The Beethoven of Aramburu, Andrea Levy, Carmen Posadas, Marta Rivera de la Cruz, Savater …


«In adolescence I arrive at the so-called classical music by contagion of a school classmate. It took me a while to like him. He had never attended a concert or watched an orchestra up close. I begin to familiarize myself with names of composers, but it is Beethoven’s music, on vinyl records, that opens the door to a wonderful cultural space. I don’t know anything about music, but I discover that I knew the first bars of the 5th symphony. I recognize the sung part of the 9th, which I attributed to the inventiveness of Miguel Ríos. I identify with the tormented genius unable to not suffer every note that sits on the paper. It irritates me that in the courtyard of the barracks, in the afternoons, during military service, the speakers spread symphonic music of the genius. I don’t see anything military in Beethoven, not in his timpani, or in his orchestral strokes. I arrive in Germany in 83. I pronounce the name of the genius before natives in the Hispanic way. They do not understand me. And little by little I am discovering the intimate and melodic Beethoven, the one I prefer today, that of some sonatas and concerts for piano and orchestra, as well as the innovative, vivacious, difficult, of the last quartets. In the Warsaw ghetto, the Jewish orchestra played the 7th. The critic Marcel Reich-Ranicki tells it in his memoirs. Beethoven is the sound of the world and a positive facet of Europe and the intimate life of many human beings, among which I count. I am ardently celebrating not being born before his music ».


«In normal conditions I prefer the last Beethoven, already deaf and disoriented, of the string quartet 14, op.131 (1826) than the majestic and heroic of the great compositions, for example the magnificent concert for piano and orchestra No. 3 (1800) . However, now that we say, sadly, goodbye to the United Kingdom it is worth sounding loudly (if possible on a Sunday morning) the fourth and final movement of the ninth symphony based on the “Ode to joy” of Friedrich von Schiller that was adopted in 1985 as the European Anthem. Difficult times are coming for everyone and it is better to know from what joy we are ».


«I remember how I discovered Beethoven’s strength when he started to play the piano and in the first course there was a small play of his,« Trifle Op 119 No. 1 ». I loved to accentuate it majestically and I touched and touched it because it gave me a mysterious pleasure. Already in adolescence another great work of his filled me again with life so that a vinyl that I had, I had it all day on and always repeated the same part, again and again because it was like drinking sap alive. It was the ninth symphony. And I danced and dreamed what my life was going to be. Thanks Ludwig ».


«All music lovers are indebted to Beethoven, a large part of European music is based on his compositions. But beyond this historical weight, the important thing is that their symphonies continue to move us today. Europeans also owe him our anthem: his ninth symphony, arranged by Von Karajan, unites us all in front of those who want to separate us and exemplifies how the emotion of music helps to bring people together. Perhaps one of the most exciting political and musical moments that ever existed was the concert in which Leornard Bernstein played this ninth symphony with musicians from East and West Berlin a few days after the fall of the wall.


«I have always tried to correct a terrible defect. I do not like classical music. I know it’s a revelation that says nothing good about me, but it’s the truth. It will be due to professional deformation, it will be because words are mine, but the truth is that I only like music that tells a story. I love opera, I am fascinated by cantatas (especially those by Bach), I die for boleros and I get a tear every time I hear a tango. Luckily, Beethoven has come to my rescue. He has been my bridge between word and music. Not only because part of his is also sung but because he is so powerful, so extraordinarily eloquent that he does not need words ».


“It was in EGB first, in Miss Marisa’s class – short hair, big glasses, white coat – that appeared in the classroom with a record player and placed it next to the board. It was afternoon and it was hot: I was wearing a light dress under the pink striped apron. He asked for silence and made us listen to a record. Then he wrote on the waxed “Beethoven. Fifth Symphony ”, and thirty-eight girls scribble those words in our notebooks. More than forty years have passed. I never thanked my teacher for opening the door to music ».


«Perhaps when we look at absolute beauty through music, the unsurpassed manifestation of total art, we ignore the immense pain that those who, like Beethoven, have given us the most intense feelings of our lives. He was a tormented man, who suffered more than he enjoyed, who forged his personality for and for his mission in life, to make us see that the only way of liberation is not to achieve freedom, but to procure it with all your soul. All his music is a revolutionary cry of freedom. Freedom against power. Freedom against the powerful. And freedom against forms. Even when in 1802 the drama of his deafness explodes, he abandons the idea of ​​suicide because of the full conviction of his obligation to humanity. Music, art, the truth of Beethoven, no matter what is subjective, has made us freer ».


«Can even a complete layman in the delights of great music -” that mysterious form of time “, as Borges, another lego called it – say something about Beethoven? I will not be critical or pseudo-expert, just biographical. When my parents gave me my first portable turntable at age fifteen, I bought two discs for release: “The Four Seasons” by Vivaldi and the Beethoven violin concert, directed by Furtwängler and with Yehudi Menuhim as a soloist. I heard it endlessly, every afternoon, for years. I will even say that I had composed it. Beethoven or music addiction … »


«When listening to Beethoven I am conditioned, like all” boomers “, by certain childhood traumas. From the “Hymn to Joy” of Waldo de los Ríos sung by Miguel Ríos, to the tune (with lyrics included) of “Once upon a time the man”, which still prevents me from hearing the Septimine’s minuet without screaming in terror. So much Beethoven spoiled for me: “For Elisa,” Claro de Luna, the ta-ta-ta-chán of the fifth symphony. Luckily there are also places that are not desecrated in which to take refuge: for example, the last string quartets, which a high school philosophy professor discovered me and who have accompanied me since then ».


«Many times in my life I have been accompanied by the piano sonata No. 14, known as” Claro de Luna “. It is a music of great beauty. I look on Spotify and have more than 60 million downloads. There are many people in the world, I tell myself right now, that he owes something to Ludwig van Beethoven. His nine symphonies gave rationality to human passions. Yes, rationality and visibility. Beethoven is a creator of the idea of ​​being human. Thanks to Beethoven the human being exists and makes sense, a bit of meaning in the great night of the emptiness of the world ». .

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