The music world is celebrating the 250th anniversary of Ludwig van Beethoven’s birth this month.
Though the exact date of birth is unknown, his Christening on Dec. 17 is a focal point for many fans and aficionados as well as detractors, a time to reflect on the significance of his life and work.
Concurrently, the classical field is undergoing intense introspection and self-assessment due to alleged systemic racism, spurred by racial unrest as well as academic rejection of the supremacy of Western music.
Beethoven himself is experiencing an odd duality of extreme popularity thanks to dozens and dozens of performers and presenters working to program his works for either virtual or live audience, as well as a concerted effort to downplay the importance and quality of his music launched by academics and musicians seeking to fight back against the Eurocentricity of classical music.
Of all the setbacks the composer faced during his own lifetime, ranging from ill financial and romantic fortune to hearing loss and rejection of the progressive nature of his art, this latest attack is perhaps the most ignoble.
This year’s pandemic struck a blow against the human spirit. In the U.S., political tensions have torn apart any collective sense of brotherhood the country once shared. What better time to tune in to the music of Beethoven, whose music has come to represent a pinnacle of human achievement and a rallying cry for unity and freedom and resilience. It has come to represent triumphing over fate and adversity.
This is a unifying theme.
It’s one thing to point out that many composers have been sidelined due to their gender or racial heritage throughout history. This is unquestionably true. It’s also true that orchestras and performing groups have focused on European composers to the exclusion of others for far too long, citing “artistic quality” as a justification for doing so when there is a wealth of other material by less familiar artists that belongs in the concert hall just as much.
It’s another thing to try and tear down something important for the sake of increasing diversity.
Surely we can acknowledge that the pedestal on which history has mounted Beethoven’s legacy might be too tall without devaluing the music itself. By all means, organizations can and should program and play music by other composers as well. When concert halls ring again, a more diverse cast of composers to take us into a new chapter will be welcome.
But to excise Beethoven, as some have suggested this year, is folly. To deny the power of his music, both intrinsic and symbolic, is nihilistic.
Beethoven’s lifetime has come to represent triumphant struggle over adversity. No doubt his reputation will prevail as well here. To see the truth of this, look no further than the myriad celebrations of Beethoven’s music happening around the world, even in the midst of global strife and unrest. True, they aren’t the grand operatic productions and marathons that would have occurred without the pandemic, but they will take place as smaller, more intimate gatherings, as virtual offerings and private celebrations.
— Tribune News Service
