A preview of the Beethoven 2020 anniversary events

November 30, 2019

Around 1,000 concerts, opera performances, festivals and exhibitions are expected throughout Germany to underline the 250th anniversary of the birth of composer Ludwig van Beethoven (1770-1827), arguably Germany’s most famous citizen, as said Commissioner for Culture and the Media Monika Grütters on Friday at a press presentation for the upcoming anniversary year, also known as BTHVN2020 .

The city of Bonn, where the composer was born and lived until he moved to Vienna at the age of 22, will play a central role in the anniversary year’s program, added North Rhine-Westphalia’s Minister President Armin Laschet.

Sir Simon Rattle (picture-alliance/dpa/S. Hoppe)

Sir Simon Rattle will be among the conductors who will celebrate Beethoven’s big birthday year

Highlights include a concert by the London Symphony Orchestra with Simon Rattle and violinist Lisa Batiashvili as well as the premiere of the commissioned work “The Nine” by Chinese composer Tan Dun.

The Berlin Philharmonic Orchestra is planning a 24-hour Beethoven marathon on April 25.

The German-French cultural channel Arte will be broadcasting live the performance of all nine Beethoven symphonies from different cities.

Daniel Barenboim will be closing the event on December 17, 2020 with a performance of the Ninth Symphony with his West-Eastern Divan Orchestra in Bonn.

The German federal government is funding the anniversary to the tune of €27 million ($33 million), the City of Bonn is contributing €5 million and the Rhein-Sieg-Kreis rural district is adding another €1.5 million.

Read more: The many women in Beethoven’s life

From revolutionary to pop idol

Charistimatic, but tempermental

A serious look, slightly grim face and a lion’s mane: images of Ludwig van Beethoven have imprinted themselves into the collective imagination arguably moreso than any other composer. Yet, it’s mainly the late portraits that have shaped today’s notions of the revolutionary, combative and difficult artist.

From revolutionary to pop idol

A shooting star in Vienna

Forceful, yet with a hint of smile, a young Beethoven looks out at the viewer in this painting from 1803. By that time, he had already attracted some of the most influential music patrons of the Viennese aristocracy.

From revolutionary to pop idol

Visiting the prince

Prince Carl von Lichnowsky was one of Beethoven’s first supporters, with whom he later had a falling-out. In this picture by Julius Schmid from 1900, “Beethoven plays at Lichnowsky,” the dispute between the prince and the composer seems to be already underway.

From revolutionary to pop idol

Proud and confident

Beethoven not only met Goethe in Teplitz, Bohemia, in 1812, but a legendary and scandalous snub also took place: While the poet bowed reverently before the prince, composer Beethoven walked right by him with his head held high. That, at least, is the way Carl Rohling imagined the revolutionary scene.

From revolutionary to pop idol

Revolutionary composer

Beethoven was not only enthused by the ideas of the French Revolution, but also by new methods of composition. Here, in this image by Willibrord Joseph Mähler from 1804, he seems to be giving expression to them with a wide, sweeping gesture.

From revolutionary to pop idol

The original

There’s no doubt that Beethoven was one of the most popular artists of his time – which the countless portraits of him demonstrate. One of the best known is this image created by Joseph Karl Stieler in 1820.

From revolutionary to pop idol

Going pop

Compared to other artists, Stieler portrayed Beethoven less realistically, but instead, in a more idealized fashion. Later, the painting was used as a template for engravings in which the contours became even more pronounced. It is surely no coincidence that Andy Warhol chose this image for his own renditions.

From revolutionary to pop idol

Sprayed on

Bonn – Beethoven’s birthplace – is also home to several variations of Stieler’s image: as a stone sculpture in front of the Beethoven Hall, sometimes – especially during the Beethovenfest in September – as a painting on the pavement, or as graffiti on a wall – such as here near the Beethoven House, where the composer was born.

From revolutionary to pop idol

Wrestling with each note

The fact that Beethoven did not make it easy on himself while composing was something the music world learned only after his death in 1827. Descriptions by his contemporaries who saw him at work surely influenced the romantic image of the maestro, who worked relentlessly and uncompromisingly in search of musical perfection.

From revolutionary to pop idol

Genius and mania

Contemporaries marveled at Beethoven’s works of genius. Subsequent generations of composers, however, were intimidated by them – and afraid they could not live up to Beethoven’s standard. This image by Hermann Torggler from 1902 shows the composer in almost demonic fashion – created based on the composer’s death mask.

