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It's not easy to find invoicing software with accounting capabilities. It's even harder to find great invoicing software and accounting functionality at an affordable price. Luckily for small businesses, there's FreshBooks to save the day.
Small businesses that invoice their client base need accounting software that makes it easy to customize, create and send invoices. It should allow you to track invoice status so you know when customers see and pay their bills, and it should also facilitate online invoice payments, so customers can pay you directly from the invoice. We also looked for software with invoice-related timesaving features, like recurring invoices, the option of sending invoices from a mobile app, and the ability to track billable time and expenses and add them to invoices.
After much research and analysis of accounting software, we recommend FreshBooks as the best invoicing software in 2019.
Editor's note: Need accounting software for your business? Fill out the below questionnaire to have our vendor partners contact you with free information.
Why FreshBooks?
Competitively Priced
Like other accounting software solutions, FreshBooks offers several pricing plans. These plans are based on the number of active clients you're working with, though the lowest tier lacks some of the features included in mid and top tiers.
Discounts are sometimes available; for instance, when we reviewed the company, it was running a promotion offering a 50% discount for six months. The company also offers a 30-day free trial so you can thoroughly test the software yourself before deciding if it's right for your business.
Here's an overview of the subscription plans and add-ons FreshBooks offers.
- The Lite plan costs $15 per month and allows you to bill up to five clients. This tier allows you to connect to your bank feed, send unlimited estimates and invoices, track time, and accept online invoice payments.
- The Plus plan costs $25 per month and allows you to bill up to 50 clients. In addition to features included with the Lite plan, you can send proposals, automatic payment reminders and recurring invoices. You can also charge late fees. New to this plan is double-entry accounting and financial reports.
- The Premium plan costs $50 per month and allows you to bill up to 500 clients. This plan has all the features included with the Plus plan but allows you to bill many more clients.
- The Select plan has custom pricing. If you have more than 500 clients, or if you bill more than $150,000 annually, you may qualify for FreshBooks Select. You'll need to contact the company for a price quote specific to your business. It has all the features included with the Premium plan, but you also get a dedicated account manager.
- Each additional user you add to your account costs $10 per month. This cost includes business partners, employees and contractors. There's no additional cost to add your accountant. For example, if you added one business partner, one accountant, two employees and one contractor, you'd pay an extra $40 each month.
- FreshBooks Payments costs 2.9% plus 30 cents per transaction. This service allows you to accept online invoice payments. You can also accept payments using a Stripe account.
- The Advanced Payments add-on costs $20 per month plus 3.5% and 30 cents per transaction. This credit card processing service includes a virtual terminal, so you can accept payments over the phone and in person. It also allows your clients to authorize recurring payments.
There's no additional cost to use the mobile app, though you need to subscribe to one of the paid plans mentioned above to use it.
One unique aspect of FreshBooks is that it supports financial education for college students by offering free accounts and classroom materials to college-level educators and their students.
Ease of Use
FreshBooks describes itself as a "simple and intuitive" cloud-based accounting application that's easily accessible across all your devices. To see just how easy it is to use, we tried the software ourselves. Signing up for a trial account took just a few minutes. The signup process doesn't require a credit card – you simply enter your email address and password, then check your email and click a link to verify the setup.
The home screen has an uncluttered layout, with navigation to everything you need on one screen. The left sidebar has easy access buttons for the dashboard and key functions, such as invoices, estimates, clients, expenses, projects and time tracking. It also has a Create New button on the dashboard, a shortcut that lets you quickly create new invoices, estimates, client profiles and expenses. Each screen has a box at the top of the page with tasks, tips or videos to help you get started. Overall, we found the FreshBooks as easy and intuitive to use as the company claims it is.
It's easy to create invoices, view invoice payments and handle all your standard tasks. FreshBooks offers great functionality, which is a big plus for service-based businesses sending invoices to clients. Businesses want to focus on work, not problems with accounting software. A simple platform from FreshBooks makes this a more realistic possibility for small businesses that send invoices regularly.
When we asked small business owners what they wanted most from their accounting software, the consensus was that it should save time. Here are some FreshBooks features that can help you accomplish your accounting tasks faster.
Invoicing. FreshBooks helps you create, send and manage invoices efficiently. The invoice screen shows you exactly how your documents will appear when you send them so you don't have to click a preview button to make sure they look right. You just click on the screen to add new customers, products or services, descriptions, terms and notes – you don't have to create them on a separate screen before you add them to an invoice. If you want to rearrange lines on an invoice, you simply drag and drop them into place. Creating invoices is easy with FreshBooks.
Here are more invoicing timesavers:
- Customize invoices and other documents to match your branding by adding your logo or a photo and changing the template, font, and accent color.
- Convert estimates and proposals to invoices in two clicks rather than creating new invoices from scratch. The software also allows you to duplicate a past invoice and tweak the details, which may be faster than creating a new invoice.
- Add a discount, deposit request or payment schedule with just a few clicks.
- Schedule the system to automatically send recurring invoices and payment reminders; you can also set it to add late fees to past-due invoices either as a percentage or flat fee.
- After your invoices are sent, you can see when clients view your invoices, so you don't have to wonder whether the invoice was received or got lost in a spam folder.
- Use the mobile app to send invoices when you're away from the office.
- FreshBooks supports multiple languages and currencies, which is a useful feature if you have international clients.
Faster payments. When you set up FreshBooks Payments or connect your Stripe account and send invoices to clients electronically, you can accept credit card payments through the system, allowing your clients to pay online by clicking a payment button on the invoice. Each invoice records how much your client has paid and whether there are any outstanding balances so you don't have to manually track this information.
Mobile app. Available for both iOS and Android devices, FreshBooks' app includes nearly all of the features found on the browser version of its software. You can track billable time, take pictures of receipts and record expenses, create and send invoices, chat with clients, and accept payments.
Customer Service
FreshBooks offers customer support by phone, email and in-program live chat. Its representatives are friendly and knowledgeable. When we clicked the live chat button in the software, the representative responded quickly and answered our questions thoroughly, without pressuring us to upgrade our trial account. He also volunteered helpful links where we could find more information and encouraged us to sign up for the company's weekly webinar.
Support isn't available 24/7, but it has extended weekday hours: Mondays through Fridays from 8 a.m. to 8 p.m. ET. There are also resources to show you how to use the software if the customer support isn't available.
On the company's website, you can find a collection of resources to help you learn more about the program and find answers to your questions on your own. These include a searchable knowledgebase, a free webinar, a blog with helpful accounting and business tips, and free e-books.
FreshBooks has elite customer service across the board. From friendly representatives to a database filled with knowledge, FreshBooks delivers quality customer support.
Other Benefits
FreshBooks has made some significant updates to its software over the past year or so, adding double-entry accounting to its mid- and top-tier plans and announcing that bank reconciliation features will soon be available. You can now create a chart of accounts, and run balance sheet, general ledger and trial balance reports.
Here are a few more notable features:
- Expense tracking. Using the app, you can photograph receipts and log them as expenses. You can then categorize them, connect them to transactions imported from your bank account or credit cards, and mark them as billable so you can add them to invoices. Expenses can be attached to projects or clients so you can see what you're spending, helping you stay on budget.
- Project management and time tracking. FreshBooks can serve as the hub for your projects. After inviting contributors, clients, and employees to projects, you can share files, discuss the project, and set deadlines. Your contributors and employees can track their time, allowing you to easily monitor the hours spent on a project. You can also bill clients for hours tracked and expenses incurred on their projects.
- Integrations. Nearly 80 apps and integrations are available for FreshBooks, allowing you to add features or connect FreshBooks with other business programs you already use for analytics, scheduling, marketing, tax help and more.
- User roles. When you add users to your account, you assign them a role that determines what features they can access. Business partners can do everything except add or remove apps and integrations. Accountants can access your dashboard, reports, invoices and expenses. Employees can access projects, track their time and add expenses. Contractors are a little different in that they have their own account. With their account, contractors can only see the projects you've invited them to and track their time against those projects.
Although FreshBooks offers the best invoicing features for small businesses, it isn't without its drawbacks. For instance, it lacks vendor and inventory-management and purchase-ordering features, so it isn't well suited for businesses with inventory. Rather, it's designed for service- or project-based agencies, and includes time-tracking and project management tools.
Another drawback with the application is that you can't view reports or manage team members from the app. While you could use the browser on your phone or tablet to access your FreshBooks account to do this, it's inconvenient if you're on the go.
FreshBooks' mobile app isn't yet available for the Apple Watch or Android-powered smartwatches.
Last, although document customization couldn't be easier, with only two templates and two font choices, it provides fewer options than most of its competitors.
FreshBooks has its drawbacks, but the invoicing capabilities make the accounting solution a marvelous option for invoice-heavy businesses.
Additional reporting by Bennett Conlin.
Ready to choose an accounting software solution? Here's a breakdown of our complete coverage:
- How to Choose Accounting Software
- The Best Small Business Accounting Software 2019
- Best Small Business Accounting Software
- Best Accounting Software for Mac
- Best Accounting Software for Really Small Businesses
- Best Small Business Invoicing Software
- Best Free Small Business Accounting Software
Editor's note: Need accounting software for your business? Fill out the below questionnaire to have our vendor partners contact you with free information.


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Ludwig van Beethoven[n 1] (/ˈlʊdvɪɡ væn ˈbeɪt(h)oʊvən/ (listen); German: [ˈluːtvɪç fan ˈbeːthoːfn̩] (listen); baptised 17 December 1770 – 26 March 1827) was a German composer and pianist; his music is amongst the most performed of the classical repertoire and he is one of the most admired composers in the history of Western music. His works span the transition between the classical and romantic eras in classical music. His career has conventionally been divided into early, middle, and late periods. The "early" period in which he forged his craft, is typically seen to last until 1802. His "middle" period, (sometimes characterised as "heroic") shows an individual development from the "classical" styles of Joseph Haydn and Wolfgang Amadeus Mozart, covers the years 1802 to 1812, during which he increasingly suffered from deafness. In the "late" period from 1812 to his death in 1827, he extended his innovations in musical form and expression.
Ludwig van Beethoven
Portrait of Beethoven by Joseph Karl Stieler, 1820
|17 December 1770
|List of compositions
Beethoven was born in Bonn. His musical talent was obvious at an early age, and he was initially harshly and intensively taught by his father Johann van Beethoven. He was later taught by the composer and conductor Christian Gottlob Neefe, under whose tuition he published his first work, a set of keyboard variations, in 1783. He found relief from a dysfunctional home life with the family of Helene von Breuning, whose children he loved, befriended and taught piano. At age 21, he moved to Vienna which subsequently became his base, and studied composition with Haydn. Beethoven then gained a reputation as a virtuoso pianist, and he was soon courted by Karl Alois, Prince Lichnowsky for compositions, which resulted in his three Opus 1 piano trios (the earliest works to which he accorded an opus number) in 1795.
