Beethoven's music was much more F than T, though. It was more about creating beauty and emotionally stimulating tunes as opposed to the more intellectualized music of Bach.
There are two distinct cultural settings for Beethoven and Bach which account for some differences. Also MBTI designations are limited in addressing certain issues especially those that are steeped in integration. Artistic expression is the culmination of synthesis on various levels. Much MBTI discussions are about simplification, categorization, and isolating out features. In the end I like talking about Beethoven as a person and composer more than relating him to a particular type. I will say his intelligence and ability to create complex musical systems might be paralleled, but not clearly surpassed. My main point is to not overlook the structural integrity of his work because of its emotional and dramatic appeal. The two concepts are intertwined and cannot be separated. I would say the same for Bach.
After studying with Haydn and writing his first symphony, Beethoven went back through a thorough study of counterpoint. He had arrived as a composer, but his technical prowess did not match his inner vision. He was rigorous with himself as a composer and reworked passages relentlessly.
There is also an anecdote about an aristocratic woman begging him at point of tears to play for her after dinner. He wouldn't do it in response to such a display.His whole life was faced with obstacles of one sort or another. His relationship with the world was somewhat adversarial and when the vulnerability of his deafness started to become apparent, he left for the country. One famous quote of his is, "There will be a thousand princes, but one Beethoven" - which was true. The
critics of his ninth symphony were brutal, unfair, and their response proved unfounded in years to come.
Beethoven's music is structurally more complex than Bach or Mozart. He was the first to extend the symphonic form in length and integrated the musical patterns between movements not just within a single movement. He always starts with a simple, direct theme that is expanded upon to a point of complexity not seen before his time. His process can be compared to starting with a seed and growing into an impressive oak tree. The relationships between the pitches can be described as fractal patterns. For an example, if the main theme emphasizes C D and G in the melody, then the primary harmonic centers for the piece might move from the key of C major, modulating to D (or d minor), and then to G. What occurs on the small scale also occurs on the large-scale. This is also true of Mozart and to a lesser degree Bach. It is mostly associated with tonality and sonata-forms, but is still more present in Beethoven than Schubert.
Contemporaries that had more lyrical warmth in their expression include Schubert, Schumann, and Mendelssohn. Schubert's melodic warmth defies analysis to a large degree. It is that subjective, emotional realm. When Schubert develops patterns he relies more on repetition than development when compared to Beethoven. Most every note in Beethoven can be analyzed and explained as part of the larger structure. This is also true for Mozart and Bach. On a personal level they both move me equally, but that is not entirely relevant when analyzing their music. Romanticism is a cultural movement, so one has to evaluate an individual within that context. Language use of the time was quite different from now and might leave all people of the time as Feelers. The Baroque was much less individualistic in its expression of emotion, and so any composer from the 19th century is going to appear more emotionally expressive than in the 17th century based on our own cultural values. There are personal deviations in preferences and responses, but it generally holds true.
