I should think that to hear such lovely music as that would really make him feel better.The lady gave a discriminating smile. —I am afraid there are moments in life when even Beethoven has nothing to say to us. We must admit, however, that they are our worst moments.

Three miles from my adopted city lies a village where I came to peace.The world there was a calm place, even the great Danube no more than a pale ribbon tossed onto the landscapeby a girl's careless hand. Into this stillness I had been ordered to recover. The hills were gold with late summer;my rooms were two, plus a small kitchen, situated upstairs in the back of a cottage at the end of the Herrengasse. From my window I could see onto the courtyard where a linden tree twined skyward — leafy umbilicus canted toward light, warped in the very act of yearning — and I would feed on the sun as if that alone would dismantle the silence around me.At first I raged. Then music raged in me, rising so swiftly I could not write quickly enough to ease the roiling. I would stop to light a lamp, and whatever I'd missed — larks flying to nest, church bells, the shepherd's home-toward-evening song — rushed in, and Iwould rage again. I am by nature a conflagration; I would rather leap than sit and be looked at.So when my proud city spread her gypsy skirts, I reentered, burning towards her greater, constant light.Call me rough, ill-tempered, slovenly— I tell you, every tenderness I have ever known has been nothing but thwarted violence, an ache so permanent and deep, the lightest touch awakens it. . . . It is impossible to care enough. I have returned with a second Symphony and 15 Piano Variationswhich I've named Prometheus,after the rogue Titan, the half-a-god who knew the worst sin is to take what cannot be given back.I smile and bow, and the world is loud. And though I dare not lean in to shout Can't you see that I'm deaf? — I also cannot stop listening.

Well, what do you think? Avanti?Avanti, cries everyone, and, after a few quick re-tunings of our instruments, and re-initialisings of our hearts, we enter the slow theme-and-variations movement.How good it is to pay this quintet, to play it, not to work at it - to play for our own joy, with no need to convey anything to anyone outside our ring of recreation, with no expectation of a future stage, of the too-immediate sop of applause. The quintet exists without us yet cannot exist without us. It sings to us, we sing into it, and somehow, through these little black and white insects clustering along five thin lines, the man who deafly transfigured what he so many years earlier had hearingly composed speaks into us across land and water and ten generations, and fills us here with sadness, here with amazed delight.

He supposed that, except musicians, every one thought Beethoven a bore, as every one except mathematicians thought mathematics a bore.

Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend.

At a certain place in Beethoven's Ninth Symphony, for example, he might feel that he is floating above the earth in a starry dome, with the dream of immortality in his heart; all the stars seem to glimmer around him, and the earth seems to sink ever deeper downwards.

A deaf composer's like a cook who's lost his sense of taste. A frog that's lost its webbed feet. A truck driver with his license revoked. That would throw anybody for a loop, don't you think? But Beethoven didn't let it get to him. Sure, he must have been a little depressed at first, but he didn't let misfortune get him down. It was like, Problem? What problem? He composed more than ever and came up with better music than anything he'd ever written. I really admire the guy. Like this Archduke Trio--he was nearly deaf when he wrote it, can you believe it? What I'm trying to say is, it must be tough on you not being able to read, but it's not the end of the world. You might not be able to read, but there are things only you can do. That's what you gotta focus on--your strengths. Like being able to talk with the stone.

I remembered that Beethoven's symphonies had sometimes been given names... they should have call [the Fifth] the Vampire, because it simply refused to lie down and die.