composer. Despite the huge difference in social status, the teacher and student felt sincere affection for each other. Appearing for lessons at the Archduke's palace, Beethoven had to pass by countless lackeys, call his student “Your Highness” and fight his amateurish attitude towards music. And he did all this with amazing patience, although he never hesitated to cancel lessons if he was busy composing. Commissioned by the Archduke, such works as a piano sonata were created Parting, Triple Concerto, the last and most grandiose Fifth Piano Concerto, Solemn Mass(Missa solemnis). It was originally intended for the ceremony of the Archduke's elevation to the rank of Archbishop of Olmut, but was not completed on time. The Archduke, Prince Kinsky and Prince Lobkowitz established a kind of scholarship for the composer who had brought glory to Vienna, but received no support from the city authorities, and the Archduke turned out to be the most reliable of the three patrons. During the Congress of Vienna in 1814, Beethoven derived considerable material benefit from communicating with the aristocracy and kindly listened to compliments - he managed to at least partially hide the contempt for the court “brilliance” that he always felt.

Last years.

The composer's financial situation improved noticeably. Publishers hunted for his scores and ordered works such as large piano variations on a theme of Diabelli's waltz (1823). His caring friends, especially A. Schindler, who was deeply devoted to Beethoven, observing the musician’s chaotic and deprived lifestyle and hearing his complaints that he had been “robbed” (Beethoven became unreasonably suspicious and was ready to blame almost everyone around him for the worst ), could not understand where he was putting the money. They didn’t know that the composer was putting them off, but he wasn’t doing it for himself. When his brother Kaspar died in 1815, the composer became one of the guardians of his ten-year-old nephew Karl. Beethoven's love for the boy and his desire to ensure his future came into conflict with the distrust that the composer felt towards Karl's mother; as a result, he only constantly quarreled with both of them, and this situation was painted with a tragic light last period his life. During the years when Beethoven sought full guardianship, he composed little.

Beethoven's deafness became almost complete. By 1819, he had to completely switch to communicating with his interlocutors using a slate board or paper and pencil (the so-called Beethoven conversation notebooks have been preserved). Completely immersed in work on such compositions as the majestic Solemn Mass in D major (1818) or the Ninth Symphony, he behaved strangely, causing alarm to strangers: he “sang, howled, stamped his feet, and generally seemed as if he was engaged in a mortal struggle with an invisible enemy” (Schindler). The brilliant last quartets, the last five piano sonatas - grandiose in scale, unusual in form and style - seemed to many contemporaries to be the works of a madman. And yet, Viennese listeners recognized the nobility and greatness of Beethoven's music; they felt that they were dealing with a genius. In 1824, during the performance of the Ninth Symphony with its choral finale to the text of Schiller's ode To Joy (An die Freude) Beethoven stood next to the conductor. The hall was captivated by the powerful climax at the end of the symphony, the audience went wild, but Beethoven did not turn around. One of the singers had to take him by the sleeve and turn him to face the audience so that the composer bowed.

The fate of other later works was more complicated. Many years passed after Beethoven's death, and only then did the most receptive musicians begin to perform his last quartets (including the Grand Fugue, Op. 33) and the last piano sonatas, revealing to people these highest, most beautiful achievements of Beethoven. Sometimes Beethoven's late style is characterized as contemplative, abstract, in some cases neglecting the laws of euphony; in fact, this music is an endless source of powerful and intelligent spiritual energy.

Beethoven died in Vienna on March 26, 1827 from pneumonia, complicated by jaundice and dropsy.

Beethoven's contribution to world culture.

Beethoven continued common line development of the genres of symphony, sonata, quartet, outlined by his predecessors. However, his interpretation of known forms and genres was distinguished by great freedom; we can say that Beethoven expanded their boundaries in time and space. He did not expand the composition that had developed by his time symphony orchestra, but his scores require, firstly, a larger number of performers in each part, and secondly, something incredible in his era performing skills each orchestra member; in addition, Beethoven was very sensitive to the individual expressiveness of each instrumental timbre. The piano in his compositions is not close relative elegant harpsichord: the entire extended range of the instrument is used, all its dynamic capabilities.

