Hello everybody! I have returned, and this time with a video that I loved doing. Answer and detail that ancient question: How did Beethoven compose if he was deaf? I decided to focus on one of the many answers, about which not much has been said, and to publicize the whole process. This is perhaps a question that may not be so interesting for some until they hear any of his works and then think, was that composed by a deaf man? A guy with a life and childhood full of tragedies and diseases who was also touched by the cruelest irony of art, which dragged him to consider suicide. As he stated in a never-sent letter known as The Heiligenstadt Testament in which he laments his growing deafness and says that he was very close to taking his own life, but only art stopped him. Just art. This man under 30 years old began to notice that he was losing his hearing. His works, once light and cheerful, were beginning to become dramatic and turbulent. Beethoven searched for remedies. He moved to a villa on the outskirts of Vienna hoping that the natural environment would help him. He used to put his ear to the piano to hear better, they built him acoustic horns, he read many books on acoustics and homeopathy and even tried dangerous methods like galvanization, but the deafness ran its course. It is said that he became absolute, although an expert Beethoven historian named Theodore Albrecht said that, contrary to what is believed, he did not end up totally deaf but even, for at least three years before his death, he could still hear a little through the left ear. Not all sounds and frequencies, but something. Something insignificant, but something. Taking that data, even so the question remains, how did Beethoven make sure of what he composed? The way he found was bone conduction. The composer bit into a stick that connected to the piano, transmitting the vibrations to his head. The vibrations, no matter how insignificant they seem, are actually very important because the sensation of it is identical to what is heard. Dissonant intervals sound haunting and unstable, so are vibrations. The consonants are nice. The perfect tunes really feel static and the imperfect ones are warm and pleasant. Beethoven now converted vibrations into imaginary sound, which also means that, although he no longer played the piano for the public, he could play it for himself without problem, since the resolution of a score is done only visually and mechanically, and that added to his inner ear and the vibrations indicates that he understood the music without problem. In this video, we also touch on the subject of orchestration, harmony and counterpoint. A set of rules that also give a lot of certainty of what works and what doesn't in a classic composition. Without limiting ourselves, of course, to assuming that only for them Beethoven knew what would work, because he also loved to seek new horizons, really listening in his head to new things that broke formats and which are precisely what marked a new period and made his legacy a decisive influence on the evolution of music. Finally we close the video having the audacity to try to understand a little better what Beethoven was doing. In other words, composing a small deaf piece and with his own method.
#AsComponiaBeethovensieraSordo #AsComponiaBeethovensieraSordo
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00:00 History
2:42 The World of Vibrations
5:55 The Orchestration
7:21 Harmony and Counterpoint
8:49 Let's try
10:15 Piece that I composed Sordo
11:23 End