Great Master: Beethoven His Life and Music

by Robert Greenberg

1. The Immortal Beloved
2. What Comes down Must Go up, 18131815
3. What Goes up Must Come down, 1815
4. Beethoven and His Nephew, 18151819
5. Beethoven the Pianist
6. Beethoven the Composer, 17921802
7. The Heroic Ideal
8. Two Concerts, 1808 and 1824

Genres: Music, History, Nonfiction, Audiobook, Biography, Classical Music, Art

6 pages, Audio CD

First published January 1, 2001

About the author

Robert M. Greenberg is an American composer, pianist and musicologist. He has composed more than 50 works for a variety of instruments and voices, and has recorded a number of lecture series on music history and music appreciation for The Teaching Company.

Greenberg earned a B.A. in music, magna cum laude, from Princeton University and received a Ph.D. in music composition from the University of California, Berkeley. He has served on the faculties of UC Berkeley, Californiz State University, East Bay, and the San Franciso Conservatory of Music, where he was chairman of the Department of Music History and Literature as well as Director of the Adult Extension Division. Dr. Greenberg is currently Music Historian-in-residence with San Francisco Performances.

Reviews

[Melindam · Rating 5 out of 5]

The Good, the Bad and the Ugly (and the Beautiful)!



Well, this has been some experience and no mistake!



Beethoven is one of my favourite composers, but I have always concentrated on his music and besides a basic awareness about his life and times, his illness and -of course- the existence of his mysterious Immortal Beloved, I never went for the details about him as a person.

Having just finished Music as a Mirror of History by Robert Greenberg, including 2 lectures about Beethoven, which I enjoyed a lot, whetted my appetite for more. When I saw that another collection of Greenberg's lectures titled Great Master: Beethoven His Life and Music were included for free in my Audible subscription, I went for it.

While it takes some time to get used to Greenberg's narration -he keeps switching from lecturer to wannabe comedian and back, which I did not always appreciate- it is obvious that he reveres Beethoven's music (just as he should :), while he does not pull his punches when it comes to presenting him as a person. We get Beethoven in 3D, with in-your-face style details: bad-hair days (and boy, were there many of them!), body odour, personal hygiene, bullying, sickness, depression, delusions, his cheating his publishers, what have you. We are told about his being abused (beaten and coerced to practice by his alcoholic father) as a child, the artistic influences, his success and fall from grace, his loneliness and his devastation resulting from his developing deafness and his conquering himself and all around him in the end with the help of his music. We get the bad and the good with yuckety-yuck and goosebumps moments one coming right after the other.

This is an extensively well-researched material supported by memoirs of eye-witnesses, correspondence of family, friends, enemies; analysis from contemporary newspapers and critics; quotes from old and modern biographies, results of psychological character analysis and parts of well-chosen musical pieces.

There are quite a few speculations from Greenberg's side when it comes to psycho-analysis, but most of them are quite convincing. I was only surprised when he presented the identity of the "Immortal Beloved" as a resolved issue, offering Maynard Solomon's assumption as the absolute and final truth. I am not 100% convinced by that, but fine.

The lectures do not follow a straight timeline, there are quite a few jumps forwards and back, but Greenberg knows how to present it all to good advantage and maximum effect to keep up the interest throughout.

Very much recommended!! And I will most certainly check out more of his lectures on Bach, Mozart, Liszt, Tchaikovsky et al. :)

[Jonathan O'Neill · Rating 4 out of 5]

4 ⭐️

A typically solid effort by Greenberg to cover far too much in far too little time. I may have them mixed up as I'm coming back to "review" this after my usual... week of reliable memory but I believe Greenberg borrows heavily from Maynard Solomon in this one. He seems to pick a biographer for each lecture series and mix their commentary in with the contemporaries of the composer he's discussing. For instance, Jan Swafford is his go-to for the Brahms lectures and I think I recall a lot of Charles Rosen commentary in the Haydn collection... I might have them mixed up but you get the drift. Not complaining, I think all of those guys are fantastic!

*looks off into the distance and sighs longingly*
Ah, Beethoven! The greatest there ever was and/or ever will be! Prove me wrong. 😏
What are your favourite Beethoven pieces? I'd love to know!

