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[As usual, the strict and single methodological rule here is to invest no more (or less!) than 75 minutes research in the field. In this way, the writer seeks to honor the scientific method and to count himself in the Lustrous Company of Science.]
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Go to Bonn, lately the capital of Germany before reunification, now a receding political place, and you will find a earlier call to fame still in play. This is the birth city of Ludwig van Beethoven. You will not forget this, since the city terms itself “Beethovenstadt Bonn.” Short of transferring his remains from Vienna, the town has done what it could with what it had of its most famous son. His mother lies nearby in the Old Cemetery, a surrogate for tourists who prefer graves to cradles. No word on his father. Here and there are statues of the wild-haired Beethovenm, but he was out of this small city on the Rhine by 1790, gone to Vienna to try and meet Haydn and Mozart.
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The streets of the old inner city, Beethoven’s neighborhood, are packed this gloomy Saturday afternoon in February. Somber clothing, the citizens’ preferred choice, deepens the effect. Brightness lies in the fruit and vegetables, hawked at the green market and with the baroque and pinkish Rathaus. Fat peppers, ruby beets, glowing oranges from Spain. As a child on his way to St. Remigius Church (which proudly features the baptismal font where Ludwig became a Rhineland Catholic) he must have witnessed earlier versions of this market. The mind places him in these streets, though not in the Turkish restaurants or near cell phone kiosks.
ƒ What you have read so far is fluff. Formal research for this field report starts now, upon entry at Number 9 Bonngasse, which the plaque announces as the birthplace, on December 16th (but maybe the 17th?) 1770. This is serious: the composer of the Ninth Symphony, of “da-da-da-daaaah,” of history’s most ironic hearing loss (more on this later) beginneth here! Right off you learn that the building facing the street, the one with the plaque, was nòot the place of birth at all. The Beethovens actually lived in a small, narrow three story slate-roofed house that was behind the other buildings, You would never know it was there unless someone led you though the houses on the street and pointed you towards it.
Up the stairs, to the third floor in the back. The floors creak. Here is the only room none may enter, blocked off with a velvet cord. Very small, and low. Empty, just a pedestal with a bust of stormy-haired Ludwig. A family with two young children peers into the room. “This is where he was born,” says the mother. “Who?” the daughter asks. “Beethoven!’ says her slightly older brother. They move on, making room for the next visitors, a young Japanese couple taking their turn briefly staring into the near-emptiness. A man with a cane and a bandaged ear clumps to the door to takes his turn. He leans around the corner into the room: there musât be more to this! And up the stairs come two tourists, probably British, who, standing there exactly as the Japanese did, murmur something and move on.
Time to over-intellectualize, to squeeze the most out of this moment. Odd is it not, looking into that little room? What do people think as they look in? What are they supposed to think? What is the significance of Significance? All anyone of any age or origin can come up at the doorway of Bonn’s most significant garret nursery may be nothing more than thinking: this is where Beethoven was born. Everyone gets born is one thought, gets born somewhere. We already knew Beethoven was born= somewhere, right? Significance? Watch out, the whole edifice of sight-seeing is leaning and groaning! Why is anyone here? Is there an air molecule of the master available for our own respiration?
Onward! More floors creak in former family rooms filled with display cases featuring this and that. Clavichords, violas, woodwinds, note paper, and other items either used by Beethoven or often copies of the same. Much of the stuff here would not be familiar to them; it’s mostly from Vienna, brought here to fill the empty space of a house that was nearly destroyed a century ago. On the second floor the subject of deafness appears. This draws a morbid knot of people to the display of ear trumpets, attempts to defeat his hearing loss. They are of brass and fashioned in various ways to capture and then augment sound. 1The largest resembles a device to make popcorn over a fire. Nearby, two cuttings of his hair. Different colors. How can that be? Then his last known writing, a codicil to a will in which he makes a provision for his nephew, Carl. The German word for nephew is “Neffe” but Beethoven, a day short of his death, has spelled it “Neffffe.” Twice the number of “f’s required. This is unexpectedly moving.
