A sketch of Beethoven

I admire the young people who shook their fists at Rousseau and Beethoven! As if the object of their fists was spring or autumn, it was helpless fallen leaves and unstoppable buds blooming! Rousseau and Cyclonus’s rushing movement, the showers in the spring and April, and the storms in the autumnal equinox are all signs of the collapse of the old society and the emergence of the new society. Before the new society can take shape, there must be an emancipation of the individual as an individual. The idea of ​​individualism in the rebellion is not only a symbol of the coming new order, but also its precursor. Everything in the world has its own good times! First “self”, then “community”.

German “Columbus”
Beethoven was the first generation of those young German Goethe. These “Columbuses” set sail at night on the stormy sea of ​​the Great Revolution, discovered their “self” and eagerly conquered it. The conquerors abused their power, they yearn for possession; every free “self” wants to give orders. If he cannot do this in the real world, he is determined to realize it in the art world; for him, everything has become a battlefield, and he will deploy his forces on this battlefield: his thoughts, desires, Remorse, anger and sadness. He imposed these on the world.

After the Great Revolution, the French Empire followed. Beethoven heard them in his own heart, and the route they flow in his veins is the blood circulation of history itself; because, just as the emperor’s posture had to wait for Hugo to find a poet who was worthy of this posture, It inspired his own “Iliad”, so when the defeated Waterloo finally fell, Beethoven, the music emperor, also abdicated; like the eagle on his rock, he He was also exiled to an island lost in the vast ocean—this exile was even more lost than an island in the Atlantic, because he couldn’t even hear the huge waves hitting the shore. He was imprisoned. When the self-song of the last ten years of his life sounded silently, it was no longer the former “self”; he abandoned the human empire, and he was with God.

However, the person we portray in this portrait is the “self” during the fighting. I had to outline his portrait with very rough brushstrokes. Because, after a century, even if you can see at a glance in which aspect this mountain is a component of the mountain range of that distant age, it is still necessary to distinguish which aspects he dominates in this mountain range, and to treat it. Slopes, cliffs, and cliffs that are separated from the peaks that accompany it.

It is true that Beethoven’s ego is not the ego of the Romantics; it is absurd to confuse these neo-Gothists or impressionists with this Roman creator. Everything peculiar to them is incompatible with him—their sentimentality, their lack of logic, their wild imagination. He is the most masculine musician. He doesn’t have any femininity in him—if you want, you can also say that he is not femininity enough. He is a masculine sculptor, who controls his own materials and allows it to be shaped at will in his own hands; he is a master architect and uses nature as his workshop.

Loneliness becomes an abyss
Every true artist has this divergent, intermittent dream life in his heart, flowing into the rivers of his secret world. But in Beethoven’s heart, it reached a unique degree of intensity, blocking him from the rest of the universe long before his hearing closed the door. For example, think of the solemn sad adagio in D minor in Sonata No. 10—the kind of contemplation that reigns over the world, ruling the vast plains of life and its shadows! It is the work of a 26-year-old young man. The entire Beethoven has been included. What a mature soul! Even if he is not as precocious as Mozart in terms of smooth harmony language, he is much precocious in terms of his inner life, as far as his understanding and control of himself, his passions and dreams are concerned! His difficult childhood, his premature experience, developed these talents very early.

However, whether he is the conqueror or the conquered, he is always alone. Since childhood, no matter where he is, on the street or in the salon, he has always isolated himself with a unique power. Whenever he was so ignorant and at a loss, Mrs. von Breuning always said that he was “unconscious.” Later, loneliness became an abyss. He always disappeared from people’s sight for hours or days and sank into this abyss. Don’t wake him up! That’s dangerous, and this sleepwalker will never forgive you. Music has developed in its own elite the power to concentrate on one idea, the pure European style of yoga, which has characteristics of behavior and control unique to the West; because music is a building in motion, its All parts must be felt at the same time.

This requires the soul to make dizzying movements in immovable objects, with clear eyesight, tense will, and the spirit to fly high and freely above the entire territory of dreams. In any other musician, his acceptance of ideas is not so strong, so continuous, and so magical. Once Beethoven has grasped an idea, he will never let it go until he fully possesses it. Nothing can distract him. His piano performance is characterized by legato. In this respect, it contrasts sharply with Mozart’s delicate, sharp, and elegant techniques, as well as the techniques of all pianists of his time.

This is not for no reason. In Beethoven’s thought, everything is connected, but it seems to be rushing out in a billowing torrent. He controls his thoughts, he controls himself. It seems that his passion is to show him and give it to the world; but in fact, no one can read the thoughts of activities deep in his heart.

Master of suffering
By the time he was 30 years old, his mind had reached an amazing balance: the balance between various opposing elements. If Thaksin indulges his passion in the external world without any delay, then in his art, he always keeps his mouth shut and controls this passion with an iron fist.

He likes to improvise; it is at this time that he grasps the unforeseen elements of the genius; the subconscious power is released, and he must subdue them. Many great musicians are masters of improvisation, especially in the 18th century, when the joints of music were still soft and flexible and cultivated the ability to create freely. However, this group of connoisseurs who were spoiled by Mozart yesterday unanimously believes that no one can compare to Beethoven in this field. They also agreed: As far as Beethoven’s art itself is concerned, nothing can compare to his unprecedented ability to improvise.

If he ignores the painful torture that brings pain to his inner life in the music and art, it is only because he is determined to do so. The artist is still the master of suffering, and suffering will never sweep him away. Wasn’t he a plaything of suffering? Yes, now it’s his turn to play with them! He held them in his hand, looked at them, and laughed up to the sky.