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0:00 No Tempo Indication
1:05 Allegretto
The \”Zwei Sätze einer Sonatine\” (\”Two movements of a sonatina\”), WoO 50 and the \”Leichte Sonate\” (\”Easy Sonata\”), WoO 51 are connected with the couple Franz Wegeler and Eleonore von Breuning. Both were friends of Beethoven’s childhood and youth in Bonn. When Franz Wegeler was a child, he could see the interior of Beethoven’s family home from his own window and later recounted that he often saw the young Beethoven crying, being bullied at the piano by his father. In the handwritten autograph containing WoO 50, Wegeler wrote in the margin: \”Written and fingered for me by Beethoven. Wglr.\” It is not known exactly when he received the Wegeler manuscript, but most of Beethoven’s scholars agree that it must have been sometime between 1789 and 1791.
This piece usually appears in catalogs as the Sonatina en Fa. Of the two movements that have survived, only the second has an indicated tempo (Allegretto). The year of its composition has been dated between 1787 and 1792. It seems, however, that this pair of movements were written in or before 1790, as explained below. The sonatina was not published until 1950 and even then it was hardly considered a great find. This does not mean that the work lacks merit: Beethoven created a beautiful first movement, whose lyricism can be very fascinating. It is true that it shows the influence of Mozart, but its charm and thematic resource make it a worthwhile movement, even if it is brief. The second Allegretto movement is perhaps a little less interesting. Its main theme lacks distinction and the writing in general is not particularly convincing. However, the entire work, at least serves the purpose of allowing the listener a glimpse of how the young composer’s style was evolving. The first movement was dedicated to Franz Gerhard Wegeler, for whom Beethoven wrote the music. Despite the fact that the work has a dedication, the composer never intended that it be published. Therefore, it should only be judged as an abandoned student job. It is interesting to note that Beethoven may have reused one of the themes of this work in his 1790 Cantata for the death of Emperor Joseph II, WoO 87, since a melody there seems to have roots in the first movement of the sonatina. If this is so, then the sonatina seems to predate the cantata, since the theme is more elaborate and developed in more detail than the related germ that appears in the sonatina. Probable composition date: 1785-1790. The first movement is dedicated to Franz Gerhard Wegeler (1765-1848). Appeared in facsimile in \”Beethoven Briefe\” (\”Beethoven’s Letters\”) by Dr. Leopold Schmidt (Berlin), 1908.
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A Letter To Franz Gerhard Wegeler In Bonn. Vienna, June 29
A Letter To Franz Gerhard Wegeler In Bonn. Vienna, June 29 Paperback – 1 Jan. 1997 ; School Books. From pre-school to A-levels, find School Books for all ages …
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Date Published: 6/2/2021
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Letter to Franz Gerhard Wegeler in Bonn – Google Arts & Culture
Jan 22, 2021 – “Vien am 16ten Nowember 1801”, repeated by Wegeler with blue pencil at lower margin.
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Date Published: 12/1/2022
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A Letter to Franz Gerhard Wegeler in Bonn. Vienna, June 29 …
Facsimile of the original letter with printed transcription in German and English translation. Fine copy. … A Letter to Franz Gerhard Wegeler in Bonn.
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Date Published: 5/18/2021
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Franz Wegeler (1765-1848): Beethoven’s first friend – Classic FM
On 29th June 1801 Beethoven wrote a long letter from Vienna to his friend Wegeler in Bonn, in which for the first time he mentions a problem with his hearing.
Source: www.classicfm.com
Date Published: 11/19/2022
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Day 139 – The Complete Beethoven
In a 29 June 1801 letter to his physician friend Franz Gerhard Wegeler in Bonn, Beethoven writes for the first time of his hearing loss.
Source: www.completebeethoven.com
Date Published: 12/23/2021
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Letter to Franz Gerhard Wegeler in Bonn
Beethoven also tells his friend about a “dear magical” girl “who loves me and whom I love”. He is even thinking of marriage, but unfortunately this would be contrary to their difference in status.
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A Letter To Franz Gerhard Wegeler In Bonn. Vienna, June 29: Amazon.co.uk: Beethoven, Ludwig van: Books
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Beethoven’s Friend, Franz Wegeler – Popular Beethoven
Franz Gerhard Wegeler (22 August 1765 – 7 May 1848) was a childhood friend of Beethoven, someone important to him all his life. Despite their geographical distance and significant gaps in their intimate correspondence, Wegeler always remained a confidant and a reminder of their shared values learned in their youth, in Bonn.
It is safe to say, Franz Wegeler was Beethoven’s first real friend. Their relationship had started in their teens and lasted all the way till the end. The two had met when Beethoven was twelve. Wegeler was the older of the two with five years.
It was Wegeler who recommended him to the Breuning family, a local wealthy and highly sophisticated family, as a piano teacher for the kids Lorchen (Eleonore) and Lenz. The connection with the Breunings was very important and influential in his life. Beethoven called them “the guardian angels of my youth”. In fact, Beethoven fell in love with Lorchen – as he would often do with his piano students -, but it was his friend Wegeler to whom she later married.
