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There resounds a proverbial question, "If a tree falls in the woods and no one is there to hear, does it make a sound as it falls?" Capricious as this query may appear I have had occasion to entertain just such a notion when, as a youth, I found an exploratory journey down a deep wood's path abruptly halted by the greeting of an enormous fallen tree. The colossal obstacle lay across my path and presented itself a motionless, silent guardian that protected that which lay beyond from my further intrusion. What a monumental disturbance must have been witnessed by the forest as this giant came crashing down! I wondered how the tree came to be there in the first place or what of the countless forms of life that had sprang forth from its protective purview over the decades of the tree's history. I wondered what might have led to the demise of the strong anchoring system that had so obviously sustained the uprightness of this tower for so long. Not to mention what a scurry for life itself must have taken place by the multitude of creatures that were no doubt within the danger zone as tons of falling wood rushed earthward. Notwithstanding the magnitude of this event and the obvious lasting effects that resulted, I still wondered
From this perspective the real question appears to be not whether a difference occurred, but was a difference made. More intense personal feelings and more noticeable departure from the traditional rules of harmony, tones, rhythm, and use of instruments. In his later years Beethoven greatly feared that he too would face a premature death as his idle, Mozart, had done. This pushed productivity out as Beethoven constantly felt a sense of urgency to make his destined contribution to the musical world. On the other hand, Salieri's greed contributed to Mozart's early death. Beethoven ushered in a new way of treating musical composition. It was this greed that enticed a drunken Johaan to pull young Ludwig from his bed in the middle of the night and then force hours of practice on the violin with abusive beatings being the corrective measure for mistakes the exhausted child might make (Cross 46). Though there can be found a certain diversity in the articulation of these periods, there is one thought that seems to be without scholarly contradiction. Though apparently not particularly moved to enrich the young child's life, Johaan saw Ludwig as a potential Mozart style child prodigy of which could be capitalized on for financial gain.
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