In 1767, Maximilian III, Elector of Bavaria (1727-1777, Elector from 1745) asked Mozart (1756-1791) musical theme and doubting the talent young genius wished the boy to compose in his presence.
Mozart took a pen and, without approaching the instrument, quite quickly wrote a piece, which he immediately performed in the presence of the Court and His Majesty to everyone's admiration.

Classes of a twelve-year-old

In 1768, Mozart composed a mass for the consecration of the Orphan Church in Vienna, and then, in the presence of the entire Imperial family, he conducted the orchestra.

"Miserere"

In 1770 Mozart came to Rome for Holy Week. On this day, the famous "Miserere", which was composed by Gregorio Allegri (1582-1652) in 1630, was performed annually in the Sistine Chapel. The Pontiffs treasured this work very much: the only copy of the score of this work was classified, and only the musicians who performed "Miserere" once a year had access to it. Copying "Miserere" or parts of it was forbidden under pain of excommunication.
Mozart listened to the entire performance of the secret work in the cathedral and, having come home, wrote down the entire score of “Miserere” from memory. A few days later, this work was performed again, and Mozart listened to it again to eliminate possible errors.
Soon Mozart performed "Miserere" in one house: he himself sang and accompanied himself on the harpsichord. Even the First Roman Soprano, who performed his part in the Sistine Chapel, was forced to admit that Mozart did not make a single mistake in a single note.
So the score of "Miserere" was published, and in 1771 the famous traveler Charles Burney (1726-1814) published a copy from the "counterfeit" Mozart list in England, but, unfortunately, the Mozart copy itself has not survived to this day.

Contract Opera

In 1769, the Director of Milan's La Scala Theater signed a contract with Mozart, under which the young composer was obliged to write an opera for the carnival of 1771.
At the end of 1770, Mozart returned to Milan and on December 26 handed over the score of the opera "Mitridat" ("Mitridat, Re di Ponto"). The opera was enthusiastically received by the audience and presented more than twenty times.
Delighted by the success of the opera, the Theater Director immediately signed a new contract with Mozart, and soon received the score of the opera "Lucio Silla" ("Lucio Silla"), which was presented more than thirty times.

Mozart and Haydn

It is known that Mozart and Haydn treated each other with great respect and always spoke favorably of the work of their colleague in the music department. Once, in the presence of Haydn, they began to discuss Mozart's opera “Don Giovanni” (“Don Giovanni”), but Haydn himself remained silent. When he was forced to express his opinion, Haydn said:

"I can only say that today Mozart is the best composer [of music] in the world."

Joseph Haydn (1732-1809).

Outstanding Quartet

It is known that on February 12, 1885, a quartet evening took place in Mozart's house.
The first violin was played by Carl Dieters von Dittersdorf (1739-1799), the second violin by Joseph Haydn, Mozart himself played the viola, and the cello was entrusted to Johann Baptist Wangal (1739-1813). This stellar cast performed several Mozart quartets, after which Haydn approached Mozart's father and said heartfeltly:

"I tell you how fair man before God that your son is the greatest composite I know personally and by name. He has taste, and besides that, the greatest knowledge of composition."

By the way, Mozart dedicated his collection of quartets to Haydn.

Don't blame Haydn!

One of the talented court musicians did not like Haydn very much, and with the release of each new work of the latter, he ran to Mozart and, foaming at the mouth, proved that Haydn's works were no good. Mozart usually listened to this musician, but did not answer him.
Once Mozart could not stand the next stream of ignorant slander and flared up:

"My sir! If both you and me are melted together, then half of Haydn will not come out of us!"

Tuner

In a small German town where Mozart was passing through, he called in a local instrument tuner to fix a few strings on his traveling harpsichord. Having completed his work, the tuner remained standing near the composer, and Mozart asked:

"What do you want, kind old man?"

The tuner bowed to Mozart and began:

"I dare to magnify you ..." -

after which he listed all the appeals known to him, calling Mozart successively the High Nobility, Excellency and the highly respected Mr. Kapellmeister of His Imperial Majesty.
Mozart burst out laughing and presented the old man with several pieces of gold.

Traveling in Leipzig

When Mozart visited Leipzig, local musicians gave a concert in his honor. Mozart ardently praised both the orchestra and the singers, and then began to ask local musicians about their wealth. As a result of the conversation, Mozart distributed to the poorest of them all the money that he had with him.
It should be noted that at that time Mozart was in rather cramped circumstances, and came to Germany, hoping to improve his financial situation.