His first major orchestral work, the First Symphony, appeared in 1800, and his first set of string quartets was published in 1801. During this period, his hearing began to deteriorate, but he continued to conduct, premiering his Third and Fifth Symphonies in 1804 and 1808, respectively. His Violin Concerto appeared in 1806. His last piano concerto (No. 5, Op. 73, known as the 'Emperor'), dedicated to his great patron Archduke Rudolf of Austria, was premiered in 1810, but not with the composer as soloist. He was almost completely deaf by 1814, and he then gave up performing and appearing in public. His problems with health and his unfulfilled personal life are exemplified by his "Heiligenstadt Testament" (1802) and his unsent letter to his "Immortal Beloved" (1812).
In the years from 1810, increasingly less socially involved, Beethoven composed many of his most admired works including his later symphonies and his mature chamber music and piano sonatas. His only opera Fidelio, which had been first performed in 1805, was revised to its final version in 1814. He composed his Missa Solemnis in the years 1819–1823, and his final, Ninth, Symphony, one of the first examples of a choral symphony, in 1822–1824. Written in his last years, his late string quartets of 1825–26 are amongst his final achievements. After some months of bedridden illness he died in 1827. Beethoven's works in all genres remain mainstays of the classical music repertoire.
Life and career
Family and early life
Beethoven was the grandson of Ludwig van Beethoven (1712–1773), a musician from the town of Mechelen in the Austrian Duchy of Brabant (in what is now the Flemish region of Belgium) who had moved to Bonn at the age of 21.[2][3] Ludwig was employed as a bass singer at the court of Clemens August, Archbishop-Elector of Cologne, eventually rising to become, in 1761, Kapellmeister (music director) and hence a pre-eminent musician in Bonn. The portrait he commissioned of himself towards the end of his life remained displayed in his grandson's rooms as a talisman of his musical heritage.[4] Ludwig had one son, Johann (1740–1792), who worked as a tenor in the same musical establishment and gave keyboard and violin lessons to supplement his income.[2] Johann married Maria Magdalena Keverich in 1767; she was the daughter of Heinrich Keverich (1701–1751), who had been the head chef at the court of the Archbishopric of Trier.[5] Beethoven was born of this marriage in Bonn. There is no authentic record of the date of his birth; however, the registry of his baptism, in the Catholic Parish of St. Remigius on 17 December 1770, survives, and the custom in the region at the time was to carry out baptism within 24 hours of birth. There is a consensus, (with which Beethoven himself agreed) that his birth date was 16 December, but no documentary proof of this.[6]
Of the seven children born to Johann van Beethoven, only Ludwig, the second-born, and two younger brothers survived infancy. Kaspar Anton Karl was born on 8 April 1774, and Nikolaus Johann, the youngest, was born on 2 October 1776.[7]
Beethoven's first music teacher was his father. He later had other local teachers: the court organist Gilles van den Eeden (d. 1782), Tobias Friedrich Pfeiffer (a family friend, who provided keyboard tuition), and Franz Rovantini (a relative, who instructed him in playing the violin and viola).[2] From the outset his tuition regime, which began in his fifth year, was harsh and intensive, often reducing him to tears; with the involvement of the insomniac Pfeiffer there were irregular late-night sessions with the young Beethoven being dragged from his bed to the keyboard.[8] His musical talent was obvious at a young age. Johann, aware of Leopold Mozart's successes in this area (with his son Wolfgang and daughter Nannerl), attempted to promote his son as a child prodigy, claiming that Beethoven was six (he was seven) on the posters for his first public performance in March 1778.[9]
1780–1792: Bonn
In 1780 or 1781, Beethoven began his studies with his most important teacher in Bonn, Christian Gottlob Neefe.[10] Neefe taught him composition; in March 1783 appeared Beethoven's first published work, a set of keyboard variations (WoO 63).[7][n 2] Beethoven soon began working with Neefe as assistant organist, at first unpaid (1782), and then as a paid employee (1784) of the court chapel.[12] His first three piano sonatas, WoO 47, sometimes known as "Kurfürst" ("Elector") for their dedication to the Elector Maximilian Friedrich (1708–1784), were published in 1783.[13] In the same year the first printed reference to Beethoven appeared in the Magazin der Musik – "Louis van Beethoven [sic] ... a boy of 11 years and most promising talent. He plays the piano very skilfully and with power, reads at sight very well ... the chief piece he plays is Das wohltempierte Klavier of Sebastian Bach, which Herr Neefe puts into his hands ..."[2] Maximilian Friedrich's successor as the Elector of Bonn was Maximilian Franz. He gave some support to Beethoven, appointing him Court Organist and paying towards his visit to Vienna of 1792. [5][14]
He was introduced in these years to several people who became important in his life. He often visited the cultivated von Breuning family, where he taught piano to some of the children, and where the widowed Frau von Breuning offered him a motherly friendship. Here he also met Franz Wegeler, a young medical student, who became a lifelong friend (and was to marry one of the von Breuning daughters). The von Breuning family environment offered an alternative to his home life, which was increasingly dominated by his father's decline. Another frequenter of the von Breunings was Count Ferdinand von Waldstein, who became a friend and financial supporter during Beethoven's Bonn period.[15][16] .[17] Waldstein was to commission in 1791 Beethoven's first work for the stage, the ballet Musik zu einem Ritterballett (WoO 1).[18]
In the period 1785–90 there is virtually no record of Beethoven's activity as a composer. This may be attributed to the lukewarm response his initial publications had attracted, and also to ongoing problems in the Beethoven family.[19] His mother died in 1787, shortly after Beethoven's first visit to Vienna, where he stayed for about two weeks and almost certainly met with Mozart.[15]. In 1789 Beethoven's father was forcibly retired from the service of the Court (as a consequence of his alcoholism) and it was ordered that half of his father's pension be paid directly to him for support of the family.[20] He contributed further to the family's income by teaching (to which Wegeler said he had "an extraordinary aversion"[21]) and by playing viola in the court orchestra. This familiarized him with a variety of operas, including works by Mozart, Gluck and Paisiello.[22] Here he also befriended Anton Reicha, a composer, flautist and violinist of about his own age who was a nephew of the court orchestra's conductor, Josef Reicha.[23]
From 1790 to 1792, Beethoven composed a number of works (none were published at the time) showing a growing range and maturity. Musicologists have identified a theme similar to those of his Third Symphony in a set of variations written in 1791.[24] It was perhaps on Neefe's recommendation that Beethoven received his first commissions; the Literary Society in Bonn commissioned a cantata to mark the occasion of the death in 1790 of Joseph II (WoO 87), and a further cantata, to celebrate the subsequent accession of Leopold II as Holy Roman Emperor (WoO 88), may have been commissioned by the Elector.[25]. These two Emperor Cantatas were never performed at the time and they remained lost until the 1880s, when they were described by the composer Johannes Brahms as "Beethoven through and through" and as such prophetic of the style which would mark his music as distinct from the classical tradition.[26]
Beethoven was probably first introduced to Joseph Haydn in late 1790, when the latter was travelling to London and stopped in Bonn around Christmas time.[27] A year and a half later, they met in Bonn on Haydn's return trip from London to Vienna in July 1792, when Beethoven played in the orchestra at the Redoute in Godesberg. It is likely that arrangements were made at that time for Beethoven to study with the older master.[28] Waldstein wrote to him before his departure: "You are going to Vienna in fulfilment of your long-frustrated wishes […] With the help of assiduous labour you shall receive Mozart's spirit from Haydn's hands."[15]
1792–1802: Vienna - the early years
Beethoven left Bonn for Vienna in November 1792, amid rumours of war spilling out of France; he learned shortly after his arrival that his father had died.[29][30] Over the next few years, Beethoven responded to the widespread feeling that he was a successor to the recently deceased Mozart by studying that master's work and writing works with a distinctly Mozartean flavour.[31]
He did not immediately set out to establish himself as a composer, but rather devoted himself to study and performance. Working under Haydn's direction,[32] he sought to master counterpoint. He also studied violin under Ignaz Schuppanzigh.[33] Early in this period, he also began receiving occasional instruction from Antonio Salieri, primarily in Italian vocal composition style; this relationship persisted until at least 1802, and possibly as late as 1809.[34]
With Haydn's departure for England in 1794, Beethoven was expected by the Elector to return home to Bonn. He chose instead to remain in Vienna, continuing his instruction in counterpoint with Johann Albrechtsberger and other teachers. In any case, by this time it must have seemed clear to his employer that Bonn would fall to the French, as it did in October 1794, effectively leaving Beethoven without a stipend or the necessity to return.[35] However, a number of Viennese noblemen had already recognised his ability and offered him financial support, among them Prince Joseph Franz Lobkowitz, Prince Karl Lichnowsky, and Baron Gottfried van Swieten.[36]
Assisted by his connections with Haydn and Waldstein, Beethoven began to develop a reputation as a performer and improviser in the salons of the Viennese nobility.[37] His friend Nikolaus Simrock began publishing his compositions, starting with a set of keyboard variations on a theme of Dittersdorf (WoO 66).[38] By 1793, he had established a reputation in Vienna as a piano virtuoso, but he apparently withheld works from publication so that their eventual appearance would have greater impact.[36]
His first public performance in Vienna was in March 1795, where he first performed one of his piano concertos. [n 3][40] Shortly after this performance, he arranged for the publication of the first of his compositions to which he assigned an opus number, the three piano trios, Opus 1. These works were dedicated to his patron Prince Lichnowsky,[39] and were a financial success; Beethoven's profits were nearly sufficient to cover his living expenses for a year.[41] In 1799 Beethoven participated in (and won) a notorious piano 'duel' at the home of Baron Raimund Wetzlar (a former patron of Mozart) against the virtuoso Joseph Wölfl; and in the following year he similarly triumphed against Daniel Steibelt at the salon of Count Moritz von Fries.[42] Beethoven's eighth piano sonata the "Pathetique" (Op. 13), published in 1799 is described by the musicologist Barry Cooper as "surpass[ing] any of his previous compositions, in strength of character, depth of emotion, level of originality, and ingenuity of motivic and tonal manipulation."[43]
