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Honorary graves group 32 A
Central cemetery; Gate 2

Ludwig van Beethoven
Composer, 1770-1827

Ludwig van Beethoven
Composer, 1770-1827


Central Cemetery, Group 32 A, No. 29

Site plan group 32 A

Beethoven was originally buried at the Währing cemetery, as was Schubert, who is lying to his right. A monument was placed in the middle for Mozart. He is buried at the St. Marxer Friedhof.
Bark mulch is now spread in front of Beethoven's grave, as the meadow in front of it was always ceded. His admirers want to get as close as possible to him and place flowers on the grave slab.
There are always flowers lying around, unless the gardeners have just cleaned up.

The snake that bites its own tail as a sign of eternity. A circle has no beginning and no end. The snake is also a sign of the resurrection because it sheds its skin again and again and is "reborn".
The butterfly is also a resurrection symbol, it stands for the soul, which is now, detached from the body, "free".

 

Beethoven and the hole in the fire wall

An episode relating to his apartment in the Pasqualatihaus on the Mölkerbastei shows that Beethoven was not an uncomplicated tenant.

The master loved the baroque rental house above all because of the beautiful view that stretched over the glacis and the suburbs to the Kahlenberg.

But in order to be able to see the Praterauen, he had to lean far over the window parapet and turn his head to the right.

Since his room on the fourth floor was the last one by the fire wall, Beethoven decided to leave a bricklayer in order to better enjoy the view of the Prater

Beethoven's apartment in the Pasqualati House
 

come, to whom he gave the order to break a window in the wall.

When the landlord, Johann Baptist Pasqualati, objected, Beethoven resentfully terminated his lease. However, the unique view soon made him return. To move out again soon afterwards.

But the Baron Pasqualati knew his restless guest and said to his manager: "The lodging is not rented out, Beethoven will be back."

The composer actually returned several times between 1804 and 1815, often only for a short time. The Pasqualatihaus was one of around eighty Beethoven residences in and around Vienna.

Source: Markus

 

Beethoven's life

As the first composer in history, Ludwig van Beethoven was a public "star". Despite his fame, his date of birth is not known, but - as with most of his contemporaries - only his baptism on December 17, 1770, which was usually donated shortly after the birth.

When Ludwig van Beethoven came to Vienna at the age of almost 17, he was already a recognized musician. However, due to the impending death of his mother, he soon had to return home. It was not until five years later that he settled in Vienna and studied first with Haydn, then with Schenk, Albrechtsberger and Salieri. He soon found patrons in the music-loving Viennese aristocracy and was successful as a piano virtuoso, initially in private houses, and publicly since 1795. His first important compositions were also composed during this time.

The first crisis came in 1802 when he realized that his hearing condition was incurable and was going to get worse and worse. In the autumn he wrote his "Heiligenstadt Testament", addressed to his two brothers, in which he lamented his misfortune and expects his imminent death. Instead, a new creative phase followed, his "heroic" period, in which he finally established himself as the most important composer of his time.

Beethoven's relationships with women were not happy, be it that his advances were rejected or that the chosen one did not correspond to his ideals after all. The years from 1812 to 1815 were relatively unproductive, depressed by deafness and the resulting social isolation. But he also recovered from this and wrote his most important works in the "late" period - most famous probably the Ninth Symphony with Schiller's "Ode to Joy". Beethoven's fame ranged from London to Petersburg.

From 1804, Beethoven often spent the summer in the country, mostly in Baden, which was also the imperial summer residence, where he stayed in the Sauerhof and at Rathausgasse 10, today's Beethoven memorial. In Mödling he certainly spent the summers from 1818 to 1820, more frequent visits in the years before are accepted. He felt so comfortable in Mödling that he thought of buying a house. He certainly lived in the Hafnerhaus, which is now the Beethoven memorial in Mödling.

Apart from the beauty of the area, it was also the sulphurous mineral spring opened in Mödling in 1815 that drew him there. His summer stays were always spa stays. In Baden as in Mödling, he went to the baths and went on long, long walks: "As far as I'm concerned, here I wander around mountains, crevices and valleys with a piece of music paper." Once he made it to Wiener Neustadt, where he was locked up as a vagabond because of his negligent clothing and was only released by music director Anton Herzog around midnight.
His favorite place in Baden was a little upstream from the cholera chapel in Helenental. In Mödling he particularly appreciated the "divine Briel", the romantic Brühl valley cut deep into the rock by the Mödlingbach, which he also roamed through from Baden.

During these summer stays he wrote some of his major works. Among other things, large parts of the 9th Symphony (1823) were written in Baden, and he probably also wrote the 6th Symphony (1807); in Mödling he composed the famous fortepiano sonata op. 106 (1818) and worked on the "Missa solemnis" (1819/20).

On the occasion of an inheritance from his fatherless nephew Karl, who lived with him, Beethoven probably traveled to Retz in the autumn of 1818. He spent his last stay in the country in the autumn of 1826 in Gneixendorf (today a district of Krems) with his brother Johann, with whom he did not get along particularly well. On the outward journey he spent the night in Stockerau and had breakfast in Kirchberg am Wagram. The return journey in November in an open milk truck dealt his health the last, decisive blow.

When Beethoven died in early 1827, around 10,000 people attended his funeral.

Source: P. Erhart, Lower Austrian Composers, 1998, Doblinger Wien, p. 140ff .;