Beethoven Fauconnier Bernard

"Papa Haydn"

"Papa Haydn"

Ludwig is sitting at the piano. His reputation as a virtuoso pianist was already firmly established in Bonn. His playing style is powerful, but, as Wegeler says, "bumpy and hard". What does she lack? Nuances, some finesse... Of course, we will never know what kind of pianist he really was. The instrument has always been a companion of his musical thought, discoveries, wonderful constructions that were created in his mind. As for his playing style, it probably could not be compared with the playing of Schumann, Chopin, Liszt, those pianists-athletes who in the 19th century would be able to squeeze the maximum of its technical capabilities out of the instrument. Beethoven was a contemporary of the timid first steps of the modern piano. He mastered the harpsichord, then the piano with a still rather dry sound, slightly out of tune, so strange to our modern ears, forgive me "purists", snobs and champions of imaginary "musical authenticity": Beethoven often complained that the instrument he dreamed of and for whom he wrote music does not yet exist!

Be that as it may, in the early 1890s, Ludwig's game could still be improved. In September-October 1791, he took part in the Elector's big trip to Mergentheim and Aschaffenburg, which allowed him to compare his young talent with the more subtle gift of Sterkel, Kapellmeister of the Elector of Mainz.

“Sterkel played very easily, in an incredibly pleasant manner, a little feminine, in the words of Rees the father (15) . Beethoven stood beside him with an expression of concentration on his face. Then it was his turn; he began to play, although Sterkel doubted that the author of the variations would be able to perform them without hesitation. Then Beethoven played not only these variations, but also many others, no less difficult. To the great surprise of the listeners, he performed them in exactly the same light and pleasant manner that amazed Sterkel. It was so easy for him to change his game, adjusting to someone else's, ”writes Wegeler.

Europe was seething. Emperor Leopold II died on March 1, 1792; he was replaced by the very conservative Franz I of Austria, who reigned until the death of Beethoven and even longer. A fierce counter-revolutionary, hostile to new ideas in opposition to his uncle Joseph II and father Leopold II, Franz I led the country from disaster to humiliation, confronting French revolutionary troops and then Napoleonic armies, until the Congress of Vienna allowed him to take revenge in 1814 with blessed help. faithful Metternich.

In April 1792, the Legislative Assembly of France declared war on the King of Bohemia and Hungary, Emperor Franz. In August, King Louis XVI of France was deposed. On September 20, at Valmy, an army of ragged Sanyuolots defeated the Prussians, and in November, at Jemappes, Dumouriez's soldiers drove the Austrians out of Belgium. Revolutionary France was henceforth the beacon of freedom in Europe, at least in its declared intentions; its goal was the overthrow of the monarchies and the victory over tyranny - extensive plans.

These events certainly had to touch the revolutionary string in the soul of Ludwig. However, the main event of the summer of 1792 was his meeting with Joseph Haydn.

“Papa Haydn,” as Mozart affectionately called him, who died six months ago, was passing through Bonn. By the age of sixty, this graceless man of modest appearance, whose kindness was fueled by fiery faith, was finally freed from the tutelage of the Esterhazy princes after the death of Prince Nicholas (Miklos) in 1790, having served with them for more than three decades. Probably, this enlightened spirituality allowed him not to break under the heavy burden of his duties and the disappointments of an unhappy marriage with a woman whose sister he was in love with ... It was in Esterhazy Castle in Hungary that this modest but prolific genius wrote most his vast heritage, pushed by the constant need to supply scores to the prince's orchestra and theater, as well as chamber works: trios, quartets, piano sonatas, countless romances ... This hectic creativity, which he coped with with unanimously praised kindness and decency, made him a master. The only undisputed master who remained in Vienna after the death of Mozart. Although he recognized in his young friend Wolfgang "the greatest musician that the earth has ever worn", his own creativity contained fabulous treasures and became milestone in the history of the musical genres of symphony, quartet and sonata. Many pianists and some knowledgeable music lovers have even claimed that his piano sonatas are more interesting than Mozart's, more inventive and mysterious. He excelled in string quartet. The symphonies enchant him with their grace, amaze with their richness and complexity in the use of the orchestra, such as, for example, famous series London symphonies.