Beethoven composed his first six string quartets (Op. 18) between 1798 and 1800 (commissioned by, and dedicated to, Prince Lobkowitz). They were published in 1801. He also completed his Septet (Op. 20) in 1799, which was one of his most popular works during his lifetime. With premieres of his First and Second Symphonies in 1800 and 1803, he became regarded as one of the most important of a generation of young composers following Haydn and Mozart. But his melodies, musical development, use of modulation and texture, and characterisation of emotion all set him apart from his influences, and heightened the impact some of his early works made when they were first published.[44] For the premiere of his First Symphony, he hired the Burgtheater on 2 April 1800, and staged an extensive programme, including works by Haydn and Mozart, as well as his Septet, the Symphony, and one of his piano concertos (the latter three works all then unpublished). The concert, which the Allgemeine musikalische Zeitung described as "the most interesting concert in a long time," was not without difficulties; among the criticisms was that "the players did not bother to pay any attention to the soloist."[45] By the end of 1800, Beethoven and his music were already much in demand from patrons and publishers.[46]
In May 1799, he taught piano to the daughters of Hungarian Countess Anna Brunsvik. During this time, he fell in love with the younger daughter Josephine. Amongst his other students, from 1801 to 1805, he tutored Ferdinand Ries, who went on to become a composer and later wrote about their encounters. The young Carl Czerny, who later became a renowned music teacher himself, studied with Beethoven from 1801 to 1803. In late 1801, he met a young countess, Julie ("Giulietta") Guicciardi, through the Brunsvik family; he mentions his love for Julie in a November 1801 letter to a friend, but class difference prevented any consideration of pursuing this. He later dedicated his Sonata No. 14, now commonly known as the Moonlight Sonata, to her.[47]
In the spring of 1801 he completed The Creatures of Prometheus, a ballet. The work received numerous performances in 1801 and 1802, and he rushed to publish a piano arrangement to capitalise on its early popularity.[48] In the spring of 1802 he completed the Second Symphony, intended for performance at a concert that was cancelled. The symphony received its premiere instead at a subscription concert in April 1803 at the Theater an der Wien, where he had been appointed composer in residence. In addition to the Second Symphony, the concert also featured the First Symphony, the Third Piano Concerto, and the oratorio Christ on the Mount of Olives. Reviews were mixed, but the concert was a financial success; he was able to charge three times the cost of a typical concert ticket.[49]
His business dealings with publishers also began to improve in 1802 when his brother Kaspar, who had previously assisted him casually, began to assume a larger role in the management of his affairs. In addition to negotiating higher prices for recently composed works, Kaspar also began selling some of his earlier unpublished compositions, and encouraged him (against Beethoven's preference) to also make arrangements and transcriptions of his more popular works for other instrument combinations. Beethoven acceded to these requests, as he could not prevent publishers from hiring others to do similar arrangements of his works.[50]
1802–1812: The 'heroic' period
Beethoven told the English pianist Charles Neate (in 1815) that he dated his hearing loss from a fit he suffered in 1798 induced by a quarrel with a singer.[51]. During its gradual decline, his hearing was further impeded by a severe form of tinnitus.[52] As early as 1801, he wrote to Wegeler and another friend Karl Amenda, describing his symptoms and the difficulties they caused in both professional and social settings (although it is likely some of his close friends were already aware of the problems).[53] The cause was probably otosclerosis, perhaps accompanied by degeneration of the auditory nerve.[54][n 4]
On the advice of his doctor, he moved to the small Austrian town of Heiligenstadt, just outside Vienna, from April to October 1802 in an attempt to come to terms with his condition. There he wrote the document now known as the "Heiligenstadt Testament", a letter to his brothers which records his thoughts of suicide due to his growing deafness and records his resolution to continue living for and through his art. The letter was never actually sent and was discovered in the composer's papers after his death.[57] The letters to Wegeler and Amenda were not so despairing; in them Beethoven commented also on his ongoing professional and financial success at this period, and his determination, as he expressed it to Wegeler, to "seize Fate by the throat; it shall certainly not crush me completely."[54] In 1806, Beethoven noted on of his musical sketches "Let your deafness no longer be a secret – even in art."[58].
Beethoven's hearing loss did not prevent him from composing music, but it made playing at concerts—a important source of income at this phase of his life—increasingly difficult. (It also contributed substantially to his social withdrawal.)[54] Czerny remarked however that Beethoven could still hear speech and music normally until 1812.[59]
The 'heroic' style
Beethoven's return to Vienna from Heiligenstadt was marked by a change in musical style, and is now often designated as the start of his middle or "heroic" period characterised by many original works composed on a grand scale.[60] According to Carl Czerny, Beethoven said, "I am not satisfied with the work I have done so far. From now on I intend to take a new way."[61] An early major work employing this new style was the Third Symphony in E flat Op. 55, known as the Eroica, written in 1803-4. The idea of creating a symphony based on the career of Napoleon may have been suggested to Beethoven by Count Bernadotte in 1798[62]. Beethoven, sympathetic to the ideal of the heroic revolutionary leader, originally gave the symphony the title "Bonaparte", but disillusioned by Napoleon declaring himself Emperor in 1804, he scratched Napoleon's name from the manuscript's title page, and the symphony was published in 1806 with its present title and the subtitle "to celebrate the memory of a great man."[62] The Eroica was longer and larger in scope than any previous symphony. When it premiered in early 1805 it received a mixed reception. Some listeners objected to its length or misunderstood its structure, while others viewed it as a masterpiece.[63]
Other middle period works extend in the same dramatic manner the musical language Beethoven had inherited. The Rasumovsky string quartets, and the Waldstein and Appassionata piano sonatas share the heroic spirit of the Third Symphony.[62]. Other works of this period include the Fourth through Eighth Symphonies, the oratorio Christ on the Mount of Olives, the opera Fidelio, and the Violin Concerto.[64] Beethoven was hailed in 1810 by the writer and composer E. T. A. Hoffmann, in an influential review in the Allgemeine musikalische Zeitung, as the greatest of (what he considered) the three "Romantic" composers, (that is, ahead of Haydn and Mozart); in Beethoven's Fifth Symphony his music "sets in motion terror, fear, horror, pain, and awakens the infinite yearning that is the essence of romanticism".[65]
During this time his income came from publishing his works, from performances of them, and from his patrons, for whom he gave private performances and copies of works they commissioned for an exclusive period prior to their publication. Some of his early patrons, including Prince Lobkowitz and Prince Lichnowsky, gave him annual stipends in addition to commissioning works and purchasing published works.[66] Perhaps his most important aristocratic patron was Archduke Rudolf of Austria , the youngest son of Emperor Leopold II, who in 1803 or 1804 began to study piano and composition with him. They became friends, and their meetings continued until 1824.[67] Beethoven was to dedicate 14 compositions to Rudolph, including smw of his major works such as the Archduke Trio Op. 97 (1811) and Missa solemnis Op. 123 (1823).
His position at the Theater an der Wien was terminated when the theatre changed management in early 1804, and he was forced to move temporarily to the suburbs of Vienna with his friend Stephan von Breuning. This slowed work on Leonore, (his original title for his opera), his largest work to date, for a time. It was delayed again by the Austrian censor, and finally premiered, under its present tile of Fidelio in November 1805 to houses that were nearly empty because of the French occupation of the city. In addition to being a financial failure, this version of Fidelio was also a critical failure, and Beethoven began revising it.[68]
Despite this failure, Beethoven continued to attract recognition. In 1807 the musician and publisher Muzio Clementi secured the rights for publishing his works in England, and Haydn's former patron Prince Esterházy commissioned a mass (the Mass in C, Op. 86) for his wife's name-day. But he could not count on such recognition alone. A colossal benefit concert which he organized in December 1808, and was widely advertised, included the premieres of the Fifth and Sixth (Pastoral) symphonies, the Fourth Piano Concerto, extracts from the Mass in C, the scena and aria Ah! perfido Op. 65 and the Choral Fantasy op. 80. There was a large audience, (including Czerny and the young Ignaz Moscheles). But it was under-rehearsed, involved many stops and starts, and during the Fantasia Beethoven was noted shouting at the musicians "badly played, wrong, again!" The financial outcome is unknown.[69]
In the autumn of 1808, after having been rejected for a position at the Royal Theatre, Beethoven had received an offer from Napoleon's brother Jerôme Bonaparte, then king of Westphalia, for a well-paid position as Kapellmeister at the court in Cassel. To persuade him to stay in Vienna, the Archduke Rudolph, Prince Kinsky and Prince Lobkowitz, after receiving representations from the composer's friends, pledged to pay him a pension of 4000 florins a year.[70] In the event, Archduke Rudolph paid his share of the pension on the agreed date.[71] Kinsky, immediately called to military duty, did not contribute and died in November 1812 after falling from his horse.[72].[73] The Austrian currency destabilized and Lobkowitz went bankrupt in 1811, so that to benefit from the agreement Beethoven eventually had recourse to the law, which in 1815 brought him some recompense.[74].
