Beethoven’s life presents a sharp contrast to his music; where he was often impatient, abrupt, and even careless in everyday matters, his approach to music was marked by profound patience and careful brooding. Although his personal life was frequently distracted and melancholic, his music conveys a sadness that is noble and universal, never mere despair. As a political revolutionist and social rebel, he rejected conformity, yet in his music, he respected traditional forms, choosing to expand rather than discard them. His extempore playing was audacious, yet in his written compositions, Beethoven was cautious and meticulously selective.
Beethoven’s sketchbooks—more than fifty of which were found after his death—are a testament to his slow and careful creative process. These books, filled with musical ideas and repeated revisions, reveal the germination of themes from simple beginnings into the artistic designs of his final compositions. Grove notes that each elaboration brought spontaneity, making them “perhaps the most remarkable relic” of any artist. Beethoven worked simultaneously on multiple compositions and often kept themes in mind for years. Nottebohm, author of Beethoveniana, speculated that had Beethoven completed all the symphonies outlined in these books, there would be at least fifty. His creative process involved relentless revision until each phrase expressed exactly the emotions he sought.
Though outside events occasionally influenced his music—as with the Eroica Symphony—his work was largely independent of his personal experiences. A profound example of this detachment is seen in the Second Symphony, composed in 1802, the same year Beethoven wrote the “Heiligenstadt Will.” In this document, born from his despair over his worsening health and incurable deafness, Beethoven poured out his anguish over his unhappiness and isolation, sentiments not reflected in the lively Second Symphony he composed simultaneously.
Beethoven’s anguish over his deafness and isolation was powerfully conveyed in his Heiligenstadt Will, written in 1802. He described himself as living in "exile," gripped by anxiety whenever near others, fearing his condition would be noticed. He confessed that at times he considered ending his life but was restrained by his dedication to art: "It seemed as if I could not quit this earth until I had produced all I felt within me." He expressed a desperate wish to experience "just one pure day of joy", yearning to feel true happiness once more.
This despair, however, was absent from the music he composed that same year, particularly the Second Symphony, where Beethoven’s artistic voice triumphed over his personal sorrow. Critics observe that this symphony radiates joy and strength. "The scherzo is as proudly gay… the andante is completely happy and tranquil… for everything is smiling in this symphony," showcasing Beethoven’s noble heart and the unblemished illusions of life that he preserved in his music.
There were rare periods, notably from 1808 to 1811 during his relationship with Therese Malfatti and again after his brother’s death in 1815, when personal struggles silenced his creativity. Yet, despite lifelong battles with sickness, financial strain, and heartbreak—including the turmoil caused by his nephew—these hardships rarely penetrated his music. The “Eroica” Symphony might reflect an emotional response, but more often, Beethoven’s compositions served as a refuge and defense against grief. His music was a shelter from sorrow, a fortress that shielded him from life’s woes, allowing him to transcend his trials through art.