It was to London that Haydn was heading at the end of 1791 at the invitation of impresario Johann Peter Solomon, a native of Bonn. He stopped in Bonn and probably met Beethoven for the first time. Ludwig showed him one of his compositions, probably the famous Cantata on the death of Emperor Joseph II. Or did it happen on his return from London, where Haydn spent more than a year in triumph - the first apotheosis after a long life in slavery? In any case, the elderly maestro was impressed by the abilities of the almost unknown young man. Of course, Haydn noticed mistakes in the first works of young Ludwig, but also temperament and potential, and agreed to give him lessons at the request of the elector.

On November 1, 1792, Beethoven left for Vienna. He is 22 years old, but he himself thinks that he is only 20. Behind him are his father, who has come down to the pen, two brothers with an unclear future, a difficult youth that has passed under the sign of his father's rudeness, but illuminated by wonderful meetings. Bonn is associated with his unchanging love for music, his vocation, the first love experiences, his character is melancholy and enthusiastic, strong-willed and dreamy. Looking at the majestic Rhine, at this sweet and powerful nature, he was imbued with a deep sense of the reality of the world and its latent forces, a desire arose in him to be loved for the sake of his music and, thanks to work, virtue, self-sacrifice to people-brothers, to become what he could not become. father is a great artist. The roofs of Bonn are melting in the fog. He does not know that he will never return to hometown. Even at the time of the death of his father, who left this world on December 18, 1792 - perhaps from a heart attack. Leaving, Beethoven could not but know that Johann's days were numbered. Did he hasten his departure so as not to see him die? Now he is alone with himself, without the rude, whimpering, little respected super-ego, which was his father - a ruin, an unfortunate man who sat on his neck for 20 years.

“Take from the hands of Haydn the spirit of Mozart,” Count Waldstein allegedly wrote to him before leaving for an album with the wishes of his friends. Too much beautiful phrase to be genuine; after Beethoven's death, many documents were forged, in particular, by the hand of the diligent Anton Felix Schindler, who wrote his life, which we will talk about in due time with all the benevolence that his bad deeds deserve. Did Beethoven think of Lorchen during long way to Vienna? Before parting, they seemed to have quarreled, this is known from the letter that Ludwig wrote to the girl upon arrival in Vienna, asking for forgiveness. Lorchen, on the other hand, always had feelings of deep friendship for Ludwig: “Let friendship and goodness grow like a canopy until the sun of life goes out.” She recorded these lines of Herder (16) in his farewell album.

And now Beethoven is in Vienna - for life, which he does not know at all, thinking that he will return to Bonn when he finishes his studies. The city, indeed, is luxurious, charming - and terrible, teeming with spies and fiscals of the emperor, and soon - the capital of waltz and sugary kitsch. And also psychoanalysis, which is not at all accidental: the Viennese unconscious represented for the analyst an inexhaustible deposit of repressed desires. In Vienna, they feared a revolutionary contagion from France, spreading throughout Europe. Why is music so popular there? Because they thought she was harmless. Other forms of self-expression - philosophy, literature, these hotbeds of rebellion - were not welcome there. Even Emperor Joseph II, wishing to establish an academy in Vienna, faced the frivolity of the population, who did not accept Mozart's Don Giovanni, leaving the composer to die in poverty.

The news of his father's death did not take Ludwig by surprise. Johann has already died so many times in his heart... The Elector's funeral speech about the former chorister can do without comments: “Beethoven is dead; what a heavy loss for the alcohol tax.” The elector continued to pay Johann's salary, which was transferred to Ludwig to support his two brothers in his absence. Of course, there was no need to return to Bonn. Wallenstein and the elector provided Ludwig with letters of recommendation, and he appeared to Baron Nikolai Tsmeskal von Domanovets, court secretary of the Hungarian royal office. The first meeting was successful, Tsmeskal will become valuable for Ludwig and true friend for life, the most devoted of Viennese friends and the most generous, sparing neither time nor money for him and using all his connections in the capital. There are sure signs of this: the touchy Beethoven will never quarrel with Tsmeskal, except perhaps for a few hours!

