The portentous ‘dun dun dun duuun’ opening notes of his 5th Symphony are recognised everywhere, but just what is it that accounts for the enduring popularity of Ludwig van Beethoven?
That is the question which Surya Bowyer, QE’s Head of Library Services, examines in the latest episode of The Queen’s Library Roundness podcast.
He drafted in some local expert help – Ruth Partington, the School’s Director of Music, and Caroline Grint, Music teacher – in his exploration of the significance of the iconic German pianist and composer in the musical canon.
“2020 marked the 250th anniversary of Beethoven’s birth in Bonn,” says Mr Bowyer. “Around the world – from London to Melbourne and Shanghai to Sao Paolo – events which had been planned over many months, and, indeed, years, in concert halls and music venues to celebrate his works, in that symbolic year, had to be cancelled.”
Apart from the Nokia ringtone, (Gran Vals by Francisco Tárrega) those opening four notes of ‘Beethoven’s 5th’ – which form the title of the podcast – are probably the best known musical “motif” of all among the general public. And this is attributable, not to concert-going necessarily, but to their ubiquitous use in advertising and films. Yet would this suffice to explain the exceptionally high regard in which Beethoven is still held?
Miss Partington and Miss Grint discuss Beethoven’s acknowledged legacy as the composer whose composition spanned the transition from the classical period to the romantic era, and question whether he was truly ground-breaking in the way he is often presented.
The podcast covers the difference expectations held of composers such as Joseph Haydn and Wolfgang Amadeus Mozart, who were court composers, and Beethoven who, while receiving a stipend, had more freedom. They explore the effect this had in a number of ways, including the duration of his symphonies.
The discussion ranges over whether Beethoven was a musical genius, or a talented musician and composer who happened to be about at the right time, with a rising middle-class who could afford to attend music concerts and the emergence of music critics. It also touches on whether Beethoven would recognise his own work as it is played now on modern instruments.
“The way in which Beethoven and his music are written about leads us to listening to him using the terms that are ascribed to him,” says Miss Grint. “Because we expect universality, we find it, we read the meaning into it. Instrumental music is seen as having universality because it doesn’t tell a story using words, it’s more metaphysical.”
Miss Partington believes Beethoven’s continuing popularity lies in the powerful emotions he evokes. “I’m not a fan of working-out meaning,” she says. She believes there is a mystical element to music, and that it should not be pigeon-holed.
But whether a genius, or a man in the right place at the right time, there seems little doubt his legacy will endure, from the ‘low brow’ – car advertisements, for example – to the distinctly ‘high brow’, such as performances at top music venues, the three concluded.
- The Dun, dun, dun, duun episode of the Roundness podcast is available from the Library pages of the eQE online platform and from normal podcast providers, including Acast, Apple Podcasts and Spotify.
Listening and watching online was Christopher Sparkhall, Director of Music at Canford School in Dorset, who gave the performers immediate feedback on their performances and then sent them longer, written feedback a few days later.
The first half of the festival featured seven pianists, all of whom have either achieved Grade 8 and are now working towards their Diploma, or are working towards Grade 8. They played pieces by composers including Debussy, Grieg, Chopin and Rachmaninov. Shreyas Iyengar, of Year 7, who is pictured, top, performed Passepied, written by 19th-century French Romantic composer Léo Delibes as part of his incidental music for the play, Le roi s’amuse, by Victor Hugo.
Representatives of Queen Elizabeth’s School met with senior staff from contractors TJ Evers, architects Hollins and project manager Barkers Associates for the ceremony, which served to confirm the swift progress of the £3.5m project.
The ceremony was led by John Blundell, Site Manager for TJ Evers, who explained a little of the history of topping out ceremonies, which have been held for hundreds of years, usually marking the point at which a new building attains its maximum height. As on this occasion, topping out ceremonies often include an opportunity for those present to sign the uppermost beam, or its equivalent, thus providing a record of the occasion for posterity.
Director of Music Ruth Partington, who was among the guests at the ceremony, recently led a research process to choose the grand piano that will take pride of place in the recital hall. The School’s Foundation Trustees have agreed to pay for the selected Yamaha piano, valued at just under £75,000. A new Piano Fund aims to raise another £30,000 over the coming months to meet the associated costs of pianos and further equipment.”
His hour-long, richly illustrated, online talk focused on examples of improvisation by two of the jazz greats, Herbie Hancock and Miles Davis.
Mike was Head of Jazz Studies at the Royal Northern College of Music for 20 years, during which time he directed well over 100 concerts with the RNCM Big Band. He still teaches at the RNCM and has also taught at many jazz summer schools and been a consultant and composer for the Associated Board of the Royal Schools of Music (ABRSM – a Music examinations board).
Congratulating the pair formally with Headmaster Neil Enright last term, Director of Music Ruth Partington paid tribute to colleagues who had helped them and expressed the hope that their achievement would be a foretaste of even more singing successes to come.
Eeshan explained how his audition had gone. “There were two senior members of the choir, including the conductor, who listened to me perform and then got me to complete a few exercises to test my ability. I performed an Italian song called Dolente immagine di Fille mia and got special commendation for singing in Italian.
Joel, who has been having singing lessons since the beginning of Year 8, also acknowledged Mr Bowden’s help. In his audition, he performed Where the Bee Sucks by the 18th-century British composer, Thomas Arne. “I feel like my singing has developed massively as a result of these lessons.”
Building on the success
Both venues were chosen because they were large enough to allow full social distancing.
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