[Trish · Rating 5 out of 5]

Oh boy, am I disillusioned now! But I'm getting ahead of myself.

Ludwig van Beethoven was born some time in December 1770 (he was baptised on the 17th and custom dictated that a baby was baptised almost immediately after birth).

He was born into a musical family: his grandfather (and namesake) was an accomplished musician and his father, the younger of two sons of his grandfather's, was a tenor as well as a keyboard and piano teacher. But his father was also a drunk and an emotionally and psychologically abusive person.
Ludwig was one of 7 children of whom only 3 survived - Ludwig and his two younger brothers.
LVB was first taught by his father, then by a court organist, then a friend of the family. He thus not only learned to play the piano but also the violin and viola. Not only were his lessons harsh, reducing the kid to tears often, but one of his teachers was also an insomniac so young LVB had irregular late-night lessons for which he was dragged from bed as well. All this because his father had heard of the Mozarts and wanted a child prodigy of his own. So no, he didn't have an easy start in life and yes, the craziness of people rubbed off on him, kinda.

After having had lessons in composition by none other than Christian Gottlob Neefe, LVB published his first own work (a set of keyboard variations) in 1783. In the same year, he also published his first three piano sonatas. This and LVB being mentioned in a musical publication meant that the new Elector of Bonn gave some support to Beethoven, appointing him court organist and assisting financially with Beethoven's move to Vienna in 1792.
It was in Vienna that he met the upper class family von Breuning, the widowed matriarch of which taught him more refined manners and nurtured his passion for literature and poetry. With his unhappy life at home, it's no wonder he lapped that attention and change in scenery up.
The von Breunings' home is also where LVB met Count Ferdinand von Waldstein, who became a friend and financial supporter by commissioning his first work for the stage, the ballet "Musik zu einem Ritterballett" (engl.: Music for a Knight's Ballet) in 1791.

A lot of nothing happened then while LVB's father's alcoholism got worse and worse. He did eventually publish some works that showed a sort of maturing but none of it was worldshattering yet.

It was probably at the end of 1790 that LVB met Joseph Haydn for the first time, too. The latter was travelling to London and made a brief stop in Bonn around Christmas. In July 1792, they met again in Bonn on Haydn's return trip from London to Vienna, when Beethoven played in the orchestra at the Redoute in Godesberg. Arrangements were probably made then for Beethoven to study with Haydn. Those of you who read my review of Greenberg's biography of Haydn know this didn't end too well.

When LVB left for Vienna, war was brewing in France. Moreover, shortly after he had left, he was informed that his father had died. And this is where his first mental problems reared their ugly heads. LVB suddenly claimed to be a Mozart, even playing in Mozart's style. To be fair, though, he later also claimed being the bastard son of the late emperor, then he acted as if he was father to his two younger brothers and went so far as to try and prevent the marriage of one. When that brother died as well, LVB took his newphew away from his mother and claimed him as his own son. There was quite the drawn-out legal battle, first in higher court due to people believing the lie of LVB being the bastard son of royalty, then in the lower courts. He won, lost and won again - if only because the widow remarried and got pregnant, thereby losing all rights to her first-born (ridiculous laws of the time).
In short: Ludwig van Beethoven was an asshole. A douchebag of the first order. And no, I had had no idea! *throws up arms*
There is a lot to unpack, psychology-wise, but I shan't. Concessions could be made to some degree, but only to some degree.

While in Vienna, he gave piano lessons - to the daughters of the Brunsvick family amongst others. LVB supposedly even fell in love with the younger daughter. Then, in late 1801, Beethoven met a young countess, Julie Guicciardi, through the Brunsvik family. He mentions his love for Julie in a letter dated November 1801, but class difference prevented him from even only persuing the relationship. However, he dedicated his 1802 Sonata Op. 27 No. 2, now famously known as the Moonlight Sonata , to her.

