Cherney was Liszt's teacher, I believe that most of the friends who have learned to play the piano must have played his practice pieces, but this music educator, he was also once like other piano children, a student with a heart of gold.
Czerny, in 1801, 10-year-old Czerny, led by his father, ready to go to the interview of a musician recruiting apprentices, the musician has recently risen to fame in Vienna. But there were those who praised him and those who disparaged him, some said he dared to challenge authority and represented the future of music, while others said he was rude and was simply grandstanding. Regardless, at the age of ten, Czerny was a big fan of the musician, and so Czerny was very keen to learn the piano from the musician.
But the musician wasn't very keen on teaching his students, and his main focus was on composing music, so he was very strict about accepting students because he didn't want to make money, and he was only willing to teach children he thought were musically gifted. In order to pass the musician's audition, Czerny carefully practiced the piece for the musician's latest audition: his Piano Sonata No. 23, also known as the Passion Sonata.
Cherney and his father arrived at his idol's residence, very nervous and excited, a scruffy servant received them, the musician lived on the sixth floor, Cherney climbed the stairs, listening to the old wooden floorboards under the feet of the creaking sound, while in the heart of the silent recollection of the "Passion Sonata" score, and finally climbed to the sixth floor, the furnishings of the room is very simple, littered with thrown paper, the room is very simple, and the room is very simple, and the room is very simple, and the room is very simple, and the room is very simple. The room was simply furnished, there were papers and clothes thrown everywhere, it was a mess anyway, there was a piano in the corner, and a chair, but it was the only chair, other than that, there was no other place to sit down. Cherny's idol, the musician, was sitting in this somewhat rickety chair, wearing a plush, dark gray jacket, and plush, dark gray pants, the man's hair was so hard and long that it was practically standing upright, one by one, on the top of his head, and his mustache hadn't been shaved in I don't know how long, and it made his already somewhat grimy face look even more grim.
And the man had a dirty cotton ball stuffed in his ear, and the white cotton was stained with a yellow liquid of some kind, in short, a rude and unkempt appearance. The musician, who was not very tall, even a little short, but had very large limbs, stood up and waved his ridiculously large, knuckled hand to indicate that Cherny could sit down in the chair and play the piano for him.
Beethoven at work
I'm afraid all children are nervous in this kind of environment, so Cherny's father told him to sit down slowly, to calm his nerves a little, and then Cherny began to play the Passionate Sonata we're hearing now.
Time passed very slowly for Cherny, but it seemed to pass very quickly, and before he recovered from his playing, he heard the man say to his father, "This boy is very talented, and I'm willing to teach him." The man was Beethoven, the protagonist of our story, and Cherny, one of his most prized pupils.
The Beethoven just described is a scruffy and rude image, but rudeness is definitely not equal to stupidity, under such an appearance, Beethoven is a person with high emotional and intellectual intelligence. Many literati admire Beethoven, including Romero, exploring Beethoven as an idol, infinitely idealized and perfected, but this kind of esteem for noble sentiments and aspirations is wonderful, Beethoven also does have Romero in the biography of his description of those qualities.
But that was only one aspect of Beethoven's life. In addition to freedom and pride, Beethoven also had a worldly side, and throughout his life he was torn between worldliness and pride. His pride was a source of inspiration for his compositions, and almost all of his best works were done when he chose pride. And what about when he chose worldliness, he also composed a lot of not-so-great works, which are not very well liked now, but at the time the music earned him a very lucrative real-world income.
I think perhaps every great artist, when faced with the temptation of profit, is faced with the same conflict, that is, whether to stick to the ideal of self-creative things, or a little compromise, a little less artistic, but can fill the stomach of the things. As Beethoven himself said, "Individuality is the basis of all good things, and without it there is no true art."
But sticking to individuality is also a difficult thing, for example, Beethoven's music, inspired by those in distress, these people see Beethoven as a spiritual mentor, they are not able to support Beethoven's economic strength, and the aristocrats they like to be suitable for the court to play, relatively more "elegant "This is a contradiction in terms of Beethoven's compositions, as he could not express what he really wanted to express if he met the demands of the nobility, so Beethoven's life was a constant struggle and compromise.
Cherney's "Passion Sonata" is the product of Beethoven's struggle in his interview, and when he composed this piece, Beethoven just came to Vienna not long ago, and if it were anyone else, a musician from outside the country, less than 30 years of age, would surely understand the situation of the local so-called seniors, and wouldn't easily come up with a work of art that contrasted particularly with the prevailing musical environment. But Beethoven didn't care about that, he was like Romero's Johann Christoph.
He felt that the musical environment in Vienna was full of decadence, and when he first arrived in Vienna, Haydn gave him a lot of guidance in music composition, but there was a huge contrast between their concepts. Haydn often advised Beethoven, and even cautioned him, to follow the traditions, and not to add too many personal flourishes. But Beethoven was not to be heard.
Of course, if he had listened, there would have been no later Third Symphony, Fifth Symphony and so on, which made Beethoven's great works, and that Beethoven not only would not follow Haydn's opinion, he also had to fiercely refute Haydn, and even once openly declared that he had not learned anything from Haydn. Of course this is not objective, but such a character, so that Beethoven's music has a unique content, he dared to express their own views, and to express them out loud, since said, then to say a full.