Ludwig van Beethoven isn’t just my favourite composer: he’s my household god. There’s a bust of him on my mantelpiece. It took ages to find something that did him justice. This one was made in Italy about 100 years ago; it’s painted to look like black marble, his features are modelled on his life mask and it gets his hair right. (This mattered to Beethoven: when August von Kloeber painted him in 1818, the composer ‘expressed delight at the treatment of his hair’.) Above my stereo system there’s a Victorian copy of another portrait of Beethoven; it’s striking but undistinguished. As for the statuette in my bathroom, I should really throw it out, but consigning an image of Beethoven to a black rubbish sack seems like sacrilege — especially in the year that is the 250th anniversary of his birth, which the German government has ponderously declared to be ‘a matter of national importance’.
![Damian Thompson](https://www.spectator.co.uk/wp-content/uploads/2020/02/Damian_T.png?w=192)
Beethoven wasn’t just history’s greatest composer but also one of its greatest human beings
His drunkenness and deafness all fed into his audacious acts of musical risk-taking
issue 11 January 2020
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