According to LVB himself, his deafness had begun around 1798. The decline was gradual, but his hearing was further impeded by a severe form of tinnitus. From April to October 1802, on his doctor's advice, LVB moved to the small Austrian town of Heiligenstadt just outside Vienna in an attempt to come to terms with his condition. Interestingly, during this time, he penned several letters: one to his brothers, a sort of last will and testament in which he even contemplated suicide; the other to friends, in which he was much more positive.
LVB's hearing loss did not prevent him from composing music, but it made playing at concerts (an important source of income for him then) increasingly difficult. It also contributed substantially to his social withdrawal. It is important to note that LVB never became totally deaf - in his final years he was still able to distinguish low tones and sudden loud sounds.

When LVB returned to Vienna, his music style had changed once more. This period was known as the "heroic" period and resulted in the publication of the 3rd symphony, known as the Eroica (though originally named Bonaparte because he initially felt sympathetic to Napoléon) in 1803/1804, the Apassionata piano sonatas in 1804/1805 and the opera Fidelio in 1805 (the history of this piece is rather maddening. Look it up, I promise you, it's worth its own review) and more.
Perhaps his most important aristocratic patron of this period was Archduke Rudolf of Austria, the youngest son of Emperor Leopold II, who became LVB'S pupil in 1803 or 1804. They became friends, and their meetings continued until 1824.


At the end of 1809, LVB was commissioned to write incidental music for Goethe's play Egmont. The result appeared in 1810 and fit well with LVB's heroic style so he became interested in Goethe, setting three of his poems as songs.
After that LVB got sick again, was again advised to spend some time away (this time in Teplitz in the Czech Republic), and again used this time away to pen new music. While at the retreat, he met Goethe in person, which promted a setting for choir and orchestra of Goethe's "Meeresstille und glückliche Fahrt" (engl.: Calm Sea and Prosperous Voyage) in 1815.

After this, we get to the meltdown that resulted in the legal battle for custody of his nephew (who, it has to be said, wanted to remain with his mother).

When, in June 1813, news arrived of the French defeat at the Battle of Vitoria by a coalition led by the Duke of Wellington, LVB wrote Wellington's Victory also known as the Battle Symphony.

In April and May 1814 LVB made his last public appearances as a soloist.

Between 1815 and 1819 he barely wrote anything at all. His health further deteriorated so while he DID pen a few sonatas (for the cello amongst them), there was nothing groundbreaking.

In 1823, the world then saw the publication of not one or two, but THREE notable works: the Missa solemnis , the Diabelli Variations and LVB's probably best-known work, the fabled 9th Symphony . LVB then turned to writing the string quartets for Galitzin, despite his failing health. The first premiered in 1825, the second and third followed in 1826.

But then his newphew tried to kill himself due to LVB's ongoing hatred for the boy's mother and general beahvior regarding his nephew. LVB, his surviving brother and newphew met in the village of Gneixendorf for some R&R. On his return journey to Vienna from Gneixendorf in December 1826, illness struck LVB again. This time, he didn't get better. During this period, Beethoven was almost completely bedridden despite occasional efforts to rouse himself. He had several operations, too. His newphew originally stayed by his side but then left in January 1827 to begin his military service.

LVB died on 26 March 1827 at the age of 56. Only two people were with him: a friend and a mysterious "Frau Beethoven" which might have been his nephew's mother (whether to make up with the old bugger or to make sure he would finally croak, I'll leave to your imagination).
LVB's funeral procession in Vienna took place on 29 March 1827 and was attended by an estimated 10,000 people!

He was cantankerous, grumpy, a pathological liar and I don't believe I would have liked him one bit as a person. However, due to his musical genius, people forgave much (I might have too, who knows). One thing's for sure: he shaped music's history.

Robert Greenberg once again delivered a wonderful lecture that not only educated and informed but also greatly entertained.

[Kathleen · Rating 4 out of 5]

To almost quote Sam Cooke in Wonderful World, "don't know much about music.." My education is woefully lacking when it comes to classical music and its creators. So when this audio book, from The Great Classics series, was an Audible Daily Deal, I quickly picked it up.

Writer/narrator Robert Greenwood alternates information about Beethoven's life with samples and commentaries of his work. At first I was surprised that Beethoven's life story was not fully described at the beginning, but in spurts throughout the lectures. I think he did that so we would listen to all the lectures.

