Beethoven: Anguish and Triumph V

In 1806, Beethoven engaged in a serious row with Lichnowsky, and they had a major falling-out. They were later partially reconciled, but he permanently lost his annual stipend. In the short term, this left him with insufficient income. Operas were popular in Vienna, but they were not Beethoven's forte. Later, in 1809, he pieced together a larger annual stipend with some other aristocrats that left him a stronger financial position. 

It is difficult to list all of Beethoven's musical connections, but I thought I'd mention Ignaz Schuppanzigh. Schuppanzigh was an innovator in string quartets and helped Beethoven excel in that medium.

Beethoven continued composing symphonies during this period and finished both the Fifth and Sixth Symphonies. I am most familiar with the Sixth Symphony, known as Pastoral, because it was the first one for which I owned a recording. 

In 1809, France attacked Austria, throwing the country into economic chaos for a time. Beethoven's hearing and health continued to decline. A source of income had been playing rather than composing, but the deterioration of his hearing increasingly made his public performances untenable.

Beethoven continued to pursue women, one of whom was Therese Malfatti, who was seventeen at the time they met in 1810. In this instance, the courtship was relatively constrained compared to his previous courtship, and he dedicated Für Elise to her. Another was Bettina Brentano, who was almost twenty-five when they met, also in 1810. Bettina was unlike the others in that she fit the profile as an artist herself, with multiple talents. She traveled in wide artistic circles and was a friend of Goethe. Bettina, Swafford thinks, is the most likely candidate referred to enigmatically by Beethoven as "Immortal Beloved."

Through this connection, Beethoven eventually met Goethe. While each knew that they were both at the respective peaks in their arts, they never developed a rapport. Beethoven was too spontaneous and wild for Goethe, and Goethe was too conservative and too much a part of the status quo compared to Beethoven, cherishing his court connections. His tastes were also more conservative: he preferred Mozart. Moreover, as Swafford points out, though Beethoven came to be associated with the Romantic movement, his formative years were spent in a more rationalistic environment, and he was not a true Romantic. Speaking for myself, I am more of a rationalist, though I still like some aspects of Romanticism.

While all this was going on, Beethoven was composing away, but with a lower output than previously. Piano Concerto No. 5, Emperor, was composed in 1809. I heard this live a few years ago, and it is my favorite of his piano concertos.

I am moving faster through the book now, but still have a long way to go.