The imminence of war reaching Vienna itself was felt in early 1809. In April Beethoven had completed writing his Piano Concerto No. 5 in E flat major, Op. 73,[72] which the musicologist Alfred Einstein has described as "the apotheosis of the military concept" in Beethoven's music.[75] Archduke Rudolf left the capital with the Imperial family in early May, prompting Beethoven's piano sonata ''Les Adieux'', (Sonata No. 26, Op. 81a), actually entitled by Beethoven in German "Das Lebewohl"(" The Farewell"), of which the final movement, ''Das Wiedersehen" (''The Return''), is dated in the manuscript with the date of Rudolf's homecoming of 30 January 1810.[76]. During the French bombardment of Vienna in May Beethoven took refuge in the cellar of the house of his brother Caspar.[77] The subsequent occupation of Vienna and the disruptions to cultural life and to Beethoven's publishers, together with Beethoven's poor health at the end of 1809, explain his significantly reduced output during this period, [78] although other notable works of the year include his String Quartet No. 10 in F major, Op. 74 (known as ''The Harp") and the Piano Sonata No. 24 in F sharp major op. 78, dedicated to Josephine's sister Therese Brunsvik. [79]
At the end of 1809 Beethoven was commissioned to write incidental music for Goethe's play Egmont. The result (an overture, and nine additional entractes and vocal pieces, Op. 84), which appeared in 1810 fitted well with Beethoven's "heroic" style and he became interested in Goethe, setting three of his poems as songs (Op. 83) and learning about the poet from a mutual acquaintance, Bettina Brentano (who also wrote to Goethe at this time about Beethoven). Other works of this period in a similar vein were the F minor String Quartet Op. 95, to which the composer gave the subtitle Quartetto serioso, and the Op. 97 Piano Trio in B flat major known, from its dedication to his patron Rudolph as the Archduke Trio.[62]
In the spring of 1811 Beethoven became seriously ill, suffering headaches and high fever. His doctor Johann Malfatti recommended him to take a cure at the spa of Teplitz (now Teplice in Czechia) where he wrote two more overtures and sets of incidental music for dramas, this time by August von Kotzebue - King Stephen Op. 117 and The Ruins of Athens Op. 113. Advised again to visit Teplitz in 1812 he met there with Goethe, who wrote of the composer "His talent amazed me; unfortunately he is an utterly untamed personality, who is not altogether wrong in holding the world to be detestable, but surely does not make it any more enjoyable [...] by his attitude." Beethoven wote to his publishers Breitkopf and Härtel that "Goethe delights far too much in the court atmosphere, far more than is becoming in a poet."[62] But following their meeting he began a setting for choir and orchestra of Goethe's Meeresstille und glückliche Fahrt (Calm Sea and Properous Voyage) (Op. 112), completed in 1815. After this was published in 1822 with a dedication to the poet, Beethoven wrote to him "The admiration, the love and esteem which already in my youth I cherished for the one and only immortal Goethe have persisted."[80]
"The Immortal Beloved"
While he was at Teplitz in 1812 he wrote a ten-page love letter to his "Immortal Beloved", which he never sent to its addressee.[81] The identity of the intended recipient was long a subject of debate, although the musicologist Maynard Solomon has effectively proved that the intended recipient must have been Antonie Brentano; other candidates have included Juliette Guicciardi, Therese Malfatti and Josephine Brunsvik.[82][n 5]
All of these had been regarded by Beethoven as possible soulmates during his first decade in Vienna. Guicciardi, although she flirted with Beethoven, never had any serious interest in him and married Wenzel Robert von Gallenberg in November 1803. (Beethoven insisted to his later secretary and biographer, Anton Schindler, that Gucciardi had "sought me out, crying, but I scorned her.")[84] Josephine had since Beethoven's initial infatuation with her married the elderly Count Joseph Deym, who died in 1804. Beethoven began to visit her and commenced a passionate correspondence. Initially he accepted that Josephine could not love him, but he continue to address himself to her even after she had moved to Budapest, finally demonstrating that he had got the message in his last letter to her of 1807: "I thank you for wishing still to appear as if I were not altogether banished from your memory".[85] Malfatti was the niece of Beethoven's doctor, and he had proposed to her in 1810. He was 40, she was 19 – the proposal was rejected.[86] She is now remembered as the recipient of the piano bagatelle Für Elise.[87][n 6]
Antonie (Toni) Brentano (nee von Birkenstock), ten years younger than the composer, was the wife of Franz Brentano, the half-brother of Bettina Brentano, who provided the composer's introduction to the family. It would seem that Antonie and Beethoven had an affair during 1811-1812. Antonie left Vienna with her husband in late 1812 and never met with (or apparently corresponded with) Beethoven again, although in her later years she wrote and spoke fondly of him.[89]
Family problems
In early 1813 Beethoven apparently went through a difficult emotional period, and his compositional output dropped. His personal appearance degraded—it had generally been neat—as did his manners in public, notably when dining.[90]
Family issues may have played a part in this. Beethoven had visited his brother Johann at the end of October 1812. He wished to end Johann's cohabitation with Therese Obermayer, a woman who already had an illegitimate child. He was unable to convince Johann to end the relationship and appealed to the local civic and religious authorities, but Johann and Therese married on 8 November.[91]
The illness and eventual death of his brother Kaspar from tuberculosis became an increasing concern. Kaspar had been ill for some time; in 1813 Beethoven lent him 1500 florins, to procure the repayment of which he was ultimately led to complex legal measures.[92] After Kaspar died on 15 November 1815, Beethoven immediately became embroiled in a protracted legal dispute with Kaspar's wife Johanna over custody of their son Karl, then nine years old. Beethoven had successfully applied to Kaspar to have himself named sole guardian of the boy. A late codicil to Kaspar's will gave him and Johanna joint guardianship.[93] While Beethoven was successful at having his nephew removed from her custody in January 1816, and had him removed to a private school[94] in 1818 he was again preoccupied by the legal processes around Karl. While giving evidence to the court for the nobility, the Landrechte, Beethoven was unable to prove that he was of noble birth and as a consequence, on 18 December 1818 the case was transferred to the civil magistracy of Vienna, where he lost sole guardianship.[94][n 7] He only regained custody after intensive legal struggles in 1820.[95] During the years that followed, Beethoven frequently interfered in his nephew's life in what Karl perceived as an overbearing manner.[96]
Post-war Vienna
Beethoven was finally motivated to begin significant composition again in June 1813, when news arrived of Napoleon's defeat at the Battle of Vitoria by a coalition led by the Duke of Wellington. The inventor Mälzel persuaded him to write a work commemorating the event for his mechanical instrument the Panharmonicon. This Beethoven also transcribed for orchestra as Wellington's Victory (Op. 91, also known as the Battle Symphony)[n 8]. It was first performed on 8 December, along with his Seventh Symphony, Op. 92, at a charity concert for victims of the war, a concert whose success led to its repeat on twelfth December. The orchestra included a number of leading and rising musicians who happened to be in Vienna at the time, including Giacomo Meyerbeer and Domenico Dragonetti.[98] The work received repeat performances at concerts staged by Beethoven in January and February 1814.[99]
Beethoven's renewed popularity led to demands for a revival of Fidelio, which, in its third revised version, was also well received at its July opening in Vienna, and was frequently staged there during the following years.[100] Beethoven's publishers, Artaria, commissioned the 20-year old Moscheles to prepare a piano score of the opera, which he inscribed "Finished, with God's help!" - to which Beethoven added "O Man, help thyself."[n 9][101] That summer Beethoven composed a piano sonata for the first time in five years, the (No. 27, Opus 90).[102] He was also one of many composers who produced music in a patriotic vein to entertain the many heads of state and diplomats who came to the Congress of Vienna that began in November 1814, with the cantata Der glorreiche Augenblick (The Glorious Moment) (Op. 136) and similar choral works which, in the words of Maynard Solomon "broadened Beethoven's popularity, [but] did little to enhance his reputation as a serious composer."[103]
In April and May 1814, playing in his ''Archduke'') Trio, Beethoven made his last public appearances as a soloist. The composer Louis Spohr noted : "the piano was badly out of tune, which Beethoven minded little, since he did not hear it […] there was scarcely anything left of the virtuosity of the artist […] I was deeply saddened."[104] From 1814 onwards Beethoven used for conversation ear-trumpets designed by Johann Nepomuk Maelzel, and a number of these are on display at the Beethoven-Haus in Bonn.[105]
His 1815 compositions include an expressive second setting of the poem "An die Hoffnung" (Op. 94) in 1815. Compared to its first setting in 1805 (a gift for Josephine Brunsvik), it was "far more dramatic ... The entire spirit is that of an operatic scena."[106] But his energy seemed to be dropping: apart from these works, he wrote the two cello sonatas Op. 101 nos. 1 and 2, and a few minor pieces, and began but abandoned a sixth piano concerto.[107]
Between 1815 and 1819 Beethoven's output dropped again to a level unique in his mature life.[108] He attributed part of this to a lengthy illness (he called it an "inflammatory fever") that he had for more than a year, starting in October 1816.[109] It is also doubtless a consequence of the ongoing legal problems concerning his nephew Karl.[110] His biographer Maynard Solomon further suggests that Beethoven found himself increasingly at odds with current musical trends. Unsympathetic to the sorts of trends in German romanticism that featured the supernatural (as in operas by Louis Spohr, Heinrich Marschner and Carl Maria von Weber, he also "resisted the impending Romantic fragmentation of the [...] cyclic forms of the Classical era into small forms and lyric mood pieces" and turned towards study of Bach, Handel and Palestrina.[111] An old connection was renewed in 1817 when Maelzel sought, and obtained, Beethoven's endorsement for his newly developed metronome.[112] During these years the few major works completed include Beethoven's only song cycle, An die ferne Geliebte Op. 98, (1816), and the gigantic Hammerklavier Sonata (Sonata no 29 in B flat major, Op. 106) (1818).[113] It was also in 1818 that he began musical sketches that eventually form part of his final Ninth Symphony.[114]
By early 1818 Beethoven's health had improved, and his nephew Karl, now aged 11, moved in with him in January, (although within a year Karl's mother had won him back in the courts).[115] By now the composer's hearing had again significantly deteriorated, necessitating Beethoven and his interlocutors writing in notebooks to carry out conversations. These 'conversation books' are a rich written resource for this period. They contain discussions about music, business and personal life; they are also a valuable source for his contacts and for investigations into how he intended his music should be performed, and of his opinions of the art of music.[116][n 10] His household management had also improved somewhat; Nanette Streicher, who had assisted in his care during his illness, continued to provide some support, and he finally found a skilled cook.[122] A testimonial to the esteem in which Beethoven was held in England was the presentation to him in this year by Thomas Broadwood, the proprietor of the company, of a Broadwood piano, for which Beethoven expressed grateful thanks. He was not well enough, however, to carry out a visit to London that year which had been proposed by the Philharmonic Society.[123]
Despite his ongoing legal struggles over Karl, which involved continuing extensive corresponce and lobbying[124]two events sparked off Beethoven's major composition projects in 1819. The first was the announcement of Archduke Rudolf's promotion to Cardinal-Archbishop and Archbishop of Olomouc (now in Czechia), which triggered the Missa Solemnis Op. 123, intended to be ready for his installation in Olomouc in March 1820. The other was the invitation by the publisher Antonio Diabelli to fifty Viennese composers , including Beethoven, Franz Schubert, Czerny and the 8-year old Franz Liszt, to compose a variation each on a theme which he provided. Beethoven was spurred to outdo the competition and by mid-1819 had already completed 20 variations of what were to become the 33 Diabelli Variations op. 120. Neither of these works were to be completed however for a few years.[125][126] A significant tribute of 1819, however, was Archduke Rudolf's set of forty piano variations on a theme written for him by Beethoven (WoO 200), and dedicated to the master.[127] Beethoven's portrait by Ferdinand Schimon of this year, which was one of the most familiar images of him for the enxt century, was described by Schindler as, despite its artistic weaknesses, "in the rendering of that particular look, the majestic forehead [...] the firmly shut mouth and the chin shaped like a shell, [...] truer to nature than any other picture."[128]
Beethoven's status was confirmed by the series of Concerts sprituels given in Vienna by the choirmaster Franz Xaver Gebauer in the 1819/1820 and 1820/1821 seasons, during which all eight of his symphonies to date, plus the oratorio Christus and the Mass in C, were performed. Beethoven was typically underwhelmed: when in an April 1820 conversation book a friend mentioned Gebauer, Beethoven wrote in reply "Geh! Bauer" ("Bog off, peasant!")[129]
It was in 1819 that Beethoven was first approached by the publisher Moritz Schlesinger who won the suspicious composer round, whilst visiting him at Mödling, by procuring for him a plate of roast veal.[130]. One consequence of this was that Schlesinger was to secure Beethoven's three last piano sonatas and his final quartets; part of the attaction to Beethoven was that Schlesinger had publishing facilities in Germany, France and England which could overcome problems of copyright piracy.[131] The first of the three sonatas, for which Beethoven contracted with Schlesinger in 1820 at 30 ducats per sonata, (further delaying completion of the Mass), was sent to the publisher at the end of that year (the Sonata in E major, Op. 109, dedicated to Maximiliane, Antonie Brentano's daughter).[132].
