The existence of the myth of Prometheus in Beethoven’s work is well-known phenomenon. In this article Die Geschöpfe des Prometheus op. 43 (The Creatures of Prometheus), one of Beethoven’s early compositions, makes a point of departure for thinking about Promethean struggle in composer’s life. The Enlightenment and early Romanticism german philosophy, Masonic philosophy, Friedrich Schiller and Johann Wolfgang von Goethe’s poetry and ideas make a context for these thoughts. The author claims that Beethoven turned to the myth of Prometheus intentionally. This subject is essential in his development as human and as an artist. Die Geschöpfe des Prometheus has been recently gladly and often played during celebration of Beethoven’s Year (2020). This matter is worth being asked for its reasons: is it only because of the musical beauty of the ballet, or maybe also because of the idea, the message, the meaning? In context of Beethoven’s thought Music is a higher revelation than all wisdom and philosophy the author asks for recent reception of composer’s work and life, being understood as the incarnation of Promethean struggle. Is this reception possible today, during pandemic, when people’s negative impact on the Earth has been clearly articulated? Is Beethoven’s portrait of the myth still relevant, considering what we know about human (“the creature of Prometheus”)? This is the question not only about music itself, but the idea contained in the music. And very legitimate question, whereas Beethoven is defined by musicologists and philosophers as one of the greatest music thinkers.