Books › He Biographical Dictionary Of Musicians, 1939 › scan 52
Scan 52
He Biographical Dictionary Of Musicians, 1939
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1'Prince of Ottingen-Wallerstein; harpsichordist; composer of 7 operas, etc.
2Beellaerts (bāl-lārts), Jean. Vide BELERE.
3Beer (bār), (1) Jacob Liebmann. Vide MEYERBEER. (2) Josef, Grunwald, Bohemia, 1744—Potsdam, 1811; player of the clarinet, for which he invented the fifth key. (3) Max Josef, Vienna, Aug. 25, 1851—Nov. 25, 1908; pianist; pupil of Dessoff; lived in Vienna; composed 4 operas, incl. the succ. "Der Striek der Schmiede" (Augsburg, 1897), etc.
4Beer-Walbrunn, Anton, Kohlberg, June 29, 1864—Munich, March 22, 1929; studied with Rheinberger, leader in Regensburg orch., later lived in Munich; taught piano and theory at Akad. there after 1901; prof., 1908; c. operas, many orch., chamber, piano works, etc.
5Beethoven (bāt'-hō-fēn, not bā-tō'-vēn), Ludwig van, b. Bonn-on-Rhine, Dec. 16 (baptised, Dec. 17, 1770) (Beethoven said Dec. 16, 1772), d. Vienna, March 26, 1827; grandson of Ludwig van B. (a native of Maastricht, bass singer, opera composer, and conductor to the Elector Clemens August, at Bonn), 2d child of Jn. van B. (a tenor singer in the Electoral choir), who had m. a widow, Magdelena Laym (née Keverich), a daughter of the chief cook at Ehrenbreitstein. B. studied at the public schools at Bonn till 14. From his fourth year, his father taught him music with great severity till 1779. He played the vln. well at 8; at 11 he knew Bach's "Wohltemperirte Clavier." Became pupil of Pfeiffer, a music-dir. and oboist; and Van der Eeden, court-organist, who predicted that he would be "a second Mozart"; 1785, studied vln. with Franz Ries; 1787, took a few lessons of Mozart; 1792, Haydn, passing through Bonn, praised a cantata of his (now lost). The Elector sent B. to Vienna, where he studied cpt. with Haydn, who seemed to neglect him, so that he secretly studied with Schenck; later he went to Albrechtsberger, who said "he has learnt nothing, and will never do anything in decent style"; he studied the vln. with Schuppanzigh and consulted Salieri and Aloys Förster; 1781, he is believed to have written a Funeral Cantata in memory of the English chargé d'affaires at Bonn, who had advanced money to the family; 1781 (1782?), his first publication, 3 pf.-sonatas, 1782; deputy organist, 1783; cembalist for rehearsals of the opera-orch., without compensation 1784–92; asst organist at an annual salary of 150 florins (about $63); from 1788 also 2d viola of the theatre orch. Visited Vienna, 1787, and made a sensation by extemporising, Mozart exclaiming "He will make a noise in the world some day." In July his tender-hearted mother died of consumption; his father lost his voice and became a sot. B.'s only home was in the family of the widow von Breuning, to whose daughter and son he gave lessons. Here he acquired his passion for English literature He now made acquaintance of young Count Waldstein, who became his life-long patron, and in 1792 sent him to Vienna, where he henceforward lived. The decade 1782–92 does not show much fertility in composition, half a dozen songs, a rondo, a minuet, and 3 preludes for pf, 3 pf.-quartets, a pf.-trio, a string-trio, op. 3; 4 sets of pf. variations; a rondino for wind; the "Ritter Ballet" with orch. (pub. 1872); "The Bagatelles," op. 33; 2 vln.-rondos, op. 51; the "Serenade Trio" op. 8; the lost cantata, a lost trio for pf, flute, and bassoon, and an Allegro and Minuet for 2 flutes. 1792, he was sent to Vienna by the Elector, who paid him his salary for 2 years; he had growing royalties from his comps, also 600 florins annually from Prince Lichnowsky, his warmest admirer. March 29, 1795, he played his C major pf.-concerto in the Burgtheater, his first public appearance; 1796, he played before King Fr. Wm. II.; 1798, at Prague, he gave 2 sensational concerts and met two piano virtuosi: Steibelt who challenged B. to extemporise and was sadly worsted, and Wolffl, who became his friend. 1800 ends what is called (after von Lenz's book "B. et ses trois styles") his "first period" of composition; the "second period," extending to 1815; the "third" to 1827. This first period includes op. 1–18, pf. and string-trios, string-quartets, 9 pf.-sonatas, 7 variations on "God Save the Queen," and 5 on "Rule Britan-
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