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Ludwig Van Beethoven: Music of Revolution



A contemporary drawing of Beethoven

Ludwig Van Beethoven is a newly discovered (to this writer) Ophiuchus. He always WAS an Ophiuchus, but his true identity is only revealed when the astrologer redraws his charts to include the this important 13th sign—part of the Scorpio constellation, and line up the sidereal chart with the astronomical Zodiac. Using this method, Beethovan isn't Sagittarius, instead, he may be as Ophiuchus as you can get: Sun, Moon, Mercury, and Jupiter are all in this "sign of the witch"

Beethoven's natal chart, according to the Sidereal/13 sign (astronomical) Zodiac. Beethoven is a quadruple Ophiuchus.

The male Ophiuchus is a masculine interpretation of the female power. These powers are limitless and mysterious. Ophiuchus can call up unseen forces to challenge reality. Her constellation of stars, led by Rasalhague, is pictorially stepping out of the larval stage of the insect and into the soaring eagle. Ophiuchus will right the wrongs of the world.

Among her other gifts, Ophiuchus also protects what she loves. Without the ability to reproduce, the male Ophiuchus gives birth in other ways; every piece of music Beethoven wrote was his offspring. In his music, Beethoven represented and nurtured the profound hopes of liberation and salvation. His combination of Ophiuchus and Sagittarius helped him create the soundtrack for the French revolution; it was the source of his inspiration, and the grand theme of his symphonies.

The first thing you notice about Beethoven's aspects is his fiery Grand Trine with Pluto, Neptune and Uranus. This is a bone fide inspirational and musical powerpack to glorify the psyche of an entire civilization, it's bigger than any one man. The Grand Trine is not necessarily a fast track towards productivity, but a fast track by a lucky break. If he had had this combination alone, he may have been less ambitious and driven. Recipients of trines often let things happen to them, develop on their own, rather than take control.

To Beethoven and his contemporaries, the values and ethos of the French revolution, and the Republic were central to the hopes of the world, as the newly emerging intellectual class clamored for human rights and an end to tyranny. He must have overcome any lethargy—and illness, as we can see later—to pound out his message, working feverishly to finish his music, even when completely deaf.

The message in Beethoven's music is violent; sweeping powers of the instruments. The music itself could also be seductive. Sun and Moon conjunct Mercury, cycled his explosive crescendos with beautiful, balanced contretemps with melodies with underlying revolutionary themes thrashing it out. His Venus in Sagittarius underscores the heroic themes and grand scale of his works. His massive lifetime output—over 650 compositions—a huge body of orchestral work, could also be explained by his Taurus Mars, would make him a prolific worker and political philosopher. Beethoven was also a performer as well as a composer, and he was as much a star of his time as any pop star of today. He pushed himself to the limits of his endurance.

The Pluto influences makes the trines even more eventful because of his Ophiuchus Moon. His music was deeper and more complex than many other perfectly good composers; his Ophiuchus and Sagittarius planets are clumped up—he stirs the cauldron, no matter where in the chart it falls, he has the stature of a modern Merlin with uncanny power over music itself, as if he put a spell on the notes, themselves.

Beethoven was able to project his passions as a large scale event, in large venues and commissioned by nobility and the wealthy bourgeois. Beethoven's appeal was a symphonic blockbuster that produced the heightened majesty of medieval European values and also the excitement of modern revolutionary politics. Beethoven's own use of inspirational music reflects HIS evolution towards political enlightenment, which, in his era, meant the beginning of the end of monarchy in Europe. 

He spoke a political language in his music; the Mars is opposed to his other luminaries and the MC—he supported the French republic but was also caught up in the nationalistic frenzy during the late 18th and Early 19th centuries. He was torn between the past and the future. His Chiron makes a T-square with Neptune and his stellium of Ophiuchus planets, implying a deadly self-destructive component, perhaps with origins in childhood trauma.

His squares with Chiron show his inhibitions, and unhealed wounds, his oppositions show his extremes of agony and exstacy—Beethoven's dialectical approach to music. He was able to touch the higher human values of a Sagittarius Jupiter dreamer--the celestial voice of the angels, and also appeal to the simple, basic elemental feelings of the human soul. No wonder his works were so universal, speaking to all of humanity. His Taurus Mars roots him to the Earth, and his works are immense in scope and concept, Jupiter conjunct his Sun expanded his voice to a crescendo, bigger than life.  

