Greetings,
Each year we celebrate again a very special birthday.
In the year of our Lord 1770 God ordained the birth, indeed, the incarnation, of God’s own fire on the earth in the form of a little baby, who was named Ludwig. This child/man by the grace of God, and like all of God’s miracles of creation second only to the perfect incarnation of God on earth in Jesus the Christ, brought forth the purest expression we have of God’s presence and power working in our midst.
Beethoven understood the principles of redeeming, sacrificial love, and while his mortal life was a great struggle, and at times failure, to live out that love, his music conveys in pure form the reality of that love and redemption. He also understood that there was a cost to such perfectness. He wrote, "We mortals with immortal spirits are born only to suffering and joy, and one could almost say that the most distinguished among us obtain joy through suffering," Certainly we are called to be like Jesus, and to share in his sacrifice/suffering in order to be part of the work of the Spirit in bring redemption to all of God’s creatures, to do our part in ushering in the reign of God.
It has always struck me as more than coincidental that Toscanini, on rehearsing Beethoven’s Ninth Symphony, said to the orchestra: “ With one more drop of blood perhaps we can come a little nearer to what Beethoven wanted.” Toscanini understood that this music was about more than just making music, it was about the great issues of life, it was about sacrifice.
H. L. Menken referring to Beethoven: “Above all, he is the master of his craft, as opposed to his art. He gets his great effects in new and ingenious ways—and they convince one instantly that they are inevitable. One can imagine improvements in the human eye, and in the Alps, and in Beauvais Cathedral, but one cannot imagine improvements in the first movement of the Eroica. The thing is completely perfect, even in the places where the composer halts to draw breath. Any change in it would damage it. But what is inevitable is never obvious. John Doe would not and could not write thus. The immovable truths that are there—and there are truths in the arts as well as in theology—became truths when Beethoven formulated them. They did not exist before. They cannot perish hereafter.”
Yet, and perhaps this is why the music is so loved by generation after generation, the music is not just all solemnness, redemption and glory. C. S. Lewis, who certainly recognized the depths and heights and glory of the music, also wrote: “How tonic Beethoven is, and how festal—one has the feeling of having taken part in the revelry of giants.” Beethoven, for all of his fierceness and anger and majesty is also fun. Our spirits are lifted, life is good and enjoyable.
And like all genuine Truth, Beethoven’s music transcends language and culture. When the evil of the dictator/emperor Napoleon was opposed it was to the tune of the Third Symphony. When the forces of good were to be united against the evil of Hitler, it was virtually always to the imperative of the Fifth Symphony. When the Berlin wall finally came down, it was to the resounding chorus of the Ninth Symphony. When the United Nations celebrated its thirtieth, fortieth, and fiftieth anniversaries it was with performances of the Ninth. Every December on the small island of Japan there are a thousand performances of the Ninth, which to that Asian culture represents all that is good, and all that is hopeful for the new year. Then there is the annual preparation for and celebration of Beethoven’s birthday, which begins on Halloween (Only 40 Days to Beethoven’s Birthday) and culminates with Linus’ rendition on this day of a great work of the master in Charles Schulz’s Peanuts.
Sit back, crank up the stereo or turn on WBJC or WETA, pour a libation, thank God and toast Beethoven, and rejoice.
Yours & His,
DED
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