He was ill again for an extended time in 1821, and completed the Missa in 1823, three years after its original due date. Around 1822 his brother Johann began to assist him in his business affairs, including him lending him money against ownership of some of his compositions.[133]
1824–1827: The final years
Two commissions in 1822 had improved Beethoven's financial prospects. The Philharmonic Society of London offered a commission for a symphony, and Prince Nikolas Golitsin of Saint Petersburg offered to pay Beethoven's price for three string quartets. The first of these commissions spurred him to finish the Ninth Symphony, which was first performed, along with the Missa Solemnis, on 7 May 1824, to great acclaim at the Kärntnertortheater. Beethoven stood by the conductor Michael Umlauf during the premiere beating time (although Umlauf had warned the singers and orchestra to ignore him), and because of his deafness was not even aware of the applause which followed until he was turned to witness it.[134] The Allgemeine musikalische Zeitung gushed, "inexhaustible genius had shown us a new world", and Carl Czerny wrote that his symphony "breathes such a fresh, lively, indeed youthful spirit ... so much power, innovation, and beauty as ever [came] from the head of this original man, although he certainly sometimes led the old wigs to shake their heads." Unlike his more lucrative earlier concerts, this did not make him much money, as the expenses of mounting it were significantly higher.[135] A second concert on 24 May, in which the producer guaranteed him a minimum fee, was poorly attended; nephew Karl noted that "many people [had] already gone into the country". It was Beethoven's last public concert.[136]
In 1825, his nine symphonies were performed in a cycle for the first time, by the Leipzig Gewandhaus Orchestra under Johann Philipp Christian Schulz. This was repeated in 1826.[137]
Beethoven then turned to writing the string quartets for Golitsin, despite failing health. In April 1825 he was bedridden, and remained ill for about a month. The illness—or more precisely, his recovery from it—is remembered in the slow movement of the Fifteenth Quartet, which he called "Holy song of thanks ('Heiliger Dankgesang') to the divinity, from one made well." He went on to complete the quartets now numbered Thirteenth, Fourteenth, and Sixteenth. Of these "Late Quartets", Beethoven's favourite was the Fourteenth, in C♯ minor, which he rated as his most perfect single work.[138] The last work completed by Beethoven was the substitute final movement of the Thirteenth Quartet, which replaced the difficult Große Fuge.
Beethoven's nephew Karl had attempted suicide on 31 July 1826 by shooting himself in the head. He survived and was brought to his mother's house, where he recuperated. He and Beethoven were reconciled, but shortly thereafter, in December 1826, illness struck Beethoven again, with episodes of vomiting and diarrhoea that nearly ended his life. Karl insisted on joining the army and last saw Beethoven in January 1827.
Illness and death
Beethoven was bedridden for most of his remaining months, and many friends came to visit. He died on 26 March 1827 at the age of 56 during a thunderstorm. His friend Anselm Hüttenbrenner, who was present at the time, said that there was a peal of thunder at the moment of death. An autopsy revealed significant liver damage, which may have been due to heavy alcohol consumption.[139] It also revealed considerable dilation of the auditory and other related nerves.[140][141]
There is dispute about the cause of his death: alcoholic cirrhosis, syphilis, infectious hepatitis, lead poisoning, sarcoidosis and Whipple's disease have all been proposed.[142] Friends and visitors before and after his death clipped locks of his hair, some of which have been preserved and subjected to additional analysis, as have skull fragments removed during the 1862 exhumation.[143] Some of these analyses have led to controversial assertions that he was accidentally poisoned to death by excessive doses of lead-based treatments administered under instruction from his doctor.[144][145]
Beethoven's funeral procession on 29 March 1827 was attended by an estimated 20000 people. Franz Schubert, who died the following year and was buried next to him, was one of the torchbearers. He was buried in a dedicated grave in the Währing cemetery, north-west of Vienna, after a requiem mass at the church of the Holy Trinity (Dreifaltigkeitskirche). His remains were exhumed for study in 1862, and moved in 1888 to Vienna's Zentralfriedhof.[139]
Beethoven is acknowledged to be one of the giants of classical music. Together with Bach and Johannes Brahms, he is referred to as one of the "three Bs" who epitomize that tradition. He was a pivotal figure in the transition from the eighteenth century musical classicism to nineteenth century romanticism, and his influence on subsequent generations of composers was profound. His music features twice on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[146]
Beethoven composed in several musical genres and for a variety of instrument combinations. His works for symphony orchestra include nine symphonies (of which the Ninth Symphony includes a chorus), and about a dozen pieces of "occasional" music. He wrote seven concerti for one or more soloists and orchestra, as well as four shorter works that include soloists accompanied by orchestra. His only opera is Fidelio; other vocal works with orchestral accompaniment include two masses and a number of shorter works.
His large body of compositions for piano includes 32 piano sonatas and numerous shorter pieces, including arrangements of some of his other works. Works with piano accompaniment include 10 violin sonatas, 5 cello sonatas, and a sonata for French horn, as well as numerous lieder.
He also wrote a significant quantity of chamber music. In addition to 16 string quartets, he wrote five works for string quintet, seven for piano trio, five for string trio, and more than a dozen works for various combinations of wind instruments.
The three periods
Beethoven's career as a composer is conventionally divided into early, middle, and late periods. The "early" period is typically seen to last until 1802, the "middle" period from 1802 to 1812, and the "late" period thereafter. This distinction was first introduced in 1828, just one year after his death, and while often challenged and refined it remains a starting point to understand the development of Beethoven's work.[147]
Beethoven's early years in Bonn arguably represent a further, preliminary, period. His earliest known composition was from 1782, and a total of 40 pieces by him dating from 1792 or earlier are known today (though mainly from much later sources). Today his best-known works from before 1790 are three piano quartets and three piano sonatas, the quartets being closely modelled on Mozart's sonatas for piano and violin. From 1790 to 1802, his best music can be found in a cantata and a number of concert arias, and in some variations for solo piano, while his instrumental music (including movements of symphonies and a draft violin concerto, as well as various fragmentary chamber works) is conservative and uninspired.[n 11]
The conventional "first period" begins after Beethoven's arrival in Vienna in 1792. In the first few years he seems to have composed less than he did at Bonn, and his Piano Trios, op.1 were not published until 1795. From this point onward, he had mastered the 'Viennese style' (best known today from Haydn and Mozart) and was making the style his own. His works from 1795 to 1800 are larger in scale than was the norm (writing sonatas in four movements, not three, for instance); typically he uses a scherzo rather than a minuet and trio; and his music often includes dramatic, even sometimes over-the-top, uses of extreme dynamics and tempi and chromatic harmony. It was this that led Haydn to believe the third trio of Op.1 was too difficult for an audience to appreciate.[148]
He also explored new directions and gradually expanded the scope and ambition of his work. Some important pieces from the early period are the first and second symphonies, the set of six string quartets Opus 18, the first two piano concertos, and the first dozen or so piano sonatas, including the famous Pathetique sonata, Op. 13.
Middle period
His middle (heroic) period began shortly after the personal crisis brought on by his recognition of encroaching deafness. It includes large-scale works that express heroism and struggle. Middle-period works include six symphonies (Nos. 3–8), the last two piano concertos, the Triple Concerto and violin concerto, five string quartets (Nos. 7–11), several piano sonatas (including the Waldstein and Appassionata sonatas), the Kreutzer violin sonata and his only opera, Fidelio.
The "middle period" is sometimes associated with a "heroic" manner of composing,[149] but the use of the term "heroic" has become increasingly controversial in Beethoven scholarship. The term is more frequently used as an alternative name for the middle period.[150] The appropriateness of the term "heroic" to describe the whole middle period has been questioned as well: while some works, like the Third and Fifth Symphonies, are easy to describe as "heroic", many others, like his Symphony No. 6, Pastoral, are not.[151]
Late period
Beethoven's late period began in the decade 1810-1819. He began a renewed study of older music, including works by Johann Sebastian Bach and George Frideric Handel, that were then being published in the first attempts at complete editions. The overture The Consecration of the House (1822) was an early work to attempt to incorporate these influences. A new style emerged, now called his "late period". He returned to the keyboard to compose his first piano sonatas in almost a decade: the works of the late period include the last five piano sonatas and the Diabelli Variations, the last two sonatas for cello and piano, the late string quartets (see below), and two works for very large forces: the Missa Solemnis and the Ninth Symphony.[citation needed] Works from this period are characterised by their intellectual depth, their formal innovations, and their intense, highly personal expression. The String Quartet, Op. 131 has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement.[62] Other compositions from this period include the Missa solemnis, the last five string quartets (including the massive Große Fuge) and the last five piano sonatas.
He was attracted to the ideals of the Age of Enlightenment. In 1804, when Napoleon's imperial ambitions became clear, Beethoven took hold of the title page of his Third Symphony and scratched the name Bonaparte out so violently that he made a hole in the paper. He later changed the work's title to "Sinfonia Eroica, composta per festeggiare il sovvenire d'un grand'uom" ("Heroic Symphony, composed to celebrate the memory of a great man"), and he rededicated it to his patron, Prince Joseph Franz von Lobkowitz, at whose palace it was first performed.[152]
The Beethoven Monument in Bonn was unveiled in August 1845, in honour of the 70-5th anniversary of his birth. It was the first statue of a composer created in Germany, and the music festival that accompanied the unveiling was the impetus for the very hasty construction of the original Beethovenhalle in Bonn (it was designed and built within less than a month, on the urging of Franz Liszt). A statue to Mozart had been unveiled in Salzburg, Austria, in 1842. Vienna did not honour Beethoven with a statue until 1880.[153] His is the only name inscribed on one of the plaques that trim Symphony Hall, Boston; the others were left empty because it was felt that only Beethoven's popularity would endure.[154]
There is a museum, the Beethoven House, the place of his birth, in central Bonn. The same city has hosted a musical festival, the Beethovenfest, since 1845. The festival was initially irregular but has been organised annually since 2007.
The Ira F. Brilliant Center for Beethoven Studies serves as a museum, research center, and host of lectures and performances devoted solely to this life and works.
The third largest crater on Mercury is named in his honour, as is the main-belt asteroid 1815 Beethoven.
