Beethoven 250: how the composer's songs symbolizes the Knowledge viewpoint of flexibility
Flexibility in Beethoven's songs takes many, often overlapping forms. There's heroic flexibility in the Eroica (1803), flexibility from political oppression in the Egmont Overture (1810), artistic flexibility and development in the 9th Symphony (1824).
Today, Beethoven's songs remains deeply gotten in touch with a real humanism, which has the concepts of flexibility and self-reliance at its heart.
The composer's songs expanded from the age of European Knowledge, which located human factor and the self at the centre of knowledge. The German philosopher Immanuel Kant comprehended knowledge as the ability to use one's understanding without the assistance of another. Knowledge is accomplished when we have the flexibility to depend on our intellectual capabilities to determine how to live. This process of interior regulations based upon factor is for Kant equivalent to the concept of free will.
A modern of Kant, Georg Hegel was also a theorist of flexibility, freedom, factor and will. Hegel, such as Kant, comprehended the free individual as someone that self-consciously makes choices through the activity of a will governed by factor. Hegel includes an additional measurement of social flexibility, which he conceives as the actualisation of free will. In his Phenomenology of Spirit (1807), Hegel famously explains flexibility as "the highest fate of the human spirit".
In its expedition of the flexibility of human spirit, factor and will, 18th and 19th-century German thought provides the intellectual context where Beethoven made up. Beethoven imbibed this spirit, writing in an 1819 letter that:
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Flexibility and progress are our real aim on the planet of art, equally as in the great development at large.
To understand how the sounds of Beethoven's songs communicate this viewpoint of flexibility we must assess a interested process whereby Beethoven's songs became listened to as the movement of the will itself.
To the German philosopher Arthur Schopenhauer Beethoven's symphonies were a straight depiction of the will, "a real and perfect photo of the nature of the globe which rolls on in … countless forms".
Schopenhauer's will attracts on Aristotle's understanding of anima (spirit or mind) as the animating or moving concept. As the musicologist Daniel Chua explains, this Aristotelian idea of will as self-movement is key to 19th-century music thought. Both flexibility and will were comprehended as movement – and no songs stimulated this better compared to Beethoven's. Through their remarkable motion, Beethoven's symphonies, particularly, shown the will enacting its flexibility and unraveling its fate.
Following Schopenhauer, the composer Wagner assessed Beethoven's songs as revealing the will in his 1870 centenary essay. He transforms rather to the late quartets, applauding Beethoven's C-sharp small quartet (opus 131) as "the dancing of the universe itself". In The Birth of Disaster (1872), the philosopher Nietzsche similarly sees Beethoven's songs as revealing the will.