This review was written for and first published by Bookmunch.
“I do not write for the multitude – I write for the cultured!”
Ludwig van Beethoven has been described by some as the greatest ever composer of Western classical music. Numerous biographies of the man have been written, creating an image of an eccentric genius. Laura Tunbridge states that she wished to cut through the myths and place Beethoven’s life in its historical context. She employs a structure of nine of his compositions, exploring not just the Vienna in which he lived and worked but also the audiences available at the time, whose willingness to promote and attend musical performances was key to building renown. Beethoven harboured a lifelong desire for cultural acclaim alongside the practical support of wealthy patrons.
The book opens with three introductory sections. These set out: the financial struggles Beethoven faced, caused mostly by the Napoleonic Wars; musical terms employed in his compositions; the musical and family background in Bonn that shaped him, including his father’s wish that Ludwig be a prodigy in the manner of Mozart. On his first visit to Vienna, Beethoven captured the attention of the much lauded Mozart but then had to leave due to his mother’s final illness. He returned to the city for a second time to study under Haydn and did not return.
In Vienna, the ‘van’ in his name was wrongly assumed to be equal to the ‘von’ used in Austria – of noble birth. This suited Beethoven well. From early on he believed that the music he created was of a high order and deserving attention. He cultivated friendships that granted him access to those he needed to impress to raise money and build prestige. He wished to be heard by ‘educated listeners’ who would appreciate the difficulties inherent in playing his compositions. He had no interest in creating ‘crowd pleasers’.
“the practice of using the arts to assert cultural supremacy has been around for a long time”
There are marked differences between Beethoven’s early works and those from his later period. Some of this was down to changes in instrument design, allowing for greater range and a more robust sound. He worked through the ‘transition from creating music of ‘feeling’ to ‘art’’.
“Music was no longer to be merely an entertaining or interesting diversion but something more substantial”
Beethoven embraced this change fully, challenging what was possible. Given that performances at the time required musicians who would only have one or two rehearsals before playing to a captive audience, this approach could result in cacophony.
“His music could quickly reach the point when those who do not understand its rules and enjoy its difficulties would find no pleasure in it … complexity for its own sake”
The nine sections in the book offer as much musicology as exploration of the composer’s character and motivations. The history of the time is interesting but to fully appreciate the study of the music discussed one may need more of a background knowledge and interest than I possess. At times the discussion of musical terms and form became soporific.
The man himself does not sound appealing. Described as ‘sensitive, irritable and suspicious’ he comes across as arrogant and hypocritical. For example, he frequented brothels yet condemned his sister-in-law for sleeping with men she was not married to. He fought in the courts for custody of his nephew yet treated him terribly, resulting in the boy running away on several occasions.
As Beethoven’s music became ever more dense – and he, internationally famous – acquaintances would offer platitudes and practical help to gain access and curry favour by association. Others were more pragmatic, willing to offer criticism as audiences walked out of performances due to the chaotic and incomprehensible noise being made.
“its difficulty became a sign of its greatness. Effort had to be put in not only to play this music but to understand it too”
Unlike certain of his patrons, Beethoven was neither pleasant nor humble. He would sell exclusive, advance rights for his compositions to multiple sources. Money was a driver for this but also his belief in his own artistic worth – that it deserved greater recompense. Of course, an artist doesn’t have to be ‘nice’ to be lauded a genius – especially by the self-appointed arbiters of taste and artistic appreciation. I pondered if, as now in many creative spheres, certain fans and critics saw in his art what they thought they should.
Beethoven relied on unpaid helpers as well as his numerous if not always reliable patrons. He fell out with many of his contemporaries due to the way he treated them. One may question if his musical output was heavy, dense or brilliant. At the time, much of his later work was too difficult to play so was not well received by audiences and performers in a changing demographic.
The author is honest in her portrayal of an artist who remains something of an enigma, a construct built from myths propagated over centuries. The reader gains a picture of a man frustrated in his personal life and believing himself undervalued. He was not unappreciated in his own lifetime but the plaudits poured on him rarely appeared enough to please.
Any Cop?: In picking this book to read I did not expect there to be quite so much parsing of the chosen musical compositions. This detail aids understanding of classical structure but I suspect I am not the intended reader. Nevertheless, I gained a better understanding of Beethoven’s life, character and motivations in what is otherwise an engaging tale. That I didn’t find anything to like in the man is neither here nor there.