{"id":759,"date":"2020-04-06T19:24:18","date_gmt":"2020-04-06T17:24:18","guid":{"rendered":"https:\/\/www.popularbeethoven.com\/?p=759"},"modified":"2023-03-02T18:47:44","modified_gmt":"2023-03-02T17:47:44","slug":"beethoven-and-albrechtsberger","status":"publish","type":"post","link":"https:\/\/www.popularbeethoven.com\/beethoven-and-albrechtsberger\/","title":{"rendered":"Beethoven and Albrechtsberger"},"content":{"rendered":"

Apart from Neefe<\/a> probably it was Georg Albrechtsberger, who was the most influential music teacher in Beethoven\u2019s life. In this article we discover who Albrechtsberger was and his influence on Beethoven.<\/strong><\/p>\n

Johann Georg Albrechtsberger<\/a> (1736-1809) was an Austrian musician, a composer and organist. As a young man he had learned music and philosophy what he later combined in music theory. He composed many, over 750 compositions, but almost all of them survive only in manuscripts. His main attention was on piano and organ, but he wrote string quartets, masses and chamber music, too.<\/p>\n

Probably his most important heritage is in music theory. He published a book on composition and harmony, both having more editions in later decades. As a contrapuntist<\/a>\u00a0he was a legend even in his life!<\/p>\n

As a full time job he succeeded Mozart<\/a> at St.Stephen\u2019s Cathedral<\/a> as a Kapellmeister (master of music) and trained the best of Vienna\u2019s young generation of musicians, like Hummel<\/a>, Moscheles<\/a>, Reicha<\/a> and last, but not least: Ludwig van Beethoven.<\/p>\n

Back in Bonn<\/a> the Elector<\/a> and some wealthy patrons<\/a> decided that young Beethoven is a good investment for the future and he shall be sent to Vienna<\/a> in order to learn everything he can from the greatest master available at the time: Haydn. The young composer did just that, but the cooperation between master and pupil was not without frictions.<\/p>\n

Beethoven felt that he did not find the excellence in Haydn he was looking for. It is fair to say Haydn was not a dedicated teacher, at least in those months. He was occupied with his plans to leave for his second London journey and also he recently lost a very dear friend.<\/p>\n

|Related:<\/span> Haydn and Beethoven<\/a><\/p>\n

The young composer, by the recommendation of Haydn, soon started visiting Albrechtsberger three times a week. A surviving note from one teacher to the other shows that Haydn was very much aware of the magnitude of Beethoven’s raw talent: “Another six months in counterpoint and he can work on whatever he wants.” – <\/em>he wrote.<\/p>\n

Unlike Haydn, Albrechtsberger was a born teacher. He was tireless, pedant and systematic. He first showed the young man the secrets of counterpointing, followed by imitation, choral fugue<\/a>, double and triple counterpoint. Altogether 160 exercises would survive!<\/p>\n

Albrechtsberger\u2019s influence was huge on Beethoven. Contrary to Haydn, with whom he was disappointed and often aired his frustration, not one real<\/em> negative remark can be found regarding Albrechtsberger (apart from calling him musical pedant<\/em> and some of his compositions musical skeletons<\/em>). This in itself is something to be proud of if your pupil is called young Beethoven<\/em>\u2026<\/p>\n

Probably this master understood that he was ready to keep rules when practicing and learning, but not when composing!<\/p>\n

Further evidence for the good relationship is a surviving invitation note from his teacher, saying: “My very best wishes for your name-day tomorrow. May God give you health and satisfaction and grant you much good fortune. My dear Beethoven, if you should happen to have an hour at your disposal, your old teacher invites you to spend it with him.”<\/em><\/p>\n

In later years Albrechtsberger\u2019s grandson Hirsch approached Beethoven for lessons for his son, something \u2013 probably because of gratitude \u2013 he was willing to give. Hirsch remembered the old Master hearing nothing only watching the boy\u2019s playing hands. He flushed red at mistakes, once going so far as a friendly biting on the shoulder\u2026<\/p>\n

\n

Related articles<\/h3>
  1. \"Antonio<\/a><\/div>
    Salieri and Beethoven<\/a><\/div><\/li>
  2. \"boxing<\/a><\/div>
    The Duel: Beethoven vs. Steibelt<\/a><\/div><\/li>
  3. \"brown<\/a><\/div>
    When did Beethoven learn to play the piano?<\/a><\/div><\/li>
  4. \"portrait<\/a><\/div>
    Haydn and Beethoven<\/a><\/div><\/li>
  5. \"Joseph<\/a><\/div>
    Beethoven vs. Woelfl<\/a><\/div><\/li>
  6. \"Beethoven_old<\/a><\/div>
    On what piano brands did Beethoven play?<\/a><\/div><\/li>
  7. \"old<\/a><\/div>
    The piano<\/a><\/div><\/li>
  8. \"Beethoven<\/a><\/div>
    Beethoven and Christian Neefe<\/a><\/div><\/li><\/ol>\n","protected":false},"excerpt":{"rendered":"

    Apart from Neefe probably it was Georg Albrechtsberger, who was the most influential music teacher in Beethoven\u2019s life. In this article we discover who Albrechtsberger was and his influence on Beethoven. Johann Georg Albrechtsberger (1736-1809) was an Austrian musician, a composer and organist. As a young man he had learned music and philosophy what he later combined in music theory. … <\/p>\n

    Read more<\/a><\/p>\n","protected":false},"author":1,"featured_media":761,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[45],"class_list":["post-759","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-focus","tag-teachers-of-beethoven"],"_links":{"self":[{"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/posts\/759","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/comments?post=759"}],"version-history":[{"count":0,"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/posts\/759\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/media\/761"}],"wp:attachment":[{"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/media?parent=759"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/categories?post=759"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.popularbeethoven.com\/wp-json\/wp\/v2\/tags?post=759"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}