Once upon a sixth-grader, I underestimated your prodigious talent. I blamed your frizzly hair, furrowed brow-fierceness and antiquity for the love-hate relationship we shared. The flutist who played Allegretto from Symphony no. 7 every Remembrance Day would turn purple from running out of breath. Your harmonic notes were draggy, long, and painfully depressing. But I played with some pride nonetheless, because your music gave me goosebumps, and I felt honored to be performing one of your many 'terrifying' masterpieces.
Of course, like every cynical pre-teenager, I declared your mainstream pieces (Symphony no. 5, Fur Elise and the Choral finale of Symphony no. 9) overrated and overused. I wondered what listeners found meaningful in such repetitive and lyric-free music. I have always considered myself a lyric-analyst. That the prerequisite of good music requires meaningful lyrical value. Playing classical music was as good as learning Latin as a language in the 21st century. I would rather have played the Titanic theme song, or an American Tail's piece Somewhere Out There. Music with modern structures and relevance, rather than 'dead-men-chamber-music' like yours.
Centered at the Tabaret hall, among white arches of Roman pillars that emphasized Romanticism. The cello and the piano.The simplicity, contrast and awkwardness of two instruments originally doubted the credibility of your pieces. Yet, you amaze me. With your sneaky style, and purposefully inconsistent and silly tone in Allegro Molto. And your capability to seize my thoughts to drift with every flowing note you've ever written in the Sonata in A major-Opus 69. Your moods synchronized with memories that were subconsciously lying around. That with each key stroke of the piano a piece of history would lift itself off my mind causing my heart to flutter away freely. There were moments I felt ecstatically light and within seconds, you'd transition my happiness to yearning then anger and borderline deprivation to melancholy sinking my heart to my stomach. I watched a grey-haired man in blue sweater who sat diagonally across me moved to tears.
Dear Beethoven, you were unpredictable. Yet powerful. Like the cellist playing pizzicato with his thumb, you meddled with my thoughts and emotion. I suppose you may say, I experienced what it's like to be bi-polar and overwhelmed with every emotions at once with your music.
Perhaps appreciation comes with age. Like the cellist personally described to me when I personally thanked him after the show, "it comes from the heart". Music is a language itself, it speaks to emotions. And you, Beethoven, have taught me the meaning of life with your music. Through the uncertainty, unpredictability, instability, yet capability to find love, happiness and meaning.....all which are reflected in the pieces you've written.
I don't think you're overrated now. Losing your sense of hearing, yet persevering with passiom....I don't think we have a love-hate relationship anymore. =]
With love,
-your once-flutist.
P.S. you were surprisingly hot when you were my age, at least, before you turned frowny-scary. Sexy sideburns, I must add...