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EDITED BY

G. C.

WILLIAMSON,

NOW
BACH.

LiTT.D.

READY.

E. H. THORNE.

By

BEETHOVEN. By J. S. SHEDLOCK, B.A.

BRAHMS. By HERBERT ANTCLIFFE.
CHOPIN.

By

E.

J.

OLDMEADOW.

GOUNOD. By HENRY TOLHURST.

HANDEL. By W. H. CUMMINGS, Mus.D., F.S.A.,
Principal of the Guildhall School of Music.

MENDELSSOHN. By VERNON
MOZART. By EBENEZER

BLACKBURN.
PROUT, Professor of

Music, Dublin University, B.A., Mus.D.

By W. ARMINE BEVAN.

ROSSINI

SCHUMANN. By
SULLIVAN.

E.

J.

OLDMEADOW.

By H. SAXE WYNDHAM,

Secretary

of the Guildhall School of Music.

VERDI.

By ALBERT

VISETTI.

WAGNER. By JOHN

F.

A ho in

RUNCIMAN.

the Press.

HAYDN. By JOHN F. RUNCIMAN.

SCHUBERT. By WAKELING DRY.
TCHAIKOVSKY. By E. MARKHAM

LEE, M.A.,

Mus.D.
Others

LONDON

to follow.

GEORGE BELL &

SONS.

Bell's

Miniature Series of Musicians

BEETHOVEN
BY

J.

S.

SHEDLOCK,

B.A.

LONDON

GEORGE BELL & SONS

1905

First published

Reprinted, 7505

January, 1903

TABLE OF CONTENTS
PAGE

LIFE OF BEETHOVEN

<ART-WORK OF BEETHOVEN
T<

SYMPHONIES

^PIANOFORTE SONATAS

^QUARTETS
'

FlDELIO

.20
.20
-25
.29

"

30

MASSES AND ORATORIO

-33

CHARACTERISTICS OF His ART- WORK

v,

THE SKETCH BOOKS

-50

^PRINCIPAL COMPOSITIONS OF BEETHOVEN

-BEETHOVEN LITERATURE

35

56

.58

BOOK
BELONGS TO
THIS

&

-,4-,

PHILLIPS.

.\r.

D.

LIST OF ILLUSTRATIONS

....

BEETHOVEN

(From an Engraving by

Frontispiece

C.J~dger.)
PAGE

BEETHOVEN'S BIRTH-HOUSE AT BONN

BEETHOVEN

AS A

YOUNG MAN

(From a portrait by Hornemann, 1802.)

RECEIPT WITH SIGNATURE IN THE COMPOSER'S

HANDWRITING

.16

PORTRAIT OF BEETHOVEN BY KLOEBER, 1818

20

SKETCHES OF BEETHOVEN BY LYSER

30

SCHWARZSPANIERHAUS, WITH A FLAG OVER

A WINDOW OF THE ROOM IN WHICH
BEETHOVEN DIED
.

SKETCH

OF "

ADELAIDE

"

vi

38

.50

LIFE OF BEETHOVEN
THE MAN
This appears to be the special task of biography :
to present the man in relation to his times, and to show
how far they are opposed to him, in how far they are
favourable to him, and how, if he be an artist, poet,
GOETHE.
or writer, he reflects them outwardly."
1 '

VAN BEETHOVEN

was born
most probably on December 16,
His grandfather, Ludwig, entered the
1770.
service of the Elector of Cologne at Bonn in
1733, first as bass singer and afterwards as
capellmeister, and his father as tenor singer
in 1756.
The former, an able artist, was held

LUDWIG
at Bonn,

the latter succumbed to the

respect
drink, lost his voice, and finally his
position, so that before young Ludwig had
completed his nineteenth year he had to look
after his two younger brothers, Caspar and
Nicolas
the one four, the other six years

in high

demon

younger than himself. Ludwig at an early

age displayed a love for music, and the father
soon set him to hard practice, both on the
violin and the spinet, possibly thinking that his
son, like Mozart, might become a prodigy, and
thus help to retrieve the broken fortune of the
i

BEETHOVEN

memorandum

family.

in

father's voice is described as

In
1784 the
out, and he
when about

of the Court

music

worn

himself as " very poor."

Ludwig,
ten years of age, received musical
instruction from the Court organist, Van den
Eeden, an old friend of the boy's grandfather
who died in 1773, and afterwards from^Neem^
who succeeded Eeden. Neefe took great interest
in his pupil, who, before he was twelve years
old, was appointed deputy-organist.
Already
at that time, as stated in a notice contributed

Neefe to Cramer's Magazin, the boy

could play most of Bach's immortal " forty"
"
eight
fugues, a feat," as his master with just
" which will be understood
pride remarked,
by
the initiated." And he must also have become
familiar with the clavier sonatas of Emanuel

by

whom Neefe so much admired,

he even dedicated a set of twelve
sonatas. Thus Beethoven made early acquaintance with Bach's works, which summed up the
past and pointed to the future, and with the
music of the son, Emanuel, who, under Italian
" new
One
influence, was opening up
paths."
has
been preserved an
interesting manuscript
incomplete copy of a cantata by Emanuel, on
Philipp Bach,

and

to

whom

which Beethoven wrote, " Copied by

The

my

dear

attention of the latter had most

probably been drawn to the work by Neefe.
The boy lived in a thoroughly artistic atmoThe Elector, Maximilian Friedrich
sphere.
He
(1761-1784), was an enthusiast for music.
attracted the celebrated actor Grossmann, with
father."

BEETHOVEN'S BIRTH-HOUSE AT BONN.

HIS LIFE

his operatic company, to Bonn, and our future

composer heard most of the standard operas,
there were also
including those of Mozart
;

concerts at the Court.

Ludwig
became not only organist, but cembalist and
also viola player in the band.
His budding
talent
according to the traveller Henry Swinfrequent

burne, who visited Bonn in 1780 had "not

escaped the notice of the Elector." Ludwig's
home life was certainly not a happy one,
but many kind friends looked after him,
especially the cultivated Breuning family and
the influential Count WaldsteinV
The Elector Maximilian Friedrich died in

1784, and was succeeded by Maximilian Franz,

brother to Joseph II., Emperor of Austria. An
event of special interest was Beethoven's visit
to

Vienna

left

in 1787.

Bonn and went

When

in 1791 he finally
to that centre of musical

his patron and friend, Count Waldstein,

wrote a few lines in his album exhorting the
life,

" to labour
assiduously and
to receive Mozart's spirit from the hands of
Haydn."
Possibly, then, it was the Count"
who suggested the earlier visit to Vienna. If

young composer

must have commended itself to the

in 1785 was himself in Vienna,
and is supposed to have tried to tempt Mozart
to leave the Austrian capital and settle in
Bonn. Nothing is known for certain concerning Ludwig's very short stay in Vienna, except
so, the idea

Elector,

who

the one fact that he played to Mozart.

To
seek the advice of that master was apparently
I

BEETHOVEN

the main object of the visit. The illness of the

mother, however, put an end to whatever plan
had been formed. Ludwig hastened back home,
and seven weeks afterwards she died. He felt
the 'loss deeply. " She was such a good, loving
mother to me my best friend. Oh, who could
have been happier than I, when as yet I was
able to utter the sweet name mother,' and to
know that it was heard
To whom can I now
say it ?" Thus he wrote to a friend, Dr.
'

Schade.
In 1790

Haydn passed through Bonn on his

way to London, but it is not known whether
Ludwig was introduced to him. Anyhow, two
years later Haydn was there again, on his
return journey, and the young man showed him
a cantata of his own, which the master praised.

Mozart died on December

5,

1791, so

that

Haydn was
One cannot

then the greatest living composer.

help thinking that the Elector, or
Count Waldstein, or maybe both, introduced
the question of the young man becoming his
a few months later Ludwig
Vienna studying counterpoint with
Haydn, whose recent London triumphs had

pupil.
was in

Anyhow,

gained for him so great a reputation.

Beethoven's life in Vienna must be briefly
told.
It was no doubt the intention of the
Elector that he should return to Bonn when he
had concluded his studies, and occupy a post
similar to the one held by his grandfather.
But war broke out in 1792, the French army
entered Bonn, and the Elector fled, never to

HIS LIFE

Beethoven had not long been in Vienna

before he attracted the notice of many noble
personages and also musical enthusiasts Baron
van Swieten, the Prince and Princess Lichreturn.

nowsky, Prince Lobkowitz, and others. Van

Swieten was a noted musical amateur and a
man of high position. He wrote symphonies
" as stiff as
which
himself," said Haydn
have long been forgotten but if by nothing
else, he will always be remembered by the little
note sent to Beethoven, asking him "to bring
his nightcap in his pocket," or to remain after
the guests had departed and " play half a dozen
Bach fugues by way of evening blessing." The
Prince and Princess were very kind to him,
and, indeed, in spite of his "brusque" and at
times even rude manner, his radicalism, and his
eccentricities, he gained many sincere friends.
At the house of Count Browne a nobleman was
carrying on a conversation with a lady while
Beethoven was playing a duet with his pupil
Ries.
He stopped, saying, and in no gentle
" I
voice,
play no more for such hogs." At a
rehearsal of his opera the absence of a bassoon
;

player ruffled the composer's temper.

