Beethoven is recognized as one of the great, if not the greatest, composers of all time. He was prolific and his compositions span a mind-boggling array of styles and forms. He is typically portrayed as a troubled, enigmatic genius, and this view of him is reinforced by John Suchet in Beethoven: The Man Revealed (2012). However, Suchet adds a more personal dimension to Beethoven that stirs empathy and compassion for a man whose life experiences were challenging. He was a survivor and persevered against incredible obstacles and the difficulty of his life likely contributed much to the great art he contributed to humanity.
This book isn’t a definitive biography. In fact, Suchet frequently notes other researchers and authors who have documented Beethoven’s life. What the book does is provide a chronology of Beethoven’s life and the personal context behind many of his compositions. Although never married, Suchet recounts relationships Beethoven had with women he hoped to marry and he quotes from correspondence back and forth with those who were the object of his affection. Because he never married, he had no children of his own but more or less forced himself into the life of his deceased brother’s son, Karl. Beethoven was deeply dedicated to Karl’s care and sought to disallow any contact with Karl’s natural mother because Beethoven believed she was unfit to parent him.
One of Beethoven’s most notable works is the Symphony #9, a monumental work in symphonic form but concluding with solo voices and chorus. The description of the conclusion of the first full performance of the ninth conveyed by Suchet sent chills down my spine as I read:
The bass singer was soon on his feet, and the words ‘O Freunde, nicht diese Tone!’ rang out over the audience.
Umlauf (a conductor assisting Beethoven due to his complete deafness), knowing now he and the musicians were creating something extraordinary, drove the pace on, players and singers performing as if somehow knowing this was a defining moment in the history of music.
Suddenly, it all stops, total silence. A small beat on bass drum and deep wind. Syncopated dotted rhythm. Martial music. Tenor summons all forces.
In unison, in harmony, faultlessly, the music drives to its conclusion. Umlauf held it all perfectly together, singers, chorus and orchestra giving the performance of their lives.
Again, just before the end, a tremendous slowing down, almost to a stop, before full forces drive to the final flourish.
Umlauf brought his arms down for the final great chord. It was over. The audience erupted, rose to their feet, cheered and shouted, handkerchiefs and hats waved in the air. Beethoven! Beethoven! Beethoven!
Umlauf looked to his side. Beethoven, oblivious to what was happening, continued to wave his arms, conducting the orchestra he was hearing in his head. Karoline Unger, the contralto who had so berated him in rehearsal, stepped forward. Gently she touched Beethoven on the shoulder, nodded encouragingly at the bewildered face, and turned him to face the cheering audience.
At that moment Beethoven knew the gift he had given to the world.
After a lengthy decline in his health, Beethoven died on March 23, 1827. After signing his will which would leave all that he had to nephew Karl, Beethoven turned to the small group gathered around him and said, “Plaudite, amici, comedia finite est” which means “Applaud, my friends, the comedy is over.” Irony and humor at the end of a tumultuous, brilliant, and difficult life…
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