Bianca wrote:Perhaps I didn't explain myself well. This question will bring you back again to a 'why' and to a series of conflicting opinions. Before thinking about this or that composer, one should establish a concrete evaluation criterion, a valid yardstick regardless of opinion, assuming such a thing exists, and share it with a community. Generally, this is not done, which is why one never gets to the bottom of it. Such an attempt might seem quite daring, but in other fields that appear even more refractory to the application of a scientific method, numerous attempts have already been made, and some even successful.
No, Bianca, it's not that you are explaining yourself poorly, it's that I have major limitations!
From my point of view, a "concrete evaluation criterion" could eventually be useful if we wanted to determine here who was the greatest composer. Naturally, that criterion would have to be shared by everyone and, once approved, would be virtually unassailable, always regardless of the legitimate tastes of each of us.
But that is not the point!
The point is that we are faced with a composer, certainly a very great one, who in the two centuries since his death—despite repeated attacks from many intellectuals in various capacities (especially in the period from the beginning of the last century to about the 80s, but not only)—continues, with ups and downs, to dominate the desire for listening. Naturally, this is among that audience which, at least in part, is interested in this type of music. I repeat, this is a fact. A fact that some will scoff at and others will take with a fair amount of resentment, but it is a fact.
That said, it is natural to wonder why? Why Beethoven specifically and not someone else?
Attention! I am perfectly aware that from a media standpoint, starting roughly from the 1920s of the last century, Mozart's figure has taken precedence. Despite this, however, apart from his major theatrical works, his late symphonies, and his most beautiful piano concertos, Mozart does not have an integral performance frequency like Beethoven. But not only that: I would say that after the 2006 binge, the desire for Mozart is slightly declining. But that is just my feeling.
On the other hand, there is another composer, Bach, who, despite his immense greatness, continues to find great interest, particularly among the more intellectual circles and industry professionals.
Substantially, that is the situation!
The question, therefore, arises spontaneously: why is there still this enormous need for Beethoven today?