Lobkowitz good-naturedly

tried

Prince
the

to treat

matter as of small importance.

Beethoven,
however, could not see it in that light and to
a man who took such infinite pains with every
note of his scores the smallest thing was often
so after the
of the greatest importance
rehearsal he ran to the gate of the Lobkowitz
" Ass of a Lobkowitz !" At
Palace, shouting

BEETHOVEN

Prince Lichnowsky's country seat in Silesia

Beethoven refused to play before the French
officers

quartered there after the defeat at Jena,

and went back suddenly by night to Vienna,

where his wrath was only appeased by demolishing a bust of the Prince. But for his
genius such behaviour would never have been
tolerated.

Haydn and his pupil did not

The former, advanced

together.

been the humble servant of a

get on well

in years, had
prince the latter,
;

very May-morn of manhood, no doubt

that he was born to command rather than

in the
felt

The lessons ended when Haydn left

Vienna to pay his second visit to London, and
then Beethoven went to the learned Albrechtsberger and profited by his instruction. The
to obey.

learned but dry old pedant, however, declared

in
would " never do

that his pupil

anything
decent style," and Haydn's opinion must have

been somewhat similar.

In Vienna Beethoven soon became known.
His Septet, Prometheus ballet music, and Mount
of Olives oratorio, also various chamber-music
works brought him fame moreover, he was
accounted one of the best pianists of the day.
And he was earning money. Already, in 1801,
he wrote to his friend Wegeler " I have more
orders [from publishers] than I can satisfy ";
and again: " There is no longer any bargaining
with me I demand, and the money is paid."
Before he had reached his thirtieth year,
ominous signs of deafness manifested them;

From

a portrait by]

[Hornemann, 1802.

BEETHOVEN AS A YOUNG MAN.

HIS LIFE
selves.

Beethoven consulted many doctors,

but in vain

the evil increased, so that during

the last five or six years of his life communication with him could only be carried on by
writing. It is indeed sad to think that so great
a misfortune should befall so great a genius.
Already, in 1802, in that most pathetic of documents known as the " Will," which he wrote
:

at Heiligenstadt for his brothers,

" From recreation in the

he says

society of my fellowcreatures, from the pleasures of conversation, from the

effusions of friendship, I am cut off."

And
1 '

again

Perhaps there may be amendment

prepared for the worst."

am

perhaps not

In addition to this affliction, his health was

He never enjoyed the comforts of home,
bad.
but lived in lodgings in the city during the
winter, and generally in the country during the

summer months

which he was constantly

In matters of ordinary life he was
changing.
most unpractical hence constant worries and
scenes with servants. No man is a hero to his
valet, and they, of course, looked upon him as
;

an irascible and probably half-witted man.

There were at times stormy scenes, and Beethoven, as he himself tells us, found throwing a
heavy stool or half a dozen books at the
offender's head an effectual means of securing
It is pleasant,
at any rate, for a time.
quiet
" fa'sthowever, to read of exceptions. His
and
Frau
a
certain
Schnapps,
sailing frigate,"

BEETHOVEN

seem

have been good and

to his ways, and
probably found him, when his temper was

manservant
faithful.

really

They

to

used

got

not ruffled, a truly kind master.

commission to write an opera for the
theatre an der Wien raised Beethoven's hopes.
A great success meant fame and even fortune.
But the work was produced at an unfortunate
time.
Bonaparte, at the head of his victorious
army, entered Vienna on November 13, 1805,
and on the 2oth of the same month was given
the first performance of Fidelio. After the third
evening the composer withdrew his work.
French officers, who mostly filled the pit, did
not form an audience likely to grow enthusiastic over the music
moreover, it was judged
too long, even by his friends. The opera was
remodelled, and successfully revived the following year but a violent scene between Baron
Braun, proprietor of the theatre, and the composer, ended in the latter once more withBeethoven thought he was not
drawing it.
The
getting his proper share of the receipts.
Baron reasoned with him, and expressed the
hope that when the cheaper parts of the house
sold as well as pit and stall were then doing his
" I don't write for the
share would be larger.
"
Indeed," replied
gods !" shouted Beethoven.
the Baron, " even Mozart did not disdain
them." " The opera shall not be given any
more," was the rejoinder; and Beethoven left
When
the theatre, taking with him his score.
excited he was not amenable to reason.

HIS LIFE
The

Eroica

Symkony,completed

9
in _i 804,

had been semi-pri^lelj^erformecl^ at Prince

Lobkowitz's, but the firstT public performance
of "the work took place at a concert given in
the theatre in 1805, before the production of
the opera.
Some admirers of the master,
notably Prince Louis Ferdinand, perceived its
greatness; the music, however, was beyond
the understanding, not only of the public generThe
ally, but also of most of the critics.

C Minor and Pastoral Symphonies were produced

three years later (1808), but excited little attention.

The programme was

fearfully long,

and

the performances were execrable. Beethoven's

prospects, therefore, were not encouraging.
About this time an offer was made to him to

become capellmeister to Jerome, King of West" It is

phalia, and Beethoven wrote in a letter,
not at

all unlikely that I may accept it."

Fortunately, however, the Archduke Rudolf,
his patron and pupil, and the Princes Lobkowitz and Kinsky, two of his best friends,
guaranteed him a yearly income of 4,000 florins.
No more was heard of the Westphalian scheme
which would scarcely have suited the com-

poser, and which, moreover, would have been

and a quiet life devoted
of short duration
to composition now seemed in store for him.
In 1809 the French were again in Vienna, but

Beethoven went on producing masterpieces

such as the Adieux Sonata and the E flat PianoIn 1810 there was a great deforte Concerto.
preciation in the value of paper-money, so

BEETHOVEN

io

Beethoven's pension was seriously reduced. A generous offer of the patrons to

make good the loss turned out badly. Kinsky
died in 1812, and Beethoven claimed the prothat

mised money, but,

after several years' litigation,

and, again,
only received a reduced sum
Lobkowitz died in 1816. Thus the composer
did not derive the comfort which the kindly;

meant

gift

seemed

to promise.

In 1812 he went, for the sake of his health,

to Teplitz, and there he met Goethe, of whom,
two years previously, he TiMI^ariso^muclL
from the celebrated Bettina Brentano, who
visited him several times at Vienna.
The
story of the poet's obsequiousness, and of the

composer's haughty behaviour in presence of

princes and courtiers, has been often told.
Instead of repeating it, the description of Beethoven in a letter addressed to Zelter ^y Goethe
shall

be given

" His talent astonished

me, but his personality is
He is certainly not wrong in finding
utterly untamed.
the world detestable, but he does not thereby make it
more enjoyable either for himself or for others. He is,

however, greatly to be excused and greatly to be pitied,

as he is losing his hearing, which is perhaps less harmful to the musical than to the sociable side of his
nature.

He who

in

himself

is

becomes doubly so through that

laconically disposed

failing."

Real intercourse between them was an imIf Beethoven was dissatisfied with
Goethe as a man, as a poet he admired him to
the last
the writing, indeed, of music for
possibility.

HIS LIFE
" Faust "

was one

had hoped

of the great

to carry out before

ii

works which he
he " departed for

the Elysian Fields."

It is curious to note the part that Napoleon

played in Beethoven's art

life.

As

CoTTSuT,'TTe'

inspired the Eroica Symphony ; as Emperor, his

entry into Vienna in 1 809 was fatal to Fmelio ;
and in 1813 the defeat of his army at Vittoria
gave birth to the Battle Symphony, the cause of
a long quarrel with Maelzel, the metronome
maker, and of great and lasting disappointment
to the composer, at receiving no acknowledgment of that symphony by the Prince Regent
of England (afterwards George IV.), to whom
he dedicated and forwarded the work.

December

8,

was a red-letter day for

conducted a highly successful

1813,

He

Beethoven.

concert in the large hall of the University for

the benefit of the soldiers wounded at Hanau.
The programme included as novelties the
Symphony in A No. 7, and the Battle Symphony.
The former work was repeated at several concerts, and at one in the following year Symphony
,

No.

8, in

was

also produced.

The year 1814 was a memorable one for BeetNapoleon was a prisoner at Elba, and
met at Vienna, but only to break
up suddenly at the news that the Emperor had
escaped and was in Paris. A grand concert
was given under Beethoven's direction, at which
sovereigns, ambassadors, and other notabilities
were present. Both on that occasion and at
hoven.

the Congress

receptions they took notice of the composer,

BEETHOVEN

12

who, though he did not occupy a position commensurate with his merits, already enjoyed
world-wide celebrity. He also received presents
of money, which he invested.
Everything,
except the threatened total loss of hearing,
once again seemed to promise a bright future.
But towards the close of 1815 his brother
Caspar died, leaving to his care his son Carl, and
from that time Beethoven's life was one of everFor five years he was
increasing misfortune.
engaged in law-suits, so as to get his nephew
out of the control of the mother, whom he considered an unfit person to have charge of
Beethoven was hasty in temper,
the youth.
hasty in forming opinions, and, though true

and honest at heart, at times spoke and

acted in a manner which he afterwards re-

From

gretted.

concerning

seems

to

and

however, that

is

known

widow, Beethoven

brother's

have been

dislike to her.

painful,

all,

his

fully justified in his strong

The whole

it is

story is exceedingly
sad to think that the nephew

should so ill have requited all that was done

him. Beethoven loved and cared for him
as if he were his own son
but the lad fell into
for

bad company, neglected his studies, and finally,

through his foolish conduct, was compelled to
leave Vienna.

