Beethoven: How the World's First Rock Star Changed Music Forever

Byron Eggenschwiler
Byron Eggenschwiler

Thumbing his nose at authority and whipping crowds into a frenzy, he changed music forever.

Ludwig van Beethoven was often mistaken for a vagrant. With wads of yellow cotton stuffed in his ears, he stomped around 1820s Vienna, flailing his arms, mumbling as he scribbled on scraps of paper. Residents would frequently alert the police. Once, he was tossed in jail when cops refused to believe he was the city’s most famous composer. “You’re a tramp!” they argued. “Beethoven doesn’t look like this.”

The city was crawling with spies—they lurked in taverns, markets, and coffeehouses, looking to suss out anti-aristocratic rebels. Since Beethoven seemed suspect, these spies followed him and eavesdropped on his conversations. But authorities didn’t consider him a real threat. Like the rest of Vienna, they thought he was crazy. It had been nearly 10 years since he wrote his Symphony No. 8, and just as long since he’d last given a public concert. “He is apparently quite incapable of greater accomplishments,” the newspaper Allgemeine Musikalische Zeitung concluded.

Little did they know, Beethoven was composing like a man possessed. At his apartment, he stomped out tempos and pounded his piano keys so hard the strings snapped. Sweat-stained manuscripts littered the room. He was so focused, he often forgot to empty the chamber pot under his piano.

The piece would be his grandest yet: Symphony No. 9 in D minor. With it, he planned to give those spies reason to worry—not only would the piece be political, but he intended to play it for the largest audience possible. The music, he hoped, would put the nobility in its place.

Born to a family of Flemish court musicians in 1770, Beethoven had no choice but to take up music. His grandfather was a well-respected music director in Bonn, Germany. His father, Johann, was a not-so-well-respected court singer who gave young Ludwig piano lessons. Some nights, Johann would stagger home from the tavern, barge into Ludwig’s room, and make him practice until dawn. The piano keys were routinely glazed with tears.

A decade earlier, 7-year-old Mozart had toured Europe, playing music for royal courts and generating income for his family. Johann dreamed of a similar course for his son. He lied about Ludwig’s age to make him appear younger, and for a time, even Ludwig didn’t know his real age.

But the Beethovens saw neither fame nor fortune. Johann’s drinking debts were so deep his wife had to sell her clothes. When Ludwig turned 11, his family pulled him from elementary school to focus on music full-time. The truncated education meant he never mastered spelling or simple multiplication.

By the time he was 22, Beethoven’s world had changed. His parents passed away, and he left Bonn for Vienna, making a name for himself improvising at the piano for royal soirees. With Mozart now dead, he quickly became regarded as one of Vienna’s most talented musicians.

But the more Beethoven hobnobbed with aristocrats, the more he despised them. Musicians were treated like cooks, maids, and shoe shiners—they were merely servants of the court. Even Mozart had to sit with the cooks at dinnertime.

Beethoven refused to be put in his place. He demanded to be seated at the head table with royalty. When other musicians arrived at court wearing wigs and silk stockings, he came in a commoner’s clothes. (Composer Luigi Cherubini said he resembled an “unlicked bear cub.”) He refused to play if he wasn’t in the mood. When other musicians performed, he talked over them. When people talked over him, he exploded and called them “swine.” Once, when his improvisations moved listeners to tears, he chastised them for crying instead of clapping.

Most musicians would have been fired for this behavior, but Beethoven’s talent was too magnetic. “He knew how to produce such an effect upon every hearer that frequently not an eye remained dry, while many would break into loud sobs,” Carl Czerny wrote in Cocks’s Musical Miscellany. So Archduke Rudolph made an exception: Beethoven could ignore court etiquette.

But Beethoven wasn’t alone in his resentment. A few hundred miles to the west, in France, aristocrats were being queued up for the guillotine, and a stiff anti-royalist air was sweeping in toward Vienna. While not a fan of bloodshed, Beethoven supported the Revolution. He loved the free thought it encouraged, and he toyed with the idea of setting music to Friedrich Schiller’s poem “Ode to Joy,” a call for brotherhood and liberty.

But he never wrote the piece. Harboring revolutionary sentiments left him in a pickle: His career depended on the people he wanted to see uprooted. So he kept quiet. As the decade wore on, Viennese nobility continued to lionize him—he rose to be one of the city’s biggest celebrities. Then his ears began to ring.

It started as a faint whistle. Doctors advised him to fill his ears with almond oil and take cold baths. Nothing worked. By 1800, his ears were buzzing day and night. Beethoven sank into depression, stopped attending social functions, and retreated to the countryside, where loneliness drove him to consider suicide.