Since entering this small museum, a visitor will have been informed, then reminded, then reminded again of the desirability of visiting a recent (2004) innovation: a place where one can (this from a brochure) “enter the new worlds of the Beethoven-House where past and future meet in a thrilling way.” Scheduled once an hour, the “unique worldwide opportunity” is located in a vault beneath the house next door . E
It’s an odd facility, this medieval artifact now made into a sleek/ birch-panelled chamber. Along the walls on each side are benches for visitors. There were six of us in this chamber, experimental subjects ready to have that past and future collide. A young woman in jeans tells us what to expect and what to do. What to do? Quickly she gives us the plot of Act 2 of Beethoven’s only opera, Fidelio, then passes around a tray (also birch) with 3-D glasses, large dark ones. Strangers before, now we are bug-eyed strangers. Before us, on birch pedestals, (all this pale wood: IKEA?) are four interactive stations which would be operated by the walleyed insects. The object (we are told) by the young woman in jeans: to alter the image and motion of the characters appearing on the screen. A dozen speakers are aimed at us, ready to present a standard recording of the opera.
–
Lights out. Darkness of the tomb. Sound. The character Fidelio, is unjustly imprisoned by Pizarro, a Spanish jailer. They are represented on the screen by electronic imagery, emphatically non-human. So, the thing that sometimes looks like a spiral pastry fashioned of white points of light is poor Fidelio, and Pizarro is four white sticks with blue ends like old-fashioned wooden matches. Leonor, wife of Fidelio who saves him from certain execution, is a tangerine blob. All of these shapes were highly changeable (by us!), presumably to demonstrate †action and mental states (whose?), but that may be a stretch. The experts will note that there is a fourth character, but it really seemed not to matter.
So, there was poor Fidelio, singing about his hopeless state and spinning away like a vertical conch shell with a sort of breathing tube snaking out and around him. As such, he invoked no sympathy. Pizarro just sort of swung there, looking like four bored rather than malicious matchsticks. Leonor zipped here and there, but you would have a tough time deciding which side the little tangerine was on. Because we were wearing those glasses, these figures did seem to move in and out and towards us. As the insect/visitors began to get their courage up and operate the tools on the pedestals before them these images moved up, down, back and more interestingly, forward so that they might appear close to you. Maybe we were now in that prison with Fidelio and maybe we could affect their fate? More likely that we did not care about these characters. Once it was over no one said anything. Tight smiles, no questions, 3-D glasses returned; all seemed to shuffle out of this dungeon happy for their release, just as Fidelio had been from his.
¬With just a few minutes of research time remaining, there is always the gift shop which provides an unintentional synopsis or even antidote to many a museum. Neckties, posters, t-shirts, copies of manuscripts: Beethoveniana in good taste. No hair samples, no reproductions of ear trumpets. Wait! Here are two plaster masks, copies of course, of life and death masks, items you may have missed on the upper floors. In Beethoven’s time, if you re÷ached a certain stature in life, both masks might be required in the era before photography came along. The life mask was made at age 41 and is a good counterpoint to those portraits which seem never to agree on what he looked like. The death mask was made shortly (12 hours) after his death, about the time the skull was opened to see what had caused that horrendous deafness. Macabre fact-of-the day! Not a casual memento, the two of them together can be yours for about $180.
Back out on the Bonngasse, the Saturday shoppers had thinned and this made the vegetable mongers cry out more loudly that two melons for an Euro was a bargain and did anyone want a few leeks to take home to the family? The bakery wagon had its trays of earth-toned loaves and the sausage man was perfuming the air with a wurst miasma. Behind lay a significant and empty attic room and a medieval dungeon where, despite the best efforts of a digitally-engaged audience, Fidelio never got out.
