Beethoven is a singularity in the history of art—a phenomenon of dazzling and disconcerting force. He not only left his mark on all subsequent composers but also molded entire institutions. The professional orchestra arose, in large measure, as a vehicle for the incessant performance of Beethoven’s symphonies. The art of conducting emerged in his wake. The modern piano bears the imprint of his demand for a more resonant and flexible instrument. Recording technology evolved with Beethoven in mind: the first commercial 33⅓ r.p.m. LP, in 1931, contained the Fifth Symphony, and the duration of first-generation compact disks was fixed at seventy-five minutes so that the Ninth Symphony could unfurl without interruption. After Beethoven, the concert hall came to be seen not as a venue for diverse, meandering entertainments but as an austere memorial to artistic majesty. Listening underwent a fundamental change. To follow Beethoven’s dense, driving narratives, one had to lean forward and pay close attention. The musicians’ platform became the stage of an invisible drama, the temple of a sonic revelation.
A microchip implant for women containing 16 years worth of contraceptives readies for pre-clinical testing next year
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