From 1818 to 1822 Beethoven was engaged

on two important works the Mass in D, and
In 1818 the Archduke
the Ninth Symphony.
Rudolf had been appointed Archbishop of
Olmiitz, and the master resolved to write a

HIS LIFE
Mass

^V 4-

13

the installation of his beneficent

the ceremony was fixed for
March 20, 1820, the Mass was not completed
till
long after that date. The symphony .wjas ^s
bought by the London PhpiiamonicSociety7^1
for

patron.

Though

The sum

paid was certainly small,^But had }

Beethoven, as the Society desired, come himself to London, where he was known and
appreciated, he would probably have reaped
a golden harvest. But in addition to worries
with his nephew and housekeeping matters,
to increasing deafness and bad health, he was
greatly preoccupied with a plan which he had
formed for publishing his Mass by subscription.
Much time and trouble resulted in his receiving
175', for there were not more-only about
than seven subscribers the Courts of Prussia,
France, Saxony, Darmstadt, and Russia, Prince
Radziwill, and Schelbe, founder of the Cecilian
:

Society at Frankfort.

The

indifference

shown towards what Beet-

hoven considered one of

his greatest

works

depressed him. Further, experience of his past

concerts did not encourage him to give another
one.
The symphony, although written for the

Philharmonic Society, and paid for by them, was

dedicated to the King of Prussia, and negotiations with Count Briihl, at Berlin, were opened
for the production there of both Mass and

When in

1809 Beethoven thought"]

Jerome his patrons 1
came forward, and by promising a settled J
income induced him to remain in Vienna.

symphony.

of entering the service of

BEETHOVEN

Once again
The Court

was a danger of losing him.

cared only for light music, the
public was carried away by Rossini's seductive
melodies and exciting crescendo effects, and
nearly all the Vienna composers would have welthere

comed

his departure.
But friends and patrons
again rallied round the master. A memorial

was drawn up begging him once more to display

his power, to produce his Mass and his symphony, and by writing another opera to show
the world what German art could accomplish.
Beethoven was touched, and consented.
After endless delays and difficulties, the
memorable concert took place in the Karnthnerthor theatre on

phony and portions

May

7,

1824.

The sym-

Mass were given

and Fraulein Unger

of the

enthusiasm prevailed,
turned the composer round to face the
audience, so that he might see, for he could
not hear, the applause.
ever,

was a

The

financial failure,

concert, howalso was

and so

a second perfornTance~a~ fortnight later. This

was the composer's farewell to the musical
world he was irritated and depressed, and
the future looked gloomy enough.
But fresh
interest in his art came to him from an unex;

pected quarter.
In 1824 the

Russian nobleman, Prince

commissioned Beethoven to write
some quartets, and the master eagerly set to
work, and from that time to his death these
works (five in number) so occupied his time
and attention that .all else, including the visit
Galitzin,

HIS LIFE

15

London, which in many respects would

have been so beneficial to him, was practically

to

set aside.

Dropsy was the immediate cause of Beethoven's death, which took place on March 26,
1827. Plaudite amid, comcedia finita est, were
almost the last words addressed to his friends
who tended him at the last. His life had,
It seemed as
indeed, been a grim comedy.
in sport,
gifts to

dent

the,Eates_had granted transcena mortal, and then watched to see

how

far poverty, illness, the affliction of deaf-

if,

ness, family troubles, and disappointments in

his artistic career would interfere with their

"Grief," wrote Franz Schubert

sharpens the understanding and
strengthens the soul;" and so was it with
Beethoven.
pity the man, but history
confirms Schubert's words
the composers
whose lives were happiest, and in a worldly
sense
were not among the
prosperous,

development.

in his diary,

"

We

greatest.

Beethoven's funeral was attended by a large

concourse of people. He was buried in the
old Wahring cemetery, but in 1888 his mortal
remains were transferred to the Central Cemetery at Vienna.
Beethoven was never married, though, accord" he was often in
ing to his earliest biographer,
love."

One of

his _sonatas~was~dedicated to his

Countess Julia. Guicciardi, and

around the famous love-letters found among his
papers after his death, and supposed to have
the
yp'ting pupil,

BEETHOVEN

16

been addressed to her, and a brief record in one

of the conversation-books used by the master,
have been woven romantic tales. The evidence
in favour
of the impassioned letter being
intended for Julia Guicciardi is indeed strong.
The letters probably belong to the year 1801,
the conversation to 1823, and the latter seems
to have been the only reference to Julia ever
made by the master. It was a deep sorrow
which for all those years he hid away silently
in his heart.

To the above brief narrative must be added

mention of some of the kind friends in Vienna,
who recognised in great if not full measure the
master's genius, and who sought in many ways to
Zmeskall von Domanolighten his troubles.
wecz, Court Secretary, was one of the earliest,
and the many letters, or rather notes, which
Beethoven sent him, and which he carefully
treasured up, show how ready this friend was
he cut quills, made purchases,
to oblige
arranged about servants, lodgings, and other
matters. They also show Beethoven's humour
and sarcasm. But frank as he was at times,
and even, one may say, rude, Zmeskall never
appears to have taken offence. Then there
was Baron Gleichenstein, who in business and
social matters was most helpful
he, however,
left Vienna twelve years before the composer's
death.
Count Brunswick, too, was one of
the master's stanchest admirers and friends.
Many ladies of rank admired Beethoven's
gifts, and patronized him, but there were two
;

HIS LIFE
or three

women who

17

rendered him exceptional

One of these was the Countess Erdody,

help.
in whose home when in special trouble he found
comfort and sympathy; and another was Nanette
Streicher, wife of the well-known piano manufacturer, and from his letters to her we learn
how she looked after his servants, his clothes

and

linen

make one

did everything, in fact, to try and

most unpractical of men com-

of the

fortable.

Beethoven's two pupils, Ries and Moscheles,

looked after his interests the latter, indeed, had
the privilege of soothing the composer during
his last hours.
Anton Schindler, the secretary,
and afterwards biographer, of Beethoven, had to
put up with many explosions of temper, but
remained faithful to his master. Letters to
Hpfmeister, Tobias Haslinger, and Schott give
evidence that Beethoven's relations with publishers were by no means purely commercial.
It is to be regretted that Beethoven never
;

When he was a boy, Mr.

England.
Cressener, the English charge d'affaires, assisted
his parents, and the last money which the composer received when on his death -bed was from
England viz., the 100 generously sent by the
Philharmonic Society. It was his constant
desire to see London. Many plans were formed.
In 1812 he wrote to Thompson of Edinburgh
that he had an idea of coming.
proposed
tour with Maelzel about 1813 came to nothing.
In 1817 there was a correspondence with the
Philharmonic Society, but terms could not be
visited

BEETHOVEN

i8

agreed upon. In 1823 Beethoven wrote to his

" I mean to
English friend, jCharles Neate:
I should be delighted
visit England in 1824.
to write for the Philharmonic Society, to

and all its distinguished artists."

In 1825 beseemed on the very point of coming.
He even writes to Neate to ask the name of an
inn where he can stop, but the plan fell through.
A day or two before his death he spoke of the
Philharmonic Society and of the English
"
nation, adding,
May God bless them."
The following extracts from letters of Beethoven reveal something of the man and of the
In writing to his friend Wegeler at
artist.
" This much I
Bonn, he says
say: you will
see
me
only
again if I become truly great not
only as an artist, but as a man you shall find
me better." To Matthisson the poet " The
greater the progress an artist makes, the less
the satisfaction with his older works." And
only three years before his death we find him
"
still aiming higher.
Apollo and the Muses
will not allow me to be handed over yet to the
skeleton Death, for I am greatly in their debt
before I depart for the Elysian Fields I must
leave behind what the spirit prompts and commands to be completed."
Of critics here is his opinion " Let them
speak they certainly will not bestow immor-

see the country

tality

on anyone by

their chatter, neither will

they deprive anyone of it if Apollo has so

ordained." In the following we find him acting
the part of a private and

somewhat

satirical

HIS LIFE

19

His pupil, the Archduke Rudolf, sent

him an attempt that he had made at composi" The music
tion, and this was the answer
critic.

has adapted itself so thoroughly to the poem

that one can truthfully say they are a pair
of tedious sisters."

Here
teacher

he comes before us as a practical

he asks Czerny, with whom his

nephew, Carl, was taking pianoforte

lessons,
" not to
pull him up for small faults when playing, but to point them out afterwards."
His admiration for his great predecessor is
expressed in the following words addressed to
"I have always counted
the Abbe Stadler
myself among the greatest worshippers of
Mozart, and so shall remain till life's last
breath."
But he was also conscious of his own
To Ries he wrote in 1822 " If I
great gifts.
could but get to London, what would I not
write for the Philharmonic Society; for, Heaven
be praised Beethoven can write, although he
:

can do nothing else."

