Beethoven: Anguish and Triumph

Title Page

Table of Contents

Copyright

Dedication

Epigraph

Introduction

Bonn, Electorate of Cologne

Father, Mother, Son

Reason and Revolution

Loved in Turn

Golden Age

A Journey and a Death

Bildung

Stem and Book

Unreal City

Chains of Craftsmanship

Generalissimo

Virtuoso

Fate's Hammer

The Good, the Beautiful, and the Melancholy

The New Path

Oh, Fellow Men

Heaven and Earth Will Tremble

Geschrieben auf Bonaparte

Our Hearts Were Stirred

That Haughty Beauty

Schemes

Darkness to Light

Thus Be Enabled to Create

Myths and Men

My Angel, My Self

We Finite Beings

The Queen of the Night

What Is Difficult

The Sky Above, the Law Within

Qui Venit in Nomine Domini

You Millions

Ars Longa, Vita Brevis

Plaudite, Amici

Appendix

Works Cited

Notes

Index

About the Author

Copyright © 2014 by Jan Swafford

 

All rights reserved

 

For information about permission to reproduce selections from this book, write to Permissions, Houghton Mifflin Harcourt Publishing Company, 215 Park Avenue South, New York, New York 10003.

 

www.hmhco.com

 

The Library of Congress has cataloged the print edition as follows:
Swafford, Jan.

Beethoven : anguish and triumph : a biography / Jan Swafford.

pages cm

Includes bibliographical references and index.

ISBN
978-0-618-05474-9

1. Beethoven, Ludwig van, 1770–1827.

2. Composers—Germany—Biography. I. Title.

ML
410.
B
4
S
94 2014

780.92—dc23

[
B
]

2014011681

 

e
ISBN
978-0-544-24558-7
v1.0714

 

 

 

 

IN MEMORIAM

 

Frances Cohen Gillespie

Painter

 

1939–1998

 

 

 

 

Could a historiographer drive on his history, as a muleteer drives on his mule,—straight forward;—for instance, from Rome all the way to Loretto, without ever once turning his head aside either to the right hand or to the left,—he might venture to foretell you an hour when he should get to his journey's end;—but the thing is, morally speaking, impossible: For, if he is a man of the least spirit, he will have fifty deviations from a straight line to make with this or that party as he goes along, which he can no ways avoid. He will have views and prospects to himself perpetually soliciting his eye, which he can no more help standing still to look at than he can fly.

—
LAURENCE STERNE
,
Tristram Shandy

 

 

Fame is a form of incomprehension, perhaps the worst.

—
JORGE LUIS BORGES

 

 

My custom even when I am composing instrumental music is always to keep the whole in view.

—
BEETHOVEN

There has always been a steady trickle of Beethoven biographies and always will be, as long as the fascination of the music and the man endures. That bids to be a long time. Like Shakespeare, Rembrandt, and a few other figures in our creative history, Beethoven has long since been a cultural artifact, woven into our worldview and into our mythologies from popular to esoteric.

A few miles from where I write, his is the only name inscribed on a plaque over the proscenium of Boston Symphony Hall, built at the end of the nineteenth century. In our time, a performance of the Ninth Symphony celebrated the fall of the Berlin Wall. In Japan, important occasions such as the opening of a sumo arena are marked by a performance of
Daiku
, the Big Nine. Around the world, the Fifth is seen as the definition of a Classical symphony. When I taught in a conservatory, there were few days when we didn't hear Beethoven drifting down the hall. My Beethoven seminars were full of young musicians whose professional lives were going to be steadily involved with the composer.

There is, of course, great danger in that kind of ubiquity. To become more of an icon than a man and artist is to be heard less intimately. Unlike others of his status, Beethoven has been relatively immune to the usual historical ebbs and flows of artistic reputations. That has happened partly because in the decades after his death the concert hall evolved into more of a museum of the past than an explorer of the present. That situation too has its dangers. Instrumental music is in many ways a mysterious and abstract art. With Shakespeare and Rembrandt, we can be anchored in the manifest passions in their works, their racy jokes, their immediacy. It is that immediacy that is all too easy to lose when confronting iconic musicians like Beethoven, Bach, and Brahms.

In the two-century course of Beethoven's fame, he has inevitably been batted about by biographers and other writers. He was born during the Aufklärung, the German embodiment of the Enlightenment, and came of age during the revolutionary 1780s. Many in his time saw him as a musical revolutionary and connected him to the spirit of the French Revolution. By the time he died in 1827, he was already a Romantic myth, and that is what he stayed through the nineteenth century: Beethoven the demigod, a combination of suffering Christ figure and demonic icon. In his person rough, crude, and fractious, in his music everything from crude to transcendent, he became the quintessential Romantic genius in an age that established a cult of genius that lingers on, for well and ill.

Critical reframings and reinterpretings are inevitable, and like everything in the arts they reflect the temper of their times. After the lingering decay of Romantic myths in the twentieth century, writing on Beethoven during the past decades has largely risen from the academy, so it reflects the parade of fashions and shibboleths of that industry. Many present-day books concern ideas about Beethoven rather than Beethoven himself. The assorted theoretical postures of late twentieth-century academe took some heavy shots at him, but do not seem to have dislodged him from his unfortunate pedestal, which I believe lodges him too far from us.