See also
- ^ The prefix van to the surname "Beethoven" reflects the Flemish origins of the family; the surname suggests that "at some stage they lived at or near a beet-farm".[1]
- ^ Most of Beethoven's early and works and those to which he did not give an opus number were listed by Georg Kinsky and Hans Halm as "WoO", works without opus number. Kin sky and Halm also listed 18 doubtful works in their appendix ("WoO Anhang"). In addition, some minor works not listed with opus numbers or in the WoO list have Hess catalogue numbers.[11]
- ^ It is uncertain whether this was the First or Second. Documentary evidence is unclear, and both concertos were in a similar state of near-completion (neither was completed or published for several years).[39]
- ^ The cause of Beethoven's deafness has also variously been attributed to , amongst other possibilities, lead poisoning from Beethoven's preferred wines[55], and Paget's disease of bone [56]
- ^ Solomon sets out his case in detail in his biography of Beethoven.[83]
- ^ The manuscript (now lost) was found in Therese Malfatti's papers after her death by Beethoven's early biogrspher Ludwig Nohl. It has been suggested that Nohl misread the title, which may have been Für Therese.[88]
- ^ Their ruling stated: "It ... appears from the statement of Ludwig van Beethoven ... is unable to prove nobility: hence the matter of guardianship is transferred to the Magistrate[94]
- ^ The work is not a true symphony, but a programmatic piece including French and British soldiers' songs, a battle scene with artillery effects and a fugal treatment of God Save the King.[97]
- ^ "Fine mit Gottes Hülfe" - "O, Mensch, hilf dir selber."
- ^ It was suggested by Beethoven's biographer Alexander Wheelock Thayer that, of 400 conversation books, 264 were destroyed (and others were altered) after his death by his secretary Schindler, who wished only an idealised biography of the composer to survive.[117] The music historian Theodore Albrecht has however demonstrated that Thayer's allegations were over the top. "[It is now] abundantly clear that Schindler never possessed as many as c. 400 conversation books, and that he never destroyed roughly five-eighths of that number."[118] Schindler did however insert a number of fraudulent entries that bolstered his own profile and his prejudices.[119][120] Presently 136 books covering the period 1819-1827 are preserved at the Staatsbibliothek Berlin, with another two at the Beethoven-Haus in Bonn.[121]
- ^ GroveOnline, section 12, quote: "... a few rather colourless sonata movements... Less impressive, in these years, is the instrumental music in the sonata style. ... Where Beethoven departed from formula in these works he seems to have straggled helplessly, as in the violin concerto fragment. ... Beethoven at Bonn was a less interesting composer of works in the sonata style than of music in other genres ..."
- ^ Cooper 1996, p. 36.
- ^ a b c d GroveOnline, section 1.
- ^ Cooper 2008, p. 407.
- ^ Swafford 2014, pp. 12–17.
- ^ a b Thayer 1967a, p. 50.
- ^ Thayer 1967a, p. 53.
- ^ a b Stanley 2000, p. 7.
- ^ Swafford 2014, pp. 22, 32.
- ^ Thayer 1967a, pp. 57–8.
- ^ Solomon 1998, p. 34.
- ^ Cooper 1996, p. 210.
- ^ Thayer 1967a, pp. 65–70.
- ^ Thayer 1967a, p. 69.
- ^ Cooper 1996, p. 50.
- ^ a b c GroveOnline, section 2.
- ^ Cooper 1996, p. 55.
- ^ Solomon 1998, pp. 51–52.
- ^ Thayer 1967a, p. 121–122.
- ^ Solomon 1998, pp. 36–37.
- ^ Thayer 1967a, p. 95.
- ^ Solomon 1998, p. 51.
- ^ Thayer 1967a, pp. 95–98.
- ^ Thayer 1967a, p. 96.
- ^ Cooper 2008, pp. 35–41.
- ^ Cooper 1996, pp. 93–94.
- ^ Swafford 2014, pp. 107–111.
- ^ Cooper 2008, p. 35.
- ^ Cooper 2008, p. 41.
- ^ Thayer 1967a, pp. 34–36.
- ^ Cooper 2008, p. 42.
- ^ Cooper 2008, p. 43.
- ^ GroveOnline, section 3.
- ^ Cooper 2008, pp. 47, 54.
- ^ Thayer 1921, p. 161. Harv error: no target: CITEREFThayer1921 (help)
- ^ Ronge 2013.
- ^ a b Cooper 2008, p. 53.
- ^ Solomon 1998, p. 59.
- ^ Cooper 2008, p. 46.
- ^ a b Cooper 2008, p. 59.
- ^ Lockwood 2005, p. 144.
- ^ Cooper 2008, p. 56.
- ^ Solomon 1998, p. 79.
- ^ Cooper 2008, p. 82.
- ^ Cooper 2008, p. 58.
- ^ Cooper 2008, p. 90.
- ^ Cooper 2008, p. 97.
- ^ Steblin 2009.
- ^ Cooper 2008, pp. 98–103.
- ^ Cooper 2008, pp. 112–27.
- ^ Cooper 2008, pp. 112–15.
- ^ Solomon 1998, p. 160.
- ^ Swafford 2014, pp. 223–24.
- ^ Cooper 2008, p. 108.
- ^ a b c GroveOnline, section 5.
- ^ Stevens 2013, pp. 2854-2858.
- ^ Oiseth 2015, pp. 139–47.
- ^ Cooper 1996, pp. 169-172.
- ^ Solomon 1998, p. 162.
- ^ Ealy 1994, p. 262.
- ^ Tyson 1969, p. 138-141.
- ^ Cooper 2008, p. 131.
- ^ a b c d e f GroveOnline.
- ^ Cooper 2008, p. 148.
- ^ GroveOnline, sections 14 and 15.
- ^ Cassedy 2010, pp. 1-6.
- ^ Cooper 2008, pp. 78–79.
- ^ Lockwood 2005, pp. 300–01.
- ^ Cooper 2008, p. 150.
- ^ Thayer 1967a, pp. 445-448.
- ^ Thayer 1967a, p. 457.
- ^ Cooper 2008, p. 195.
- ^ a b Cooper 1996, p. 48.
- ^ Cooper 2008, p. 48.
- ^ Solomon 1998, p. 194.
- ^ Einstein 1958, p. 47.
- ^ Thayer 1967a, p. 464.
- ^ Thayer 1967a, p. 465.
- ^ Thayer 1967a, p. 467-473.
- ^ Thayer 1967a, p. 475.
- ^ Cooper 1996, p. 47.
- ^ Brandenburg 1996, p. 582.
- ^ Cooper 1996, p. 107.
- ^ Solomon 1998, pp. 223-231.
- ^ Solomon 1998, pp. 196-197.
- ^ Solomon 1998, pp. 197-199.
- ^ Solomon 1998, p. 196.
- ^ Cooper 1998, p. 20. Harv error: no target: CITEREFCooper1998 (help)
- ^ Thayer 1967a, p. 502.
- ^ Solomon 1998, pp. 231-239.
- ^ Solomon 1998, pp. 284-285.
- ^ Solomon 1998, p. 282.
- ^ Solomon 1998, pp. 301-302.
- ^ Solomon 1998, pp. 302-303.
- ^ a b c Solomon 1998, p. 303.
- ^ Solomon 1998, p. 316-321.
- ^ Solomon 1998, pp. 3364-365.
- ^ Cooper 1998, p. 220. Harv error: no target: CITEREFCooper1998 (help)
- ^ Thayer 1967a, pp. 559-565.
- ^ Thayer 1967a, pp. 575-576.
- ^ Solomon 1998, pp. 288, 348.
- ^ Conway 2012, p. 129.
- ^ Solomon 1998, p. 292.
- ^ Solomon 1998, p. 287.
- ^ Thayer 1967a, p. 577-578.
- ^ Ealy 1994, pp. 266-267.
- ^ Lockwood 2005, p. 278.
- ^ Cooper 1996, pp. 24-25.
- ^ Solomon 1998, p. 296.
- ^ Cooper 2008, p. 254.
- ^ Solomon 1998, p. 297.
- ^ Solomon 1998, p. 295.
- ^ Thayer 1967b, pp. 684-686.
- ^ Thayer 1967b, pp. 659, 717.
- ^ Solomon 1998, p. 322.
- ^ Cooper 1996, p. 41.
- ^ Cooper 1996, pp. 164-167.
- ^ Clive 2001, p. 239.
- ^ Albrecht 2009, p. 181.
- ^ Cooper 1996, p. 52.
- ^ Nettl 1994, p. 103.
- ^ Hammelmann 1965, p. 187.
- ^ Cooper 2008, p. 260.
- ^ Thayer 1967b, pp. 696-698.
- ^ Thayer 1967b, p. 790.
- ^ GroveOnline, section 8.
- ^ Cooper 1996, p. 45.
- ^ Thayer 1967b, pp. 741, 745.
- ^ Thayer 1967b, p. 742.
- ^ Thayer 1967b, pp. 770-771, (editor's translation).
- ^ Thayer 1967b, pp. 734-735.
- ^ Conway 2012, pp. 185-187.
- ^ Cooper 1996, pp. 27-28.
- ^ Solomon 1998, p. 360.
- ^ Solomon 1988, p. 351. Harv error: no target: CITEREFSolomon1988 (help)
- ^ Cooper 2008, p. 317.
- ^ Cooper 2008, p. 318.
- ^ Tom Service. "Riccardo Chailly on Beethoven: 'It's a long way from the First to the Ninth'", The Guardian, 26 October 2011. Retrieved 4 August 2014
- ^ Morris 2010, p. 213.
- ^ a b Cooper 2008, pp. 318, 349.
- ^ SaccentiSmildeSaris 2011.
- ^ SaccentiSmildeSaris 2012.
- ^ Mai 2006.
- ^ Meredith 2005, pp. 2–3.
- ^ Eisinger 2008.
- ^ Lorenz 2007.
- ^ "Golden Record Music List". NASA. Retrieved 26 July 2012.
- ^ GroveOnline, section 11.
- ^ GroveOnline, section 13.
- ^ Solomon, Maynard (1990). Beethoven essays. Harvard University Press. p. 124. ISBN 978-0-674-06379-2. Retrieved 4 August 2011.
- ^ Steinberg, Michael P. (2006). Listening to reason: culture, subjectivity, and nineteenth-century music. Princeton University Press. pp. 59–60. ISBN 978-0-691-12616-6. Retrieved 4 August 2011.
- ^ Burnham, Scott G.; Steinberg, Michael P. (2000). Beethoven and his world. Princeton University Press. pp. 39–40. ISBN 978-0-691-07073-5. Retrieved 4 August 2011.
- ^ "Friedrich Oelenhainz (1745–1804), Franz Joseph Maximilian Fürst von Lobkowitz (1772–1816)]". Beethoven-Haus Bonn. April 2002. Retrieved 6 October 2018.
