A paradigm shift is nothing less than a revolution of thought at the social or intellectual level. It is an upheaval of old systems and progress in a new direction. Its catalyst is a rejection of conformity, a struggle of the oppressed or subjected for freedom. For the American revolutionary Samuel Adams, “[the revolutionary’s] contest is not only whether we ourselves will be free, but whether there shall be left to mankind an asylum on earth for civil and religious liberty.” (CITE) Yet the struggles of man need not be political to classify as a revolution; in fact, we can see these societal upheavals ranging from economic, in the Industrial Revolution, to philosophical, in the Age of Enlightenment. These critical shifts in mankind’s history are transformative, with implications far beyond their immediate environment; they forever alter the way society functions. In short, they are paradigm shifts.

Vienna, Austria was home to the three most famous composers of the late 18th and early 19th century, a time known in music as the Classical Period. The earliest of these composers, Joseph Haydn, spent most of his professional life as a court composer for the wealthy aristocrats of the Esterhazy family. He was considered a servant of the court and was required to write music at his patron’s request, as well as fill numerous other roles including conductor and copyist. (CITE) Next was Wolfgang Amadeus Mozart, the brilliant genius who, despite his popularity, lived and prematurely died in financial ruin. Mozart left his position of employment in a court, but was unable to support himself financially as a freelance musician. Then came Ludwig van Beethoven, who was never a subject of the aristocracy and was the first ever successful independent composer. This remarkable achievement marks a turning point in the history of Western music, after which composers would gain new freedoms and write music full of personal expression. (CITE) Beethoven’s music, as well as his independent life, was transformative in the context of history. In the course of his life he learned then dismantled the traditional rules and styles of composition, forging a new path which would shape the future of Western music up to this day. (CITE) In fact, Beethoven’s life is such a pivotal event in music history that it it is truly a paradigm shift, and, in a sense, a revolution.

Historians describe political revolutions in stages which progress chronologically, and attempt to generalize the trends in all revolutions. These general characteristics can be applied to some degree to all political revolutions, whether in France, Russia or America. It is also possible to compare the process of political revolution with other types of revolutions, giving rise to the question: “To what extent can Beethoven’s life be considered a revolution?” By exploring the different phases of Beethoven’s career, it can be seen how this composer’s life fulfills the characteristics of a revolution.

In the first stage of a revolution, the old order weakens economically and politically, and finally falls. In his earliest works, Beethoven largely conformed to the standards established in Classical music, emulating the styles of Mozart and Haydn. However by the end of this phase, Beethoven is unsatisfied with his career and vows to forge a new path forward.  “I am not satisfied with the work I have done so far. From now on I intend to take a new way,” said Beethoven (CITE). It may seem surprising that the composer who would dismantle the Classical style originated as a true Classical composer, but this is not so different from the origins of the French Revolution in 1789. In France, it was not only the impoverished, suppressed populations that led the revolution but primarily the already successful middle class Bourgeoisie who were vying for political power and representation. Their Enlightenment ideals, stemming from Locke and Rousseau, inspired their struggle against the nobility for equality. Thus Beethoven’s origins as a successful Classical composer are not out of place in the story of an early revolutionary. His interest in Enlightenment ideals, and of Liberty and Equality, also parallel the inspirations of French rebels.

The second phase of Beethoven’s musical career also corresponds with the second stage of the political revolution. In this phase, the empowered rebels are divided between moderates and radicals, but the radicals come out on top. Beethoven’s middle period is often known as the “Heroic” period, because of the grandiose and magnificent character of some of the works from this period. These include his Third Symphony and the Emperor Concerto. Beethoven also wrote pieces of a more subdued character, though still often breaking the boundaries of the Classical style, but it was the radical, heroic-sounding compositions which are remembered as his crowning achievements. It was in this period that Beethoven truly burst out of the confines of the Classical forms and opened the future for Romantic music.