In the areas of melody, harmony, and rhythm, Beethoven often resorts to the technique of sudden change and contrast. One form of contrast is the contrast between decisive themes with a clear rhythm and more lyrical, smoothly flowing sections. Sharp dissonances and unexpected modulations into distant keys are also an important feature of Beethoven's harmony. He expanded the range of tempos used in music and often resorted to dramatic, impulsive changes in dynamics. Sometimes the contrast appears as a manifestation of Beethoven's characteristically somewhat crude humor - this happens in his frantic scherzos, which in his symphonies and quartets often replace a more sedate minuet.

Unlike his predecessor Mozart, Beethoven had difficulty composing. Notebooks Beethoven is shown how gradually, step by step, a grandiose composition emerges from uncertain sketches, marked by a convincing logic of construction and rare beauty. Just one example: in the original sketch of the famous “fate motif” that opens the Fifth Symphony, it was assigned to the flute, which means that the theme had a completely different figurative meaning. Powerful artistic intelligence allows the composer to turn a disadvantage into an advantage: Beethoven contrasts Mozart’s spontaneity and instinctive sense of perfection with unsurpassed musical and dramatic logic. She is the one main source Beethoven's greatness, his incomparable ability to organize contrasting elements into a monolithic whole. Beethoven erases traditional caesuras between sections of form, avoids symmetry, merges parts of the cycle, and develops extended constructions from thematic and rhythmic motifs, which at first glance do not contain anything interesting. In other words, Beethoven creates musical space with the power of his mind, his own will. He anticipated and created those artistic directions, which became decisive for musical art 19th century And today his works are among the greatest, most revered creations of human genius.

Beethoven was born in Bonn, probably on December 16, 1770 (baptized on December 17). In addition to German blood, Flemish blood also flowed in his veins: the composer’s paternal grandfather, also Ludwig, was born in 1712 in Malines (Flanders), served as a choirmaster in Ghent and Louvain and in 1733 moved to Bonn, where he became a court musician in the chapel of the Elector-Archbishop of Cologne . He was an intelligent man, a good singer, a professionally trained instrumentalist, he rose to the position of court conductor and enjoyed the respect of those around him. His only son Johann (the other children died in infancy) sang in the same chapel from childhood, but his position was precarious, since he drank heavily and led a disorderly life. Johann married Maria Magdalena Lime, the daughter of a cook. To them were born seven children, of whom three sons survive; Ludwig, the future composer, was the eldest of them.

Beethoven grew up in poverty. The father drank away his meager salary; he taught his son to play the violin and piano in the hope that he would become a child prodigy, a new Mozart, and provide for his family. Over time, the father's salary was increased in anticipation of the future of his gifted and hardworking son. Despite all this, the boy was not confident in his use of the violin, and on the piano (as well as on the violin) he liked to improvise more than to improve his playing technique.

Beethoven's general education was as unsystematic as his musical education. In the latter, however, practice played a big role: he played the viola in the court orchestra and performed as a performer on keyboard instruments, including the organ, which he managed to quickly master. K. G. Nefe, Bonn court organist from 1782, became Beethoven's first real teacher (among other things, he went through with him the entire Well-Tempered Clavier of J. S. Bach). Beethoven's responsibilities as a court musician expanded significantly when Archduke Maximilian Franz became Elector of Cologne and began to show concern for the musical life of Bonn, where his residence was located. In 1787, Beethoven managed to visit Vienna for the first time - at that time the musical capital of Europe. According to stories, Mozart, having listened to the young man’s play, highly appreciated his improvisations and predicted a great future for him. But soon Beethoven had to return home - his mother was dying. He remained the sole breadwinner of a family consisting of a dissolute father and two younger brothers.

The young man's talent, his greed for musical impressions, his ardent and receptive nature attracted the attention of some enlightened Bonn families, and his brilliant piano improvisations provided him with free entry into any musical gatherings. The Breuning family did especially a lot for him, taking custody of the clumsy but original young musician. Dr. F. G. Wegeler became his lifelong friend, and Count F. E. G. Waldstein, his enthusiastic admirer, managed to convince the Archduke to send Beethoven to study in Vienna.