ART- WORK OF

BEETHOVEN

O OME composers
^
one

confined themselves almost

branch of their art
exclusively to
Gluck, Rossini, or Verdi to dramatic, Chopin
to pianoforte music, and Franz to songs
and
in such cases it is not very difficult to name one
or two of their works which seem to represent
:

them

at their best.

Others, like Bach, Mozart,

or Beethoven, distinguished themselves in many

branches to single out one work, or even one
particular branch, brings with it the danger
of excluding something of high importance.
;

Mozart's "

Don Giovanni," for instance, is a

"
masterpiece but what about the
Requiem,"
the
last
three
or
symphonies (in C, E flat, and
G minor) ? Difficult as the task is with
;

Beethoven, we feel we shall do well to place

head of this brief sketch of his art-work

at the

the

SYMPHONIES.
In this department Beethoven out-distanced
his
predecessors, and, although many
admirable symphonies have been written since
his death, no composer has even equalled, much
less surpassed, him.
His nine symphonies
all

20

HIS ART- WORK

21

are certainly not equally great, but they are all

interesting. Beethoven was wont to depreciate
his early works
to him each one seemed but
:

a step to something higher.

When he forwarded

"
his setting of Matthisson's " Adelaide
to the
poet some time after he had composed it, he
"I feel a certain hesitation in now
wrote
'
sending the Adelaide to you. You yourself
:

'

know what

a change a few years brings about

an artist who is pressing forward." This
was in 1800. Three years later, in a letter to
the painter Macco, he refers to an oratorio text
offered to him by Professor Meissner.
He is
in

too busy, however, to undertake to set it to

If the poem is not quite ready, the
music.
composer hopes that Meissner will not hurry.
" Before or after
" I
Easter," he continues,

come to Prague and play to him some of

recent compositions, which will make him
"
better acquainted with my style of writing
evidently meaning his style at that time. And
towards the close of his life he felt " as if I had
written scarcely more than a few notes."
Beethoven appeared at various concerts soon
after his arrival in Vienna, but he gave the first
one for his own benefit on April 2, 1802, and
shall

my

at

it

was produced

his first

symphony

in

(Op. 21). A year later appeared the second,

in
(Op. 36), which in one of the few notices
is said to be less satisfactory than the first
in
the first, ease and spontaneity in the second, a
At the present day
striving after originality
the second is considered in advance of the

BEETHOVEN

22
first,

yet so mildly representative of the master

we now know him

that, excepting when

the symphonies are given in chronological
order, it is seldom performed.
In 1804 appeared the third, the Eroica (Op. 55)
its abnormal length, departures from usual form,
bold modulations, syncopated or measure disturbing discords, and in no small degree the
premature entry of the horn, which at rehearsal
Ries thought a mistake on the part of the performer all these things troubled the public
and also the critics the strength and grandeur
of the music were only recognised by a few
This was the work which
choice spirits.
Beethoven intended to be called the " Napoleon
"
Bonaparte
symphony for he regarded the
First Consul as the political and social regenerator of Europe.
When, however, he heard that
his ideal hero had assumed the title of Emperor, the title-page was torn up and trampled

as

all

under

The

foot.

fourth

symphony (Op.

60)

was produced

in 1807, the clear, sparkling music forming a

marked contrast to the storm and stress of
its

predecessor.

The

fifth

(Pastoral,

both given

and

sixth

67), and
for the first

Op.

symphonies,

in

minor (Op. 68), were

time on December 22,

1808, and the high merit of the latter work,

notwithstanding drawbacks already mentioned,
was duly recognised by a prominent critic. If
one were forced for the decision would not
be easy to name the most representative

HIS ART- WORK

23

work of Beethoven in the plenitude of his power,

it would surely be this C minor.
Programme
music was no invention of Beethoven's, but
the

Pastoral,

mood

with

pictures,

and

its

title,

superscriptions,

realistic touches,

"

may be

regarded as the parent of Berlioz's Symphonic

Fantastique," and of many curious and interesting experiments by still more modern composers
to extend the limits of their art.
The seventh and eighth symphonies in A
(Op. 92) and F (Op. 93) did not appear until
1813 and 1814: the former full of energy and
romantic glow the latter of poetry mixed with
;

humour.

Then

an interval of ten years

The Pastoral has
last.
given rise to much discussion, and still more so
the ninth in D minor (Op. 125).
In the latter
"
"
Wagner saw a new path opened the union
henceforth of tone and word, as displayed in
his music-dramas.
This is not the place to
discuss Wagner's opinion all we have to do is
to note the power, poetry, and striking tenVoices are tried to the
dency of the work.
uttermost in the second (choral) part, but
Beethoven's conception throughout is of the

came

after

the ninth- and

loftiest.

Before passing from the orchestral works,

just a word may be said about the overtures.
The greatest will be referred to in connection

with the opera Fidelio. The two other most

noteworthy are the Coriolan and the Egmont>
both strong as music and both important
illustrations of Beethoven's working to pictures

BEETHOVEN

24

The

in his mind.

character of these works no

doubt influenced Mendelssohn in some of his

characteristic overtures.

Then

there are the concertos

five for piano-

with orchestra (C, Op. 15; B flat, Op. 19 ;

C minor, Op. 37 G, Op. 58 and the E flat,
surnamed the Emperor, Op. 73), and the one

forte

violin

for

pianoforte
greatest.

and the
they

still

D. Of these, the last two for

and the one for violin are the

in

And

with regard to the last piano,

it
may be said that
represent the highest achievements in

violin concerto,

that particular kind.

BEETHOVEN'S COMPOSITIONS.
This mention of important works is summary
enough, but with such a quantity of valuable
material something, under present conditions,
has to suffer. In like manner we must refer
briefly to the principal chamber-music works.
The septet, Op. 20, soon gained popularity,
and, though produced 103 years ago, still
The quintet in C, Op. 29, is
flourishes.
another early work of rare charm and brilOf the six pianoforte trios, the one in
liancy.
B flat, Op. 97, is the special favourite, but the
two in D and E flat, Op. 70, Nos. i and 2, are
splendid specimens of Beethoven's restrained

power and

Of the ten sonatas

poetical feeling.
and violin, one, the Knutzer, Op.

for pianoforte

more favour than the rest, probably

and brilliant writing
The later work in G,
both performers.

47, enjoys

by reason
for

of the grateful

HIS

ART-WORK

25

Op. 96, strongly characteristic of the middle

period of the composer's art-work towards its
Of the
close, is, however, most interesting.
five sonatas for piano and 'cello, the one in A,
:
Op. 69, is best known, but the later one n C,
is
the nobler.
Op. 102, No. i,

THE PIANOFORTE SONATAS.

The music of the symphonies deals

for the

most part with nature, and with man and

his

the sonatas has a more

The one astonishes us by
breadth and grandeur the other makes a

that of
personal character.
destinies

its

more personal appeal.

The symphonies may

be likened to stirring public speeches the

sonatas rather to private conversation with a
;

sympathetic friend.

The evolution of the master's genius can be

advantageously and most conveniently studied

An orchestra or
pianoforte sonatas.
players are not always to hand for the
symphonies or quartets, but there are few
homes, however humble, without a pianoforte,
on which all lovers of music play more or less
From the books on a man's shelf you
well.
may, as a rule, gather much of his character
and tastes, and so is it with a musician's library
in

his

four

Bach's forty-eight preludes and fugues, and

Beethoven's pianoforte sonatas the " Old and
the New Testament," as they have been happily
named are not in it, that man will be accounted
of little worth among those who take interest in
if

high

art.

BEETHOVEN

26

two sonatas composed by

three (Op. 2, No. i, in
F minor No. 2 in A and No. 3 in C) were
" a Mr.
published in 1796, and dedicated
Joseph
"
a dedication
Haydn, Docteur en musique

Of the

thirty

Beethoven, the

first

with a spice of satire in

it,

if

the saying

attributed to the composer by Ries be true

and it is just the sort of thing that the composer, in the first flush of manhood and conscious of his latent powers, might have said
viz., that he had taken lessons from Haydn,
In these
but never learnt anything from him.
sonatas we find him in what is conveniently,
if somewhat roughly, designated the HaydnIn its clear - cut phrases,
Mozart period.
divided
periods, and general style of
formallywriting, the music points to the past, and yet
there are clear manifestations of individuality,
notably in the slow movements of the second
and third. By 1807 there had appeared no
fewer than twenty - three sonatas (including

those mentioned).
are those in C

The

and
Op.

last

major,

last

but one

53,

and

in

minor, Op. 57, known respectively as the

Waldstein and the Appassionata, and in them

Beethoven shows a mastery of form and technique, a nobility and power, which were not
surpassed even in the deeply interesting sonatas
of the later years.
It is easy to mark the earliest
numbers as belonging to the Haydn -Mozart
period, and these two as representing the
highest point of the second period, but no one
work can be named as actually ending the first

HIS ART- WORK

27

or beginning the second in some we note

advance, in others retrogression. The fourth
sonata, in

more

flat,

Op.

