I’m now reading that book I mentioned here earlier, by Harvey Sachs, about the first performance of Beethoven’s Ninth.
The event itself was nearly shifted by Beethoven, for both financial and organisational reasons, from Vienna (where Beethoven lived for all his adult life) to Bonn, which caused a great gang of Viennese high-ups to write Beethoven a public letter, begging him to keep the show in Vienna. Of this letter, Harvey Sachs writes (pp. 30-31):
The letter-signed by seven aristocrats and various well-known local bureaucrats, musicians, music publishers, and the piano maker Andreas Streicher – is valuable not only as proof of the esteem in which Beethoven was held in his adoptive city but also because it demonstrates how deeply the notion that great music could be both “immortal” and widely disseminated had taken hold in Europe within Beethoven’s lifetime. Pre-nineteenth-century audiences had tended to lose interest in music that failed to follow the dictates of fashion. Bach, who was born in 1685 and whose works were already stylistically passé at the time of his death sixty-five years later, would have been delighted but astonished to learn that his music would be venerated and widely performed nearly three centuries after it was written. He may have believed in the hereafter, but he wrote for the here and now – for the church ceremonies and court occasions that took place as his life unfolded and for the instruction of the musicians of his day. Haydn (1732-1809) and even Mozart (1756-1791) still worked within the specific-piece-for-specific-occasion system, although the fact that Mozart began at the age of twenty-eight to keep a catalogue of his works, and the even more significant fact that he and Haydn published as many of their compositions as possible, demonstrate composers’ dawning ambition to have their works survive them, perhaps even for a considerable time.
Not until Beethoven’s day, however, did winning a place in posterity become a major goal – the greatest goal, for many composers. With the rise, in his lifetime, of the bourgeoisie, middle-class families were able to give their children music lessons, and Hausmusik – music in the home became the home entertainment system of the 1800s. The equipment required for making it comprised a piano, one or more other instruments and/or voices, and printed music, the demand for which increased almost exponentially. This phenomenon occurred just as the figure of the Romantic genius – the artist as a being unhampered by normal constraints – was taking hold. The music of the brilliant, eccentric Beethoven circulated widely, and the conviction that this music would become “deathless” was a logical consequence of both his persona and the diffusion of his works. In the letter from his Viennese admirers, the reference to “the many who joyfully acknowledge your worth and what you have become for the present as well as the future” is an exceptionally significant sign of the times: The arts were no longer to be considered mere “means and objects of pastime.” Composers were becoming the high priests, perhaps even the gods, of a secular religion; the best among them were expected to create works that would endure, . . .
All of which reminded me of something Benjamin Britten once said:
The rot set in with Beethoven.
Meaning, Beethoven was the first of a huge tribe of artists who from then on took themselves, and were also taken by others, a whole hell of a lot too seriously. Beethoven was, of course, entitled to think of himself as a genius. In his case, it helped to turn him into the genius he became. Most of his imitators got the trappings of genius off pat enough, but neglected the bit in the genius rule book where it says that you have to produce works of genius.
After writing that, I tried googling that Britten quote, and look what I found, almost immediately. Yes indeed, a review of The Ninth by Michael Henderson, which begins thus:
‘The rot set in with Beethoven’, said Benjamin Britten, who, cold fish that he was, could never understand the idea of the artist as hero (though he admired Mahler, whose music is nothing if not attention-seeking). He had half a point, because the past century has been chock-full of artists, or ‘artists’, who have asked us to soothe their fevered brows. They are still around today. No matter. Their egotism cannot disguise Beethoven’s greatness, . . .
Snap.