Vein. 1792–1802. In Vienna, where Beethoven came for the second time in 1792 and where he remained until the end of his days, he quickly found titled friends and patrons of the arts.

People who met the young Beethoven described the twenty-year-old composer as a stocky young man with a penchant for panache, sometimes brash, but good-natured and sweet in his relationships with his friends. Realizing the inadequacy of his education, he went to Joseph Haydn, a recognized Viennese authority in the field of instrumental music (Mozart had died a year earlier) and for some time brought him counterpoint exercises for testing. Haydn, however, soon lost interest in the obstinate student, and Beethoven, secretly from him, began to take lessons from I. Schenck and then from the more thorough I. G. Albrechtsberger. In addition, wanting to improve his vocal writing, he visited the famous opera composer Antonio Salieri for several years. Soon he joined a circle that united titled amateurs and professional musicians. Prince Karl Lichnowsky introduced the young provincial into the circle of his friends.

The question of how much the environment and the spirit of the time influence creativity is ambiguous. Beethoven read the works of F. G. Klopstock, one of the predecessors of the Sturm und Drang movement. He knew Goethe and deeply revered the thinker and poet. The political and social life of Europe at that time was alarming: when Beethoven arrived in Vienna in 1792, the city was agitated by news of the revolution in France. Beethoven enthusiastically accepted revolutionary slogans and praised freedom in his music. The volcanic, explosive nature of his work is undoubtedly the embodiment of the spirit of the time, but only in the sense that the character of the creator was to some extent shaped by this time. The bold violation of generally accepted norms, the powerful self-affirmation, the thunderous atmosphere of Beethoven's music - all this would have been unthinkable in Mozart's era.

However, Beethoven's early works largely follow the canons of the 18th century: this applies to trios (strings and piano), violin, piano and cello sonatas. The piano was then Beethoven’s closest instrument; in his piano works he expressed his most intimate feelings with utmost sincerity, and the slow movements of some sonatas (for example, Largo e mesto from sonata op. 10, no. 3) were already imbued with romantic longing. Pathetic Sonata op. 13 is also an obvious anticipation of Beethoven's later experiments. In other cases, his innovation has the character of a sudden invasion, and the first listeners perceived it as obvious arbitrariness. Six string quartets op. published in 1801. 18 can be considered the greatest achievement of this period; Beethoven was clearly in no hurry to publish, realizing what high examples of quartet writing were left by Mozart and Haydn. Beethoven's first orchestral experience was associated with two concertos for piano and orchestra (No. 1, C major and No. 2, B-flat major), created in 1801: he, apparently, was not sure about them either, being well acquainted with the greats Mozart's achievements in this genre. Among the best-known (and least provocative) early works is the septet op. 20 (1802). The next opus, the First Symphony (published at the end of 1801) is Beethoven's first purely orchestral work.

Approaching deafness.

We can only guess to what extent Beethoven's deafness influenced his work. The disease developed gradually. Already in 1798, he complained of tinnitus; it was difficult for him to distinguish high tones and understand a conversation conducted in a whisper. Horrified at the prospect of becoming an object of pity - a deaf composer, he told his close friend Karl Amenda about his illness, as well as doctors, who advised him to protect his hearing as much as possible. He continued to move in the circle of his Viennese friends, took part in musical evenings, and composed a lot. He managed to hide his deafness so well that until 1812 even people who often met him did not suspect how serious his illness was. The fact that during a conversation he often answered inappropriately was attributed to a bad mood or absent-mindedness.

In the summer of 1802, Beethoven retired to the quiet suburb of Vienna - Heiligenstadt. A stunning document appeared there - the “Heiligenstadt Testament”, the painful confession of a musician tormented by illness. The will is addressed to Beethoven's brothers (with instructions to read and execute after his death); in it he talks about his mental suffering: it is painful when “a person standing next to me hears a flute playing from afar, inaudible to me; or when someone hears a shepherd singing, but I cannot distinguish a sound.” But then, in a letter to Dr. Wegeler, he exclaims: “I will take fate by the throat!”, and the music that he continues to write confirms this decision: in the same summer the bright Second Symphony, op. 36, magnificent piano sonatas op. 31 and three violin sonatas, op. thirty.

