[Bread-Baking Typewriter] Listening to Beethoven Who Cannot Hear, Life and Music Like Fate

Mozart (1756?1791) is considered the greatest genius in the history of classical music. He began composing at the tender age of five and toured across Europe performing from the age of six. In his short life of 35 years, he composed over 600 pieces and left behind numerous masterpieces. So much so that there is a saying, "Mozart was God's pen," meaning that God composed music through Mozart.

However, British music critic Norman Lebrecht, in his book Why Beethoven, which praises Beethoven as the ideal human being, merely uses Mozart as a comparison to the great Beethoven. Lebrecht belittles Mozart by saying that compared to Beethoven, Mozart was just someone who entertained the audience. While Mozart gained popularity through his operas, his symphonies and concertos served only as kindling, whereas Beethoven's music evokes a sense of awe rarely found in other composers. Lebrecht also places Beethoven above Mozart in terms of character, noting that Beethoven refused to bow to those in power, unlike Mozart.

To the public, Beethoven is engraved as a symbol of indomitable will, having composed great music despite completely losing his hearing at the age of 31. Lebrecht’s respect for Beethoven largely stems from this fact. He regards Beethoven’s very act of composing as miraculous and considers his music superior to all previous music. Furthermore, Beethoven taught that when the body is damaged, spiritual compensation can be given, making him a great figure.

In fact, Why Beethoven is more of a guide to Beethoven’s music than an explanation of why Beethoven was a great figure. Lebrecht introduces almost all of Beethoven’s music, explaining how to understand and listen to it, which performers have made good recordings, and which are poor. It can serve as a good commentary for those who enjoy classical music but find it difficult to understand. Especially, his harsh critiques of poor performances add to the enjoyment of reading the book.

For example, regarding Beethoven’s famous Symphony No. 3, "Eroica," Lebrecht describes the performance as beginning with two gunshots from an unseen nearby forest where someone is being executed.

Lebrecht criticizes Vladimir Horowitz’s performance of Beethoven’s Piano Sonata No. 23, "Appassionata," as poor due to its capriciousness. He says Van Cliburn lacks imagination, Glenn Gould has too much imagination, Evgeny Kissin just rushes through, and Lang Lang’s performance lacks emotion, thus none are good performances.

Among recordings of Beethoven’s Piano Concerto No. 4, Lebrecht considers the best to be Emil Gilels performing with the Philharmonia Orchestra conducted by Leopold Ludwig. He also praises Claudio Arrau’s performance for its heavenly elegance, Arthur Rubinstein’s for its vitality, Andr?s Schiff’s for its slight refinement, and Christian Zimmermann’s for its liveliness. On the other hand, he harshly criticizes Lang Lang’s 2017 recording with the Paris Orchestra conducted by Christoph Eschenbach as the worst, saying Lang Lang’s touch is thick and dumpling-like from the very first note.

The anecdotes about Beethoven shared while introducing his music are also fascinating. When composing the final movement of Piano Sonata No. 23, "Appassionata," Lebrecht recounts a note left by Beethoven’s student Ries. After Beethoven had been composing for over an hour, he was surprised to see Ries still beside him and said, "I don’t think I can give a lesson today. I have work to do."

Lebrecht’s evaluations of various conductors who have recorded Beethoven’s music, such as Wilhelm Furtw?ngler and Herbert von Karajan, who have left their marks on modern music history, are also intriguing.

Why Beethoven | Written by Norman Lebrecht | Translated by Jang Ho-yeon | Epoch | 548 pages | 25,000 KRW