I thoroughly enjoyed Greenwood's enthusiastic and animated narration. He is easy to listen to and kept my attention.

After the eight 45 minute lectures I feel that I understand the basics of Beethoven's life, his motivators, and his creativity. I didn't understand his music better, but that is another problem! A Greenwood audio book is a pleasant way to learn about music. Now I know a little bit about a classical composer. I will gladly listen to another Greenwood audio book.

Beethoven's life is as interesting as Mozart's. Perhaps some Hollywood writer could do for Beethoven what they did for Mozart, and create an Academy Award film, so we would all know him better.

[Illiterate · Rating 3 out of 5]

Greenberg’s nonlinear bio explores Beethoven’s troubled psychology and health and their impact on his thrillingly innovative music.

[Matthew Huff · Rating 5 out of 5]

Wow! Prof. Greenberg is astonishingly clear, engaging, and enthusiastic. I was thoroughly engrossed in this lecture series and cannot wait to get another of his courses.

Also, the depth of Beethoven's life and work that Greenberg explores is truly fascinating.

Highest recommendation!

[David Grossman · Rating 5 out of 5]

very informative. a more dynamic (if unsympathetic ) character than I imagined. the narration kept it fresh and exciting. musical interludes were outstanding. I enjoyed some of his other bios too. only thing missing is a discography of recommended recordings.

[Santhosh Guru · Rating 5 out of 5]

Wow. What an experience this has been! Robert is a tour-de-force and his passion and infectious enthusiasm make the topic very interesting and extremely accessible. I am going to scour through his other lectures. Fantastic. I really enjoyed this.

[Nathan Albright · Rating 5 out of 5]

I must admit that I did not know a great deal about the personal life of Ludwig von Beethoven before taking this fantastic course from the always-entertaining Robert Greenberg [1].  I knew that he was deaf and dishonest in his financial dealings with publishers, but not much else.  This course does a good job of discussing the intriguing relationship between Beethoven's Nathanish and troubled personal life with his immense creativity as a composer.  What makes this course particularly interesting, even fascinating, is the way that the instructor eschews a chronological approach to Beethoven's life and music and attacks it from different places at the same time.  This turns what could be viewed as a melodramatic U-shaped narrative into something that is more unconventional.  Of course, Beethoven's life was as compelling and as full of drama as his music is exciting and so this approach works well because both the life and the music are of deep interest.  If one is looking for tortured artistic geniuses, Beethoven certain qualifies by that score [2], and the course is both honest as well as ultimately sympathetic to Beethoven's struggles and appreciative of his musical genius.

As is common among the musical lectures in the Great Courses series, there are eight lectures here of 45 minutes apiece, which is barely sufficient to give even an introduction to the complexity of Beethoven's life and music.  The lectures begin with a discussion of the Immortal Beloved affair (1) and how it revealed the composer's inability to have loving and stable romantic relationships.  After this the instructor spends a couple of lectures looking at the rise of Beethoven to his greatest popularity thanks to the release of the 7th and 8th symphonies between 1813 and 1815 as well as his immensely popular but musically slight Wellington's March, which marked the apex of his popular success during his lifetime (2) as well as the fall from that popularity due to increasing deafness and resulting disastrous public concerts as well as some ugly legal drama including a custody fight over his nephew with the boy's mother (3).  An entire lecture is discussed showing Beethoven's failures to be a good surrogate father for his nephew and his acrimonious relationships with his sister-in-law Joanna (4).  At this point the course goes back to the beginning of Beethoven's life to discuss Beethoven's growth as a pianist over his early life despite his father's horrific and deeply damaging child abuse (5).  A lecture about Beethoven's early compositional career (6) and the first of his revivals as a composer of heroic material that related to his own struggle against "fate" in solitude (7) precede the course's concluding lecture on two concerts in 1808 and 1824 (8) that marked key turning points in the middle as well as the end of the composer's tumultuous life.

