one of the elements that I find
intriguing is, and is actually also the
name of the channel: from Bach to Beethoven,
and maybe I should change it to
reconnect Bach to Beethoven because that's
the thing that I find intriguing and
fascinating is to see how this musical
standard - and I'm talking a lot about
notation - is developing into later
periods. You have of course Bach, and the
influence of Bach is hard to be
overestimated and his students and his sons
were more dominant maybe than we see
today in musical scene, because their
music is not being played so much as
father Bach or the Viennese
composers like Haydn, Mozart, Beethoven,
but that influence, if only by by the book of
Carl Philip Emannuel Bach on keyboard playing
was immense. So the tradition you have
from Bach to Beethoven is really
important to study and it'll open for me
much more even than the metronome
numbers who are just secondary, but they
tie into that if you interpret them in
the double beat structure. W are not going
to talk about that in this video, but the
notation and that evolution is important
to see how it develops, so we are now
hearing Beethoven of his opus 14 written
about 1799 so it is to be considered a
little bit as early works, although you
wouldn't say that if you play the music
it's really mature it's really well
thought it's beautiful music but it's a
little bit before actually his first
symphony so that is more or less his early
period. But if we connect Bach to Beethoven,
it's interesting also to see that there
is a line of teachers and students
between Bach and Beethoven so Beethoven,
by the way born its grandfather was born
in a town near Mechelen, and Mechelen is a city
here one hour drive from my house if
traffic allows, actually I have been a lot
in Mechelen,because, you know, I am working
as an organ consultant as well, and I
have two beautiful
projects there, they're not in restauration now
incredibly important
organs built by Van Peteghem, late,
second part of the 18th century so
exactly the time of Beethoven (our
Beethoven) so and it's nice to see that
connection of course with my home
country but anyway they moved, to Bonn
and there, Beethoven was born, teached by
his father obviously, but also got
lessons from Neefe. Neefe was an
important keyboard player, clavichord
player. he composed pieces exclusively for the
clavichord which is kind of rare to have
that kind of dedications but in that
time is understandable (that's for
another video) and by the way, Neefe was
also the teacher of Reicha. Reicha is a
composer we have to cover once, they knew each
other, Beethoven Reicha, throughout their
whole lives. That is very interesting to
talk about that, Reicha is an experimental
composer that you cannot believe what he
composed around 1800 but that's for some
other projects. So Neefe was a student
of Hiller and Hiller was a musician
lived if I remember well in the
Dresden probably, not so important,
anyway Hiller was a student of Homilius
and Homilius of course was one of the
famous Bach students, so you have a
line Bach, Homilius, Hiller, Hiller by the
way also the teacher of Gotlob Türk,
so you see the connection. Hiller,
Neefe and then you have Beethoven. Not
saying that there is a connection
directly from Bach to Beethoven, but there is some
ongoing thing that we should see. So we
should, if you understand, or try to
understand Bach, if you try to understand
or do research on Bach notation,
movement, tempo,... you know that's
important for me, then we should also
take that and see what Beethoven
writes, if that connects to what we
understand is the meaning of the
notation in Bach's works and that's
important, that opens so many new
perspectives for me that's the prime
point of research, more than diving into
the metronome numbers.
The metronome numbers, they do
interest me, because, if interpreted in
the way that Lorenz Gadient talks
about, so the double beat structure, than those
metronome numbers of the early 19th century
they tie in perfectly to that what Bach
is to be considered to be the 'true
tempo', I mean the tempo ordinario, we talk
about that a lot on the channel and
that's the interesting thing for me:
diving into the metronome numbers
because they misguide so many
musicians today of increasing those
tempi in the Vienese period, and Beethoven. We're
going to talk on tempo of course a lot in
the coming months. So there is a line Bach
to Beethoven, and if you consider
movement and tempo, because there are,
those are the foundations of your
performance, certainly the movement,
tempo is something we can measure, that's
the reason why we sometimes over
estimate the importance of the abstract
tempo, it's kind of, it's very concrete
and abstract at the same time. It
influences of course the movement and
the movement is the most important,
it is the foundation of your performance. The
tempo is one important element of that,
but if you see the line from Bach to
Beethoven there is an increase in tempo.
