Beethoven - Brilliant, bad-tempered bighead

Despite his numerous shortcomings, Beethoven became - and remains - the Emperor of composers, writes TARA WERNER.

Ludwig van Beethoven consistently draws people to concerts. The composer is a programmer's dream.

Schedule a few of his large-scale works and audiences arrive like bees to a honeypot - a fact not lost on the Auckland Philharmonia, which starts its Beethoven festival on Friday.

Called Beethoven and the Farr Future, the series includes three of his great symphonies, two piano concertos, five of his best-known overtures and the two romances for violin.

To add ballast to this powerful mix are two orchestral works by Gareth Farr - From the Depths Sound the Great Sea Gongs and Le Temps est a ou pluie.

The reasons behind Beethoven's popularity may seem obvious, but the answer is a little more complex than just saying that his music speaks for itself.

Possibly it has more to do with his personality than anything else - the sort of forceful musical mind that easily transcends the centuries.

The difference between Beethoven and all musicians before him was that Beethoven looked upon himself as an artist and stood up for himself as an artist, says musicologist Harold Schonberg.

"He was an artist, a creator, and as such superior in his own kind to kings and nobles. He was of a special breed, and he knew it. And he had a powerful personality that awed all who came in contact with him."

There are stories aplenty about his personal life and relationships. Short in stature with a massive head, protruding teeth and small rounded nose, he would annoy his friends by spitting whenever he fancied.

Lacking any of the social graces considered so important at the time, Beethoven often went into angry rages - not helped by his increasing deafness. Even by his own admission he lived in the most appalling squalor, and continually fired his servants.

Yet his genius was recognised from the beginning, and despite his dreadful manners Beethoven was almost adopted by the aristocracy.

This meant that his music was heard and talked about, which contributed greatly to his reputation. But communication had always been the key with Beethoven, a curious situation given the difficulty he had composing his works.

The evolution of his compositions can be traced in detail from many sketchbooks and worksheets, all of which he kept.

Towards the end of his life he was totally deaf. Almost incredibly, Beethoven continued to function, drawing on his memory and fertile imagination.

It is this musical imagination that could be the ultimate answer to Beethoven's continued popularity.

Even in his lifetime listeners realised they were on to a good thing, that they were in the presence of something monumental. Most of Beethoven's works are beautifully, if painfully crafted masterpieces.

In Vienna - or Auckland, for that matter - he is as famous a figure as ever.

What: Beethoven and the Farr Future

Where: Auckland Town Hall

When: 8 pm Fridays, on October 15 and 22, November 26 and December 3.