In Search of Beethoven

It must be an exceptionally rare person, who is not moved by Beethoven's music. Thus, a film, like this, that includes lots of his music, in some very good performances, is bound to please many. However, it did not live up to the advertisement, which drew me to the Siskel Film Center to see Grabsky's opus, and which promised new insights into the life of this musical god. I think that the film tries to cover too much, and ends up being fragmentary and rehashing old ground. Even a film that is 139 minutes long, cannot adequately encompass most of Beethoven's life and music, as this documentary attempts to do. There are a few revealing insights, like the story of the young Beethoven's attempt to con his teacher, Haydn, into interceding with the Elector of Bonn to increase Beethoven's stipend, when he was studying in Vienna. But even this (new to me) story is not used to try to explain more about Beethoven. For the most part, this is a static film, that relies on talking heads and interminable footage of Beethoven's familiar portraits. One of the few talking heads, who actually has interesting things to say about Beethoven's music, and who also reveals himself as a very human, self-deprecating artist, is Emanual Ax. Too many others offer no special insights, and only mouth the same tired platitudes. In summary, this film is enjoyable for the music, but don't expect to learn many new insights about this great composer.

In Search of Beethoven was metaphorically a personal search for the substance of a musical genius for which I knew only superficial facts. Diane and I both thought the film was superb in allowing the viewer into this man's life and did this search primarily through his music. When the credits rolled at the end it was possible to fleetingly see all the musicians involved in demonstrating the various musical pieces that provided the bulk of this remarkable film and there were many. There were many artists and many pieces of his musical opus and from this analysis even someone untrained in music, such as me, had demonstrated for them the complexity, playfulness and virtuosity that composed this man's decades of work. Although the film was essentially musically based, my eye was drawn to another film making element that was not auditory and that was the cinematography. I am sure that I am demonstrating my own lack of knowledge about how music playing is filmed but I was continually impressed with the Big Close Ups used throughout the film. For instance, if the particular piece being played used a violin then the camera would move in and focus on only the hand or if it were a piano piece then the camera would focus only on the hand at the keyboard. I found these big close ups very gripping in their intensity and illustrative of the composition being discussed. Any person with or without knowledge of music could hugely profit from two hours spent with this musical genius.

EDIT: watch it for the professor in a powdered wig, handing out hard-earned history lessons with a straight face, fully fangirling over his haloed Beethoven, passionately gasping out different ways to phrase "changed music forever." He's so serious!

Ah, but then they read his letters out. "1801, dear friend, I can no longer hear the high notes of voices or instruments.." Oof. So he goes on from here drinking mercury from his doctor dutifully, he finds love, loses love, throws over his life, moves to a new land, goes half insane and goes COMPLETELY DEAF. THEN, he dropped the Ninth Symphony like a bomb on a big crowd expecting a Brahms lullaby- totally shattered the scene, blowing off wigs, the room cheered out loud together! - by the time the audience leapt to their feet & she walked over to turn him around so he could understand the resounding joy he had given them, music would never be the same again.

We bask in long, up-close shots of genius fingers flying over keys in some of the most technically difficult music ever dared, written by Beethoven specifically as VENGEANCE ON HIS ENEMIES! Only Liszt was also this ballsy. You can HEAR the jolty, tilting deviations of the train from the rails of his life - & now you can SEE it, too. An outrageously intimate, deeply enjoyable documentary.

