Mozart's and Beethoven's

For several months now, I have been working to solve two creative magic problems. My rehearsal space (read: attic) in my home is filled with various props and notes/drawings in all stages of development. Many ideas I have are simply waiting for a presentation to be created. Sometimes I have the presentation, but no effect. Other times, I spend all my money to build a prop that works in my head . . . only to find out . . . that's the only place it works . . . in my head! It can be very daunting. At this moment, I have two excellent effects that need motivation, meaningful presentation and a better method. I know they're excellent because I've shown them, in their bare bones state to several people and have received great reactions--Still, I'm not happy with them. To me, they are more than just a "Wow! That was cool." These could be meaningful and powerful effects beyond their visual if I could only find 'what that something is.' Leaning back in my chair trying to solve this problem reminds me of a theory I have had. I'd like to share it with you.

(drumroll)

It is the Mozart--Beethoven Theory.

It goes like this.

Creatively speaking, there are two kinds of people in this world, Mozart's and Beethoven's. "Mozart's" are people who have the gift of creativity flowing within them. Their creative output appears effortless and can seemingly be tapped at will. They seem to be devoid of any of the struggles that overtake artists and--to boot, their output is always the best--never a hint of mediocrity. "Beethoven's" on the other hand are people who must struggle for their creativity, they must suffer the rejection, shield the self-doubt and mask the despair of disappointment. They may have many wonderful ideas, only a few may ever be recognized.

Mozart if you remember was a prodigy. He could play the harpsichord at age three (imagine?) and was writing compositions at age four. He wrote his first opera at 13 and was said to be possessed of almost perfect pitch ( a feat never equalled). His companions were amazed when Mozart could learn minuets and trios in a half hours time. His short life produced an incredible body of work (600 compositions). Even more incredible, Mozart had no musical influences, making him one of those rare creative artists who was completely original. His observation that his music came to him completed, already in his head only waiting for his transcription is, at its very worst, astounding.

Beethoven is a different story. He was also considered a prodigy but with a completely different method of creativity. His talents were recognized early by his father, who nurtured these abilities (when he wasn't drinking) with the goal of turning him into "a little Mozart." (shades of John Stuart Mill) Beethoven was forced to tutor under a variety of musical teachers in his early teens including Hadyn. Within a few years he had produced a number of piano sonatas and Symphony 1. His magnum opus, the Ninth Symphony took him four years to write. Beethoven's early life was wracked with abuse at the hands of his father. In life, he was plagued with self-doubt at the same time he dealt with depression, loss of his hearing and severe financial hardship.

Still, Beethoven and Mozart's influence are lauded today with musical compositions that are performed around the world.

Creatively speaking, Beethoven had to work, and work hard to find and then nurture his now recognized genius. He often struggled over each note, each pause, re-writing and re-writing over and over again, never truly happy with what he created.

And so it is--music has parallels in all the creative arts, including magic. I often think of Beethoven and how aspects of his life mirror mine. I constantly struggle over this presentation or that presentation to the point of distraction and . . . despair.

If I could ask for one thing . . . I would ask to be a Mozart.