He had studied medicine in the University of Bonn and later in Vienna. Once he became a physician he returned to Bonn, where he was a professor of medicine and obstetrics. In 1793, only at the age of twenty-seven, Wegeler had been elected to a rector position at the University. Highly remarkable progress! Franz Wegeler was also a practicing Freemason.
His ascent was short lived. As the French army approached the town, he signed a resolution forbidding medical students to have any contact with the French prisoners. Although the resolution aimed at keeping students away from typhus, it was interpreted as anti-French or anti-revolutionary (in fact Wegeler opposed the French Republic). Wegeler was in danger of guillotine and had to flee Bonn in a hurry. Beethoven welcomed his friend in Vienna and the two had a reunion in their relationship.
The friends had their good and bad times together. A letter written by Beethoven shows how he was as a friend: often hot tempered, but always with good intentions in his heart. Anytime, once his fury passed, he was ready and brave to apologize. He wrote this to Wegeler
“What a horrible picture you have shown me of myself! Oh, I admit that I do not deserve your friendship. You are so noble and well-meaning; and this is the first time that I dare not face you, for I have fallen far beneath you. Alas! For eight weeks now I have been a source of distress to my best and noblest friend. You believe that my goodness of heart had diminished. No, thank Heaven, for what made me behave to you like that was no deliberate, premeditated wickedness on my part, but my unpardonable thoughtlessness . . . Yet, oh do let me say this in my defense, I really was always good and ever tried to be upright and honorable in my actions. Otherwise how could you have loved me?”
Wegeler remained in Vienna until 1796 and after that he never saw again his friend, Beethoven.
Later that year another Bonn friend visited Vienna, Stephan von Breuning. After some time spent with Beethoven he concluded that he became more stable and a better judge of man. One of his letters shows us how deeply Beethoven appreciated Wegeler, saying “A hundred times, dear Wegeler, he has wished you were back with us, and he regrets nothing more than that he did not follow many of your suggestions”.
After Wegeler had left Vienna in 1796 the two communicated in letters. Although he was far from him in flash, Beethoven’s letters are full of brotherly love and intimacy. In 1801 he writes
“My Dear Kind Wegeler,
I do thank you most warmly for your remembrance of me which I have so little deserved or even endeavored to deserve where you are concerned. Yet you are so very good; you allow nothing, not even my unpardonable carelessness to put you off; and you are still the same faithful, kind and loyal friend—But you must never think that I could ever forget yourself and all of you who were once so dear and precious to me…”
This letter is the first time he tells about his hearing problems to anybody other than his doctors. He had been living under the menacing shadow of becoming deaf for some time now and it was time let the pressure out. He continues
“… I must confess that I lead a miserable life. For almost two years I have ceased to attend any social functions, just because I find it impossible to say to people: I am deaf…”
Wegeler’s special position is proven here, who is informed about the hearing loss even before his relatives. One can only imagine the sadness he must have felt for his friend, anticipating the end of his career as a musician. Beethoven also asks him advice concerning medicines and to talk to other doctors about novel treatments, like galvanism (treatment with electricity).
In 1802 Wegeler married Eleonore von Breuning with whom they had four children. After spending five successful years in Bonn, being an instructor and general practitioner in medicine, the family moved to Koblenz. Here he was employed by the Prussian government as a medical councillor, improving the health and medical services.
Distant relationships seldom work. The two friends lost each other during the long coming years. In 1825, Wegeler finally broke the silence and sent Beethoven a letter. He addresses him in French, something from their youth
“My dear old Louis! … If you have not received a long letter every two months during the 28 years since I left Vienna, you may consider your silence in reaction to mine to be the first cause.”
In his long and nostalgic letter he informs Beethoven that he is sixty now, the family is healthy, and that his daughter plays Beethoven on piano, also his son studies medicine in Berlin. Wegeler also encloses a letter from his wife and first love of Beethoven, Eleonore. She invites him to visit his homeland and their family, talk about sweet memories of old. She concludes with a wish
“From this, dear Beethoven, you can see how you still live among us in these lasting memories. Just tell us once that this means something to you, and that you haven’t completely forgotten us.”.
Despite the kind letter and invitation, for some reason Beethoven did not answer them for a year. At last next December he composed his reply to his old friend. He began with regrets for his delay, then he goes on to point out the reasons for their drifting apart saying, “Our drifting apart was due to the changes in our circumstances. Each of us had to pursue the purpose for which he was intended and endeavor to attain it.”
Their last correspondence was at the end, on Beethoven’s deathbed. He received a letter from Wegeler dated February 1, 1827. In this the doctor gave his professional opinion, encouraging him and suggesting he would recover. Best would be, he continues, to meet at Karlsbad spa and then travel together to Bonn. Sadly, this never happened, soon after the composer died.