For anyone who has a passion for classical music,and especially for the music of Ludwig Van Beethoven,this film is for you. Director Phil Grabsky,who previously traveled down this avenue before a few years ago with the ever so fine,'In Search Of Mozart',takes us on a journey to tell the tale of a man possessed by genius (but not without a price). Over a period of (nearly)two & a half hours,we see & hear elements of Beethoven's life told by a series of historians & musicians,such as Emanuel Ax,Julliet Stevenson & Lars Vogt,who tell the tale of a gifted,but tortured soul who lost his hearing at an early age,but persevered on to compose a legacy of music that still stands today,years after his death. Grabsky,in addition to directing this film,also photographed it (images have a painterly texture to them,at times). But over all,the music speaks for itself (we get to hear excerpts from several pieces). This film is highly recommended for viewing in music classes in schools (at the film's conclusion,there is information about purchasing DVD copies,with additional footage trimmed from the final release print for the time factor,as Grabsky's original directors cut clocks in at something like fourteen hours).Spoken (mostly) in English,and German & Italian with English subtitles. Not rated by the MPAA,but contains absolutely nothing offensive,what so ever. Perfect viewing for the whole family

Philip Grabsky, whose film In Search of Mozart was one of the highlights of last years' Vancouver International Film Festival, has returned this year with an investigative study of the great 19th century German composer Ludvig Van Beethoven. The documentary, In Search of Beethoven, seen at a VIFF pre-screening, follows the same linear framework as the film about Mozart, sampling sequential compositions of the artist while interspersing the comments of performers, conductors, composers, and music historians such as Emanuel Ax, Hélène Grimaud, Louis Langrée, and Roger Norrington. Performed in the film are snippets of all of Beethoven's nine symphonies, five piano concertos, his only violin concerto, his opera Fidelio, several piano sonatas including the famous "Moonlight" sonata, and several sonatas for violin and piano, beautifully performed by seventeen orchestras, fourteen pianists, four cellists, six singers, and one string quartet. It is a veritable aesthetic feast.

The 138-minute documentary (cut from fourteen hours) explores a unique individual who, while a transformative figure whose music was capable of evoking ecstatic emotions, was a dark, reclusive, and almost unfathomable individual whose cantankerous personality and battles with his growing deafness are legendary. Grabsky follows Beethoven's life from his birth in Bonn in 1750 as the son of a court musician to his adulthood in Vienna where he was quickly recognized as one of the city's most promising musical talents. Developing a reputation as a piano virtuoso, his performing abilities were in great demand yet he also began to be known as a drinker with a personality that could be surly.

With the onset of deafness and a growing frustration with his inability to develop a satisfying and lasting relationship with a woman, Beethoven became depressed and even thought of suicide. In his Heiligenstadt Testament written in 1802 to his brothers Johann and Carl and discovered after his death, he declared that he rejected suicide only because he had to fulfill his destiny to share his music with the world. David Dawson from the Royal Shakespeare Company reads from Beethoven letters, some of which illuminate the composer's state of mind, explore the nature of his illnesses, and discuss his obsessive desire to gain custody of his nephew Karl. The film also mentions the composer's growing indifference to social conventions including the unkempt condition of his person and his general misanthropy, though attempts are made to put his personality problems into perspective.

Unfortunately, however, the spiritual side of Beethoven's nature is left mostly unexplored. Although Grabsky does point out the ethereal nature of some of his later piano sonatas and string quartets, the connection is only tentatively made between his heroic struggle against the afflictions of his life, his ultimate acceptance of them as necessary to his creativity, and the sublime nature of his final works. I would have loved to hear Beethoven quoted in the film saying (as he does in the biography "Beethoven: His Spiritual Development" by J. W. N. Sullivan), "I must despise a world that does not know music is a higher revelation than all wisdom and philosophy, the wine which inspires one to new generative processes. I am the Bacchus who presses out this glorious wine for mankind and makes them spiritually drunken." In spite of its limitations, however, In Search of Beethoven takes us beyond the stereotypes of the dishevelled, out-of-control genius and the clichés of films like Immortal Beloved, providing a context to appreciate both the music and the man and the enormous revolution his genius engendered. Conductor Fabio Luisi of the Vienna Symphony Orchestra says it this way: "I have two impressions of Beethoven: a large brain and an equally large heart. These two elements often fight against each other, but frequently they love each other, too. There is so much love, so much empathy and ability to endure suffering. All this comes from his heart."