With him he went to Haydn. The elderly maestro immediately began to give him lessons. Quite liberated in their form, judging by the records of Ludwig's expenses: they usually ended up in a cafe - "Papa Haydn" adored chocolate. As for the essence, it is unlikely that between two such different characters there was an attachment or creative involvement. At first, Beethoven will claim that he learned nothing from Haydn; later he admits that he would have done many eccentricities without the good advice of "Papa Haydn" and Albrechtsberger, his other Viennese teacher. The truth is that there was something dark, commanding, even strange about Beethoven that disturbed Joseph Haydn's clear nature. Flutist Drouet was present when Beethoven showed Haydn his first compositions. Here is how he conveys their dialogue:

You have a great talent, - said Haydn, - and it will become even more, much more. You have an abyss of inspiration, but... Can I speak frankly with you?

Of course, I came to get your opinion, - grumbled Ludwig.

So, you will do much more than you have done so far, thoughts will come to you that have not yet come to anyone, you will never donate great idea for the sake of a tyrannical rule (and you will do well), but you will sacrifice the rules to your fantasies, for you give me the impression of a man who has several heads, several hearts, several souls and ... But I am afraid to anger you.

You'll make me angry if you don't finish.

So, since you insist, I will say that, in my opinion, in your works there will always be something bizarre and unexpected, unusual, of course, surrounded by beautiful things, even delightful ones, but no, no, and something strange and gloomy will flash, because you yourself are a little gloomy and strange; and the style of a musician is always himself. Take a look at my works. You will often find something cheerful in them, because I myself am like that. You will always find fun there next to seriousness, as in Shakespeare's tragedies ... Well, nothing could kill my natural serenity, even my marriage and my wife!

But the lessons of Joseph Haydn disappointed Beethoven. Haydn grew old, he finally achieved worldwide, at least European, fame. He was thinking about a second trip to London. And what fun is it to give lessons, even to a future genius. By the way, he was uncomfortable with this Beethoven, who did not choose expressions. He gave him exercises in counterpoint, harmony, general bass - those things in which Beethoven, as he thought, had already become adept under the guidance of Nefe. Haydn absentmindedly corrected these exercises: four dozen out of two and a half hundred were marked by his hand. What did Ludwig expect from Haydn? The blessings of a master, the opinion of an equal, perhaps some trade secrets… Haydn treated the impatient young man condescendingly, with a hint of humor. Because of his uncompromising nature and swarthy complexion, he nicknamed him the Great Mogul. At the same time, he treated the young man with friendly participation, worrying about the development of his career. But between them there was no kinship of souls, the sacrament of friendship. Did Haydn foresee that his “disciple” would push music into unknown limits, break the classical balance, of which he became the perfect representative after the death of Mozart?

Behind this evasive teacher, Beethoven found himself another mentor - Johann Schenck (17). The author of The Village Barber was a recognized master of counterpoint, the basis Western music, which consisted in complex combinations to compose two different musical motifs that would be performed simultaneously and in perfect harmony. Schenck came to visit Beethoven, great talent which he was praised. Room young musician was in disarray. The remnants of food were stained with sheet music laid out on the table and on top of the piano, clothes of dubious cleanliness lay on the floor. This will always be the case, as visitors testify, wherever Beethoven lived in Vienna for the next almost 40 years. That day, Beethoven was in a cheerful mood, he handed Schenck several counterpoint exercises. At first glance, the maestro found errors. Beethoven complained to him about Haydn, reproaching him for his lack of diligence. He was demanding and impatient. But in order not to anger the kind "Papa Haydn", Beethoven, out of delicacy, rewrote the passages corrected by Schenck. They say that Haydn, having learned about this trick, only smiled ...

Beethoven soon became the favorite of the Viennese aristocracy. After the death of Mozart, who had been treated so badly, the public was looking for a new hero. A brilliant young pianist with a fiery temperament and strange appearance found himself in right time in the right place. However, your first big concert he gave only on March 29, 1795, that is, more than two years after his arrival in Vienna. Meanwhile, he shone in aristocratic salons, where his talent was highly valued. He was received in noble families - Likhnovsky, Razumovsky, Lobkowitz, Liechtenstein; these names are known today, but only because he dedicated his works to them ... Prince Likhnovsky became his guardian angel: he settled him in his house, ensured fame among people who were considered in Vienna, encouraged composition studies, personally performing it works on the piano. Likhnovsky's wife, Princess Kristina, turned out to be a hospitable but slightly intrusive hostess. “Just a little more,” Beethoven said to Schindler, “and the princess will put me under a glass jar so that no unworthy person can touch me or reach me with their breath.”