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ETBLhDSUM24HDNI2TSTYL2^MCRO<RoBlN<bMARK<nWMBT<îSNAP<†TNAMf˚CPRTg”ETBLñ≤ˇ˛˝¸˚˙˘¯ÒÚÛÙıˆ˜
[PNZ felt the need to preface this FR with the following: “As usual, the strict and single methodological rule here is to invest no more (or less!) than 75 minutes research in the field. In this way, the writer seeks to honor the scientific method and to count himself in the Lustrous Company of Science.”]
Go to Bonn, lately the capital of Germany before reunification, now a receding political place, and you will find a earlier call to fame still in play. This is the birth city of Ludwig van Beethoven. You will not forget this, since the city terms itself “Beethovenstadt Bonn.” Short of transferring his remains from Vienna, the town has done what it could with what it had of its most famous son. His mother lies nearby in the Old Cemetery, a surrogate for tourists who prefer graves to cradles. No word on his father. Here and there are statues of the wild-haired Beethoven, but he was out of this small city on the Rhine by 1790, gone to Vienna to try and meet Haydn and Mozart.
The streets of the old inner city, Beethoven’s neighborhood, are packed this gloomy Saturday afternoon in February. Somber clothing, the citizens’ preferred choice, deepens the effect. Brightness lies in the fruit and vegetables, hawked at the green market and with the baroque and pinkish Rathaus. Fat peppers, ruby beets, glowing oranges from Spain. As a child on his way to St. Remigius Church (which proudly features the baptismal font where Ludwig became a Rhineland Catholic) he must have witnessed earlier versions of this market. The mind places him in these streets, though not in the Turkish restaurants or near cell phone kiosks.
What you have read so far is fluff. Formal research for this field report starts now, upon entry at Number 9 Bonngasse, which the plaque announces as the birthplace, on December 16th (but maybe the 17th?) 1770. This is serious: the composer of the Ninth Symphony, of “da-da-da-daaaah,” of history’s most ironic hearing loss (more on this later) beginneth here! Right off you learn that the building facing the street, the one with the plaque, was nòot the place of birth at all. The Beethovens actually lived in a small, narrow three story slate-roofed house that was behind the other buildings, You would never know it was there unless someone led you though the houses on the street and pointed you towards it.
Up the stairs, to the third floor in the back. The floors creak. Here is the only room none may enter, blocked off with a velvet cord. Very small, and low. Empty, just a pedestal with a bust of stormy-haired Ludwig. A family with two young children peers into the room. “This is where he was born,” says the mother. “Who?” the daughter asks. “Beethoven!’ says her slightly older brother. They move on, making room for the next visitors, a young Japanese couple taking their turn briefly staring into the near-emptiness. A man with a cane and a bandaged ear clumps to the door to takes his turn. He leans around the corner into the room: there musât be more to this! And up the stairs come two tourists, probably British, who, standing there exactly as the Japanese did, murmur something and move on.
Time to over-intellectualize, to squeeze the most out of this moment. Odd is it not, looking into that little room? What do people think as they look in? What are they supposed to think? What is the significance of Significance? All anyone of any age or origin can come up at the doorway of Bonn’s most significant garret nursery may be nothing more than thinking: this is where Beethoven was born. Everyone gets born is one thought, gets born somewhere. We already knew Beethoven was born somewhere, right? Significance? Watch out, the whole edifice of sight-seeing is leaning and groaning! Why is anyone here? Is there an air molecule of the master available for our own respiration?
Onward! More floors creak in former family rooms filled with display cases featuring this and that. Clavichords, violas, woodwinds, note paper, and other items either used by Beethoven or often copies of the same. Much of the stuff here would not be familiar to them; it’s mostly from Vienna, brought here to fill the empty space of a house that was nearly destroyed a century ago. On the second floor the subject of deafness appears. This draws a morbid knot of people to the display of ear trumpets, attempts to defeat his hearing loss. They are of brass and fashioned in various ways to capture and then augment sound. 1The largest resembles a device to make popcorn over a fire. Nearby, two cuttings of his hair. Different colors. How can that be? Then his last known writing, a codicil to a will in which he makes a provision for his nephew, Carl. The German word for nephew is “Neffe” but Beethoven, a day short of his death, has spelled it “Neffffe.” Twice the number of “f’s required. This is unexpectedly moving.