7,

for instance, is

far

and the
Beethoven gradually threw off

original than several

Appassionato.
the influence

between

it

of

his predecessors, gradually

but, as with every genius,
inspiration varied. After the fourth sonata, the
C sharp minor, Op. 27, No. 2 to which the
foolish name Moonlight has been given
and
the
minor, Op. 31, No. 2, are the two most

grew

greater

remarkable.

something

in

In the others there is always

the thoughts themselves, and

especially in the manner in which they are

expressed, to recall outward influences, and
consequently the age to which the music
In the two named above we have
belongs.
Beethoven the tone-poet the " musical Shakespeare," as he has been aptly styled in his
In the other sonatas there are
full strength.

passages nay, whole movements of

which the same could be said, yet there is not
one in which the composer so completely

many

transports us into a romantic world, making

us feel when the end comes, as if, like Walter
in " The Master singers," we have " had a

wondrous lovely dream."

After the Appassionato, there came two more
the Senate characintensely poetical works
the composer
teristique, Op. SIA, in which
speaks from his heart to that of his hearer, and
the one in
minor, Op. 90, in which, as mentioned elsewhere, he shows strong emotion.

BEETHOVEN

28

The former appeared

in 1811, the latter in

After an interval of three years followed
the sonata in A, Op. 101.
are now on the
threshold of the last period emotion is more
intense, intellect more subtle, and as a natural
consequence we find a broader and at times
richer,
highly complicated style of writing
stronger harmonic colouring, and form, both as
regards contents and sequence of movements
In this period we
altogether unconventional.
feel the atmosphere more mystic, the moods
deeper, the music at times reaching to sublime heights.
Of these later sonatas there
are five. The second, in B flat, Op. 106,
is the longest of all the thirty-two, and by
far the most difficult.
Written during the
litigation in connection with the nephew, it

1814.

We
;

was commenced in 1817 and completed in 1819.

During that time Beethoven wrote no orchestral
work, no other sonata. In a letter to Ries the
composer says: "The sonata was written under
the most sorrowful circumstances."
Taken as
a whole it may not be his greatest, but it contains some of his most powerful writing.
In
1821 appeared the sonatas, Op. 109 in E and
Op. no in A flat, and in 1823 Op. in in
C minor. Then, so far as works of the kind
were concerned, the master laid down his
mighty, magic wand.
Besides sonatas, Beethoven wrote many airs
with variations

him

a form particularly congenial to

for pianoforte.

The

and Mozart are clever and

variations of

Haydn

attractive, yet for the

HIS ART- WORK

29

most part there is in them clockwork-like precision one often feels as if an "etc." after a few
bars of each variation would be sufficient to
enable a musician who had any experience in
:

writing to complete them. The best variations

of Beethoven, on the other hand, are full of
surprises in figuration, rhythm,

harmony, and

tonality. Here, however, we must simply

as the finest those in F, Op. 34; in

name

flat,

theme from the Prometheus

was afterwards used in the
finale of the Eroica Symphony ; and the wonderful
variations on the Diabelli Waltz, Op. 120, the
35, on the
ballet, one which

Op.

last-named being of special value in studying

the master's third and latest period.
It may
be noted that the composer only put an opus
number to those of his sets of variations which
he considered as of a certain importance.

QUARTETS.
In the quartets we could again trace the
composer's art progress, but a few words must
now suffice. The six bearing the opus number
18
correspond fairly to the three "sonatas
"
thus
Rasoumoffsky
(Op. 2); the three
the person to whom they were
(Op. 59), as regards style and
while
strength, to the C minor symphony
those which followed represent the latest period.

named from
dedicated

in E flat (Op. 127),

(Op. 130), C sharp minor (Op. 131),
minor (Op. 132), and F (Op. 135), works
which have given rise to much discussion.

These are the quartets

B
A

flat

BEETHOVEN

30

found in them " des moments sublimes, mais des mauvais quarts-d'heure," and
at one time that view was shared by many.
Familiarity with the music, however, makes
Rossini

clear

what

at first

seemed dark, and reveals

we rather feel
inclined to reverse Rossini's saying, and declare
that in them there are sublime quarters of an
unexpected beauties, so that

hour, but uncomfortable moments. For a study

of Beethoven's last manner these compositions,
to which he devoted the last years of his life,
offer golden opportunities, of which as yet full
advantage has not been taken.

"FIDELIO."

We

now

turn to the vocal works, beginning

with Fidelio. Beethoven ends one of his letters
to the celebrated artist Alexander Macco, who
" Go on
took his portrait more than once
thus
painting, and I will go on composing
shall we live in the memory of men. For ever?
He informs his
yes, perhaps for ever !"
friend that he has just commenced working at
his opera, and the sentence just quoted seems
to show that he felt the importance of the work
he was about to undertake. The success of
"
Cherubini's " Les deux Journees (Die Wasser:

Fidelio
trager) put him on his mettle.
or Leonore, as the composer so desired his
opera to be named though a great work, is
not, like the symphony in C minor or the one
in
major, perfect in all its parts the second
act is indeed on a far higher plane than the first.
Beethoven loved to take his own time, and yet

SKETCHES OF BEETHOVEN BY LYSEF.

HIS ART-WORK
the day

was

31

was no doubt named by which the work

The

to be ready.

subject appealed strongly

to him, but the libretto did not satisfy him.

The opera, 'produced in 1805, was remodelled

and given again

made when

it

improvements

in 1806, further changes being

in 1814.
"Your
in the opera," so he wrote to

was revived

Treitsche, the Court poet, "encourage me to

restore the desolate ruins of an old castle."
But if the opera, notwithstanding the dramatic

power and the pathos displayed in the dungeon

scene, was not an ideal work, the master wrote
his real opera in the magnificent Leonore overture No. 3, a revision of the overture originally
composed for the production of the opera."

and hindered
Wagner remarks how "cramped
"

with the musicmust have felt

"
pieces of his opera
preventing the full unfolding of his power, and he goes on to say
"
Wherefore, as if to launch forth all his fill of
force for once, he threw himself with wellnigh
desperate weight upon the overture, and made
of it a music - piece of theretofore unheard
significance and breadth."* This Leonore is, in
fact, not only the greatest of Beethoven's overtures, but the greatest ever written.
The opera was not a success, though, as we
mentioned in the story of his life, the composer
did not help to secure it.
Dr. Henry Reeve,
in his " Journal of a Residence at Vienna and
the master

Berlin, 1805-6,"
*

W.

was present on the

first

night,

Richard Wagner's "Prose Works," translated by

A. E. Ellis, vol.

iii.,

p. 300.

BEETHOVEN

32

his account of the work, which we do not

to have seen quoted, may be read

and

remember
with

interest.

It

runs thus

"

Went to the Wieden Theatre

Thursday, November 21.
to the new opera Fidelia the music composed by
Beethoven. The story and plan of the piece are a
miserable mixture of low manners and romantic situations; the airs, duets, and choruses equal to any praise.
The several overtures for there is an overture to each
act appeared to be too artificially composed to be
generally pleasing, especially on being first heard.
Intricacy is the character of Beethoven's music, and it
requires a well-practised ear, or a frequent repetition
of the same piece, to understand and distinguish its
This is the first opera he ever composed,
beauties.
and

it

was much applauded

a copy of complimentary

verses was showered down from the upper gallery at

the end of the piece. Beethoven presided at the pianoHe is a
forte, and directed the performance himself.
small, dark, young-looking man, wears spectacles, and
is like Mr. Koenig.
Few people present, though the
house would have been crowded in every part but for
the present state of public affairs."

This is interesting in that it is the opinion of

an amateur who listened attentively, thought
over what he had heard, and recorded his
opinion,

probably the same evening, in his

diary.

Wagner, after the sentence quoted above,

remarks that, though Beethoven only made
this one experiment in opera, he still hoped to
find a poem enabling him to show his full power.
Many libretti were offered to him, of which only
one or two were chosen, yet only after a time
to be discarded.
Already, in 1808, Beethoven
discussed with Collin "

Macbeth

"

as subject

HIS ART- WORK

33

an opera, and the poet wrote and published

first act of the libretto, and the composer
" Witches'
actually made a sketch for the
Chorus." "But the opera was abandoned,"
says Matthieu von Collin in an article on
his brother's works, because, forsooth, " it
threatened to become too sombre !" For a
" Melusine "
time, too, he thought of setting
for

the

by Grillparzer. In 1822 Von Griesinger

him to say that Hartel wished to
know " whether he could not find an opera text
to his liking, and work at it, before finally
hanging up his harp." The harp was not hung
up, but no work was written for the stage;
the master, as we have seen, had his attention
libretto

wrote

to

turned in a different direction.