Music kept him going. “It seemed to me impossible to leave the world until I had produced all that I felt was within me,” he wrote. At 31, he was known as a virtuoso, not as a composer. But it seemed he had little choice. He snuffed his performing career and dedicated himself to writing.

Artistically, isolation had its benefits. Every morning, he woke at 5:30 a.m. and composed for two hours until breakfast. Then he wandered through meadows, a pencil and notebook in hand, lost in thought. Sketching ideas, he mumbled, waved his arms, sang, and stomped. One time, he made such a ruckus that a yoke of oxen began to stampede. He often forgot to sleep or eat, but did pause to make coffee—counting precisely 60 beans for each cup. He sat in restaurants for hours, scribbling music on napkins, menus, even windows. Distracted, he’d accidentally pay other people’s bills.

He started grumbling more openly about politics. He admired Napoleon and planned on publicly naming his third symphony for the general. It was a daring move: Napoleon was imperial Austria’s enemy. But when Napoleon declared himself Emperor of the French, Beethoven was disgusted. “Now he will trample on all human rights and indulge only his own ambition. He will place himself above everyone and become a tyrant,” he wrote, ditching the dedication. In 1809, Napoleon’s troops stormed into Vienna. The booming of his cannons hurt Beethoven’s eardrums so much he retreated to the cellar and buried his head under pillows.

In 1814, Napoleon’s empire collapsed and Austria’s nobility attempted to restore order. Within a few years, Prince Klemens von Metternich had established the world’s first modern police state. The press was banned from publishing without the state’s blessing. The government removed university professors who expounded “harmful doctrines hostile to public order.” Undercover cops infested Vienna. Beethoven’s contempt for power grew.

Although he still had royal patrons, Beethoven had fewer friends in high places. Many were missing or dead, and his ordinary friends were just as unlucky—briefly jailed or censored. Thankfully, Beethoven wrote instrumental music. For years, listeners considered it an inferior, even vulgar, art form compared to song or poetry. But as tyrants returned to power, Romantic thinkers like E.T.A. Hoffmann and Goethe praised instrumental music as a place for solace and truth. “The censor cannot hold anything against musicians,” Franz Grillparzer told Beethoven. “If they only knew what you think about in your music!”

That’s when the composer made the brash decision to return to Schiller’s “Ode to Joy.” Censors in Vienna had banned Schiller’s works in 1783, then reauthorized it 25 years later only after some whitewashing. (The original says, “Beggars will become the brothers of princes.” Beethoven had stronger feelings, writing in his notebook, “Princes are beggars.”) Adding words to a symphony would destroy the safety net of ambiguity that instrumental composers enjoyed, spelling Beethoven’s motives out for all to hear.

On May 7, 1824, Vienna’s Kärntnertor Theater was packed. Beethoven had spent months preparing for this moment, corralling nearly 200 musicians and dealing with censors who quibbled over a religious work on the program. They did not, however, complain about Symphony No. 9. No one had heard it yet.

Beethoven took the conductor’s baton, beating time for the start of each movement. The musicians’ eyes were glued to his every move, but in reality, none of them followed his lead. They had been ordered not to. Stone deaf, Beethoven was an unreliable conductor, so a friend actually led the orchestra.

The piece was four movements long and lasted a little more than an hour. The first three movements were purely instrumental; the last contained Schiller’s ode. But when one of the movements finished, the hall exploded with applause. Modern audiences would scold such behavior, but during Beethoven’s lifetime, a public concert was more like a rock show. People spontaneously clapped, cheered, and booed mid-performance.

As the audience hollered for more, Beethoven continued waving his arms, oblivious to the cheering and sea of waving handkerchiefs behind him. The applause was so loud, and lasted for so long, that the police had to yell for silence. When the performance finished, a teary-eyed Beethoven almost fainted.

The Ninth was a hit. But not with the aristocracy, who never showed up. Undeterred, Beethoven kept with tradition and dedicated the Symphony to a royal, King Friedrich Wilhelm III of Prussia. He sent the King a copy of the score and, in return, the King sent Beethoven a beautiful diamond ring. It appeared to be a gift of gratitude, but when Beethoven took the ring to a jeweler to sell it, the jeweler had bad news: The diamond was fake. Beethoven had clearly pushed some buttons.