There are at least a few aspects of Beethoven's life that make him compelling to study.  For one, it must be acknowledged that he was an excellent composer even if as a person he definitely had some major flaws in his character and personality.  A family history of alcoholism and a personal history of being abused as a child were major negatives, and his crippling lack of ability in dealing successfully with those he viewed as authorities as well as engaging in intimate relationships were also major negatives in his dealings with others.  He was a classic example of someone whose personal life and difficulties made it very difficult to appreciate him during his life time, but whose obvious genius made it easy to appreciate his creativity after his death.  Greenberg's course is full of complexity in large part because Beethoven was a complex character, a blend of good and evil that makes for compelling listening, and that makes his heroic and defiant music all the more poignant in retrospect.

[1] See, for example:

https://edgeinducedcohesion.blog/2016...

[2] See, for example:

https://edgeinducedcohesion.blog/2015...

https://edgeinducedcohesion.blog/2015...

https://edgeinducedcohesion.blog/2015...

[Amy Gurney · Rating 5 out of 5]

I really enjoyed listening to this! 4.5⭐️

[Mark · Rating 5 out of 5]

This is the first Great Course that I listened to in the music category. Audible.com had a sale, and I purchased this 6 hour lecture by Robert Greenburg for only $7.49. I am glad that I did, Greenburg is the most enthusiastic professor for the Great Courses since my very first course with Egyptologist, Bob Brier. Greenburg clearly loves the subject of music, and I noticed that he teaches almost all of the music courses offered by the Great Courses.

This one delves into the life of my favorite classical composer, Ludwig Van Beethoven. Pieces of Beethoven's music are throughout the 8 chapters. (Each chapter is between 30 and 45 minutes). The time that Beethoven lived in, Beethoven's family, and the circumstances surrounding his life are all here in almost whirlwind fashion. Greenburg discusses Beethoven's famous Immortal Beloved (which was made into an outstanding movie starring Gary Oldman as Beethoven). Greenburg's conclusion was different than the film, but it was a fascinating way to begin the lecture and capture your interest. The activities of Napoleon Bonaparte and his effect on Beethoven's third symphony Eroica are discussed, as was Beethoven's years long custody battle for his nephew Karl from his brother's widow. Beethoven was not painted as a most likeable character. I have read some reviews that have complained about that in this lecture, but having read and watched other documentaries and books on Ludwig Van Beethoven, I can only say that Greenburg doesn't say anything that is not true about the gifted composer.

Greenburg does an excellent job of describing the society of the late 1700s and early 1800s in which Beethoven lived and became famous. Although many didn't like Beethoven personally, his musical genius was most definitely recognized during his lifetime and his music was loved by the masses and the aristocracy alike. Beethoven's famous piano concertos, his one opera, and several of his famous symphonies (including my favorite, the glorious Ninth) are all set into context in the composers life. It amazed me that some of Beethoven's best work was done when his hearing was completely gone.

I loved the pieces of music that were interspersed throughout the lectures and Greenburg's outright enthusiasm and excitement for his subject. I will certainly buy more of the Great Courses music lectures with Professor Greenburg, this course was educational, informative and downright entertaining.

[Adam · Rating 4 out of 5]

I had never heard of Prof. Greenberg before coming across this book from the Great Courses series. Since I finished reading it, I've looked up many other things he has written. His reputation as a musician and scholar is very highly regarded, and there is not doubt that he is knowledgeable and intelligent. But what made this such an entertaining book to listen to was his engaging, dynamic style. If you have ever seen Robert Wuhl in Assume the Position on HBO, Greenberg's style is very similar. This is certainly a text that should be heard (or seen) rather than read. I could imagine reading it might fall a little flat. But the audiobook was highly entertaining and informative.

The book did exactly what it was supposed to-- it taught me a great deal about Beethoven (about whom I knew only a little) but even more importantly, it got me excited about his music. I was aware of Beethoven and knew a couple "greatest hits," but now I feel comfortable diving into all of the symphonies, the piano concertos, and string quartets, and I will know what to listen for. Greenberg's book has made me a smarter listener of Beethoven, and a more enthusiastic one. I will certainly look for more of his titles.

