Beethoven—the very name brings to mind the sounds of struggle and triumph. The name is practically a household name; whether you listen to classical music or not, you probably know the name of Beethoven. Everyone has probably at sometime seen the painting of Beethoven holding the manuscript of the Missa Solemnis, pencil in hand, and looking off into the distance with a fiery, determined gaze. This is the image that always comes to mind when I think of Beethoven or his music. However, not so much the image per se, but what the image represents—that unwavering determination to create, to fulfill one’s purpose, and to achieve the highest satisfaction in one’s own abilities.
Beethoven is possibly the most influential composer in classical music. At his hands, nearly every major compositional form was expanded, not only in length, but in its capability of infinite variations and depths of expression. Numerous later composers acknowledge their debt to Beethoven. Schubert, who’s career was constantly in Beethoven’s shadow, was greatly admired the elder composer, so much so that Schubert requested to be buried next to him. Schumann, in giving advice to the young Brahms, told him to always remember the openings of Beethoven’s symphonies. Brahms, although somewhat testily, acknowledged the influence of Beethoven’s Ninth on his own First Symphony and furthermore, in addressing the excessive length of time it took him to produce a symphony, he said, “You have no idea how it feels to the likes of us always to hear such a giant (Beethoven) marching behind one.” During the Romantic period, both the New German school led by Liszt and Wagner, and the traditionalist led by Brahms claimed lineage from Beethoven. Even the moderns can’t get away from Beethoven. Charles Ives quoted both the Fifth Symphony and the Hammerklavier Sonata in his own Piano Sonata No. 2, and the eery opening fugue of Bartok’s first string quartet echos the opening fugue of Beethoven’s op. 131 quartet. Indeed, it would likely be difficult to find any composer who has not in some way, directly or indirectly, been influenced by the music of the giant Beethoven.