Second period. "New way".

According to the “three-period” classification proposed in 1852 by one of the first researchers of Beethoven’s work, W. von Lenz, the second period approximately covers 1802–1815.

The final break with the past was more a realization, a continuation of the trends of the earlier period, than a conscious “declaration of independence”: Beethoven was not a theoretical reformer, like Gluck before him and Wagner after him. The first decisive breakthrough towards what Beethoven himself called the “new path” occurred in the Third Symphony (Eroica), work on which dates back to 1803–1804. Its duration is three times longer than any other symphony written previously. The first movement is music of extraordinary power, the second is a stunning outpouring of sorrow, the third is a witty, whimsical scherzo, and the finale - variations on a jubilant, festive theme - is far superior in its power to the traditional rondo finales composed by Beethoven's predecessors. It is often argued (and not without reason) that Beethoven initially dedicated the Eroica to Napoleon, but upon learning that he had proclaimed himself emperor, he canceled the dedication. “Now he will trample on the rights of man and satisfy only his own ambition,” these are, according to stories, Beethoven’s words when he tore up the title page of the score with the dedication. In the end, the Heroic was dedicated to one of the patrons - Prince Lobkowitz.

Works of the second period.

During these years, brilliant creations came out of his pen one after another. The composer's main works, listed in the order of their appearance, form an incredible stream of brilliant music; this imaginary sound world replaces for its creator the world of real sounds that is leaving him. It was a victorious self-affirmation, a reflection of the hard work of thought, evidence of the rich inner life of a musician.

We can name only the most important works of the second period: violin sonata in A major, op. 47 (Kreutzerova, 1802–1803); Third Symphony, op. 55 (Heroic, 1802–1805); oratorio Christ on the Mount of Olives, op. 85 (1803); piano sonatas: Waldstein, op. 53; F major, op. 54, Appassionata, op. 57 (1803–1815); Piano Concerto No. 4 in G Major, Op. 58 (1805–1806); Beethoven's only opera is Fidelio, op. 72 (1805, second edition 1806); three “Russian” quartets, op. 59 (dedicated to Count Razumovsky; 1805–1806); Fourth Symphony in B flat major, op. 60 (1806); violin concerto, op. 61 (1806); Overture to Collin's tragedy Coriolanus, op. 62 (1807); Mass in C major, op. 86 (1807); Fifth Symphony in C minor, op. 67 (1804–1808); Sixth Symphony, op. 68 (Pastoral, 1807–1808); cello sonata in A major, op. 69 (1807); two piano trios, op. 70 (1808); Piano Concerto No. 5, op. 73 (Emperor, 1809); quartet, op. 74 (Harp, 1809); piano sonata, op. 81a (Farewell, 1809–1910); three songs on poems by Goethe, op. 83 (1810); music for Goethe's tragedy Egmont, op. 84 (1809); Quartet in F minor, op. 95 (1810); Eighth Symphony in F major, op. 93 (1811–1812); piano trio in B-flat major, op. 97 (Archduke, 1818).

The second period includes Beethoven's highest achievements in the genres of violin and piano concertos, violin and cello sonatas, and operas; The genre of piano sonata is represented by such masterpieces as the Appassionata and Waldstein. But even musicians were not always able to perceive the novelty of these compositions. They say that one of his colleagues once asked Beethoven whether he really considered one of the quartets dedicated to the Russian envoy in Vienna, Count Razumovsky, to be music. “Yes,” the composer answered, “but not for you, but for the future.”

