."Felix sit dies natalis 250 - meinem Idol Ludwig van" can be performed as a single piece but also integrated in my cycle of birthday-congratulation piano pieces all having the main titles "Felix sit dies natalis" (work in progress begun 2015).
This work deals with interval-material (mostly thirds) or even with "quotation-"time-levels with short quotes of Beethovens Hammerklaviersonate op. 106 (sometimes in bass register, sometimes in discant like "lightenings"). The work also takes over the virtuosity and the use of the full range of the piano and possibilities of the pedals, which was already practiced by Beethoven himself. The beginning exposes my own musical material as an anagramm of the name "Ludwig van Beethoven".
All tones being not identic with the alphabetical letters in the name (so all letters not being "d-g-a-b-e-h-"), the letters "L-u-w-i-v-n-t-v-n" I defined as the tones "c#, d, f#, g#" etc. but spread on the whole range of the piano imitating the sound of the letters (in German language). So for example the lowest syllable "Lu" in "Ludwig" is represented by the tones "G#3" and "C#2" (lowest tone of the name-motiv). The high tones "c#6-d#6-g#6" represent the alphabetical letters "i-v-t".
This methode of alphabet-inspired definition of tone material I already used in "Felix sit dies natalis 60", written for the birthday concert of my first composition teacher, "Michael Denhoff" who brough my Beethoven-enthusiasm I had since my early childhood (since the age of 4!) to a new level, especially analyzing Beethovens late string quartetts with me and the masterwork "Große Fuge op. 135".