The nadir of all this spiritual energy is the physical body, and ITS limitations. among many awful oppositions Beethoven lived with, Mars opposition Sun, Moon and Mercury—an inner battle between the ideal and the real. For every lofty ideal, there was also the cold reality of making a living. The Taurus need for security consumed him with the idea of marrying up into a higher class to achieve wealth and prestige— a trophy wife. In this he utterly failed, due to the rigid class barriers that divided the aristocracy from mere mortals. Beethoven was both a man with worldly—perhaps petty—ambitions, and yet held a supreme vision of Man's heroic triumph over his weakness. Although his desire for money and fame was surely his prime motivation, he also was capable of the awesome spectacle, a magnificent display of Teutonic complexity and Eurocentric narcissism.

His stature as a composer was established by the turn of the century, yet he continued to write and perform music solely for the rich, since at that time all written music was financed by the patronage system of noblemen and their courtiers, who favored musicians with support and concert venues. Essentially, if you were a composer without patronage, you were dead in the water. Beethoven was always dependent on his autocratic patrons for his existence, and had money problems throughout his career. Like the 19th century Taurus Sun novelist Honoré Balzac, bill collectors hounded him right up to his deathbed. With a Sagittarius Venus and Taurus Mars, Beethoven was very materialistic and money-conscious, loved being rich, while his idealistic Venus made him admire the spiritual values, and the higher self. 

Beethoven's major downfall in his life, his Achilles heel, his waterloo, was his health. Neptune is square Sun, Mars and Mercury. Beethoven may have at a very early stage in his life, wanted to leave his body, escape the rigors of the physical existence, and live wholly on the plane of musical magic. However, one cannot ignore the body—his Taurus Mars must have suffered dearly for the omissions of the his luminaries, which could not stand the funk of real life. This inability to stay connected may have made him careless with his health, and may back up the theory that Beethoven suffered from, and eventually died of an STD—syphilis. In those day, any sexually active man used prostitutes, and very often contracted syphilis, almost an occupational disease of the awakened libido.

He may have contracted the "Great Pox" when young and fought against the symptoms for the rest of his life. His list of other ailments was long, too, and his health started deteriorating even before he wrote his first symphony. At 26 he was already showing the initial signs of nausea and deafness. Perhaps he was suffering from Meniere's disease as well, a disorder of the inner ear.

Beethoven's career is divided into three periods. His first 50 works or so were technical, inspired by Haydn and Mozart. His interest in these years was in developing a patronage arrangement with Archduke Rudolph, the youngest son of Emperor Leopold II, but this fell through when he died, leaving Beethoven hanging and broke in his adopted Berlin.

Beethoven returned to his home town Vienna for his middle period. He wanted to change everything about his music. He was tired of playing for the fickle landed gentry. He was inspired by the rise of the French republic, and its savior—Napoleon. At least that's what he thought of Napoleon when we wrote "Eroica"  in 1804. Beethoven was invigorated by the victory of the new French republic over the rotting monarchies in the rest of Europe. Beethoven was destined to be disappointed, however. In 1804, Napoleon declared himself Emperor, ending the republic, and an infuriated Beethoven scratched out his name from the dedication.

Disillusioned, he then returned to classic themes, and produced more poetic works, like "Pastoral", his 6th symphony, which celebrated an earlier, more idyllic world of lost innocence. By this time, Beethoven was a famous Romantic composer, but this was also his least healthy period, and he was weighed down with personal problems. His brother, Carl, with whom he was very close, died, and he was embroiled in an ugly custody battle with his sister in law over his nephew. This and a "mysterious" infection, slowed his output and it took superhuman strength and determination to finish (and perform!) his works during this part of his life.

The third period, when he was also chronically ill, was also his greatest opus. In 1824, his most revolutionary work, the 9th symphony, "Choral", was performed, with an almost stone-deaf Beethoven unable to conduct it. This titanic composition is the highest stage of Beethoven's genius; his algorithm of soaring emotion and the triumph of the human spirit over adversity still inspires us today. Although ALL his works are superb examples of complex orchestral arrangements, the 9th will always be Beethoven's finest hour. Taken as a whole, the catalog of his works is so immense and his struggles were so universal and enduring that he will always be regarded as a giant of human achievement. This is the hero's of his love of freedom and justice, thanks to Venus, and his steadfast and relentless defense of his German heritage and his yearning for deliverance to the glorious future of man.

Beethoven died in 1827.
Thanks to Bogdan for funding this type of research.

 

A statue in Austria in honor of Beethoven

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Go to our Ophiuchus Rising page for the meanings of the angles, planets and asteroids in Ophiuchus]

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