There always have been an increase in, of
progress, in more and faster and louder,
so the line is like that, the line is
of course not coming at music to Haydn
and Mozart like that. It's very
progressively. So a little bit on his
period in Vienna. So Neefe was the one
who introduced Beethoven to Bach. Teached
him on the Well-Tempered Klavier, so
Beethoven was fascinated by
counterpoint from a very young age. It
was something as he would say himself he
struggled with that whole his life, I
believe he understood the difficulties
of that so he went to Vienna in 1787 for
the first time to study with Mozart. You
know the story, we never will know if
Mozart and Beethoven met. Some say yes,
some say no, anyway he returned to
Bonn because his mother was ill and then
later in 1792 he was actually sent by the
Emperor
in Bonn, so the King of
Bavaria if I well remember to send him
to Vienna for study and to build a
career. Actually, he was also given a
farewell notice by count von Waldstein,
and we will remember his name because of
the famous Waldstein sonata of
course. So over the years in Vienna,
Beethoven studied with Haydn, obviously
dedicated his first opus two, or first
three sonatas, to Haydn, he also studied
with Salieri on elements of opera, and he
did also study with Albrechstberger,
that's a very important name also to
remember. Albrechtsberger was very
influential as a teacher, maybe one of
the best composer teachers that lived in
that period and influenced a lot of
other composers as well. We should make a
dedicated video on Albrechtsberger soon.
Beethoven didn't traveled to Vienna in
the first place to become a composer, but
to become a virtuoso. Things of course
went not according to his plans
for several reasons but at the beginning
time he was very successful. He waited
until 1795 to have his first big public
concert with works of Mozart and other
composers and if you would list up what he
played on that concert concert and would
have the orchestra play, that must have
been a concert that lasted for a whole day. I
mean, it's just an incredible amount of
music. But with the money he made from
that concert alone, he could live
one year, so he was very successful. On
the other hand people were very happy to
have him, because, remember, Mozart just
died, and, contrary to the image many
still have today made by that movie
Amadeus, which is a very beautiful movie
but has nothing to do with the essence
of Mozart's life, Mozart was the opposite of
the projection that we have from that
movie. Certainly with the Magic Flute,
Mozart was at the high
point of his success, and people were
just shocked that Mozart died. I mean, who
was going to give them new works like
the Magic Flute, and there came Beethoven.
So Beethoven, very smart, jumped into
that and provided the people with works
more or less than in the style of Mozart. He
developed his own style throughout and
of course at the end of his life he
would open the whole European landscape
for the romantic music that actually
began with Mozart and maybe even
earlier. That is of course an ongoing line.
So that's very interesting of course by
the end of the 18th century Beethoven suffered
hearing loss, more and more, so it became
clear at the early 19th century that he
would not be able to pursue his dream of
becoming a clavier virtuoso , and so he
dedicated more and more time to
composition and by around 1815-1816-1817,
he was kind of deaf. People were still
able to talk to him and sometimes it
appears that this hearing was better
than other days, but for instance for
the premiere of his 9th symphony, early
twenties, he was actually not hearing the
applause and the Ovation of the people
behind him, so he didn't hear anything
anymore so it was a really dramatic
life. So the opus 14 situates right
before 1800, 1799 it's at the end of the
period of his first period in Vienna
right before his first symphony as I've
been saying earlier, and so it might be
seen as the closure of a period also.
It's a period in which he definitely
understood, certainly in private circles
that his hearing loss would prevent him
from playing more often, certainly with
orchestra, because he didn't hear it too
well anymore. So that's important to
remember. These pieces though are not
considered to be the most difficult one
no Beethoven and you know the term difficult
gets another meaning if you reconsider
the way of playing and certainly the
movement and tempo, but even then, there
are even not played too much. The
opus 14 nr 2 a little bit
more, the opus 14 nr. 1 a little bit less, but I
will hope to share with you some
elements of that music in the videos
we are going to make that it's
worthwhile putting our time in. it is
beautiful, even mind blowing music, so
thank you for watching! I hope this was
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