The source of inspiration for a number of compositions were the romantic feelings that Beethoven felt for some of his high-society students. This probably refers to the two sonatas “quasi una Fantasia”, Op. 27 (published in 1802). The second of them (later named “Lunar”) is dedicated to Countess Juliet Guicciardi. Beethoven even thought about proposing to her, but realized in time that a deaf musician was not a suitable match for a flirtatious social beauty. Other ladies he knew rejected him; one of them called him a “freak” and “half crazy.” The situation was different with the Brunswick family, in which Beethoven gave music lessons to his two older sisters - Teresa (“Tesi”) and Josephine (“Pepi”). It has long been discarded that the addressee of the message to the “Immortal Beloved” found in Beethoven’s papers after his death was Teresa, but modern researchers do not rule out that this addressee was Josephine. In any case, the idyllic Fourth Symphony owes its conception to Beethoven's stay at the Brunswick Hungarian estate in the summer of 1806.

The Fourth, Fifth and Sixth (Pastoral) symphonies were composed in 1804–1808. The fifth, probably the most famous symphony in the world, opens with a brief motif about which Beethoven said: “Thus fate knocks at the door.” The Seventh and Eighth Symphonies were completed in 1812.

In 1804, Beethoven willingly accepted the commission to compose an opera, since in Vienna success on the opera stage meant fame and money. The plot in brief was as follows: a brave, enterprising woman, dressed in men's clothing, saves her beloved husband, imprisoned by a cruel tyrant, and exposes the latter before the people. To avoid confusion with a pre-existing opera based on this plot - Leonore Gaveau, Beethoven's work was called Fidelio, after the name taken by the heroine in disguise. Of course, Beethoven had no experience composing for the theater. The climaxes of the melodrama are marked by excellent music, but in other sections the lack of dramatic flair prevents the composer from rising above the operatic routine (although he strived very hard to do so: there are fragments in Fidelio that were reworked up to eighteen times). Nevertheless, the opera gradually won over listeners (during the composer’s lifetime there were three productions of it in different editions - in 1805, 1806 and 1814). It can be argued that the composer did not put so much effort into any other composition.

Beethoven, as already mentioned, deeply revered the works of Goethe, composed several songs based on his texts, music for his tragedy Egmont, but met Goethe only in the summer of 1812, when they ended up together at a resort in Teplitz. The refined manners of the great poet and the harsh behavior of the composer did not contribute to their rapprochement. “His talent amazed me extremely, but, unfortunately, he has an indomitable temper, and the world seems to him a hateful creation,” says Goethe in one of his letters.

Friendship with Archduke Rudolf.

Beethoven's friendship with Rudolf, the Austrian Archduke and half-brother of the Emperor, is one of the most interesting historical stories. Around 1804, the Archduke, then 16 years old, began taking piano lessons from the composer. Despite the huge difference in social status, teacher and student felt sincere affection for each other. Appearing for lessons at the Archduke's palace, Beethoven had to pass by countless lackeys, call his student “Your Highness” and fight his amateurish attitude towards music. And he did all this with amazing patience, although he never hesitated to cancel lessons if he was busy composing. Commissioned by the Archduke, such works as the piano sonata Farewell, the Triple Concerto, the last and most grandiose Fifth Piano Concerto, and the Solemn Mass (Missa solemnis) were created. It was originally intended for the ceremony of the Archduke's elevation to the rank of Archbishop of Olmut, but was not completed on time. The Archduke, Prince Kinsky and Prince Lobkowitz established a kind of scholarship for the composer who had brought glory to Vienna, but received no support from the city authorities, and the Archduke turned out to be the most reliable of the three patrons. During the Congress of Vienna in 1814, Beethoven derived considerable material benefit from communicating with the aristocracy and kindly listened to compliments - he managed to at least partially hide the contempt for the court “brilliance” that he always felt.

Last years. The composer's financial situation improved noticeably. Publishers hunted for his scores and ordered works such as large piano variations on a theme of Diabelli's waltz (1823). His caring friends, especially A. Schindler, who was deeply devoted to Beethoven, observing the musician’s chaotic and deprived lifestyle and hearing his complaints that he had been “robbed” (Beethoven became unreasonably suspicious and was ready to blame almost everyone around him for the worst ), could not understand where he was putting the money. They didn’t know that the composer was putting them off, but he wasn’t doing it for himself. When his brother Kaspar died in 1815, the composer became one of the guardians of his ten-year-old nephew Karl. Beethoven's love for the boy and his desire to ensure his future came into conflict with the distrust that the composer felt towards Karl's mother; as a result, he only constantly quarreled with both, and this situation colored the last period of his life with a tragic light. During the years when Beethoven sought full guardianship, he composed little.

