Fur Elise (Wikipedia) Bagatelle No. 25 in A minor for solo piano, commonly known as "Für Elise" is one of Ludwig van Beethoven's most popular compositions. It was not published during his lifetime, only being discovered 40 years after his death, and may be termed either a Bagatelle or an Albumblatt. The identity of "Elise" is unknown; researchers have suggested Therese Malfatti, Elisabeth Röckel, or Elise Barensfeld.
Ludwig van Beethoven (Wikipedia) Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the classical and romantic eras in classical music, he remains one of the most recognized and influential musicians of this period, and is considered to be one of the greatest composers of all time.
Beethoven’s Bagatelle No. 25 in A minor is rarely referred to in such grandiose terms; instead, all who know and love it refer to it simply by its nickname, ‘Für Elise’ (German for ‘for Elise’).
But it’s a nickname that, frankly, should never have existed. Beethoven did indeed include a dedication on the manuscript, but it was ‘Für Therese’.
Poor Therese must have been slightly miffed when, thanks to a rather slapdash copywriter called Ludwig Nohl, the dedication on the published version of the work was changed to someone quite different.
Death and the muse (theguardian.com) No one knows the real identity of Beethoven's 'immortal beloved'. But she left the composer in a creative crisis that lasted for years. Beethoven's relations with women have been the subject of endless fascination to biographers. Certainly, the composer fell deeply in love on several occasions, but he seems always to have been painfully aware that married life would be incompatible with his inner urge to create. Almost invariably, he was attracted to women whose social or marital status - often both - placed them safely beyond reach.
Fur Elise: Starting a Piece: Listening and Analysis (Fundamentals Of Piano Practice) The best way to start the learning process is to listen to a performance. The criticism that listening first is some sort of “cheating” has no defensible basis. The purported disadvantage is that students might end up imitating instead of using their creativity. It is impossible to imitate someone else’s playing because playing styles are so individualistic. This fact can be reassuring to some students who might blame themselves for the inability to imitate some famous pianist. If possible, listen to several recordings. They can open up all sorts of new ideas and possibilities that are at least as important to learn as finger technique. Not listening is like saying that you shouldn’t go to school because that will destroy your creativity. (This is an example on how to learn the original composition by Beethoven)