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.
Each Year 7 form put forward a team made up of three or four boys. First place went to Pearce, with team members Ameen Elamin, Kyle Goldband, Tuhin Mitra and Nittant Moudgil scoring an emphatic victory.
“They were allowed to use their text books to help, as the ‘vocab’ we used was taken from the Year 7 course, but the sentences were pitched to be extra-challenging, particularly in terms of grammatical structures.”
The four boys overcame the challenge of having to work through lockdown – depriving them of access to tools and of the opportunity to do a live construction site visit – to put together a fully-illustrated 66-page project report.
The boys had the option of either improving on the ‘DustCube’-type device – they actually stripped one down to investigate how it worked – or of designing an entirely new product.
With coronavirus restrictions ruling out a physical visit to a site, Mr Wood instead arranged for them to make a virtual site visit to 80 Charlotte Street in Fitzrovia, London, where the interior was being renovated by Morgan Lovell.
The collective – a collaborative blog written and produced by Cambridge University linguists – awarded Vineeth joint first prize in the senior individual category for his closely argued seven-minute 
Vineeth explored the various academic theories about the origins of these sounds and how they developed. He looked at why retroflexes are common across hundreds of different languages throughout the Indian sub-continent, yet are relatively rare in other parts of the world.
Vineesh concluded: “This is what is amazing about retroflexes: the profound impact that they have on the complex sociology of south Asia, spreading across the tongues of people from a diversity of cultures, religions and backgrounds in a way that nothing else possibly could….Retroflexes seem to bind all of south Asia together. Despite making us seem homogenous and often risible to the western world, [their] history can give us a glimpse into the complex interactions between diverse cultures thousands of years ago.”
Along with Arnav and his fellow gold-medal winners, a further nine boys received silver medals and three took bronze. Thus, 20 of QE’s 21 entrants won medals, while nationally only 25% of the 8,476 competitors were medal-winners. All the QE contestants were from Year 13 and volunteered to take part, competing online from home. They completed two multiple-choice sessions of 45 minutes each.
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.