Since entering this small museum, a visitor will have been informed, then reminded, then reminded again of the desirability of visiting a recent (2004) innovation: a place where one can (this from a brochure) “enter the new worlds of the Beethoven-House where past and future meet in a thrilling way.” Scheduled once an hour, the “unique worldwide opportunity” is located in a vault beneath the house next door .
It’s an odd facility, this medieval artifact now made into a sleek/ birch-panelled chamber. Along the walls on each side are benches for visitors. There were six of us in this chamber, experimental subjects ready to have that past and future collide. A young woman in jeans tells us what to expect and what to do. What to do? Quickly she gives us the plot of Act 2 of Beethoven’s only opera, Fidelio, then passes around a tray (also birch) with 3-D glasses, large dark ones. Strangers before, now we are bug-eyed strangers. Before us, on birch pedestals, (all this pale wood: IKEA?) are four interactive stations which would be operated by the walleyed insects. The object (we are told) by the young woman in jeans: to alter the image and motion of the characters appearing on the screen. A dozen speakers are aimed at us, ready to present a standard recording of the opera.
Lights out. Darkness of the tomb. Sound. The character Fidelio, is unjustly imprisoned by Pizarro, a Spanish jailer. They are represented on the screen by electronic imagery, emphatically non-human. So, the thing that sometimes looks like a spiral pastry fashioned of white points of light is poor Fidelio, and Pizarro is four white sticks with blue ends like old-fashioned wooden matches. Leonor, wife of Fidelio who saves him from certain execution, is a tangerine blob. All of these shapes were highly changeable (by us!), presumably to demonstrate action and mental states (whose?), but that may be a stretch. The experts will note that there is a fourth character, but it really seemed not to matter.
So, there was poor Fidelio, singing about his hopeless state and spinning away like a vertical conch shell with a sort of breathing tube snaking out and around him. As such, he invoked no sympathy. Pizarro just sort of swung there, looking like four bored rather than malicious matchsticks. Leonor zipped here and there, but you would have a tough time deciding which side the little tangerine was on. Because we were wearing those glasses, these figures did seem to move in and out and towards us. As the insect/visitors began to get their courage up and operate the tools on the pedestals before them these images moved up, down, back and more interestingly, forward so that they might appear close to you. Maybe we were now in that prison with Fidelio and maybe we could affect their fate? More likely that we did not care about these characters. Once it was over no one said anything. Tight smiles, no questions, 3-D glasses returned; all seemed to shuffle out of this dungeon happy for their release, just as Fidelio had been from his.
With just a few minutes of research time remaining, there is always the gift shop which provides an unintentional synopsis or even antidote to many a museum. Neckties, posters, t-shirts, copies of manuscripts: Beethoveniana in good taste. No hair samples, no reproductions of ear trumpets. Wait! Here are two plaster masks, copies of course, of life and death masks, items you may have missed on the upper floors. In Beethoven’s time, if you re÷ached a certain stature in life, both masks might be required in the era before photography came along. The life mask was made at age 41 and is a good counterpoint to those portraits which seem never to agree on what he looked like. The death mask was made shortly (12 hours) after his death, about the time the skull was opened to see what had caused that horrendous deafness. Macabre fact-of-the day! Not a casual memento, the two of them together can be yours for about $180.
Back out on the Bonngasse, the Saturday shoppers had thinned and this made the vegetable mongers cry out more loudly that two melons for an Euro was a bargain and did anyone want a few leeks to take home to the family? The bakery wagon had its trays of earth-toned loaves and the sausage man was perfuming the air with wurst miasma. Behind lay a significant and empty attic room and a medieval dungeon where, despite the best efforts of a digitally-engaged audience, Fidelio never gets out.