When Beethoven’s royal patron, Archduke Rudolph, was appointed Archbishop, the maestro was given a unique opportunity. Thinking he would create something profound to commemorate the inauguration, Beethoven composed the Missa Solemnis (the Solemn Mass).
As he worked on his composition, Beethoven examined ancient music. He wanted to produce a major work that was different and memorable. To achieve that objective, he used an aspect of ancient music - known as the Dorian mode - in his Missa Solemnis.
Virtually unknown in Beethoven's day, except to scholars, the Dorian mode was oft-used by ancient monks. Beethoven's study of their compositional techniques helped him greatly as he worked hard to bring something different to his new mass.
Once again, however, Beethoven created a work which was nearly unsingable. Pushing both choir and soloists, he had also pushed himself. In a way, given the scope of Missa Solemnis (which the maestro considered his greatest work), Beethoven had risen above the physical limitations of his life to transcend even his own musical and compositional ability.
Despite health problems, Beethoven continued to compose. Because he was deaf, Ludwig spoke loudly in restaurants and other public places. People in Vienna gave the eccentric composer wide latitude. Some people thought him mad. Once he was nearly arrested for being a tramp.
In 1822, the London (now the Royal) Philharmonic Society commissioned Beethoven to compose a new symphony. It had been a decade since the last one - the Eighth. Ludwig had in mind two symphonies, not just one. The tenth, however, was never finished.
As the 9th Symphony took shape in Beethoven's head, the composer had another idea. He would premiere the work at a public concert. The metronome would help the musicians to play the work at exactly the speed required by its deaf creator.
And ... this time ... a symphony would include human voices - something which had never been done before. Beethoven decided to use the words of Frederick Schiller's poem, An Freude (commonly translated "Ode to Joy").
Although he attended the premiere of his 9th Symphony - on May 7, 1824 - Beethoven heard not a note. Sitting on a stage for the first time in twelve years - with his back to the audience - his gaze was on the orchestra, choir and soloists.
History tells us that Beethoven, who was beating time to the conductor’s movements, did not know how the people responded to his Ninth Symphony. Taking his arm, the alto soloist (Caroline Unger) turned him round to face the crowd.
Although he could not hear their roaring approval, Beethoven saw their clapping hands and smiling faces. Bowing deeply to the premiere's concert-goers, he began to cry.
This concert closed a chapter in Beethoven's life. Most of the people who first heard one of the world's greatest symphonies performed - at Vienna’s Kärntnertortheater - would not see Beethoven alive again. The concert was his last public appearance in Vienna.
Reviews for the Ninth were spectacular, but the concert didn't make Beethoven much money. Foul-tempered because of it, Beethoven was annoyed with his secretary, Anton Schindler, and dismissed him for a time. He thought - without evidence - that his assistant had swindled him.
Karl, Ludwig's nephew, attempted to take Schindler's place for a time. That arrangement, however, did not always work out well for Karl. The young man had to endure emotional tirades ... and worse ... from an uncle who, despite not always showing it, loved him deeply.