MASSES AND ORATORIO.

two Masses in C, Op. 86, and in D

(Missa solemnis), Op. 123, the second is by far
the most noteworthy. Beethoven spent years
"
over it, and considered it his " most successful
work. The music is highly elaborate, and in
the heat of composition Beethoven seemed to
Into
forget the compass of ordinary voices.
this work Beethoven threw his whole soul
forms seem too narrow, the technique of his
art not sufficiently developed, and the compass
of the human voice too limited, for what he
His disregard of voice
wanted to express.
compass was, of course, a practical drawback

Of

his

to a successful performance of the work. Beethoven's deafness did not, of course, prevent him
3

34

BEETHOVEN

from knowing that beyond a certain limit there

would be undue strain, but while composing he
thought not of such things. The grandeur of
the music is beyond question, but it represents
a struggle between the real and the ideal.
Beethoven wrote one oratorio, Christ on the
Mount of Olives, and one opera, Fidelio. The
latter is a remarkable work, yet in neither
branch did he achieve unequivocal success.
The oratorio, produced in 1 803, had a considerable run, but at a later period the composer
acknowledged that he had not treated his
At the present day
subject in the right spirit.
it is seldom heard, and in a list of the master's
great works would not be deemed worthy of a
Text-books were sent to Beethoven,
place.
one of them by Bernard, entitled " The Victory
of the Cross," for a time seriously- engaging his
attention. In 1815 the Gesellschaft fur Musikfreund " commissioned him to write an oratorio,
and nine years later Beethoven, in a letter to
Hanscka, one of the officials, says that he will
most certainly set the Bernard text to music as
soon as possible," yet not a single note appears
to have been written. The titles of two poems
submitted to the composer are interesting
"The Deluge" and "The Descent of the
Saviour into Hades."
There was another
oratorio which he was contemplating, and of
this we hear something from Dr. Wawruch,
who attended the master at the last " He
was cheerful and often witty he dreamed that
he had finished his oratorio Saul and David."
:

CHARACTERISTICS OF HIS

ART-WORK
Mozart must
HAYDN
hoven, have worked to pictures
and

often, like Beetin their

mind. Haydn, indeed, acknowledged that he

invented little romances in order to stir his
and Mozart, though his art-work
imagination
was often of a purely musical kind, must surely
;

have had some poetical programme for his

and symphonies. In his C minor
pianoforte sonata or his G minor symphony we
are not content with admiring the music per se,
but feel inclined to ask what it means. In all
Beethoven's great works that question ever
haunts us. It is pressed upon us, not only by
the character of the music, but by titles which
the master gave to some of his works, and
later sonatas

superscriptions to certain movements also by

certain remarks made by him and handed down
on good authority. This poetic basis, as it is
called, no doubt accounts for the special unity
;

which prevails
the

different

in his works, not only between

sections of a movement, but

between the movements themselves. With

Beethoven one part instinctively grew out of
another, just as in Nature the flower springs
from a bud, the latter from a seed. And now
for a few simple illustrations.
35

32

BEETHOVEN

36

In the three sonatas marked Op. 31 Beethoven stated that he was making a new departure
in other words, he was becoming more himself
and although early compositions, they offer
characteristic specimens of his art -work.
In
No. i in G major the germ of the principal
theme is

and throughout the movement both germ and

theme play important parts, while the continuation of the above
:

for transition to the second theme,

development, section, and coda moreover,
Remarkit is hinted at in the second theme.
able use, too, is made of the germ just before

serves
for

the recapitulation section.*

Let us examine for a moment another movement from a very familiar sonata, the one in
F minor, Op. 57, known as the Appassionato,.
*

For readers unacquainted with musical forms it

explained that a movement in what is termed

may be

sonata-form,

consists of three

development, and recapitulation.

sections

exposition,

HIS ART- WORK

The

following small figure

37

practically constitutes the germ of the whole of

first movement.
detailed analysis cannot
be attempted here, but the music deserves close

the

The germ presented, however, first

downward form shapes itself into a stately

study.
in

mystic theme, and afterwards a second theme

evolved from it of quite different character
moreover, it serves as material, not only for
development, but for the formation of various
subordinate parts. The whole allegro is alive
with it, and even in the other movements its
is

presence is still
mysterious figure

felt.

Then

there

is

that

Though at first thrice repeated, the notes are

played softly and attract little notice. Later
on, however, just before the recapitulation,
they sound out with terrible fierceness, and
still again are they heard just before the coda,
while in the opening bar of the latter the
question, as it were, is transformed into a
defiant answer.

BEETHOVEN

38

It is this organic structure which gives such

strength to Beethoven's music; and the stronger
the latter, the more intimate, of course, is the
connection of the various parts. He does not
simply repeat a figure or phrase in a different

key, or with different harmonic colouring for

of that one would soon grow weary but he
presents it in manifold shapes, and often in so
subtle a manner that, for a time, it escapes
recognition it produces its effect without, as
;

it

were, being seen.

Beethoven was not satisfied with unity

between the various sections of a movement he
tried in his symphonies, quartets, and sonatas
;

make the different movements acts, as it

Earlier composers
were, of the same drama.
were more or less conventional they started
with a lively allegro, then came a graceful
to

and by way of finale a light

Contrast appears to have been their
chief aim.
No one knew better the value
of contrast than Beethoven, but he had someHis sonata in
minor,
thing higher in view.
Op. 31, No. 2, and the one in C sharp
minor, Op. 27, No. 2, well illustrate this.
In the former there is similarity of mood
between the first and third movements and,
more than that, certain outward likenesses
which strengthen the connection, but which,
standing alone, would be of little or no account.
The composer himself gave clues to the meaning

andante or adagio,
rondo.

of

some

may

be

of these short music dramas, as they

On being asked for the key to the.

called.

HIS ART- WORK

39

former work, and also to the Appassionato,, he

"
" Read
He
Shakespeare's Tempest.'
replied
did not mean that the play could be followed in
the sonata after the manner of some realistic
programme music, but no doubt that the personages and atmosphere of the play suggested
'

him moods and colouring. He had the

drama in mind, and that gave consistency to
As to the sonata in C sharp minor,
his work.

to

quasi una fantasia, the dedication to Countess

Guicciardi naturally leads one to believe that
first movement reflects a melancholy, the
impassioned finale a restless state of mind
caused by the composer's hopeless passion for
This is quite possible, but whatever
that lady.
the source of inspiration, the movements are
part and parcel of some sad soul drama; the
slow triplet quavers of the first become rapid
semiquavers in the finale, while
agitated
throughout the middle allegretto, though in a
major key, there still runs a vein of sadness
and of longing. In the last sonata but one

the

viz*, the
the first

Aflat, Op.

no

the opening notes of

movement serve, with changed rhythm,

There are a
for the subject of the final fugue.
few traces in other sonatas of the same sort,
and they are undoubtedly curious and interestbut they have, unfortunately, been the
innocent instruments of much that results in
ing,

mere outward unity. Bach made a few experiments of a similar kind. This method of connecting movements was indeed already a feature
of the Suite long before Bach.

40

BEETHOVEN

Instrumental music is roughly divided into

two kinds: that which exists, as it were, for
its own sake, and that which rests on a poetic
In the first we are attracted by the
basis.
charm and character of the melodies, by skill
in their development, and by clearness of form,
as, for instance, in Beethoven's Symphony in C,
No. i, with its bold allegro, graceful andante,
We enjoy it,
sparkling scherzo, and lively finale.
and with that rest contented. The poetic basis
genus may be subdivided into two species in
:

the one the particular programme is revealed

by the composer, in the other it is not. In
the Pastoral Symphony, No., 6, the title of the
work and superscriptions to the various movements offer such a programme. No. 5 is simply

marked in C minor, yet we cannot help feeling

and quite apart from the " Thus Fate knocks

"
explanation of the opening four
notes, which Schindler attributes to Beethoven
that some great drama is being enacted in
tones.
The composer, indeed, informed his
"
English friend, Charles Neate, that he always
in
his mind"; and such was,
worked to a picture
at any rate, very frequently the case. Schindler,
his biographer, indeed, tells us that at one
time Beethoven seriously thought of issuing an
edition of his works, the poetic basis in each
case being indicated.

at the door

Composers before Beethoven had, as we

have mentioned, worked to mental pictures
but those of Beethoven, drawn from Shakespeare, Goethe, or from grand scenes of nature,
;

HIS

ART-WORK

41

a deeper impress on his music. From the

days of our composer down to the present,
attempts have been made by means of descriptive programmes to elucidate his music, so overwhelming is the feeling that it all has a meaning.
Beethoven, like his great predecessors, Handel
and Bach, indulged occasionally in imitating
the sounds of nature the singing of birds, the
left

falling of raindrops, or the crashing of thunder,

as in the Pastoral but his pictures belonged,

as a rule, to the spiritual, not to the material

have dwelt somewhat on this matter
world.
because it differentiates the master's music from
so much that was written by his predecessors
it is that which makes it so real, so emotional,
so powerful in the effect which it produces.
The " Tempest " sonatas have been mentioned.
Here are one or two more programmes. His
friend, Amenda, is said to have received from
him a copy of the Quartet in F, Op. 18,
No. i, in which the adagio affetuoso ed appassionato was described as a tone- picture of the
tomb scene in "Romeo and Juliet" i.e., of
Count Lichnowsky,
the feelings aroused by it.
to whom Beethoven dedicated the Sonata in
minor, Op. 90, wanted to know the meaning
"If
The composer replied
of the music.
the first,
you want superscriptions, write over
"
*
Struggle between head and heart
(in allusion
to the long hesitation of the Count to marry a
lady of high merit, but below him in social
second, 'Conversation
position), "and over the
"
with the beloved one.'
And, once again, the

We

'

