Introduction
Ludwig van Beethoven is one of the greatest German composers of the 19th century. Polyphony, which J.S.Bach and his contemporaries represented, was replaced by a bias towards homophony, mainly represented by Haydn and Mozart’s greatest symphonists. They created a new form that combines elements of harmony and counterpoint. Beethoven inherited this style, adopting it at the base, but remaining from the very beginning of his work by himself. Beethoven’s predecessors’ soft conditional wigs and powdered hair were replaced by the messy hair of the rebellious maestro. Beethoven’s creative gift did not appear as early as that of his predecessors, mainly Mozart; adopting the modern form of their time, which he soon mastered to perfection, Beethoven became its complete master. Beethoven’s work is such that in this sense, there are more exceptions than following traditions.
Romanticism
The romantic school, which resonated with Beethoven’s work, was the first phase of his posthumous popularity (Botstein, 332). Against the background of the musical atmosphere of post-revolutionary, that is, bourgeois Europe of the early and mid-19th century, Beethoven and the Western romantics were united by an essential common platform – opposition to the ostentatious brilliance and empty entertainment that began to dominate in those years on the concert stage and the opera house. The requirements of the church and princely culture dictated tendencies that did not recognize high aspirations in art. Most of the public was looking for light entertainment in music, not new horizons of possibilities. Beethoven led the search for a contemporary, honest, glorious, and sincere art.
Outstanding representatives of the romantic school in music dedicated hundreds of pages to Beethoven, proclaiming him to be their like-minded person. The spirit of improvisation, models of works of sonatas for piano and cello, were adopted by Chopin and Mendelssohn. There is even circumstantial evidence of influence in scholarly work, such as articulation and melodic distribution. Moreover, they used techniques to distance themselves from their predecessor (Bellah, 6). Beethoven’s works, such as Op. 69 and Op. 102 sonatas, for the first time, the roles and capabilities of the piano and cello are expanded, and the dialogue style of instruments is also used. The composer’s innovative ideas distinguish his work, such as an unexpected harmonic shift or repeated phrases.
Mendelssohn
An equal distribution of melody between keyboards and cello did not suit any composer before Beethoven’s sonatas for the same environment. It was a natural phenomenon that one instrument in any cello sonata had priority, while others played a supporting role, accompanying the leading voice. Even in his first two sonatas (op. 5), this approach is used by Beethoven (Bellah, 8). Luigi Boccherini and Vivaldi used similar compositional styles. The solo cello now communicated more with the continuo, the accompaniment became more accessible, but melodic equality was still not achieved. In the works of Beethoven, the cello crossed all the usual boundaries of its roles. In the sonatas Op. 5, the cello accompanied the piano’s left hand more than the soloist. Moreover, there was more freedom in each part, more solo moments, the impression of a dialogue on equal terms between the instruments was created.
It is worth noting that Mozart used a similar approach with a violin. He also gave the violin many unexpected roles, which Beethoven then used with the cello. Therefore, it cannot be said that only Beethoven influenced Mendelssohn in his concertos for piano and cello. In his Sonata Op. 4, he also created melodic equality between the instruments. However, as a man who saw the last years of Beethoven’s life, Mendelssohn admired him as a composer. It is evidenced that in honor of Beethoven’s memory after his death, Mendelssohn gave a concert, the program of which included two Beethoven sonatas and his cello sonata (Bellah, 27). In his work, he used the same melodic distribution of parts as Beethoven.
In addition, Mendelssohn used similar solutions in harmony. The transitions in the opening themes of the sonatas are consonant in the presentation of triads and changes from lower notes to higher ones. However, Mendelssohn took this idea further, which marks his progressive view of music. However, the form of using triads and passages without accompaniment from Mendelssohn’s sonata No. 2 in D major is, in any case, a reference towards Beethoven’s sonata for piano and cello No. 3 in A major.
Chopin
The innovative impulses of Beethoven’s later work, the desire to change the same sonata form, and the dynamics of the musical movement found response in Chopin. It is historically proven that the master of improvisation was aware of Beethoven’s work, although he probably never met him. The most famous example of Beethoven’s influence on Chopin is the Fantasie Impromptu, Op. 66 and Beethoven’s Op. 27 No. 1, the “Moonlight” Sonata. Also, musicologists note references between Chopin’s Piano Sonata in B-Flat Minor, Op. 35 and Beethoven’s Piano Sonata No. 32 in C-Minor, Op. 111 in the dynamics and structure of works (Bellah, 47). Most interesting, however, is Chopin’s Cello Sonata in G Major, Op. 65, where there are even direct quotes from Beethoven’s Sonata for Piano and Cello no. 3 in A-major, Op. 69, only taken in different key and tempo.