What magnetic power did this young man exude that he was surrounded by such care? He was clearly new type artist, an unusual curiosity. While Haydn and Salieri appeared in the salons in powdered wigs, silk stockings and buckled shoes, Beethoven came to casual clothes. He cared little for his appearance, as one young lady who was present at his first appearances in the world, Mrs. von Benhard, confirms:

“He was short, nondescript, with a red, ugly face covered with pockmarks. Strands of his brown hair framed his face. He is dressed very simply, but his manner is far from the carelessness that was then in vogue. At the same time, he spoke in a dialect and used rather vulgar expressions; overall nothing in it appearance did not betray originality, his gestures and habits were as bad as his manners.

A year after his arrival in Vienna, Beethoven wrote a letter to Eleanor von Breuning. Not only did he not forget her, but he still couldn't get rid of the thought of their quarrel before leaving. What irreparable words could escape from Ludwig, and perhaps from Lorchen, to bring the matter to such an extreme? From this letter we can learn a lot about Beethoven's character - irritable, quick-tempered, grumpy, and then regretting his intemperance and begging him to forgive:

“When the fatal quarrel came to my mind, my then behavior seemed disgusting to me! But you can't take back what you've done; oh, what would I give to eradicate from my life, if only I could, such a shameful behavior, by the way, completely opposite to my character!

What happened? One can guess: the outburst of rage of Ludwig, who, due to his proud and implacable nature, could not bear the position in which he found himself in the Braining family: almost an adopted son, who owed everything to the owners, was humiliated by the fact that he was used as a music teacher at the girl with whom he is in love and who keeps him at a distance. A misunderstanding exaggerated by slander and supported by a lack of explanation. Confusion of feelings, when a vague desire is mixed with brotherly love. But in order to earn forgiveness, Ludwig dedicated an essay written for her to Lorchen - variations on the theme of the aria "Se vuol ballare ..." ("If you want to dance ...") from Mozart's "The Wedding of Figaro" in which Figaro is an accident? - challenges the count, who wants to take away his beloved woman from him ... A touching detail: in the same letter, he asks Lorchen to knit him a sweatshirt from angora wool - the one that she gave him in Bonn and which he tremblingly keeps, has already gone out of fashion. One thing is clear: Beethoven was selflessly in love with Eleanor von Breining, his heart quickly lit up, went out and again returned to its former love, as if tormented by the longing for loss.

Joseph Haydn left for London in January 1794. Before leaving, he entrusted his recalcitrant student to the most famous professor in Vienna - Johann Georg Albrechtsberger, court organist, regent of the cathedral choir. He would give Beethoven lessons for 13 months - from January 1794 to February 1795. This musician knew fame as a composer. Being four years younger than Haydn, he wrote symphonies, quartets, concertos, but his reputation as a composer remained in the past, he devoted a lot of time to teaching - in the very classical style: he argued that in order to achieve mastery in composition, one must adhere to the tradition of Fuchs (18), whose theory is based on fugue and counterpoint. Patiently, three times a week, Albrechtsberger studied with Beethoven, who was characterized by a trait of strong characters and people who were going to live not in vain: he did not tolerate any directives, shied away from school science, even if he had to master it alone, self-taught, if she he needed to compose music. However, the lessons of the new teacher had an effect on him, although he considered Albrechtsberger a mossy pedant, unsurpassed "in the art of making musical skeletons." This influence is especially felt in the appeal to religious music and a wide range of baroque repertoire in this area: Allegri (19) , Bach (20) , Caldara, Fuchs, Handel (21), Orlando di Lasso (22), Palestrina (23) - all That musical education, which the young Ludwig still lacked to become a master, learn the heritage and surpass it. It was said that the teacher and student did not get along well and could not stand each other. However, 20 years later, Beethoven, already at the height of his fame, will give lessons to Albrechtsberger's grandson for free, recognizing an example to follow in the old professor. For his part, Albrechtsberger allegedly once declared that his student had learned nothing and would never create anything worthy. It's just that Ludwig, like all impatient people, wanted to rush forward, sending school exercises to hell. For him, music was not limited to the technique of composition, which others had already brought to the highest degree perfection, as in a fugue. Is it possible to become a greater architect than Bach? By the way, the fugue form is completely absent in his first youthful writings, and later he partially used it as he pleases, as needed, until all his apprenticeship was sublimated at the end of his life in the grandiose "Great Fugue". In general, refusing to obey the old rules, Beethoven left himself no choice but to reinvent some forms of musical works in order to introduce his own understanding of them, build new constructions, squeeze the best out of instruments and orchestra, making them sound in an unusual way.