From revolutionary to pop idol

The pop idol

Hardly a composer today is as famous the world over as Ludwig van Beethoven – thanks in no small part to his piano piece “Für Elise.” His life has been rendered in film several times, and has even been turned into cartoons and comics.

Author: Klaus Gehrke / als

Five pillars

The letters in the anniversary year’s logo “BTHVN2020” stand for the German words for five key aspects, or “pillars,” of the composer’s character: Beethoven as a citizen, as a composer, a humanist, a visionary and a nature lover.

The planned events will correspond to these five pillars. Some examples:

“B” for Bürger (citizen): These events include the “Beethoven Bürgerfest” (people’s party), a Beethoven procession tracing his life in Bonn and the surrounding area, the illumination of the city in sound and light, as well as the new presentation and extension of Bonn’s Beethoven House — the house where the composer was born.

“T” for Tonkünstler (composer): during the anniversary year, the complete works of the extremely productive composer will be presented. The Beethovenfest, which normally takes place in September, will have an extra season early in the year. New music will be commissioned and jazz, rock, pop and club music will be given a Beethoven twist.

“H” for Humanist: A citizens’ initiative in the anniversary will seek to organize 2,500 concerts in private households throughout Germany. An exhibition on the subject of Music and Politics is planned, and the significance of Beethoven’s Ninth Symphony in various cultures in the world will be illuminated. The art of dance is represented in “Beethoven MOVES,” a choreography project.

“V” for Visionary: In a project named FUTURA, a “concert barge” is to travel the waterways from Bonn to Vienna and perform experimental music. In the “New Music Base Camp,” young people will learn the basics of music composition. A festival with 21st century music as well as virtual sound environments and musical experiments in internal spaces are to round out the theme.

“N” for Nature: In the, Beethoven Pastoral Project, concerts and performances will take place in a world-spanning network on World Environment Day 2020. Excursions to the countryside and picnics are also planned.

Young Beethoven’s stomping grounds

Bonn around 1790

The city had a vibrant music life from the early 18th century onwards. Its court orchestra and chorus were the object of these words of praise by the music journalist Carl Ludwig Junker: “It’s rare to find a musical ensemble with such a harmonious confluence of sound. The tone quality in particular has a high degree of truth and perfection that one only very rarely encounters.”

Young Beethoven’s stomping grounds

Prince-elector with a thirst for music

In 1784, Maximilian Franz of Habsburg-Lorraine (1756-1801) began his reign as prince-elector and archbishop of Cologne, taking up residence in Bonn and bringing along a music collection that eventually grew to 3,500 pieces by 270 composers. His court orchestra and theater performed the latest works from all over Europe, and he spent many hours of his free time singing or playing the viola.

Young Beethoven’s stomping grounds

Prince-elector’s palace in Bonn

The scene of many chamber music concerts, to which Maximilian Franz would invite select musicians from his orchestra. Apart from the young Ludwig van Beethoven, they included his teacher, Christian Gottlob Neefe and the soloists Andreas and Bernhard Romberg — musicians known far beyond the city.

Young Beethoven’s stomping grounds

Ludwig, age 13

Son of a singer and grandson of a court orchestra director, vice-organist, pianist at courtly concerts and violist in the theater orchestra: Could there be any better conditions for a promising career in music? Not least of all, Beethoven was favored and promoted by Maximilian Franz, and the sovereign remained interested in Beethoven’s activities even after he’d moved to Vienna.

Young Beethoven’s stomping grounds

The Rombergs

Who had the final say in their joint opus 1: the violinist Andreas Romberg (1767-1821) or the man portrayed here, his cousin, the cellist Bernhard Romberg (1767-1841)? Maybe that doesn’t matter much: the Rombergs often appeared as a double act. The two successful young musicians were called to the court in Bonn and became Beethoven’s musical companions.

Young Beethoven’s stomping grounds

Beethoven’s eternal pupil

Could one ever outgrow the epithet “pupil of…” if that instructor is Beethoven? Ferdinand Ries (1784-1838) was a family friend from Bonn who took instruction from Beethoven in Vienna. Later he moved to England and composed fanciful pieces for piano. Later still, he conducted works of his own at the Lower Rhenish music festivals and introduced the works of Beethoven to the people of his homeland.

Young Beethoven’s stomping grounds

Beethoven’s eternal teacher

Beethoven’s hometown teacher Christian Gottlob Neefe (1748-1798), also hardly ever emerges from the shadow of his famous pupil — which is a shame, as his compositions sound fresh and inventive. The organist, orchestra director and musicologist was also interested in the political developments of his time and an advocate of the ideals of the Enlightenment — something else he shared with Beethoven.

Author: Rick Fulker