[Thomas · Rating 4 out of 5]

Robert Greenberg is WILD about Beethoven, and sometimes goes a little overboard in an overly colloquial manner, but his intentions are absolutely golden. The lectures are quite engaging and just plain fun. So why only three stars? Well, it's like the old Woody Allen joke about the people who complained about the food in a restaurant -- "the food is terrible, and the portions are so small!" In this case the lectures are actually terrific, but there is simply not enough of them. Greenberg apologizes for this numerous times, but he should do more than that. With his passion for teaching this material he should force the Teaching Company to expand this set to at least 24 lectures. If any composer deserves it, and can inspire such insolence, it's Beethoven. And Professor Greenberg may be the perfect vehicle to channel Beethoven's mad genius.

[Claudia · Rating 5 out of 5]

What a great find! A Great Courses lecture series on Audible. I got to listen to a passionate expert tell me the story of Beethoven's life and music. NOT in chronological order, to be sure. Listening, I found myself jumping all over his life and his craft...but it ended as I needed, with the 9th...oh, and a sad, sad memoir from Rossini upon meeting the man and trying to reconcile the sublime music and the driven, lonely, unkempt man.

This was a treasure

[Dosha (Bluestocking7) Beard · Rating 5 out of 5]

what a tragic life. I had no idea. Beethoven was a complete asshole, admittedly, by the time he got really sick and started going deaf, I could understand his totally unacceptable behavior, but before that.... well, I'm not sure I disagree with his contemporaries who said Beethoven was impossible. He sure was, but he was also a pioneer who changed the music of the times forever.

[Eva · Rating 5 out of 5]

An absolutely fascinating introduction to Beethoven the man and Beethoven the composer. Professor Greenberg is clearly very knowledgeable and passionate about this composer, which made the course all the more enjoyable. If you enjoy the works of this master composer and are eager to learn more about him and his works, don't pass this course up!

[Danielle]

One of the best lecturers Ive ever heard. He makes it funny and compelling, if Beethoven's life wasn't compelling enough.

[Elizabeth · Rating 4 out of 5]

Excellent!

[JenBsBooks · Rating 4 out of 5]

I listened to the similar lecture series about Mozart earlier this year. I remember really liking it ... but I'm actually NOT remembering that much about Mozart, other than being absolutely able to associate Queen of the Night/The Magic Flute with him.

Here, I felt I learned quite a bit about Beethoven that I wasn't aware of (his relationships, his father, his brothers, his SILs, his nephew). I was surprised NOT to recognize as much of the sampled music as I would have thought (no Fur Elise, Ode to Joy or ... "The Burger King" song). I did a little lookup before, again attempting to assign familiar songs to Beethoven, Bach and Mozart. Made more difficult with the songs don't have distinct names ( ... Moonlight Sonata IS one I will remember, but not Symphony #5 ... although I definitely recognize the music when I hear it).

Quick listens, very entertaining lecturer. Sounds a little like Vencinni from The Princess Bride (here even saying "Sicilian" and "Florenes"). Included in AudiblePlus right now (the content can change), also available at my local library. THIS one wasn't priced as low during an Audible sale, so I gifted the Mozart one to a couple siblings. While I did like this, I seem to recall enjoying the Mozart one a little more? Maybe his story wasn't as sad/bad as Beethoven's...

[Stephanie · Rating 4 out of 5]

I got this lecture by Robert Greenberg because I needed to pick a second book for a 2 for one sale on Audible

I found it to be entertainingly educational. I didn’t know much about Beethoven’s personal life. He was a genius but also a lunatic diva. I don’t even know where to begin. It can’t all be the cause of lead poisoning. It’s the abuse he endured as a child and just a nutty personality.

I hate what he did to his sister-in-law and nephew. That custody case was cruel.

I did laugh at all the names that he called his brother Nikolaus Johann.

I also learned about the politics of the times with Napoleon wars.

I liked the inclusion of Beethoven's music. Robert Greenberg would explain something and play the music as an example. Some of the technical stuff went over my head because I never studied music, but I enjoyed listening to it. Robert Greenberg was manic as he lectured which matched Beethoven’s demeanor, I think.

4 out of 5 Symphonies.