In his sonata, Chopin took a Beethoven-like approach to the development of the main theme. He does not develop his music in advance, presenting it with chord triads, and only then, with the help of cadenze, allows the chords to progress into the central theme. Beethoven used the same technique in his works Op. 69 and Op. 102. (Bellah, 59).
Moreover, the handwriting of Chopin and Beethoven unites approaches to the sonata form. Stops between parts show general views on dynamics. The movement of the music is interrupted by the farms. There are also similarities in harmony used at these junctions of the sonata parts. The same Beethoven Sonata (Op. 102) uses a more restrained style of instrument dialogue. Chopin used a similar approach in his cello sonata in G minor.
Differences in the creative style of both composers can be revealed in the development of sonata themes. Although he often encounters a type of dialogue in Chopin’s works, he presents a development strategy in a slightly different way. In the same example (Op. 65), Chopin introduces new melodies and uses more modulations picked up by the second instrument. Although the influence is evident, Chopin developed his style, charting exciting trends in the evolution of music.
Wagner
Wagner’s view of Beethoven gained the most critical recognition in the last decades of the nineteenth century and exerted a significant influence (Botstein, 333). Wagner’s musical dramas also adopted a lot from Beethoven’s work, for example, the operatic style. At the same time, Wagner shared the romantic dissatisfaction with the art of that time, highlighting the musical theater. The mythology and comedies of classicism gave way to legends and fantastic tales. Beethoven had a hand in one opera and music of drama theaters, writing such works as “Egmont,” “Fidelio,” and others. A polite interest was often shown in his church works, while the audience eagerly demanded Beethoven’s new opera.
However, despite Wagner’s admiration for Beethoven, there are many essential differences between the two. Beethoven’s quartet writing is characterized by clear thought and lack of drama in favor of spirituality. Along with Liszt and Berlioz, Wagner eschewed this restrained genre, devoid of pop and instrumental diversity. In his works, Wagner strove for timbre shades, sensual but constant musical speech. On the other hand, Beethoven prioritized the dynamics of music and a sense of form.
Since Beethoven’s time, composers first decided what the whole would be, and then this whole was divided into parts. While there is only a compositional principle in the narrative, Beethoven combined compositional and constructive principles in his work. Furthermore, some of the features of anachronism in variations in C minor are that Beethoven applies a holistic principle when presenting narrative techniques. The focus of productive creativity distinguishes Beethoven from Wagner, who is dominated by the narrative direction.
Conclusion
Beethoven’s works are performed to this day. However, the figure of the composer attracts not only artists but also people of the scientific field. His works analyze tonal harmony, musical solutions, and methodology, which is then used in digital music (Moss et al.). Often, artists of completely different styles of music were recognized as influencing Beethoven: jazz, folk, rock, and many others.
Beethoven overcame both personal and class egoism in his work. The language in which the composer conveyed his ideas is familiar to every person. Therefore, today’s problems, moods, and hopes are reflected in his work. His optimism, reflected in the solemn music, light yet profound, was a novelty among his contemporaries. At the same time, his skill, despite the composer’s deafness, was appreciated during his lifetime by both listeners and representatives of the romantic school. Beethoven created music precisely as it should be – beautiful by ear with a storehouse of ideas and turns of flight of thought, which critics and scientists are still trying to unravel.
References
Bellah, Patrick. Influence and Innovation: Beethoven’s Impact on the Sonatas for Piano and Cello by Mendelssohn and Chopin. 2020. School of Music, PhD dissertation.
Botstein, Leon. “The Search for Meaning in Beethoven: Popularity, Intimacy, and Politics in Historical Perspective.” Beethoven and his World. Princeton University Press, 2021, pp. 332-366.
Moss, Fabian C., et al. “Statistical characteristics of tonal harmony: A corpus study of Beethoven’s string quartets.” PLoS One, vol. 14, no. 6, 2019, e0217242.