The same applies to opera, of which Antonio Salieri was considered the greatest master in Vienna after the death of Mozart. This venerable musician, known by Pushkin as the murderer of Mozart, had no equal in creating lofty dramatic compositions (recent attempts to rehabilitate the composer just confirmed this tendency to bombast, devoid of ingenuity). Beethoven was in good relations with Salieri, perhaps because the court musician, an intriguer, jealous of his artistic omnipotence, did not see in young virtuoso pianist potential rival in opera. The future will show that he was right: Beethoven did not have Mozart's bright talent for theater and "Italian" opera. Did the opera reject him with its emptiness and artificiality? However, he will try his hand at it ten years later: it will be a long test of Fidelio, the only attempt.

In the meantime, in 1794, he does not spend all his time on lessons: he writes music. Three clavier sonatas dedicated to Haydn - probably from diplomacy. After listening to them upon his return from London in 1795 with Prince Likhnovsky, Haydn allegedly told Beethoven that "he has talent, but he still needs to learn."

Beethoven knew what need is. Things were going badly in Bonn. The empire was on the brink of war. In June, the French defeated the Austrians at Fleurus. In October, the troops of Marceau and Kleber occupied the left bank of the Rhine. Before fleeing, Elector Maximilian Franz, who had no other choice, dismissed the court artists and closed his theater: Beethoven lost a permanent source of income.

What to live on? Now he has no master, he is free - he is one of the first artists to be free. He could again enter the service of one of the princes-patrons, whom some musician faithfully served, - he refused. Even at Likhnovsky, who treated him respectfully and tried in every way to bind him to himself, he behaved like an independent guest, even refusing to dine with the prince every evening, because the hour allotted for a meal did not suit him! A friend - please, but a servant - no way.

He gives lessons, although it disgusts him. In order not to be bored, he certainly fell in love with his young students, if they were pretty. Lorchen seemed to have left his thoughts. And he thought about getting at least a little money for his first compositions by publishing them. The search for publishers became one of the main activities in the early years of his career: he spent time and effort on this, even involving his brothers when they came to visit him in Vienna ... He tried to establish contacts in Vienna, Prague, Berlin and even Bonn, where he friend Nicholas Zimrock founded his own music publishing house. On this occasion a very interesting letter was written, dated August 1794, in which he speaks of the situation in Vienna:

“It is very hot here, the Viennese are alarmed, soon they will have nowhere to get ice, because in winter it has rarely been cold and there is little ice. Several people were put in jail; they say that a revolution will break out soon, but I think that as long as the Austrian has dark beer and sausages, he will not rebel. In short, the gates of the suburbs are supposed to be locked in the evenings at 10 o'clock. The soldiers keep their weapons loaded. They don’t dare to loosen their tongues here, otherwise the police will find you an apartment.”

A return to Bonn is out of the question. What is there to do? Vienna promises him a magnificent career in the very center of the empire. And if the revolution still breaks out, he will be able to write music for new times. By the way, Vegeler himself came to Vienna in October. In Bonn, occupied by the French, life became difficult.

Beethoven is a universally recognized pianist, he is admired, his colleagues are afraid of him, he is able to delight and excite visitors to the salons in which he is received and who create a reputation. Sometimes, after bringing tears to the eyes of his listeners, he gets up and, bursting out laughing, slams the lid of the piano shut with a noise: “You are all crazy!” But he has never performed in a concert hall.

His debut took place at the end of March 1795 - three concerts in a row at the Burgtheater. He played a Mozart concerto, improvised, and most importantly, as the Wiener Zeitung noted, “he won the unanimous approval of the public, performing perfectly new concert for piano of his own composition.

This is the Concerto in B flat major, opus 19, which today is number two and which the author himself did not consider to be his own. the best works as he confesses five years later. He finished it hastily, on the eve of the performance, the patient, suffering from an intestinal disorder, furiously filled sheet music and handed them over to copyists, and the piano part had not yet been written - he would do this later, for publication. This concerto is a godsend for a soloist: one can improvise, sparkle with all the colors of the instrumental palette in the cadence, saving this part of the work for oneself in order to keep it in its virgin form until the performance itself. Only when printed will this work take on a permanently fixed form for the pianists of the future.

