Ludwig van Beethoven isn’t just seen as a great composer today — even back in the 19th century, he was already a huge deal.
So huge, in fact, that many composers went out of their way to prove they were his “true” successor. Some even made up stories to support that claim.
But why exactly was Beethoven so important?
Reason 1: The Anxiety of Influence
In 1973, literary critic Harold Bloom came up with an idea called The Anxiety of Influence. He said that writers often feel trapped under the shadow of the greats who came before them. It’s hard to write something new when you’re constantly being compared to your idols.
The Anxiety of Influence: A Theory of Poetry by Harold Bloom (1973)
This idea later made its way into music history — and Beethoven is a perfect example.
Beethoven believed music should push boundaries, not repeat the past. He took Classical style to its edge and helped launch the Romantic era.
In his Fifth Symphony, the iconic four-note “fate motif” isn’t just an opening — it’s woven throughout the entire piece in new rhythms, moods, and instruments.
Earlier symphonies had more separate movements, but Beethoven unified his with a single idea — a major shift in musical thinking.
Later, he broke even more rules: his Op. 131 quartet has seven movements and daring dissonances ahead of its time.
Beethoven already did so much — but later composers still struggled to move forward without feeling like they were stuck in his shadow.
Take Brahms, for example. He spent 20 years writing his First Symphony. In the final movement, he used a theme that sounded a lot like Ode to Joy. Critics were quick to call him out: “Twenty years, and all you’ve got is Beethoven 2.0?”
But here’s the thing — this wasn’t just copying.
Back to Bloom’s theory: he said that artists sometimes deal with their influences by “misreading” them — reinterpreting old ideas in new ways. So when Brahms used that theme, he wasn’t being lazy. He was reshaping it, giving it new development, and turning it into something uniquely his.
Reason 2: Beethoven as a Symbol of “The Right Path”
Beethoven’s music was groundbreaking — but that’s not the only reason his legacy lasted.
By the mid-19th century, Beethoven wasn’t just admired. He was mythologized — the symbol of what it meant to be a “serious” composer. Following in his footsteps wasn’t about imitation. It was about legitimacy. If you could position yourself as part of the Beethoven lineage, your music instantly carried more weight.
And composers knew it.
Some genuinely worked within his tradition. Others… got creative.
Robert Schumann did it the honest way. He modeled his Symphony No. 4 after Beethoven’s Fifth — starting in minor, ending in major, and connecting movements with seamless transitions. But Schumann didn’t stop at structure. In 1853, he famously introduced a young Johannes Brahms to the world in an article titled New Paths, calling him “the man of destiny.” It was Schumann’s way of appointing a successor — someone he believed could carry Beethoven’s flame into the future.
Franz Liszt, ever the showman, went for something more poetic. He claimed that as a child, he met Beethoven — and that Beethoven kissed him on the forehead. Cute, right? Also… suspicious. The story didn’t surface until much later, just when a mythical Beethoven blessing would’ve looked great on his musical résumé.
Richard Wagner, meanwhile, wrote his own fanfiction. In 1840, broke and struggling in Paris, he penned A Pilgrimage to Beethoven — a story where a young composer (totally him) meets Beethoven and gets silent approval. If Paris wouldn’t crown him, Wagner would write himself into the legacy.
In the end, these weren’t just musical moves — they were branding strategies. Because in the 19th century, nothing said “I’m doing it right” like being able to whisper:
“Beethoven would’ve approved.”