- ^ Comini 2008, p. 316.
- ^ "The History of Symphony Hall".
- Albrecht, Theodore (2009). "Anton Schindler as destroyer and forger of Beethoven's conversation books: A case for decriminalization" (PDF). In Blažeković, Zdravko (ed.). Music's intellectual history. New York: RILM. pp. 169–181. ISBN 978-1-932765-05-2.
- Brandenburg, Sieghard, ed. (1996). Ludwig van Beethoven: Briefwechsel. Gesamtausgabe. Munich: Henle. ISBN 9783873280618.
- Cassedy, Steven (January 2010). "Beethoven the Romantic: How E. T. A. Hoffmann Got It Right". Journal of the History of Ideas. 71 (1): 1–34. JSTOR 20621921.CS1 maint: date and year (link)
- Clive, H.P. (2001). Beethoven and His World: A Biographical Dictionary. Oxford: Oxford University Press. ISBN 978-0-19-816672-6.
- Comini, Allesandra (2008). The Changing Image of Beethoven: A Study in Mythmaking. Santa Fe: Sunstone Press. ISBN 978-0-86534-661-1.
- Conway, David (2012). Jewry in Music: Entry to the Profession from the Enlightnement to Richard Wagner. Cambridge: Cambridge University Press. ISBN 978-1107015388.
- Cooper, Barry, ed. (1996). The Beethoven Companion (revised ed.). London: Thames and Hudson. ISBN 978-0-50-027871-0.
- Cooper, Barry (2008). Beethoven. Oxford: Oxford University Press. ISBN 978-0-19-531331-4.
- Ealy, George Thomas (Spring 1994). "Of Ear Trumpets and a Resonance Plate: Early Hearing Aids and Beethoven's Hearing Perception". 19th-Century Music. 17 (3): 262–73. doi:10.1525/ncm.1994.17.3.02a00050. JSTOR 746569.
- Einstein, Alfred (1958). Essays on Music. London: Faber and Faber. OCLC 713913183.
- Eisinger, Josef (2008). "The lead in Beethoven's hair". Toxicological & Environmental Chemistry. 90 (1): 1–5. doi:10.1080/02772240701630588.
- Hammelmann, Han (March 1965). "Beethoven's Conversation Books". The Musical Times. 106 (1465): 187–189. doi:10.2307/948240. JSTOR 948240.
- Haberl, Dieter (2006). "Beethovens erste Reise nach Wien – Die Datierung seiner Schulreise zu W.A. Mozart". Neues Musikwissenschaftliches Jahrbuch. 14: 215–255.
- Kerman, Joseph; Tyson, Alan; Burnham, Scott G.; et al. (2001). "Ludwig van Beethoven". Oxford Music Online. Retrieved 25 March 2020.
- Lockwood, Lewis (2005). Beethoven: The Music and the Life. New York: W.W. Norton. ISBN 978-0-393-32638-3.
- Lorenz, Michael (Winter 2007). "Commentary on Wawruch's Report: Biographies of Andreas Wawruch and Johann Seibert, Schindler's Responses to Wawruch's Report, and Beethoven's Medical Condition and Alcohol Consumption". Beethoven Journal. 22 (2): 92–100.
- Mai, F. M. M. (2006). "Beethoven's terminal illness and death". Journal of the Royal College of Physicians of Edinburgh. 36 (3): 258–63. PMID 17214130.
- Meredith, William Rhea (2005). "The History of Beethoven's Skull Fragments". Beethoven Journal. 20 (1–2): 3–46. OCLC 64392567.
- Morris, Edmund (2010). Beethoven: The Universal Composer. London: HarperCollins. ISBN 978-0-06-075975-9.
- Nettl, Paul (1994). Beethoven Encylopedia. Secaucus, NJ: Carel Publishing. ISBN 9780735101135.
- Oiseth, Stanley J. (27 October 2015). "Beethoven's autopsy revisited: A pathologist sounds a final note". Journal of Medical Biography. 25 (3): 139–147. doi:10.1177/0967772015575883. PMID 26508624.
- Ronge, Julia (2013). "Beethoven's Studies with Joseph Haydn (With a Postscript on the Length of Beethoven's Bonn Employment". Beethoven Journal. 28 (1): 4–25.
- Saccenti, Edoardo; Smilde, Age K; Saris, Wim H M (2011). "Beethoven's deafness and his three styles". The BMJ. 343: d7589. doi:10.1136/bmj.d7589. PMID 22187391.
- Saccenti, Edoardo; Smilde, Age K; Saris, Wim H M (2012). "Beethoven's deafness and his three styles". The BMJ. 344: e512. doi:10.1136/bmj.e512.
- Solomon, Maynard (November 1998). Beethoven (2nd revised ed.). New York: Schirmer Trade Books. ISBN 978-0-8256-7268-2.
- Stanley, Glenn, ed. (2000). The Cambridge Companion to Beethoven. Cambridge: Cambridge University Press. ISBN 978-0-521-58074-8.
- Steblin, Rita (2009). "'A dear, enchanting girl who loves me and whom I love': New Facts about Beethoven's Beloved Piano Pupil Julie Guicciardi". Bonner Beethoven-Studien. 8: 89–152.
- Stevens, Michael; et al. (November 2013). "Lead and the Deafness of Ludwig van Beethoven". The Laryngoscope. 123 (11): 2854–2858. doi:10.1002/lary.24120. PMID 23686526.
- Swafford, Jan (2014). Beethoven: Anguish and Triumph. London: Faber & Faber. ISBN 978-0-571-31255-9.
- Thayer, Alexander Wheelock (1967a). Forbes, Elliot (ed.). Thayer's Life of Beethoven. 1. Princeton: Princeton University Press. ISBN 978-0-691-02717-3.
- Thayer, Alexander Wheelock (1967b). Forbes, Elliot (ed.). Thayer's Life of Beethoven. 2. Princeton: Princeton University Press. ISBN 978-0-691-02718-0.
- Tyson, Alan (February 1969). "Beethoven's Heroic Phase". The Musical Times. 110 (1512): 139–141. JSTOR 952790.
- Winter, Robert (1994). The Beethoven Quartet Companion. Oakland, CA: University of California Press. ISBN 978-0-520-20420-1.
- This list was truncated from 33 items.
External links
|Wikimedia Commons has media related to Ludwig van Beethoven.
|Wikiquote has quotations related to: Ludwig van Beethoven
|Wikisource has the text of the 1911 Encyclopædia Britannica article Beethoven, Ludwig van.
- Ludwig van Beethoven at the Musopen project
- Ludwig van Beethoven at the Encyclopædia Britannica
- Beethoven-Haus Bonn
- Free scores by Ludwig van Beethoven at the International Music Score Library Project (IMSLP)
- Free scores by Ludwig van Beethoven in the Choral Public Domain Library (ChoralWiki)
- The Ira F. Brilliant Center for Beethoven Studies, The Beethoven Gateway (San Jose State University)
- "Discovering Beethoven". BBC Radio 3.
- Works by Ludwig van Beethoven at Project Gutenberg
- Works by or about Ludwig van Beethoven at Internet Archive
- Works by Ludwig van Beethoven at LibriVox (public domain audiobooks)
- This list was truncated from 10 items.

subset: commoncrawl


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Winter Waterproofing Tips
Now that winter is definitely on the way, and we have still got a relatively warm and dry spell, you should be taking advantage and doing those repairs to the places on the outside of your properties that are most likely to cause more damage due to water penetration. Phenomenal amounts of water pour off our roofs and all of it has to find it's way to the storm drains. Over the long term, water damage can cause damp and various forms of rot and mold. So today I thought I would share some tips for quick cheap repairs that will save you thousands in the long run if they are dealt with in the early stages.
Check Guttering
Go across the road from your property and check that the level of your guttering is running straight along the roof line. Make sure to look at the corners. If you spot any kind of dipping then you may well have a corner that has come away from it's clip. Very simple and cheap to fix, but can cause water to fall off the gutter and hit the brickwork or woodwork. Over time this will weaken the bricks and mortar and you will get water seeping inside.
Check that your guttering does not have any rust or cracks if its the old metal type. If it does you will need to use some sealer, weld it or even replace that part. Often its cheaper to replace the whole run with plastic, depending on the size of the repair required.
Inspect your guttering to make sure it's free from debris that may create blockages so that rainwater runs cleanly down the drainpipe too. This extra weight from debris can also cause the gutter to come away from its clips as described above.
Drains & Downpipes
Much of our old Victorian housing stock has drains running through the front garden which are generally buried fairly close to the surface. These drains are usually about 3″ in diameter and again will be made of cast iron or sometimes clay pipe. They become blocked very easily over time due to the corrosion of the pipe. It's an easy job to get a drain rod into the pipe from the street drain, and by using a circular motion, to clear any blocks. If they do become blocked it can cause damp to back up into bay window brickwork which in turn will need a much more expensive damp proof repair later on.
You may also have old cast iron downpipes that have been half repaired with plastic. This never works long term because the old and new sizes are different, making it hard to get a good seal. If the cast iron is corroded and letting water out its better to replace the whole run with plastic than try to bodge a repair. If you own a heritage property, then check local salvage yards for reclaimed pipes that are in good condition and reusable.
While you are up the ladder check that the brickwork at the top of your house is in good condition and that there are no obvious problems on the roof.
Displaced roofing tile repairs are normally quite cheap. The last one we did only cost about £100, which is a lot cheaper than a major roof repair 😉
Is there anything you do before winter sets in to keep your house damp free? Please share your thoughts in our comments section below.


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Technological advancements in the past few decades have significantly changed the medical industry. Augmented reality (AR) and virtual reality (VR), as well as artificial intelligence (AI), are the technological advancements that are changing healthcare today. AR in medical
Today, AR app development sector is booming with focus on augmented reality app development. Here is a list of some of the benefits of AR app development in education.
Augmented reality usually uses a camera to let the user see the real world in real time. Artificial elements are then projected onto the screen. Widely known examples of AR technology are Google Glass and Pokemon Go.
Benefits of AR in Medical
Augmented Reality has become one of the fastest growing technology. AR can help doctors to access the latest and most relevant information about their patients. Moreover, patients can also use AR for improving the quality of treatment and self-education. AR has the ability to create 3D images and can be very useful both for medical students and doctors.
- Nurture the learning. AR in medical creates fun and excitement for students. It stimulates a better learning process and increases the imaginative prowess of students. In the end, students grow their imaginative and thinking ability.
- Increased learning activity. The use of AR apps in education brings about an increase in student participation in class. With AR apps, students have access to education and learning models. These models aid better and a high-level understanding of subjects among students. The more students understand having better grasps of topics, the more their participation.