The speech had big success, and Ludwig climbed the first rung of the ladder that was to lead him to triumph. Shortly thereafter, in May, he handed over opus 1 to Artaria's publisher Tri trio opus 1. A valuable testimony of this evening has come down to us from Ferdinand Ries (24), a future student of Beethoven and co-author, along with Franz Gerhard Wegeler, of Biographical Notes on their meetings with Ludwig van Beethoven. True, he was not in Vienna then, and this is a story from other people's words:

“Most of the Viennese artists and amateurs were invited, in particular, Haydn, whose opinion was going to be equal. The trios were performed and immediately made an incredible impression. Haydn himself agreed with this, but advised Beethoven not to print the third Trio in C minor. This surprised Beethoven, as he considered it to be the best of the three; this is what is most often considered today; it had the greatest effect.

Therefore, Haydn's words gave Beethoven the bad impression that Haydn is envious, jealous and does not wish him well.

Decidedly, the relationship between the two musical giants was not cloudless. Despite admiration, respect, affection. In 1801 they met again. Beethoven listened to the oratorio "Creation of the World", one of the last masterpieces of his old teacher, and he listened to Beethoven's ballet "The Creations of Prometheus".

I heard your ballet last night,” Haydn said, “I liked it very much.

Oh, dad, - answered Beethoven, - you are very kind, but this is not the "Creation of the World", I am far from it.

Haydn thought:

That's right, it's not Creation, and I find it hard to believe that you could write it, since you're an atheist.

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Page 5 of 21

Meeting with I. Haydn. Creative results.

The more widely Beethoven's talent unfolded, the more conscious his artistic searches became, the more obvious his hopelessness became. later life V
Bonn. Beethoven the virtuoso had long had the right to be put on a par with major pianists Europe, but as a composer he needed not only deepening, but also updating the entire stock of knowledge, thoughts, feelings. The need for a change of scenery, a craving for the living conditions of a big city with a constant influx of new people, meetings, and impressions is becoming more and more acute.
The relentless desire to leave Bonn was helped by the accidental arrival in this city of Joseph Haydn. In 1792, on his way back from London to Vienna, Haydn stopped briefly in Bonn. Beethoven was introduced to the venerable composer at a celebration arranged on this occasion by the musicians of the chapel. Interested in writing Bonn
musician, Haydn promises him his help and recommends him to go to Vienna. Inspired by the words of Haydn, having secured letters to influential people in Vienna, Beethoven soon said goodbye to his native city forever.
For ten creative years(from 1782 to 1792), that is, by the age of twenty-two, Beethoven had written about fifty works. Among them are small piano pieces and three piano sonatas, three piano quartets and several ensembles for different formulations, songs, two cantatas, a small ballet. At the same age, Mozart was
already the author of several hundred works in all genres and was on the threshold of higher creative flourishing. The maturation of Beethoven as a composer outwardly proceeded as if slowly, but in latent processes, in an incessant inner work there was a strict selection and severe evaluation of means, there was an intense search for a method capable of embodying the significance of the problems raised by modernity. The new that reality carried, penetrated the composer's mind in many invisible ways, insistently demanded its expression. To break through the wall
established musical norms of the 18th century, it took a lot of years of work.
In the ideological and artistic development of Beethoven, the importance of the Bonn period cannot be underestimated. Even then, a direction was outlined, a prospect for the movement of creative thought was outlined. Beethoven's early pieces have dynamism, purposefulness, energy; they show the features of that Beethovenian drama, which in the near future will “blow up” calmly balanced forms music XVIII century. During the Bonn period
discovers Beethoven and a particular attraction to instrumental music. It is in her large forms- symphonies, sonatas, quartets, concertos - the composer expressed himself most deeply and perfectly. During the Bonn period, the foundations of Beethoven's worldview, the ethical and aesthetic principles that guided him in his further personal and creative life, were formed.
In the autumn of 1792, Beethoven arrived in Vienna. The time of youth is over, new stage- ascent to maturity, to colossal creative conquests.