BEETHOVEN

42

superscription to the adagio of the Quartet in

A minor, " Holy song of thanksgiving offered

to the Divinity from one recovered from sickness," was programme- music of the noblest
kind a reverent outpouring, in eloquent tones,
of the composer's feelings. All through Beethoven's art-work there are signs of lesser or
greater importance to show that, for him, music
was more than a science, more than an art it
was soul language.
The pictures, then, to which the master
worked were heroic, tragic, sublime, and often
concerned with deep problems of life; but
these appealed to Beethoven, because he him:

was noble by nature, tender-hearted, and

He did
possessed of a truly religious spirit.
not surround himself by a certain atmosphere,
or throw himself into some sad or at times
joyous mood, artificially, as Haydn and others
seem to have done. They took possession of
him some were evoked by the genius of a
great poet and seemed real, others were
self

what was passing in

but everything affected him

actually reflections of

and around him

intensely.
In daily

when

life

he was prone to exaggeration

excited he became furious with rage and

could not listen to reason. The fit over, he would
become unduly apologetic. He loved all his
friends, but one or other at times found the
course of true friendship anything but smooth.
His ancestors were Flemish, and he inherited
their solidity of character, which, however,

HIS ART- WORK

43

sense
often assumed the form of obstinacy.
of humour was so strong in him that all his

sorrows and misfortunes could not kill it, but

offended it assumed a form by no means

when

Intense, too, was his inner life

pleasant.
his thoughts, his emotions, and his mental pictures.
Other characteristics of Beethoven's music
may be mentioned. He created his melodies
out of the same material as his predecessors
viz., out of the seven notes of the major or
minor scale and harmony and counterpoint
he had learnt nearly from the same books as
:

Haydn and Mozart. And yet, if we consider

the works which he produced in the plenitude of his powers, they have a peculiar cachet
"
"
of their own.
Thoroughly Beethovenish
is an expression often used in speaking of
one or other of his masterpieces. From the
few notes of the scale the great composers
evolved themes which are so different from one
another that it can be at once said This is
Mozart or Haydn, or that Beethoven. The
mystery of genius is unfathomable. But there
are special characteristics in each of the masters
which offer outward manifestation of their individuality. The greatness of their music we only
feel
certain features of it can, however, be
described.
Many notable melodies of Beethoven consist
of scale passages or of notes of the common
:

chord;
gives

it

them

is

rhythmic grouping which

and character.

their

life

BEETHOVEN

44

He \vas not

the

first

to do this.

Haydn wrote:

1'

and Mozart

'

etc.

But Beethoven's themes thus formed are par-

Those of the first moveticularly striking.

ments of the Appassionato, Sonata and the
Choral
Symphony offer fine examples of
chord melodies as illustration of scale-note
formation may be named the second theme in
;

the opening

movement

of the Waldstein

rSfe
-I

etc

and especially the noble theme on which the

choral part of the Ninth Symphony is based
:

HIS ART-WORK

45

Of melodies appearing under different aspects

we have an apt illustration in the rondo of
the Waldstein Sonata. The theme commences
thus:

It

is

played

softly,

with ordinary arpeggio,

and dominant accompaniment. Later on

tonic,

heard j}, with massive chords, now major,

minor. A complete transformation has
taken place. And after its third repetition it
is extended, first by using portion a, then
only b and with constant decrescendo.
Reference must be made to one other work
it is

now

viz.,

ment.

to the Pastoral Symphony, first moveHere is the familiar opening phrase

:

A*- n :-t>i^T--ii
1

-if-"

rj

J7!

tab

The sections marked a, b, c, and d, during

the course of the movement all assume importance of their own. This extraordinary piecemeal treatment of a theme, and, as we shall
presently see, bit-by-bit construction of themes,
would seem to imply that Beethoven was a
music-maker rather than an inspired tone-poet.
Fortunately, the beauty, grandeur, and unity of

46

BEETHOVEN

his works sufficiently prove that to hold such

opinion would be utterly erroneous.
There is one extraordinary instance of the
building up of a theme and a movement from
a small group of chord notes :

It would be most natural for anyone to think

that the powerful theme of the C minor Symphony came to the master as a sudden inspiration, and that the introductory notes quoted
above were merely added after the movement
was written. But a very early sketch shows that
Beethoven was literally shaping a theme out of
those four notes, or perhaps it would be better

say, from them a theme was gradually

taking shape in his mind.
The use the master made of his thematic
material was varied.
In the Pastoral he dissects
to

his theme into short figures or phrases, treating

them as fresh material, from which he evolved
Here in the
phrases and whole sections.

minor the process is different; but without

copious illustration it is quite impossible adequately to describe the wonders he achieved.
Beethoven had no stereotyped method.
Simple yet striking examples of portions of a
theme living, as it were, a life of their own will
be found in the opening allegro of the Wald-

ART-WORK

HIS
stein.

In the

first

theme (bars 3 and

47

we

4)

have:

if the movement be
carefully examined, it
be found that the portions (mere figures)
marked a, b and c, and the two bars them-

and

will

selves,

marked

d,

are expanded into important

passages and phrases.

practice of which Beethoven was fond, and

which many instances occur in his works,
was, to quote the succinct description given by
that Beethoven enthusiast, the late Sir George
"
Grove, hurrying a phrase up to a climax by
shortening the value of the notes," and of the
two which he mentions in his analysis of the
Leonore overture, No. 3, here is the second

of

Others are more complex, more interesting,

but the above, of forcible effect in the overture,
a
is one which appeals directly to the eye
non- musical person has only to be told that the
;

BEETHOVEN

48

black notes, being half the value of the white,

move twice as quickly, and he will at once
grasp the idea.
All great composers seemed to love startling
harmonic effects, notes sounding as if they
were wrong, or were being played in the
wrong place. There are many bold things of
the kind in Bach's " Well-tempered Clavier."
Mozart's famous discords in the introduction
to his quartet in C, caused Sarti, the Italian
composer, not only to shudder, but to attack
the German composer with his pen.
Beethoven has some passages after the style
of those of Bach and Mozart, but he had a
curious little habit of his own viz., of mixing
tonic and dominant harmonies, thus producing

The horn passage in

confusion.
the Eroica, mentioned in connection with that
symphony, is a notable instance. The same
kind of thing occurs at the end of the first
movement of Les Adieux sonata. The first may
have dramatic meaning, or may possibly be
merely a stroke of humour the second, however, seems a realistic attempt to depict the
mingling of the farewells of the two friends,
Beethoven and the Archduke Rudolf, the
dramatis persona, as we know, of the piece.
momentary

Both passages were actually smoothed down

by editors.
In studying chronologically the works of our
master one cannot fail to notice a gradual change
melodies begin to overlap, and harmonies and harmonic progressions become

of style

HIS

ART-WORK

more complex, while

49

works fugal

in the later

a prominent feature. In his early

youth Beethoven learnt to play Bach fugues,
and afterwards not only studied the laws of
fugue under Albrechtsberger, but wrote fugues
writing

is

by way of exercise. This early Bach influence

and early study of a severe form is indirectly
felt

throughout

the

composer's

art

work.

Towards the

end, however, he made direct,

though certainly not mechanical, use of it.
The long fugue in the
flat sonata, Op. 106,
displays herculean power, yet, with its imita-

tions, inversions, augmentations,

recall the pigtail
tions, it

may

period.

and diminuand powder

In the fugue of the sonata .in_.A .flat,

.

Op. no, there are also scholastic devices but

here spirit triumphs completely over letter
Beethoven breathed new life into an old form,
which Bach, by his wonderful genius, seemed
to have exhausted.
;

THE SKETCH-BOOKS

account
AN would
be

of Beethoven, however brief,

incomplete without some reference to the books in which he noted down and
developed his musical ideas. Slight sketches
by other composers have been preserved, but
those of our master are unique. From early
childhood down to the end o
his life he
thought, as it were, on paper, and this for his
smallest as well as his greatest works.
Many
of these books have been preserved, also loose

and from them many curious and

valuable facts have been gleaned respecting
the genesis and completion of his works. At
times it is possible to follow the line of thought,
to see at what he was aiming
at other times
there are microscopic notes without clef or
signature, melodies or figures suddenly broken
off with "etc.," or mysterious signs pointing to
leaves,

some remote or possibly missing page, and

words and sentences often difficult, and sometimes impossible, to decipher.
Thus, even
after long and patient examination a sketch
will not always reveal its secret.
Most extraordinary are the
early sketches of

many
So

first

or very

familiar melodies, for

HUM-

1 ill

::
II

THE SKETCH-BOOKS

51

they lack that which now gives' to them special

character and charm. Here are short illustrations from a sonata and from a symphony
:

Sonata in

E minor,

Op.

2nd movement.

90,

this with the printed version, and

the plain opening quaver, the up-beat,

Compare
see

how

has been exchanged

for

two semiquavers

rising

gently upwards from the keynote to the third

to the crotchet g) also how the quaver
(i.e.,
rest in the second bar has been replaced by a
note giving greater flow and charm to the
melody. A few bars further on in the same
;

phrase

we

find

'Aendsrung."

The " Aenderung,"

or change,

was

finally

Beethoven had a picture of the

melody in his mind, but at first sees it, as it
The mental process seems
were, only dimly.
photographed on paper.
The sketches offer, indeed, no clue as to the
art of inventing grand melodies, but they are
most interesting, and they at any rate show
what pains Beethoven took with his work.

adopted.

42

BEETHOVEN

52

Here
Finale of

is

the

symphony

Symphony

in

illustration

minor.

-I

pr-r-h*I

bold beginning, as in the published version,

but, as yet, an indifferent continuation.