Beethoven's deafness became almost complete. By 1819, he had to completely switch to communicating with his interlocutors using a slate board or paper and pencil (the so-called Beethoven conversation notebooks have been preserved). Completely immersed in such works as the majestic Solemn Mass in D major (1818) or the Ninth Symphony, he behaved strangely, causing alarm to strangers: he “sang, howled, stamped his feet, and generally seemed to be engaged in a mortal struggle with invisible enemy" (Schindler). The brilliant last quartets, the last five piano sonatas - grandiose in scale, unusual in form and style - seemed to many contemporaries to be the works of a madman. And yet, Viennese listeners recognized the nobility and greatness of Beethoven's music; they felt that they were dealing with a genius. In 1824, during the performance of the Ninth Symphony with its choral finale to the text of Schiller's Ode to Joy (An die Freude), Beethoven stood next to the conductor. The hall was captivated by the powerful climax at the end of the symphony, the audience went wild, but Beethoven did not turn around. One of the singers had to take him by the sleeve and turn him to face the audience so that the composer bowed.

The fate of other later works was more complicated. Many years passed after Beethoven's death, and only then did the most receptive musicians begin to perform his last quartets (including the Grand Fugue, Op. 33) and the last piano sonatas, revealing to people these highest, most beautiful achievements of Beethoven. Sometimes Beethoven's late style is characterized as contemplative, abstract, in some cases neglecting the laws of euphony; in fact, this music is an endless source of powerful and intelligent spiritual energy.

Beethoven died in Vienna on March 26, 1827 from pneumonia, complicated by jaundice and dropsy.

Beethoven's contribution to world culture.

Beethoven continued the general line of development of the symphony, sonata, and quartet genres outlined by his predecessors. However, his interpretation of known forms and genres was distinguished by great freedom; we can say that Beethoven expanded their boundaries in time and space. He did not expand the composition of the symphony orchestra that had developed by his time, but his scores require, firstly, a larger number of performers in each part, and secondly, the performing skill of each orchestra member, incredible in his era; in addition, Beethoven was very sensitive to the individual expressiveness of each instrumental timbre. The piano in his works is not a close relative of the elegant harpsichord: the entire extended range of the instrument, all its dynamic capabilities, are used.

In the areas of melody, harmony, and rhythm, Beethoven often resorts to the technique of sudden change and contrast. One form of contrast is the contrast between decisive themes with a clear rhythm and more lyrical, smoothly flowing sections. Sharp dissonances and unexpected modulations into distant keys are also an important feature of Beethoven's harmony. He expanded the range of tempos used in music and often resorted to dramatic, impulsive changes in dynamics. Sometimes the contrast appears as a manifestation of Beethoven's characteristically somewhat crude humor - this happens in his frantic scherzos, which in his symphonies and quartets often replace a more sedate minuet.

Unlike his predecessor Mozart, Beethoven had difficulty composing. Beethoven's notebooks show how gradually, step by step, a grandiose composition emerges from uncertain sketches, marked by a convincing logic of construction and rare beauty. Just one example: in the original sketch of the famous “fate motif” that opens the Fifth Symphony, it was assigned to the flute, which means that the theme had a completely different figurative meaning. Powerful artistic intelligence allows the composer to turn a disadvantage into an advantage: Beethoven contrasts Mozart’s spontaneity and instinctive sense of perfection with unsurpassed musical and dramatic logic. It is she who is the main source of Beethoven's greatness, his incomparable ability to organize contrasting elements into a monolithic whole. Beethoven erases traditional caesuras between sections of form, avoids symmetry, merges parts of the cycle, and develops extended constructions from thematic and rhythmic motifs, which at first glance do not contain anything interesting. In other words, Beethoven creates musical space with the power of his mind, his own will. He anticipated and created those artistic movements that became decisive for the musical art of the 19th century. And today his works are among the greatest, most revered creations of human genius. Beethoven
Soshenkov S.N. 2009-02-18 17:40:24

Cool man. His musical and dramatic (that's right!) works, especially the first and second parts of the Ninth Symphony, have no equal in the entire world of art in terms of depth, beauty and purity of content.