Beethoven’s Third Symphony is representative of the Heroic period, and the second phase of his revolution, both in its inspiration and musical content. Beethoven was inspired by the ideals of the Enlightenment and the principles of the French Revolution, which boasted the slogan “Liberty, Equality, Fraternity” in its idealistic movement to abolish monarchy in France. The composer believed Napoleon Bonaparte was a great leader who could ensure the success of the revolution and the survival of revolutionary ideals in France. His third symphony, then, would be titled “Bonaparte” in honor of this heroic figure, who inspired Beethoven’s own quest for liberty as a composer. After the piece’s composition, in 1804, Beethoven learned that Napoleon had declared himself emperor of France, thus ruining the image of his hero. In rage, Beethoven scratched out the name “Bonaparte” on the score and shouted “Now, too, he will tread under foot all the rights of man.” The symphony was renamed “Heroica”, ‘in honor of a great man.’

In Napoleon, the French Revolution had followed the module of revolution into the final stage, where the old practices return, monocratic rule reforms, and society regresses towards its pre-revolutionary state. In fact, this stage is often called “Thermidor” after the period in France where the revolution sizzled out and a counter-revolution ensued. The failure of France’s revolution left a bitter stain in Beethoven’s quest for his own liberation, but he continued to fight. “I will wage war against destiny,” said Beethoven, sounding like a revolutionary leader. And though all revolutions display some regression from radical revolutionary ideals towards past ways, not all are complete failures. The American Revolution, for instance, established a stable democratic government after its successful Revolutionary war against Britain. Even here, the final stage of revolution is present, however. For example, the radically anti-monocratic system of the Articles of Confederation was replaced by a more centralized government in the Constitution. Still, the revolution preserved the ideals of liberty and democracy, and Beethoven hoped he could do the same.

The Thermidor stage of revolution does have a parallel in Beethoven’s life, but the fiery rebel continued until the bitter end to expand the realms of the composer beyond its Classical period paradigm.  In the third and final period of composition, Beethoven fulfilled the expectations of the final stage of revolution by revisiting older ways and practices, while still moving forward as a composer. His liberty did not collapse in the final stage, like the French Revolution, but survived it, much more like the American Revolution. In this period he studied and emulated the works of the 18th Century Baroque composers J.S. Bach and George Frideric Handel, thus ‘moving backwards’ in music history to more rigid, structured and formal music. Yet his replication and reference to this style came in the context of ever expanding realms of music, as he continued to push (and sometimes just ignore) the boundaries of 19th century Western music. His 9th Symphony, the famous choral, is a perfect example. Looking at the fourth movement, the formal Baroque style is evident in the use of the fugato (a fugue, a Baroque form associated with Bach, within a larger piece). Still, the Symphony- and this movement alone -breaks barriers and changes paradigms by using the first ever chorus in a symphony, employing a monumental, unprecedented form (the fourth movement alone lasts 24 minutes), and with the expression of unrestrained musical genius considered to this day among the best music ever written. The composer once wrote fittingly, “As soon as the feeling opens up a path to us, away with all rules.” (CITE) There is no question that Beethoven’s revolution against Classical music, and his struggle for the emancipation of the composer, culminating with this extraordinary work, is absolutely successful.

Before Beethoven, a paradigm existed for both Classical music and the composer. No composer had ever been financially stable as an independent freelancer, but rather they were expected to find employment as a subject of aristocratic or noble families just as Haydn had done. With very moderate exceptions, composers stayed within a structured set of boundaries and forms established by Classical masters like Haydn and Mozart. Music was written at the request (or, rather, demand) of an employer, who often required the artist to fulfill many other roles in the court. Perhaps most importantly, Classical composers were limited in their personal expression and, though each composer has a recognizable style, their music rarely reflects their own personal life. All of this was going to changed when one man challenged fate.

Beethoven broke out of the paradigm for the Classical composer, and Classical music, thus forcing a revolution in music and the formation of new paradigms. After Beethoven, many composers would find successful careers independently. There would be a movement away from strict Classical forms towards larger, dramatic works with a focus on self expression. In the Romantic Era which Beethoven began, composers’ individual personalities, backgrounds and individualities would shine through their works, including nationalist or autobiographical influences. Form and convention were discarded in favor of flexibility. Music and the composer were free in a way they had never been in history. With this one extraordinary life, the paradigm of Western music changed for ever. Beethoven fought a revolution to liberate the composer, and won.