Beethoven: Anguish and Triumph III

As time passes, more descriptions of Beethoven are emerging from his contemporaries. Carl Friedrich, Baron Kübeck von Kübau, wrote:

He was a small man with unkempt, bristling hair with no powder, which was unusual. He had a face deformed by pock-marks, small, shining eyes, and a continuous movement of every limb in his body...Whoever sees Beethoven for the first time and knows nothing about him would surely take him for a malicious, ill-natured and quarrelsome drunk who has no feeling for music...On the other hand, he who sees him for the first time surrounded by his fame and his glory, will surely see musical talent in every feature of an ugly face.

In 1798, Beethoven met Karl Freidrich Amenda, a violin prodigy, and he became his closest friend since Bonn. That year, he began to experience hearing loss and tinnitus. The cause may have been lead in the cheap wine that he drank. I wonder whether all the loud piano playing damaged his ears – Swafford doesn't mention this possibility. In 1799 he published Op. 13, Grande Sonate Pathétique, which became one of his most popular piano sonatas. That year, he acquired a piano competitor when Joseph Wölffl arrived in town; Wölffl played as well as he did and they remained on good terms.

In 1800, Prince Lichnowsky provided Beethoven with an annuity, which relieved his financial pressures somewhat. Otherwise, most of his income came from the publication of his works. To that end he worked tirelessly producing more music and marketing it himself to various publishers. At this age (twenty-nine), he still accepted students.

The actual romantic aspects of Beethoven's life are reflected in his relationship with countess Giulietta Guicciardi. In 1801, when she was seventeen, she became his piano student, and he fell in love with her. As Swafford describes the situation, there was no realistic possibility of a marriage:

A woman of nobility who married a commoner lost the privileges of her class; her children could not inherit a title. Few noblewomen were prepared to give up so much, least of all to marry a freelance composer of uncertain income, however celebrated, who was meanwhile homely, hot-tempered, utterly self-involved, and afflicted with chronic diarrhea. The other matter, his growing deafness, he would have kept hidden from Julie.

Op. 27 No. 2, Moonlight, one of my favorite piano sonatas, was dedicated to her and published in 1801. This quickly became Beethoven's most popular work. I can see why.

In 1802, Ludwig had a colossal fight with his brother, Carl, who had moved to Vienna. Carl had been rummaging through Ludwig's music manuscripts and attempting to sell them to his own publishers at excessive prices. Carl also sold pieces in Ludwig's name that had not been composed by him. Needless to say, when Ludwig learned of this, he was outraged, and they literally came to blows.

So, the main patterns in Beethoven's life are in evidence now. It is more than half-over, and he has major works ahead of him while his health deteriorates. I still don't have a sense that in person he would be that appealing, because, although passionate, his main talent was in music, and his views on other matters may not have been that interesting. His temper could and did lead to various feuds throughout his life. What is most interesting about him is his ability to mix classical formality with conventional emotions and express them harmoniously. This is something that I don't think either Bach or Mozart ever attempted. You might say that Beethoven was the first composer to make classical music accessible to the common man without ruining it. For comparison's sake, American popular music, some of which I like, is thematically static. Some of it is based on acoustic and electric guitars, which, as far as I know, have seen little design change in decades. Modern composers of popular music need only pick from a bag of established styles and throw in easy lyrics that don't stand up to critical scrutiny. No popular modern composers have changed music to the extent that Beethoven did. As far as I can tell, there has not been an improvement in popular American music in decades, and that is why, when you turn on your radio today, you are likely to hear something that was popular over fifty years ago.