22
2 2007-11-13 13:00:01

they wrote the rules will do

Beethove is with us!
Reward 2010-05-14 20:01:08

Nature has placed a barrier between her and humanity: morality. A person who is always aware of his social level challenges fate with his creativity and his rebellion is watched closely higher power. However, they are also preparing talent for such a protest. They form him to the extent required to accomplish the main work of his life, in the case of Beethoven - his music, for imagining humanity without his symphonies is the same as deleting Columbus, trampling on the fire given by Prometheus, or returning humanity from space. Yes, if Beethoven had not existed before space, we would have had to throw up our hands at the launches: something is missing, something is slowing down, somewhere we “messed up”... But everything is in order, friends! Beethoven is with us. With humanity forever this rebel, this loner, who sacrificed a successful cozy bedroom, a comfortable family nest and contrary to respectable burgher morality, it is he who lends his shoulder to any breakthrough of humanity into the future; this breakthrough is unthinkable without Beethoven.

Good article, thanks. I was looking for whether Beethoven had children and found this article. Just today I wrote the thought that if people were not so obsessed with sex and reproduction, they could approach the greatness of the geniuses of mankind, of which Beethoven is a shining example. When I lose heart and life is ready to crush me, when they try to intimidate me with death, I always remember the sounds of his 9th Symphony, heard in my youth, and I understand that the one who went through and survived the 9th Symphony with Beethoven to the end is invincible and undaunted. 9 Symphony is my personal nuclear weapon, a nuclear button that turns me into Beethoven's Superman... His Spirit comes to life and lives in me in the beat of moments and my weak body and mind are not a burden for him at all. The feeling is as if an engine from a BelAZ, or even a jet aircraft, was installed on a passenger car)) This is a unique experience. But I still can’t listen to Beethoven’s music for a long time. It quite hardens your heart and you start to climb the wall, quarrel with everyone... In this regard, Tchaikovsky has a more harmonious influence on the Spirit and Mind. In Tchaikovsky's music there is not only a fierce struggle, but also a lot that touches the heart, melts it and makes it cry for no apparent reason. Because Tchaikovsky awakened your soul and showed you himself... And Beethoven's symphonies are well suited for some titanic efforts and achievements. Or to pull yourself out of a complete swamp, like Baron Munchausen by the scruff of the neck... Tchaikovsky gives Reason, thanks to which you can go not ahead, but wisely, which relieves you of titanic overstrain. However, not everyone thinks so. Some people told me that Tchaikovsky’s music, compared to Beethoven’s, is full of water...) I don’t think so. You won't miss a single note. In general, these 2 composers are my teachers in life. Whoever listened to and lived Tchaikovsky's 6th Symphony, considers himself to have lived a whole life and his soul has become wiser for this life...

In a family with Flemish roots. The composer's paternal grandfather was born in Flanders, served as a choirmaster in Ghent and Louvain, and in 1733 moved to Bonn, where he became a court musician in the chapel of the Elector-Archbishop of Cologne. His only son Johann, like his father, served in the choir as a vocalist (tenor) and earned money by giving violin and clavier lessons.

In 1767 he married Maria Magdalene Keverich, daughter of the court chef in Koblenz (seat of the Archbishop of Trier). Ludwig, the future composer, was the eldest of their three sons.

His musical talent showed up early. Beethoven's first music teacher was his father, and the choir musicians also studied with him.

On March 26, 1778, the father organized his son's first public performance.

Since 1781, the composer and organist Christian Gottlob Nefe supervised the lessons of the young talent. Beethoven soon became accompanist of the court theater and assistant organist of the chapel.

In 1782, Beethoven wrote his first work, Variations for Clavier on a March Theme by composer Ernst Dresler.

In 1787, Beethoven visited Vienna and took several lessons from the composer Wolfgang Mozart. But he soon learned that his mother was seriously ill and returned to Bonn. After the death of his mother, Ludwig remained the sole breadwinner of the family.

