Sorry, I was talking about the Japanese (で知られる), not the music…
But you are right, it means “known for” and not “known as” like i thought: known asとknown forの意味の違い | ネイティブと英語について話したこと
Thanks for setting this straight!
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Page 57
There’s actually a も tucked in there in the original text as well. 三百曲もの作品… The addition of the も makes this “as many as 300 musical works”
Thanks for the Rowan Atkinson video. I showed it to my teenage son who loves Rowan Atkinson and it was completely lost on him as he didn’t get most of the references! The final joke (auf wiedersehen…pet) must be lost on anyone not watching UK TV 20-30 years ago - this is the name of a popular TV show about a group of British construction workers going to work in Germany.
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p．５８
彼が、絶望の縁で見つけた「喜びの音色」は、今も世界中で演奏され、歌い注がれています。
The “timbre of joy”, which he found at the edge of despair, is still being performed and sung throughout the world.
ルートビッヒ・バン・ベートーベン（一七七〇〜一八二七年）
Ludwig van Beethoven (1770 - 1827)
大勢の人が参加したお奏しさ
The event attended by crowds
ベートーベンが亡くなると、そのしを悲しみ、大勢の人が、お葬式に駆けつけました。
When Beethoven died, a crowd of people rushed to his funeral to mourn him.
お墓まで付き添う人が、二万人もいたということです。
It is said that there were as much as 20,000 people who escorted him to the tomb.
あまりの人の多さに、人々を整理するため軍隊が出動しました。
There were so many people that troops were sent out to organize the people.
棺は、四頭の馬が引く馬車で運ばれ、その後ろには、二百台もの馬車が続きました。
The coffin was carried on a coach drawn by four horses, as many as 200 coaches followed.
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Maybe this is not 縁 but 淵? It means depths and the dictionary talks about depths (e.g. of despair, etc). But the edge of despair sounds nice too.
The text says おそうしき, so it’s about the funeral (which might be considered an event).
I think they mourn his death here, I interpreted し as 死.
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one more typo. Shame on me.
Of course! I didn’t know what to with the し and didn’t think of 死.
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This has been my favourite chapter so far. I still don’t really understand how he managed to write such complicated and brilliant symphonies in his head after he went deaf! This has been a good book, looking forward to chapter 4.
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I liked this chapter too (and the following one as well. I have to admit I’m a bit ahead now because something magical 
happened. After I had some troubles with the first two chapters I now find it rather easy to read these texts. Okay, it definitely takes longer than ten minutes, but because the same expressions and vocabulary are used over and over again, I don’t have to look up words all the time and I can read one chapter in one go. Yay!)
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Yesterday I have watched the movie “Louis van Beethoven” on Austrian television (ORF2). It will be shown on German television (ARD) tomorrow at 20:15 and is available online until January 24th 2021. (In other countries you might need VPN to watch it online.)
He was a very great musician but not a really nice person.
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As we go into the Christmas break now before the chapter on W. Röntgen, let’s sing together:
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Chapter 4 discussion thread is up.
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I’m late to the party but:
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To answer @2000kanji’s question, I bet the “ポロロン、ポロン、ポロロロン” is supposed to be the opening of Beethoven’s Minuet in G, a piece often assigned (these days) to beginners.
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Apologies if anyone mentioned this above, but that meeting between Beethoven and Mozart almost certainly never happened. There’s a Wikipedia article all about the origin of this myth!
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But wasn’t it Beethoven’s father who assigned this exercise to Beethoven when he was 5 years old or so? 
Or are you saying that this exercise later influenced Beethoven to compose his minuet?
Nah, I’m just saying it’s a famous beginner piano piece with that rhythm, associated with Beethoven. It doesn’t make historical sense in context, but neither do the alternative suggestions above (Beethoven’s 5th), and the chapter as a whole is goofy about the history.
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Nice piece anyway, especially in this slow tempo. Much better than https://youtu.be/rdbw5MoE7RQ
We are in Feb. and I’m still trying to finish this chapter… 
Anyway, I was surprised to learn that 腕 also can mean “skill; efforts; ability”: 腕を競い合う p. 49
WK has several vocabulary for 腕 but none using this meaning. I was looking on a J-J dictionary (Reikoku) and there are many expressions and words involving this meaning. Even Jisho lists: 腕によりをかける,腕が立つ, 腕を磨く, 腕利き, 腕前, etc…
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p 51-52. 病気は 日に日に ひどくなり、自分の声も、大声を出さなければ 聞きとらない ほどに なってしまったので。
Sorry I’m very slow. How slow? Slow as a snail… but I’m trying to finish this chapter even if everyone else already did. I really like @buburoi translation quoted below because it nicely includes the meaning of ほど… But I’m not finding the grammar dictionary entry that fits the ほど usage here. What is throwing me off is the に after ほど . This に particle clearly does not fit the pattern 「Verb Phrase A + ほどに + Verb Phrase B」= “the more (Verb Phrase A), the more (Verb Phrase B)”. So I guess it is safe to conclude that this a plain ほど( = " to the extent that " or as Jay Rubin says “Johny Carson Hodo”, Making Sense of Japanese - The Tofugu Review) and so, the に particle role is unrelated to ほど since it is just like as in になる(=to become). Does this sound right?
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Yes, that’s how I read it as well:
ほど = to the extent (here: so bad that)
になってしまった = unfortunately it became that way
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Neat ! In the same spirit, this is something that my uncle shared with me recently Beethoven's 5th Symphony on One Guitar - Marcin Patrzalek - YouTube
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A bit late to the party but it was too difficult to follow the book club at the time so going through some chapters now. I was wondering about the second line:
Do you (or someone) understand what the と is doing here (after the へ particle which I suppose indicates the direction to where ベートーベン bursts in)?
jisho has an entry for へと giving “to; towards; for” - へ with emphasis on what follows
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