Beethoven has long been considered a cultural hero in the West, but to become such a figure in China his persona had to be made to fit into Chinese cultural categories.
The Chinese transformation of Beethoven’s character—first into that of a Confucian intellectual, then a Romantic poet, and finally a universal and national cultural hero—took place from the 1920s through the 1940s. This development involved the reception not of Beethoven’s music per se, but of his moral image: He had to be seen as having suffered to achieve both the goal of individual perfection and the larger goal of serving humanity.
This according to “Beethoven and Confucius: A case study in transmission of cultural values” by Yang Chien-Chang, an essay included in Musicology and globalization (Tōkyō: Tōkyō Geijutsu Daigaku, 2004, pp. 379–383). The book comprises papers presented at the 2002 conference of the Nihon Ongaku Gakkai/Musicological Society of Japan.
Above, the Beethoven monument in Qingdao. Below, Beethoven’s ninth symphony in Chinese.
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