The problem with this course as with all evaluations of musical works is that there is just not the vocabulary to deal with his greatness. It might be insightful to a professional musician to point out all the key changes, tricks with the sonata form, chord progressions, etc., but for an amateur, these technical tricks add nothing to the music itself. The mystery remains why, with all their technical expertise and cleverness, no analyst of Beethoven's works has ever explained just WHERE he got his themes and melodies from. Biss tries his best, but, after a while, if you don't play the piano, it isn't very satisfying to learn (in a cursory way) about the construction of Beethoven's sonatas, no more than it would be to learn the grammar of Tolstoy's novels.