Happy Birthday, Ludwig

This is intended as a postscript to my January 2020 blog post, “32 Thoughts about Beethoven (and his 250th Birthday.” Click here to check it out.

On January 27, 2020, I published a blog post entitled “32 Thoughts about Beethoven (and his 250th Birthday).” In it, I expressed my lifelong admiration for Beethoven and his music, but also my mixed feelings on the celebrations planned for his 250th anniversary year.

“Happy Birthday Jesus Beethoven. Sorry your party’s so lame.”

Turns out that most of it hasn’t aged well. In early March, a little under two months after publishing the post, the world shut down due to the COVID-19 pandemic. Live performances with packed audiences became all but impossible, and one by one, individual concerts and even entire seasons were canceled in the interest of curbing the spread of the coronavirus. Now, nine months later, the situation has improved very little, even with a vaccine on the horizon. Any hope of an all-encompassing Beethoven celebration in 2020 has been extinguished, yet another casualty of this dumpster fire of a year.

Some people are lamenting the loss of the Beethoven year, while others are celebrating it. Personally, I feel somewhere in the middle. Yes, it’s absolutely true that Beethoven didn’t really need all the hubbub of this anniversary year in the first place. His music is performed so much already and would have continued to appear on concert programs either way, anniversary or not. The celebrations that were planned seemed, in some cases, overblown, unimaginative, and even a tad lazy. And of course, there was the very real possibility of it all becoming excessive. As Aesop allegedly said, “It is possible to have too much of a good thing.”

On the other hand, yes, it is a loss. Though I waffle back and forth in my opinions on Beethoven 9, there’s absolutely nothing like experiencing it live and I was greatly looking forward to hearing at least one performance of the work in August. I was also excited for other performances that juxtaposed Beethoven with newer or less-performed works, such as Brooklyn Rider’s striking program that was to pair Beethoven’s Heiliger Dankgesang Quartet (No. 15) with newly-commissioned works by contemporary women composers. The pandemic has made me—and millions of others—hungry for live performance, and though I may not have been enthusiastic about the idea of sitting through an all-Beethoven concert back in January, honestly, that sounds pretty great right now (even if it did include Wellington’s Victory!)

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32 Thoughts about Beethoven (and his 250th Birthday)

“Ludwig van Beethoven is the most frequently performed of all classical composers. He was also a radical artist who constantly reinvented himself, expanded the boundaries of music and posed questions to society. Even today he inspires people all over the world.” So proclaims the homepage of BTHVN 2020, an organization that joins in this year with hundreds of others worldwide to celebrate the 250th birthday of Ludwig van Beethoven, one of the most famous, beloved, and—indeed—frequently performed composers in the Western canon.

The birthday boy

The festivities will be wide-ranging and immense. Beethoven’s symphonies, overtures, concertos, piano sonatas, and string quartets will appear on programs the world over, and, in many cases, entire cycles of these works will be presented. New recordings of time-tested favorites will be made, and classic recordings will be remastered. (Case in point: a recently-released, 123-disc box set claims to offer “the most complete Beethoven anthology ever produced.”) Symposiums, lectures, essays, articles, and books will seek to reveal new insights about the composer. In all, Beethoven will receive a truly comprehensive celebration that he could have only imagined during his lifetime.

Yet, amidst all this merriment, there’s something about this whole celebration that’s a bit overwhelming, redundant, and even fatiguing. And there are some things that I feel need to be said about this. Below, I have compiled a list of 32 miscellaneous thoughts about Beethoven, his music, and his 250th birthday celebration. Why 32? It’s mostly inspired by the film Thirty Two Short Films About Glenn Gould, but it’s also because Beethoven composed 32 piano sonatas. (Come to think of it, those two things are probably connected…) These musings are wide-ranging and in no particular order. I would also like to emphasize that many of these express my opinions. Some you may agree with, others you may disagree with. And that’s 100% fine! At the end of it all, though, it’s clear that there’s still much left to be said about Beethoven…

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