The Ninth would be Beethoven’s last, and most famous, symphony. When he died in 1827, some 20,000 people filled the streets for his funeral. Schools were closed. Soldiers were called to ensure order. Five years later, people suggested erecting a Beethoven monument in Bonn. In the 1840s, Bonn celebrated its first “Beethoven Festival.” Salespeople hawked Beethoven neckties, Beethoven cigars, and even Beethoven pants.

All of it was groundbreaking. Never before had a musician garnered so much attention. It indicated a larger cultural sea change: A society that reveres artists and makes them celebrities. In a way, Beethoven was the world’s first rock star.

Beethoven-worship changed the course of art history. Isolated. Autonomous. Rebellious. Sublime. He was Romanticism’s posterboy, and his stature elevated the meaning of artist: No longer a skilled craftsman, like a cook or carpenter, an artist became a person who suffered to express emotions, genius, or—in drippier language—their soul. Beethoven’s success helped cement ideas that now define Western art.

And, of course, his influence on classical music is vast. The bigger, stronger modern piano emerged partly to accommodate his pieces. The first professional orchestras appeared in his wake, many with the goal of preserving his work. He was one of the first musicians to be canonized. Some argue the movement to immortalize his work eventually made classical music turn stale.

Before Beethoven, the works of dead composers were rarely played. But by the 1870s, dead composers owned the concert hall. They still do today. Aaron Copland would complain that “musical art, as we hear it in our day, suffers if anything from an overdose of masterworks.” John Cage bemoaned that “[Beethoven’s] influence, which has been as extensive as it is lamentable, has been deadening to the art of music.” Indeed, attending a classical music concert can be like visiting a museum.

It’s often forgotten that the piece that secured Beethoven’s status as an icon and reshaped the course of classical music was, at its heart, a powerful work of politics. In concentration camps during World War II, prisoners took solace in Beethoven’s message of freedom. In one heartbreaking tale, a children’s choir rehearsed “Ode to Joy” in Auschwitz’s latrines. It’s been sung at every Olympic Games since 1956. When the Berlin Wall fell, Leonard Bernstein conducted the Ninth with musicians from both sides of the divide. Today, it’s the national anthem of the European Union, and the message remains relevant. The same problems that plagued Vienna nearly 200 years ago—war, inequality, censorship, surveillance—have not disappeared. Perhaps it’s naive to believe that “all men will become brothers,” as the piece proclaims. But Beethoven, who never heard his own symphony, didn’t write it for himself. He wrote it for others. It’s our job to not only hear his message, but also to truly listen.

To listen to Beethoven's Symphony No. 9, jump to 33:45 in the audio file below.

How Thomas Jefferson's Obsession With Mastodons Partly Fueled the Lewis and Clark Expedition

James St. John, Flickr // CC BY 2.0
James St. John, Flickr // CC BY 2.0

By the 1800s, American mastodons—prehistoric relatives of the elephant—had been extinct for roughly 10,000 years. Thomas Jefferson didn’t know that, though. The Founding Father dreamed of finding a living, breathing mastodon in America, and this lofty goal ended up being a motivating force throughout much of his life. Even during the Revolutionary War, and even when he ran for the highest office in the land, he had mastodons on the mind. Jefferson was convinced that the hairy beasts still roamed the continent, probably somewhere on the uncharted western frontier, and he was determined to find them—or, at the very least, enlist a couple of intrepid explorers by the names of Meriwether Lewis and William Clark to do the hunting on his behalf.

The Corps of Discovery departed from St. Louis on May 14, 1804 and headed into the great unknown of the Louisiana Purchase in search of an all-water route to the Pacific. The adventurers made many discoveries on the two-and-a-half-year round trip—mapping the geography of the region and logging hundreds of species of flora and fauna unknown to science—but the directive to look for mastodons is a little-known footnote to their famous expedition.

At the start of their trip, Jefferson instructed Lewis and Clark to be on the lookout for “the remains and accounts of any [animal] which may be deemed rare or extinct.” Although he didn’t mention mastodons specifically—at least not in any of the written correspondence on record—the two explorers were all too familiar with Jefferson’s mammoth ambition. “Surely Jefferson still had the M-word in mind, and surely Lewis knew it,” author Robert A. Saindon writes in Explorations Into the World of Lewis and Clark, Volume 2.

Jefferson had long been interested in paleontology, but his mastodon obsession was fueled by a longstanding beef he had with a French naturalist who thought America’s animals and people were puny. Jefferson’s bone-collecting hobby quickly evolved into a mission to assert America’s dominance in the Western world and prove that it was "a land full of big and beautiful things," as journalist Jon Mooallem put it in his book, Wild Ones. Indeed, there are worse ways to become a political and cultural heavyweight than to prove your country is home to a 12,000-pound monster.