[Alex Shrugged · Rating 5 out of 5]

Just marvelous. I've listened to a shorter audio course on Beethoven from the same professor. That was good but this was much better. This course includes examples of Beethoven's music and I loved them. I knew I would. I listened to his music as a child. I played those 78 rpm records over and over until they fell apart. (I think they were made out of shellac or something that was quite brittle.)

The many music examples explain the length of the course. Also the professor did not reveal Beethoven's life in chronological order. Instead he introduced the music and later gave the background as needed to explain why the composer was the way that he was.

I'd listen to this audio course again. I like the professor.

[Scott Martin · Rating 4 out of 5]

(Audiobook) A good overview of the life and music of one the greatest composers in history. Beethoven was quite the complex individual, blessed with great talent and skill, way ahead of his time, but also a personality that could turn off even his greatest admirers. The lectures jump right into the music and some of the key moments of his life, from the revelations about the Immortal Beloved to his family struggles to the works that came to define his legend. Plenty of good musical inserts and samples. Perhaps other lectures focus just on the symphonies, but this a good starting reference to learn about the man and music.

[Bradley · Rating 5 out of 5]

What a wild ride! I was always told how unstable Beethoven was, how brutish and lower case "c" crazy he was, but I guess he was all that and more.

BUT, if we ignore his bad behavior, his compulsive lying about his ancestry, the horrible mixed-up family situation, and some rather boarish behavior in general, we can ALL, almost universally, agree that he was ONE HELL OF A MUSICIAN.

Rock star is the proper term, not just in behavior, but in the rhythm and over-the-top grandiosity and originality of his work.


And, I shall not ignore the gloriosity of Greenberg's lecture. Top notch, as always.

[Steve Scott · Rating 5 out of 5]

Greenberg’s brilliant and often funny lecture style makes learning about Beethoven a breeze. He’s clearly an expert on the topic, yet this isn’t a boring, stuffy, Ivory Tower lecture. He keeps the students engaged with occasional lighthearted jokes that appeal to the 21st-century listener. At the same time, it’s an intellectual feast.

I thoroughly enjoyed this. It may be the single best lecture I’ve heard from The Great Courses. That’s saying something, because I’ve heard a lot of really good ones.

[Jared Gillins · Rating 3 out of 5]

This has probably been my least favorite of Greenberg's lectures, unfortunately. The non-linear presentation of Beethoven's life didn't really work—it just muddled the narrative and made certain things harder to follow and retain.

I thought things got better in the second half of course. Still recommended, but I hope Greenberg didn't follow this format for his biographical courses on any other composers.

[Selene Peck · Rating 5 out of 5]

What an interesting set of lectures that really humanized the man Beethoven. I was quite shocked to learn all I did about his early life, personality, and of course, his music. Greenberg is witty, fun, intellectual, and makes even the most complex music easier to understand for the lay person. Loving to learn, I know I will always get an articulate and intellectually challenging class from this fine teacher.

[Rose Rosetree · Rating 5 out of 5]

I'll admit it. Robert Greenberg helped me to like Beethoven's music . . . more, at least.

The combination of biography, insight, and musical analysis all helped me greatly.

With his typical wit and playfulness, Robert delivered insights into the great master, arousing my compassion.

Also, I always appreciate how Robert alternates history and musical analysis. A welcome opportunity for me to learn to like Beethoven far more than previously.

[Caitlin · Rating 4 out of 5]

Greenberg’s style reminded me a bit of Lewis Black, bombastic, but also very engaging. This Great Courses lecture series was easy to follow, not overly technical, and sparked my interest to learn more about Beethoven as well as other classical composers. If you’re a Beethoven fan, this is probably a good biography to start with.

[Vojtech · Rating 5 out of 5]

Profesor Greenberg did it again. Another witty and insightful biography of one of the titans of classical music. And yet another example in Beethoven of a guy who, as a person, wasn't very likeable. On one hand I wish the lectures could be longer and include more samples, but on the other the 6-ish hour length is just perfect and not as intimidating as some of the 18 hour long courses.

[Gaurav Chhaparwal · Rating 3 out of 5]

The author/teacher of this course is extremely knowledgeable and is a great speaker. The compositions of Beethoven intertwining with the life of Beethoven are an interesting subject but the non-chronological presentation of the same makes the course quite confusing.