By Edward Walden
In 1812, Ludwig van Beethoven wrote 3 letters to an unnamed lady, whom he referred to as "Immortal Beloved." The letters have been chanced on after Beethoven's dying and ever due to the fact that their discovery, there was hypothesis relating to whom that Immortal liked could have been. In Beethoven's Immortal cherished: fixing the secret, Edward Walden conscientiously and meticulously provides his case that the girl who Beethoven enjoyed used to be Bettina Brentano, a creative and gifted musician in her personal correct. environment the basis for his argument, Walden starts the ebook with a basic ancient and sequential narrative that interweaves the lives of the 3 precept protagonists: Beethoven, the author Johann Wolfgang von Goethe, and Bettina Brentano. Walden explores intimately the most important components of the real narrative and exhibits how these parts help his declare that Bettina was once the Immortal cherished. furthermore, Walden addresses the assaults different Beethoven students have made opposed to Bettina and divulges how such assaults have been unsuitable or unjustified. completely and carefully researched, but provided in a transparent and fascinating variety, Beethoven's Immortal liked will attract Beethoven students, song enthusiasts, and basic readers alike, who should be captivated via the fixing of this interesting secret.
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Extra resources for Beethoven's Immortal Beloved: Solving the Mystery
Introduction xxix piano part is laden throughout with single and double suspensions. Another “suspension” is the fact that the song begins not with its tonic chord but on the dominant—and resolves to the tonic midway through the first measure on the rhythmically weaker half of the measure. Three more symbols stand out. The first involves the striking use of falling sixths in mm. 1 and 12. The melody begins on the fifth scale step, leaps up a fifth to the second scale step, and then descends a major sixth to the fourth scale step (the pitch A-flat, which she almost always harmonized as the third of the F-Minor triad).
The desired happiness is also depicted masterfully in Bettina’s construction of the melody. The melody rises again and again by step toward the goal of B-flat (the dominant note of the key) but never attains it. Such an ascent appears most clearly in mm. 3–4, but the stubborn withholding of the longedfor note returns three more times in this tiny jewel of a song. The last symbol I will mention occurs in the last two measures. Just as the poet remains deprived of his dream, so the singer does not find musical completion: she stops singing on the weakest beat of the penultimate measure on a highly expressive diminished seventh chord on the note A-natural, and the piano completes the final cadence of the song in the only measure in which it plays alone.
The problem with Antonie being the intended recipient, however, is that the letter was in Beethoven’s possession when he died, so it is unlikely that he posted it. Her presence in Karlsbad therefore works against her in favor of someone who intended to go there but may have somehow got word to Beethoven that her plans had changed. Solomon suggested that perhaps Beethoven did post the letter but that Antonie gave it back. That scenario appears unlikely because a return of the letter, effectively meaning rejection, would make it improbable that Beethoven would keep hidden away until his death such a painful reminder of the rejection.