The young man's talent attracted the attention of some enlightened Bonn families, and his brilliant piano improvisations provided him with free entry into any musical gatherings. The von Breuning family did especially a lot for him, and took custody of the musician.

In 1789, Beethoven was a volunteer student at the Faculty of Philosophy at the University of Bonn.

In 1792, the composer moved to Vienna, where he lived almost without leaving for the rest of his life. His initial goal when moving was to improve his composition under the guidance of composer Joseph Haydn, but these studies did not last long. Beethoven quickly gained fame and recognition - first as the best pianist and improviser in Vienna, and later as a composer.

In bloom creative forces Beethoven showed tremendous efficiency. In 1801-1812 he wrote the following outstanding works, as Sonata in C sharp minor ("Lunar", 1801), Second Symphony (1802), "Kreutzer Sonata" (1803), "Eroica" (Third) Symphony, sonatas "Aurora" and "Appassionata" (1804), opera " Fidelio" (1805), Fourth Symphony (1806).

In 1808, Beethoven completed one of his most popular symphonic works‒ The Fifth Symphony and at the same time the “Pastoral” (Sixth) Symphony, in 1810 – the music for Johann Goethe’s tragedy “Egmont”, in 1812 – the Seventh and Eighth Symphonies.

From the age of 27, Beethoven suffered from progressive deafness. A serious illness for the musician limited his communication with people and made it difficult for him to perform as a pianist, which Beethoven eventually had to stop. Since 1819, he had to completely switch to communicating with his interlocutors using a slate board or paper and pencil.

In his later works, Beethoven often turned to the fugue form. The last five piano sonatas (Nos. 28-32) and the last five quartets (Nos. 12-16) are particularly complex and refined. musical language, requiring the greatest skill from performers.

Beethoven's later work for a long time caused controversy. Of his contemporaries, only a few were able to understand and appreciate him latest works. One of these people was his Russian admirer, Prince Nikolai Golitsyn, on whose order Quartets No. 12, 13 and 15 were written and dedicated to him. The overture “Consecration of the House” (1822) is also dedicated to him.

In 1823, Beethoven completed the “Solemn Mass,” which he considered his greatest work. This mass, designed more for a concert than for a cult performance, became one of the landmark phenomena in the German oratorio tradition.

With the assistance of Golitsyn, the “Solemn Mass” was first performed on April 7, 1824 in St. Petersburg.

In May 1824, Beethoven's last benefit concert took place in Vienna, in which, in addition to parts from the mass, his final Ninth Symphony was performed with a final chorus based on the words of the poet Friedrich Schiller's "Ode to Joy." The idea of ​​overcoming suffering and the triumph of light is consistently carried through the entire work.

The composer created nine symphonies, 11 overtures, five piano concertos, a violin concerto, two masses, and one opera. Chamber music Beethoven includes 32 piano sonatas (not counting the six youth sonatas written in Bonn) and 10 sonatas for violin and piano, 16 string quartets, seven piano trios, as well as many other ensembles - string trios, a septet for mixed composition. His vocal heritage consists of songs, over 70 choirs, and canons.

On March 26, 1827, Ludwig van Beethoven died in Vienna from pneumonia, complicated by jaundice and dropsy.

The composer is buried in the Vienna Central Cemetery.

Beethoven's traditions were adopted and continued by composers Hector Berlioz, Franz Liszt, Johannes Brahms, Anton Bruckner, Gustav Mahler, Sergei Prokofiev, Dmitri Shostakovich. The composers of the New Viennese school - Arnold Schoenberg, Alban Berg, Anton Webern - also revered Beethoven as their teacher.

Since 1889, a museum has been opened in Bonn in the house where the composer was born.

In Vienna, three house museums are dedicated to Ludwig van Beethoven, and two monuments have been erected.

The Beethoven Museum is also open at Brunswick Castle in Hungary. At one time, the composer was friendly with the Brunswick family, often came to Hungary and stayed in their house. He was alternately in love with two of his students from the Brunswick family - Juliet and Teresa, but neither of the hobbies ended in marriage.

The material was prepared based on information from open sources