A Rivalry Forms

Georges-Louis Leclerc, Comte de Buffon
Georges-Louis Leclerc, Comte de Buffon

François-Hubert Drouais, Wikimedia Commons // Public domain

For much of his adult life, Jefferson was an avid collector of fossils and bones. At various points in time, he owned a bison fossil, elk and moose antlers, giant ground sloth fossils, and naturally, a number of mastodon bones.

Though his original interest may have been purely academic, Jefferson's exposure to the writings of French naturalist Georges-Louis Leclerc, Comte de Buffon fanned the flames of his obsession. Buffon’s “Theory of American Degeneracy,” published in the 1760s, postulated that the people and animals of America were small and weak because the climate (he assumed, without much evidence) was too cold and wet to encourage growth.

Jefferson was furious. He formulated a rebuttal, which partly drew attention to the inconsistencies in Buffon's beliefs about the mastodon. Buffon suggested that the American mastodon was a combination of elephant and hippopotamus bones, but because Jefferson had inspected the bones, he knew that the measurements didn't match those of previously known species. Instead, Jefferson argued that the bones belonged to a different animal entirely. (Although they’re distinct species, woolly mammoths and mastodons were lumped into the same category at the time, and were called one of two names: mammoths or the American incognitum.)

“The skeleton of the mammoth … bespeaks an animal of five or six times the cubic volume of the elephant,” Jefferson wrote. He later scaled back his argument a bit, adding, “But to whatever animal we ascribe these remains, it is certain such a one has existed in America, and that it has been the largest of all terrestrial beings.”

He didn’t just believe that mastodons had existed at one point in time, though—he believed they were still out there somewhere. It wasn’t unusual for thinkers and scientists of Jefferson's era to assume that bones were evidence of a still-living species. After all, dinosaurs had not yet been discovered (though their bones had been found, no one would call them dinosaurs until the early 19th century), and the concept of extinction wasn’t widely accepted or understood. Dominant religious beliefs also reinforced the idea that God’s creations couldn't be destroyed.

For his part, Jefferson believed that animals fell into a natural order, and that removing a link in “nature’s chain” would throw the whole system into disarray. Taking the tone of a philosopher, he once questioned, “It may be asked, why I insert the Mammoth, as if it still existed? I ask in return, why I should omit it, as if it did not exist?”

This position may have been partly fueled by wishful thinking. Jefferson believed that tracking down a living mastodon would be the most satisfying way to stick it to Buffon and say, “I told you so.” (In the meantime, though, he had to settle for a dead moose, which he sent overseas to the Frenchman’s doorstep in Paris to prove that large animals did, in fact, exist in America.)

The Hunt Continues

A painting of The Exhumation of the Mastadon

This 1806 painting by Charles Willson Peale, titled The Exhumation of the Mastadon, shows mastodon bones being excavated from a water-filled pit.

Charles Willson Peale, Wikimedia Commons // Public domain

In late 1781, Jefferson wrote to his buddy George Rogers Clark in the Ohio valley and asked him to fetch some mastodon teeth from a nearby "mastodon boneyard" in northern Kentucky called Big Bone Lick. “Were it possible to get a tooth of each kind, that is to say a foretooth, grinder, &c, it would particularly oblige me,” Jefferson wrote. Clark politely explained that the possibility of Native American attacks made this task impossible, but he was able to procure a thighbone, jaw bone, grinder, and tusk from travelers who had managed to visit the frontier.

However, Jefferson didn’t receive Clark's reply until six months later in August 1782 (because of, you know, the Revolutionary War). Although the war technically didn't end until the following year, peace talks between the two sides were nearing a conclusion, and everybody knew it. With an end to the conflict in sight, Jefferson doubled down on his request for mastodon bones. He wrote to Clark, “A specimen of each of the several species of bones now to be found is to me the most desireable object in Natural History, and there is no expence of package or of safe transportation which I will not gladly reimburse to procure them safely.”

Later, while serving as America’s first Secretary of State, Jefferson supported a proposed Western exploration that would have preceded the Lewis and Clark expedition. Before the expedition was called off, Jefferson had instructed the would-be explorer, French botanist André Michaux, to look for mastodons along the way. He wrote to Michaux in 1793, “Under the head of Animal history, that of the Mammoth is particularly recommended to your enquiries.”

