Beethoven: Anguish and Triumph II

During the remaining years of Beethoven's youth, the University of Bonn was founded in 1786 and locally the popularity of music increased. The mood in Bonn was progressive and forward-looking. However, a long, serious chain of events began in 1789 with the French Revolution, which was followed by the Jacobin movement, which endangered monarchists throughout Europe. This was followed by the rise of Napoleon, who organized attacks on Austria and Italy in 1796 before staging a successful coup in France in 1799. The atmosphere in Europe became more nationalistic and patriotic than it had been previously.

Beethoven continued his musical training playing in the court theater, switching to the viola in 1791. In 1792, Joseph Haydn stopped in Bonn on the way back from England. He heard Beethoven play and looked at some of his scores. Recognizing Beethoven's talent, a plan was made to send Beethoven to Vienna to study under Haydn, who was then considered to be the greatest living composer in Europe, since Mozart had died the previous year. By that point, Beethoven's father was retired and Ludwig had been given financial responsibility for his two brothers. An arrangement was made by Max Franz, the Elector of Bonn, also a music aficionado, to finance Beethoven's move to Vienna.

Upon arrival in Vienna, Beethoven's keyboard skill was recognized immediately. He composed musical works of increasing value, but did not immediately produce masterpieces comparable to his later works. Socially, he was quickly accepted by the highest social stratum, which consisted of classical music fanatics. Chief among them was Prince Karl Lichnowsky, who had been "a patron, student, and Masonic lodge brother of Mozart...." Lichnowsky's family and friends were on good terms with Count Waldstein from Bonn. Besides Lichnowsky, Prince Lobkowitz, "another indefatigable aristocratic music fancier, from one of the most prominent and influential families in Austria" became a friend and supporter. In those days, though it was inhabited by many talented musicians, Vienna was overcrowded and didn't have many suitable venues for musical performances, so many of them were conducted privately in people's homes.

Swafford is primarily interested in Beethoven's musical development, which is certainly a worthy topic, but I am more interested in Beethoven's personality and thoughts. Despite his astounding professional success in Vienna, Beethoven seems somewhat disagreeable as a person and seems to lack any interesting ideas outside of music. Although he was consorting regularly with the aristocracy, in his personal life he was lacking in social graces. He had a short temper and frequently had disagreements with Haydn and Lobkowitz. He often appeared improperly groomed in aristocratic settings. It seems that he had relationships with women, but they tended to end badly, with the women finding him socially inept. I hope that in the remainder of the book more information will be provided so that I can sort this out better. At the moment, Beethoven resembles a slightly buffoonish lower-middle-class male from Bonn of that period who completely lacked social graces but was able to get away with it purely on the basis of his musical reputation. However, it does not appear that his musical talent was sufficient to assuage the fears of potential spouses. So Beethoven is looking a bit oafish at the moment, and it may be that he was a savant whose talents covered only a limited range. I should also mention that he was in fact operating in a highly competitive environment and may not have been unrealistic about protecting himself from competitors. 

In fairness to Beethoven, I should also mention that a recurring theme on this blog has been that the U.S. has never created fine art at the level of the best European fiction or painting. To that list you can add music. The reason for this is quite simple: an environment suitable for the creation of great art requires highly sophisticated patrons, such as wealthy aristocrats. Any art form that becomes dominated by the profit motive, as everything has in the U.S., is unlikely to surpass the best art of the past. American art forms tend to be vernacular, which I think limits their aesthetic appeal. This is not a land of aesthetes.

I'm up to 1797, with Beethoven, who is only twenty-six, fabulously successful, profusely publishing his music and touring Europe. By all rights I should be proceeding much faster through this book than I am currently.