MOZART VS. HAYDN
Comparative analysis from A. Einstein's book "Mozart: personality, creativity" (p. - 137 - 139).

“They were very different. Mozart was a greenhouse plant. And most great miracle, accomplished by Mozart the child prodigy, is that he managed to become a great and harmonious creator. Haydn was never a miracle child, and the greatest miracle that of him is a downtrodden chorus boy in St. Stefan, from the lackey Niccolo Porpora, from a modest, poor Viennese composer, composing music "in case", did not come out Street musician or, at best, the choral director of one of the many Viennese churches, but the great Haydn.

Being in France, England, Italy, Mozart gained an infinite number of musical impressions. Haydn from Vienna first got into the rural wilderness of Lower Austria, and then landed from the Bohemian hole into the Hungarian one, from where he only occasionally got out to the capital. Visits to Vienna became a real event for him. Haydn extracts everything only from his own imagination. He becomes "original" long before "original geniuses" appeared in the literature of his time.
Haydn's originality could not always be mastered even by Mozart - greatest master style, or rather all musical styles. Originality is freedom from style. For Haydn, it does not consist in the fact that he introduces into his works the raw material that we call folklore, but in the fact that he creates with a purely folk immediacy.

Haydn is a revolutionary. His earliest quartets (op. 1, 2, 3) testify that he perfectly mastered the magic and sweetness of Italian melody, but in the future he was no longer attracted to gallant art. Since the time of Pergolesi, the spirit of buffoonery has penetrated into the Italian instrumental music- chamber and symphonic, but Haydn rejects this still gallant jocularity, replacing it with his own wit - strong, healthy, cheerful and at the same time spiritual. There is no affectation in Haydn's minuet, it sounds like a peasant, strong and simple. The music here clearly breaks out of the stylistic framework, and sometimes with great noise. This is what caused the indignation of many contemporaries, especially the Berliners, who insisted that Haydn was a jester, that he "humiliates art." This annoyed Haydn, but did not in the least prevent him from continuing to go his own way.

Mozart never condemned Haydn. He himself was too Southern not to sympathize with Haydn's magnificent nonchalance in matters of style and fashionable tastes. But he took from Haydn only that which corresponded to his own musical nature. Mozart is not a revolutionary, he is a finisher. Later, in a special chapter, we will show how differently both composers interpret at least the concept of tonality. Mozart's range of "possible" keys is much narrower than Haydn's, but these few keys are richer, more fruitful, and their boundaries are much wider. Thus, in the field of harmony, Mozart shows more courage and subtlety than Haydn. He controls all seven colors of the rainbow, but he does not have the shimmering palette of Mozart.

Haydn is a lover of nature. He is excited by the movement in the free air, he likes to listen to the peasants at the village feasts. His "Creation of the World" and "The Seasons" are full of impressions and observations that fall only to the lot of a rural dweller. Mozart could never have created such works. As we have already said, he is an "indoor man", and music, he draws inspiration only from music. This art is “filtered”, the art of spiritualized sensuality and spirituality imbued with a sense. Through contact with Haydn, it only becomes more Mozartian.
That is why Mozart remained misunderstood by his contemporaries, while Haydn, who was also not recognized for a long time, nevertheless lived to see his triumph and popularity. There is documentary evidence for this. We will find them in the so-called "Old Lexicon" of Ernst Ludwig Gerber, an educated and benevolent man, "camermusicus" and court organist in Schwarzburg-Sonderhaus.
Gerber praises Haydn the symphonist in enthusiastic terms: “Everything speaks when he sets his orchestra in motion. Each, even an insignificant voice, which in the works of other composers only fills the chord, often becomes independent in him, leading the main part. At his disposal are the most intricate harmonies, even those that arose in the Gothic era of gray-haired counterpointists. But their stiffness gives way to grace as soon as Haydn adjusts them to our ears. He has the great art of appearing familiar. This is typical of most of his compositions. Therefore, despite all the contrapuntal tricks that are found in them, Haydn is popular and sweet to every fan.
But Mozart, unfortunately, is not "popular". He did not win the palm even as a clavier and creator clavier works. Gerber considers his countryman, Johann Wilhelm Hesler, to be the successor to the greatest clavier of the era. Hesler is an attractive talent, but it is just as impossible to compare him with Mozart, like Czerny with Beethoven "- (From A. Einstein's book" Mozart: Personality, Creativity "