I suspect many people still feel that in some ways the most effective Beethoven biography remains the massive late nineteenth-century one by Alexander Wheelock Thayer. That American writer set out with the goal of assembling every available fact about Beethoven and putting it down as clearly as possible. “I fight for no theories and cherish no prejudices,” Thayer wrote. “[M]y sole point of view is the truth.” In the 1960s, the book was corrected and updated, with a similarly direct agenda, by Elliot Forbes. For me it is within Thayer's Victorian language that Beethoven casts the strongest shadow as a person, where I catch glimpses of him walking down the street, joking with friends, thumping the table as he composes, tearing into his fish ­dinner.

Without aspiring to the voluminousness of Thayer, the book you are reading was written in his spirit. Now and then in the course of an artist's biographical history, it comes time to strip away the decades of accumulated theories and postures and look at the subject as clearly and plainly as possible, without prejudices and preconceptions. That as biographers we all have agendas, both known and unknown to us, does not change the value and necessity of getting back to the human reality of a towering figure. This book is a biography of Beethoven the man and musician, not the myth. To that end I have relegated all later commentary to the endnotes. I want the book to stay on the ground, in his time, looking at him as directly as possible as he walks, talks, writes, rages, composes.

We will see that Beethoven was in some ways a hard man. The troubling parts of his personality, the squalor he lived in, his growing paranoia and delusions of persecution, his misanthropy, and later his double-dealings in business will be on display here roughly in the proportion that they were on display in his life. Likewise the plaintive history of his deafness and illness and his failed love affairs. Still, I believe that in the end there was no real meanness in Beethoven. He aspired to be a good, noble, honorable person who served humanity. At times he could be entirely lovable and delightful in his quirks and puns and metaphors and notions, even in his lusty sociopolitical rants. There was something exalted about him that was noted first in his teens and often thereafter. He was utterly sure of himself and his gift, but no less self-critical and without sentimentality concerning his work.

To the degree that I have a conscious agenda, it is this: I am myself a composer, both before and after being a biographer, so this is a composer's-eye view of a composer, written for the general public. When I look at Beethoven I see a man sitting at a table, playing the piano, walking in fields and woods doing what I and a great many others have done: crafting music one note, one phrase, one section at a time. I hear the scratch of a quill pen on lined music paper. I see a work coming into focus in page after tumultuous page of sketches. I see a man in the creative trance all of us work in—but Beethoven's trance deeper than most, and the results incomparably fine and far-ranging.

In Beethoven I see, in other words, a person leading what is to me the familiar life of musician and composer, and so he will be viewed here. Like many composers of his time and later, he cobbled together a living from this and that, and he was deeply involved in the skills and traditions of his trade. The main difference is how thoroughly he mastered those skills, on the foundation of a gigantic inborn talent. In the course of my work I came to realize that Beethoven was in every respect a consummate musician, whether he was writing notes, playing them, or selling them. The often shocking incompetence of the rest of his life was familiar to history, to his friends, and to himself. That too was the incompetence of a man, not a myth.

 

I had drafted a good part of this book before I realized that in the text proper I was shying away from two words that are all too familiar in biographies of artists:
genius
and
masterpiece
. The first word I use only in quotations from Beethoven's time. The latter word I don't use at all. In regard to
genius
, this was not because I don't believe in its existence, but rather that I simply didn't need the word. This book is a portrait of a consummate musician creating his work, playing the piano, finding his voice, finding his niche, selling his wares, courting patrons and champions and publishers, falling in love, pleasing his audience here and provoking them there; and in his art pushing every envelope with incomparable courage and integrity.

My problem with the word
genius
is not with the concept but with the way it has been slung around over the last two centuries. It is one of those words like
spiritual
,
profound
,
incredible
,
amazing, masterpiece
, and so on that tend to be wielded vaguely and carelessly. I use some of those words now and then, I hope not carelessly. Even though I never use the word
genius
, however, the book assumes Beethoven's genius and constitutes an ongoing examination of what that might mean.

To begin, I'll attempt a nutshell definition. For me genius is something that lies on the other side of talent. In my life I've encountered a good deal of talent but no genius, because it is a rare quality. Talent is largely inborn, and in a given field some people have it to a far higher degree than others. Still, in the end talent is not enough to push you to the highest achievements. Genius has to be founded on major talent, but it adds a freshness and wildness of imagination, a raging ambition, an unusual gift for learning and growing, a depth and breadth of thought and spirit, an ability to make use of not only your strengths but also your weaknesses, an ability to astonish not only your audience but yourself. Those kinds of traits that lie on the other side of talent. The sense of the word
genius
underwent a change between the Classical eighteenth century and the Romantic nineteenth. The age of Haydn and Mozart defined genius as something one
possessed
. The Romantics defined genius as something you innately
were
, which possessed you and made you something on the order of a demigod. My sense of the idea is closer to that of the eighteenth century: I believe in genius, but not in demigods.