This is especially evident in his symphonies, string quartets, and piano sonatas.
In each of these three genres Beethoven began by mastering the existing formal and esthetic conventions of the late 18th century while joining to these conventions signs of unusual originality and power. In his middle period (from about 1803, the year of the Eroica Symphony, to about 1814, the year of his opera Fidelio in its revised form) he proceeded to develop methods of elaboration of musical ideas that required such enlargement and alteration in perception of formal design as to render it clear that the conventions associated with the genres inherited from the 18th century were for him the merest scaffolding for works of the highest individuality and cogency... displayed 300 characters
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This is especially evident in his symphonies, string quartets, and piano sonatas.
In each of these three genres Beethoven began by mastering the existing formal and esthetic conventions of the late 18th century while joining to these conventions signs of unusual originality and power. In his middle period (from about 1803, the year of the Eroica Symphony, to about 1814, the year of his opera Fidelio in its revised form) he proceeded to develop methods of elaboration of musical ideas that required such enlargement and alteration in perception of formal design as to render it clear that the conventions associated with the genres inherited from the 18th century were for him the merest scaffolding for works of the highest individuality and cogency... displayed 300 characters