- Less expensive. The cost of acquiring educational materials and supplies is high. The expensive nature of 3D physical models, posters, and prototypes are discouraging. Large and intricate educational illustrations for schools are quite expensive. A good number of educational centers do not have the funds to buy and maintain these materials.
Useful AR apps in the Medical field
The uses of AR in medical industry has made lives easier for both patients and doctors. As the AR industry continues to push the boundaries of the technology and with the innovative partners in the healthcare space we expect many more interesting things in this field which will transform this industry at a new level.
- AccuVein. It helps doctors to locate patients' veins more accurately for injections.
- Surgical Navigation Advanced Platform (SNAP). This lets physicians demonstrate their plans for surgery.
- Saagara. The overall physical/mental health and well-being of an individual can be improved using this AR app.
- VR Dentist. It is a dental app that uses virtual and augmented reality for educational purposes.
- Anatomy 4D. It is especially for medical students. By scanning printed targets the application shows 3D models of a human body allowing them to interact with it and learn more about parts, joints, functions etc.
Get in touch to find out how NexGen can work for your business or Read more about augmented reality.
Other keywords to search this article:
augmented reality, uses of augmented reality, ar in the medical, role of augmented reality in medical, benefits of ar apps, augmented reality apps.


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Growing Connections at Today's Women in Grocery event
Leading women from the Irish grocery industry gathered at the InterContinental Hotel, Ballsbridge this week for the second 'Today's Women in Grocery' networking luncheon.
26 May 2017 | 0
The 'Today's Women in Grocery' group was created by the Irish Grocers Benevolent Fund as a platform for women in grocery to grow their connections, learn from leading inspirational women and discuss issues of concern and network with each other. The event has a key focus on raising the profile of women in the sector, while all proceeds from the lunch go to support the IGBF charity.
The theme of this year's event was Growing Connections, which was chosen to reflect the aim of the event offering women a supportive and inspiring environment to grow their connections. Today's Women in Grocery is unique to the sector and is specifically targeted towards a female audience. Women who attended the event at the Intercontinental Hotel in Ballsbridge on Friday, 19 May, had the opportunity to network with a cross section of industry which included leading suppliers, retailers and support agencies. This year's event saw generous support from sponsors such as Musgrave MarketPlace, The National Lottery, CPM and LR Suntory, who enjoyed a strong presence there on the day.
Featured speakers included Louise Ryan, MD of Irish Distillers Pernod Ricard; Áine Maguire, MD of Persuasion; Aoibheann O'Brien, CEO of FoodCloud Hubs and Sheila Gallagher, commercial director at Tesco. Melanie Morris, editor-in-chief of Image Magazine compèred the event.
"This year's event was a phenomenal success, with more than double the number of attendees than in 2016," said Sharon Yourell Lawlor, committee chair and MD of Think Plan Do Consulting. "We were delighted to be hosting our second TWIG networking lunch at the Intercontinental Hotel, Ballsbridge. This event helps to facilitate networking amongst women in recognition of the challenges and issues of concern faced by our members and guests. Women at the event were encouraged out of their comfort zone, to grow their connections and avail of the opportunity to connect with new people in the grocery sector by sharing and discussing topics of relevance in an open and supportive environment."
TWIG, as part of the IGBF, aims encourage more female participation in industry events and initiatives. The event opened with a champagne and networking reception, followed by lunch. The next TWIG event will take place on Friday, 18 May 2018, at the Intercontinental Hotel, in Dublin, at which the theme will be 'Breaking New Ground'.


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Ryan Howard and the Philadelphia Phillies were $3 million apart when the two sides exchanged proposals for salary arbitration last week. The 2006 NL MVP asked for a $10 million contract, while the team countered with an offer for $7 million.
Arbitration cases sometimes can be contentious, so both sides would be better off reaching an agreement before a hearing takes place next month.
"This is a process you go through," general manager Pat Gillick said Tuesday. "We're going to probe as many different ideas as we can to hopefully get this settled and it'll be a win-win for everyone."
Despite playing just 88 games in 2005, Howard won the NL Rookie of the Year award. He topped that in 2006 by hitting 58 homers with 149 RBI and a .313 average. The first baseman batted .268 with 47 homers and 136 RBI last year, but also set the major-league record for strikeouts in a season with 199.
Howard earned $355,000 during his MVP season and $900,000 last year.
"We're open to a one-year deal, a three-year deal, even in excess of a three-year deal," Gillick said.
Knoblauch subpoenaed
Four-time All-Star Chuck Knoblauch was subpoenaed by a congressional committee investigating steroids in baseball after he failed to respond to an invitation to give a deposition.
Knoblauch, who played for the Yankees, Twins and Royals, was asked to appear Thursday, the first of five depositions or transcribed interviews scheduled by the House Oversight and Government Reform Committee prior to its Feb. 13 hearing.
In last month's Mitchell Report on performance-enhancing drugs in baseball, Brian McNamee, a former personal trainer for pitchers Roger Clemens and Andy Pettitte, told George Mitchell that he acquired HGH from former New York Mets clubhouse employee Kirk Radomski for Knoblauch in 2001 and injected Knoblauch with HGH. Knoblauch also was among nine players accused of doping in a federal agent's affidavit citing former major-league pitcher Jason Grimsley.
Canseco's sequel on deck
Jose Canseco's sequel on steroids, entitled "Vindicated," will be released on March 31.
Canseco is working with Pablo Fenjves, the ghost writer of "If I Did It," in which O.J. Simpson gave an imaginary confession to how he would have killed Nicole Brown Simpson and Ronald Goldman.
"Juiced," Canseco's 2005 book, described his steroids use and implicated Mark McGwire, among others.
Bunt singles
Boston and Oakland will open the regular season with two games March 25-26 at Tokyo Dome. The season opener will start at 3:07 a.m. Pacific time.
Reliever Octavio Dotel and the Chicago White Sox agreed to an $11 million, two-year contract. He spent last season with Kansas City and Atlanta.
Outfielder Endy Chavez and the New York Mets agreed to a $3.85 million, two-year contract.


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Plan your travel arrangements now!
Official Hotels: Renaissance Harbour View Hotel Hong Kong & Grand Hyatt Hong Kong
Adjacent to the Hong Kong Convention and Exhibition Centre, the 861-room Renaissance Harbour View Hotel Hong Kong enjoys panoramic views of the Victoria Harbour. It is less than five minutes by taxi to the central business district and major shopping areas, and is only a 10-minute walk to the Wanchai MTR subway station. The iconic Star Ferry to Tsim Sha Tsui is just steps away. With completion of recent renovation, this unique hotel offers modern guestrooms and superb dining options, notably the award-winning Dynasty Restaurant providing Cantonese cuisine, with state-of-the-art amenities to ensure guests have an inspiring stay.
>> Download Renaissance Harbour View Hotel Hong Kong booking form
Located along the prime waterfront on Hong Kong Island, Grand Hyatt Hong Kong is directly connected to the Hong Kong Convention and Exhibition Centre and is only minutes away from the business and shopping areas. Majority of the guest rooms and suites command beautiful harbour views.
The hotel is home to nine acclaimed restaurants and bars offering a range of authentic cuisines. An extensive range of leisure facilities is available including Plateau Spa, a 50-metre outdoor heated pool, 24-hour fitness studios and more.
>> Download the Grand Hyatt Hong Kong booking form
>> Book online through Grand Hyatt official website
Official Travel Agent: Grayline Tours of HK Ltd
Grayline Tours of HK Ltd has been providing travel related services in Hong Kong since 1959. We also have offices in Macau and China. In Hong Kong, we now have a self-owned headquarter office, as well as 15 self-operated tour desks at different hotels and 6 other tourist services counters under management located at different port of entry stations (Airport, Hung Hom, Lo Wu, Lok Ma Chau). Our Hong Kong headquarter employ over 120 professional staffs to service over 120,000 visitors annually from around the world. We can provide a flexible one stop destination management services for both individual or group leisure travelers, corporate travel planning and handle incentive groups of different sizes.
>> Download Grayline Tours of HK Ltd hotel booking form
Special Airfares from Singapore Airlines
Singapore Airlines has come a long way since its founding in 1972 and is one of the most respected travel brands around the world, known for their commitment to product and service innovation. Singapore Airlines fly one of the most modern and youngest aircraft fleets in the world to destinations spanning a network spread over five continents, with the iconic Singapore Girl recognized as an ambassador of impeccable hospitality.
Book online and quote the promo code for Seafood Expo Asia to enjoy exclusive fares on Singapore Airlines!
Promo code will be provided to registered delegates and exhibitors only. Please email Alice Yan (firstname.lastname@example.com) or Jon Bass (email@example.com) to retrieve the promo code.


text:
- 816-373-8789
- https://chuxtrux.com
ARE V Series Truck Cap
Get youÕre A.R.E V Series painted camper shell in Kansas City right here at one of our three Chux Trux locations. The V Series is a good truck topper if you need one without a ton of bells and whistles.
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Lots of options you can choose to have added on like:
- Yakima Roof Rack
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A.R.E. has lids ranging from good, better and best. The V Series is an entry level shell (which means it's the least expensive), but the great thing is even the entry level lid on the A.R.E. list is better than the best from almost any other brand. You get a great painted camper shell to start with and a huge list of options to choose from when ordering the perfect topper for your truck.
The warranty promises that the shell will be structurally free from defects in both material and workmanship as long as it is on the original vehicle you bought it for. This covers the shell and the mounting rails only. They also guarantee that the original paint won't fade or peel from workmanship or material. The only exception is for V Series models with a serial number lower than 1769712.
Find the best deal on A.R.E painted camper shells right here in Kansas City at one of our three Chux Trux locations.
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- CHUX TRUX - Independence
- 13208-A East 40 Highway
- Independence, MO. 64055
- 816-373-8789
- Store Hours:
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- CHUX TRUX - Kansas City
- Kansas City, Mo. 64119
- 816-777-2589
- Store Hours:
- Mon-Fri: 9:00am-6:00pm (CST)
- Sat: 9:00am-3:00pm (CST)
- CHUX TRUX - Olathe
- 1515 E. Santa Fe
- Olathe, Ks. 66061
- 913-829-8789
- Store Hours:
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- Sat: 9:00am-3:00pm (CST)
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Backyard Mechanic
Got a couple of big boy tools and a garage, then you can do this. But give us a call if you bust a knuckle!
Neighborhood Mechanic
Are you you they "guy" or "girl" that everyone comes to have their Truck worked on? Then this is in your wheel house to get done.
You ARE a Mechanic
If working on Trucks and Cars is your day job, then you got a good chance of getting this done. But Chux is here to take on the job if need it!
Don't Try This @ Home!
Don't let your ego get in the way, let the professionals at Trux Chux get this done right for you!