Even when Jefferson turned his attention to national politics and ran for president against incumbent John Adams in 1800, he was still thinking about mastodons. His preoccupations were so widely known that his opponents, the Federalists, called him a “mammoth infidel” in reference to his unusual hobby and supposed secular leanings. As an 1885 article in the Magazine of American History recalled, “When Congress was vainly trying to untangle the difficulties arising from the tie vote between Jefferson and [Aaron] Burr, when every politician at the capital was busy with schemes and counter-schemes, this man, whose political fate was balanced on a razor’s edge, was corresponding with [physician and professor] Dr. [Caspar] Wistar in regard to some bones of the mammoth which he had just procured from Shawangunk, Ulster County.”

Once president, Jefferson used his office to further the field of paleontology. Not long after he was elected, he loaned one of the Navy’s pumps to artist and naturalist Charles Willson Peale, who wanted to extract a pile of freshly unearthed mastodon bones from a water-filled pit. It ultimately became the first fossilized skeleton to ever be assembled in America.

Of course, there is also evidence that Jefferson silently hoped Lewis and Clark would stumble upon a living mastodon during their expedition, which formally kicked off in 1804 and ended in 1806. That, as we now know, was impossible. After their return, Jefferson sent William Clark on a second assignment to collect artifacts from Big Bone Lick. He sent three big boxes of bones back to Jefferson, who got to work unloading and studying them in the East Room of the White House—the same room where John and Abigail Adams once hung their laundry.

Still, something wasn’t quite right, and Jefferson may have known it even then. By 1809, the animal in question had been identified and given the name mastodon, and Jefferson started to reverse some of his previously held opinions. In a letter to William Clark, he conceded that the mastodon was not a carnivore, as he once believed, but an herbivore. "Nature seems not to have provided other food sufficient for him," he wrote, "and the limb of a tree would be no more to him than a bough of cotton tree to a horse."

Accepting the Mastodon’s Fate

Thomas Jefferson
National Archive/Newsmakers

The fact that Lewis and Clark never spotted any giants roaming out West may have helped Jefferson accept the inevitable: Mastodons had gone extinct long ago. Waxing poetic in a letter to John Adams in 1823, Jefferson wrote, “Stars, well known, have disappeared, new ones have come into view, comets, in their incalculable courses, may run foul of suns and planets and require renovation under other laws; certain races of animals are become extinct; and, were there no restoring power, all existences might extinguish successively, one by one, until all should be reduced to a shapeless chaos.”

Although he was unsuccessful in his quest to find a living mastodon, Jefferson made other meaningful contributions to the field of paleontology. The fossils of another mysterious creature he believed to be a lion were later revealed to be that of a giant ground sloth. He named it Megalonyx (Greek for “great claw”), and in 1822, the extinct creature was renamed Megalonyx jeffersonii in Jefferson’s honor.

Nowadays, the ground sloth fossils—and several other items that formed the "cabinet of curiosities" Jefferson displayed at his Monticello estate—are part of The Academy of Natural Science collection at Drexel University. Considering that Jefferson is sometimes called "the founder of North American paleontology,” it would appear he got his revenge against Buffon after all.

CBS Is Live-Streaming Its 1969 Coverage of the Apollo 11 Launch Right Now on YouTube

The Saturn V rocket lifts off with the Apollo 11 mission on July 16, 1969.
The Saturn V rocket lifts off with the Apollo 11 mission on July 16, 1969.
NASA, Wikimedia Commons // Public Domain

Today is the 50th anniversary of the July 16, 1969 launch of the Apollo 11 mission, which resulted in the first Moon landing in history. CBS News is commemorating the momentous event with a YouTube live stream of its special coverage from that day, which you can watch below.

CBS anchor Walter Cronkite brought all the thrill and wonder of the takeoff into the homes of countless Americans, and he also introduced them to three soon-to-be-famous astronauts: former Navy pilot Neil Armstrong, Air Force colonel Edwin “Buzz” Aldrin, and former Air Force fighter pilot (and experimental test pilot) Michael Collins.

Cronkite chronicled the astronauts’ journey from their 4:15 a.m. breakfast at the command space center to Kennedy Space Center’s launch station 39A, where they boarded the Saturn V rocket. CBS sports commentator Heywood Hale Broun reported from the Florida beach itself, interviewing spectators who were hoping to witness history happen in real time. “I just hope they make it successfully and have no problem," said a visitor from California.

In the final seconds before liftoff, Cronkite counted down, not knowing what the future of the mission would hold.

Tune into the live stream below, or check out the highlights from CBS News here.

[h/t CBS News]

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