More than a decade later Wegeler, together with Ferdinand Ries (Beethoven’s pupil and friend), published a Beethoven biography named Biographische Notizen über Ludwig van Beethoven. Their work in the book is considered by historians to be important and reliable.
Franz Gerhard Wegeler died in 1848.
Franz Wegeler (1765-1848): Beethoven’s first friend
Franz Wegeler (1765-1848): Beethoven’s first friend
Franz Wegeler, whom Beethoven met when they were both boys growing up in Bonn, was the first person he could call a friend.
Wegeler and Beethoven met as boys in Bonn and it was he who introduced him to the Breuning family. Wegeler studied medicine and became Rector of the University of Bonn. He followed Beethoven to Vienna in October 1794 where their friendship was rekindled. He returned to Bonn two years later and established a medical practice.
On 29th June 1801 Beethoven wrote a long letter from Vienna to his friend Wegeler in Bonn, in which for the first time he mentions a problem with his hearing.
In 1802 Wegeler married Beethoven’s friend – and quite possibly the first girl Beethoven fell in love with – Eleonore von Breuning. After establishing a family they moved to Koblenz, where they lived for the rest of their lives.
Wegeler wrote a touching letter to his boyhood friend in 1825, shortly after celebrating his 60th birthday. It talks of the old times they shared together. “Now I look up to you as a hero,” Wegeler writes, “and am proud to be able to say: I was not without influence on his development; he confided in me his wishes and dreams; and when later he was so frequently misunderstood, I knew well what he wanted.”
At the end of the letter he urges Beethoven to return home to see the Rhine. Eleonore adds a postscript imploring him to do the same.
But Beethoven never returned. In fact he never saw Wegeler again after his old friend returned to Bonn from Vienna in 1796.
In 1838 Wegeler published, with Ferdinand Ries, an important and reliable collection of reminiscences about Beethoven – Remembering Beethoven, Andre Deutsch 1988.
The Complete Beethoven: Day 139
Beethoven’s Piano Sonatas Nos. 13 and 14 were published as a pair as Opus 27, each labeled “Sonata quasi una Fantasia,” which literally means “sonata almost a fantasy” — a contradictory designation, for a sonata has a rigid structure while a fantasy is freeform and improvisatory.
Piano Sonata No. 13 has four movements and No. 14 has three, which might seem conventional, except that the movements are played attacca, meaning without a break. This doesn’t mean that the movements blend into each other, however. As Charles Rosen notes about Piano Sonata No. 13, “the movements are paradoxically well-formed independent movements in completely rounded structures that are nevertheless unintelligible played on their own. They interpenetrate each other.”
Beethoven’s Piano Sonata No. 13 begins with a dreamy Andante that after about 3½ minutes breaks into a startling Allegro with runs and hard chords. Is this the 2nd movement? No, because the Andante returns. The real 2nd movement is a series of arpeggios in ¾ time that reveals itself to be a Scherzo when a Trio section pops up with chords on the 1 and 3 beats. When the arpeggios return, the right hand soon drops half a beat out of phase from the left, for a thrilling rippling effect.
The 3rd movement Adagio con espressione is an aching lyrical song against insistent left-hand chords, which after a cadenza breaks into a joyful Allegro. Is this like the Melancholia movement from the 6th string quartet where a fast passage interrupts the slow music? No, no, this has to be the 4th movement. It’s going on much too long and it’s too triumphant for an interlude. But then — WTF! — the Adagio returns! And now we have no idea where we are. Will Beethoven conclude the 3rd movement now? No, the 3rd movement is long over. This is instead a rule-breaking recap of the 3rd movement within the 4th, followed by a short Presto variation of the 4th movement Allegro that brings the sonata quasi una fantasy to a surprising but extremely satisfying conclusion.
#Beethoven250 Day 139
Piano Sonata No. 13 in E♭ Major (Opus 27, No. 1), 1801
The great Claudio Arrau with some lucky members of the audience enjoying stage seating, possibly during the Beethoven bicentennial fifty years ago.
In a 29 June 1801 letter to his physician friend Franz Gerhard Wegeler in Bonn, Beethoven writes for the first time of his hearing loss. After listing his improving career prospects, he notes
But that jealous demon, my wretched health, has put a nasty spoke in my wheel; and it amounts to this, that for the last three years my hearing has become weaker and weaker.
Beethoven reports the various treatments that different doctors have subjected him to.
As a result I have been feeling, I may say, stronger and better; but my ears continue to hum and buzz day and night. I must confess that I lead a miserable life. For almost two years I have ceased to attend any social functions, just because I find it impossible to say to people: I am deaf. If I had any other profession I might be able to cope with my infirmity; but in my profession it is a terrible handicap.” While Beethoven’s hearing loss has affected his ability to play the piano, it has not affected his composition. He can compose in his head. “I live entirely in my music; and hardly have I completed one composition when I have already begun another. At my present rate of composing, I often produce three or four works at the same time. (Emily Anderson, The Letters of Beethoven, No. 51.)
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