The sketch-books confirm what Beethoven

wrote to his friend Wegeler in 1801, practically

" As I
at the outset of his career.
says
often occupied with three
now compose, I
or four works at the same time ;" and in this

He

am

matter he told the simple truth. The sketchbook which he was using at the very time he
wrote those words confirms his statement. The
book, described by Nottebohm, who made such
a deep study of the Beethoven sketch-books,
shows that he was working simultaneously at
the first and second movements of the sonata
for violin and pianoforte in A, Op. 30, No. i
also that while working at the finale of the
Kreutzev Sonata he was sketching both the first
and the second movements of the sonata for
pianoforte and violin in C minor, Op. 30, No. 2.
This was not the result of momentary pressure,
but a habit which he formed, as the books
show, while in Bonn, and one to which he
adhered down to the very end of his life.
;

A book

of the year 1804 contains important

THE SKETCH-BOOKS

53

sketches for his opera, and one would have

thought that such a work would have engaged
But while working at
his whole attention.
the finale he jots down ideas for the pianoforte
sonata, Op. 54, and later on a long sketch of
the first movement of the sonata in F minor,
this close juxtaposition of two
particularly striking, for the strong
affinity between the music of the earlier part of
the second act of Fidelio and that of the Appassionato, must have been noticed by all thought-

Op. 57

works

ful

and

is

musicians.

So much

for his early years

but in one of
the latest books used by him, containing
sketches for his last quartets, we find him
"
"
planning an overture on the name Bach
i.e., on the notes represented by the letters in his

name

thus

i
B natural in Germany being called H.
In these books, too, there are all kinds of
curious memoranda, some relating to music, to
plans concerning the form or character of works
he was contemplating, others mere notes of
people, books, addresses, etc., and even these
occasionally throw light on the story of the
the

composer's life.
Before closing this brief chapter on a subject
of great fascination, reference may be made to

BEETHOVEN

54

the many extracts from the works of his predecessors which are scattered through these

books from Bach, Handel, Mozart, and others.

He was not afraid of studying their works he
had no fear that by so doing he would weaken
There are several extracts
his individuality.
from Handel, the composer for whom he enter:

tained so great a veneration.

study of these sketch-books

amusement

is

not a mere

impresses the various

works on one's mind, and helps towards anaIt
shows, too, that
lyzing their contents.
the master strove to approach as near as he
Once, even
possibly could to perfection.
after he had finished and sent off his C minor
intellectual

it

Symphony to the publishers, Breitkopf and

H artel, he wrote to the firm as follows
:

" You will receive to-morrow a notice of some small

improvements which I made during the performance
of the symphony. When I sent you the manuscript,
I had not heard a note of the music, and one must not
pretend to be godlike, unable here and there to improve

one's creations."

Again, Beethoven sent his sonata, Op. 106,

London to his friend Ries for publication.
He afterwards wrote to point out that two
notes were to be added at the commencement
of the adagio, which, as first sent, comto

menced

THE SKETCH-BOOKS
"

55

Labour," Sir Joshua Reynolds, quoting

from the ancients, was accustomed to say, " is
the price which the gods have set upon everything truly valuable."

PRINCIPAL WORKS OF BEETHOVEN

ORCHESTRAL.
Of the Symphonies the principal are
The third (Eroica, Op. 55).
The fifth (C minor, Op. 67).
The seventh (A major, Op. 92).
The ninth (Choral, in D minor, Op.
Of Overtures

125).

Coriolan, Op. 62.

Leonore, No.

3,

Egmont, Op,

84.

Op.

72.

Of Concertos
No. 4 in G, Op. 58, for pianoforte and orchestra.
No. 5 in E flat, Op. 73, for pianoforte.
Concerto in D, Op. 61, for violin and orchestra.

CHAMBER MUSIC.
Septet for Violin, Viola, Horn, Clarionet, Bassoon,
'Cello, and Double Bass, in E flat, Op. 20.
Quintet for two Violins, two Violas, and 'Cello, in C,

Op. 29.
Three Quartets (dedicated
E minor, and C, Op. 59.

E flat, B

Quartets in

flat,

to

sharp minor, and

127, 130, 131, and 132.

Trios for Piano, Violin,

Op.

Rasoumoffsky) in F,

A minor,

and 'Cello, in D and E

and 2.
Trio for Piano, Violin, and 'Cello, in B flat, Op. 97.
Sonata for Piano and Violin in A (the Krcntzer),
Op. 47.
Sonata for Piano and Violin in G, Op. 96.
Sonata for Piano and 'Cello in C, Op. 102, No. i.
Sonata for Piano and 'Cello in D, Op. 102, No. 2.

Two

flat,

Op.

70,

Nos.

56

HIS PRINCIPAL

WORKS

57

PIANOFORTE SONATAS.
Sonata in C sharp minor (quasi fantasia), Op.
No. 2.
Sonata in D minor, Op. 31, No. 2.
Sonata in C (Waldstein), Op. 53.
Sonata in F minor (Appassionata), Op. 57.
Sonata in A flat, Op. no.
Sonata in C minor, Op. in.

27,

VARIATIONS FOR PIANOFORTE.

Six Variations (Original
Fifteen Variations (on
Ballet) in

flat,

Op.

Theme)

in F,

Theme from

Op.

34.

the Prometheus

35.

Thirty-three Variations (on a Diabelli Waltz) in C,

Op.

120.

VOCAL MUSIC.
Fidelio (Leonora) Opera, Op, 72.

Missa Solemnis in D, Op. 123.

SONGS.
Adelaide, Op. 46.
Six Songs by Gellert, Op. 48.
"
Song Cycle, An die feme Geliebte," Op. 98.
"In questa tomba."

BEETHOVEN LITERATURE
Life of Wagner was commenced
the lifetime of the Bayreuth master,
but it was not until eleven years after the death
of Beethoven that a small though highly interest"
Biographische
ing booklet appeared, entitled,

important
AN during

Notizen

iiber

Ludwig van Beethoven."

These

Biographical Notices, written by Franz Wegeler

and Franz Ries^ friends of the composer, who

knew him from

largely

his earliest

days, have been

drawn upon by subsequent

writers.

They were published at Coblenz in 1838.

The first real biographer wa<? Anton Schindfriend of Beethoven during his later years.
His " Biographic Ludwig van_BeethoYfins-i'
appeared at Minister in 1840. A second enlarged edition was issued in 1845, and a third
in 1860.
This important work, with additions
and modifications, was translated into English
by Ignaz Moscheles, another friend, also pupil,
ler,

It was published in 1841.

In 1858 appeared a voluminous work in two
volumes, from the pen of Adolf Bernhard Marx,
" Beethoven's Leben und
entitled,
Schaffen," a

of the master's.

edition being issued in 1901.

In 1864 F. Nohl commenced his " Beethoven

fifth

58

BEETHOVEN LITERATURE

59

Biographic," the third and last volume of which

Though diffuse, it contains
much that is interesting, and many valuable

appeared in 1877.
notes.

In 1866 another

-iajej^
"

Ludwig van Beethoven's

Leben," was published at Berlin in 1866, the
second in 1872, and the third in 1879. This
last volume carries the life only down to the
his

great

work,

year 1816. Though written in English, it was

published in a German translation by Dr. H.
Deiters.
Thayer died in 1897, an d his translator has undertaken to revise the work, and to
complete it. The first volume of this revised
edition bears the date 1901.
In 1887 D. Theodor Frimmel published his
" Neue
Beethoveniana," which reached a
second edition in 1890; and in 1901 his "Ludwig
"
"
van Beethoven in the " Beruhmte Musiker
edited
ReiHeinrich
biographical series,
by

mann.

"

Ludwig van Beethoven," in two volumes,

by the well-known writer, W. J. v. Wasielewski,

published in 1888, also claims notice.
In 1865 Ludwig_Nohl edited a collection of
"
and in
Bniefe"Beelhovens,"
1867 a second collection, "Neue Briefe Beethovens." The first collection was translated

letters, entitled,

into

English by Lady Wallace (Longmans,

1866, 2 vols.).
Quite recently Dr. A. C. Kalischer collected,
under the title " Neue Beethovenbriefe," more

BEETHOVEN

60

some hitherto unpublished, others which

had appeared "frQgL time to time in various^
letters,

newspapers.

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are

"

interesting

works by Gustav Nottebohm

"
and " Zweite Beetho-

Beethpveniana

veniana," giving descriptions of Beethoven's

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second work appeared originally as articles
(" Neue Beethoveniana ") in a paper, and they

were collected and edited after Nottebohm's

death by E. Mandyczewski. Nottebohm also
" Ein Skizzenbuch von Beethoven "
published
" Ein Skizzenbuch von Beethoven aus
(1865)
;

dem

"

Jahr, 1803

Of works

in

there are few.

(1880).

English concerning Beethoven

"
"

Beethoven depicted by His

is a translation by Emily
Contemporaries
Hall of an interesting work of Ludwig Nohl's,
entitled " Beethoven." Wagner's essay " Beet"
hoven was translated by E. Dannreuther in
" Beethoven " in the " Master Musicians "
1 880.
by F. J. Crowest, editor of the series, appeared

in 1899.

must

be mentioned the admirable

Beethoven," by the late Sir George
"
Grove, in his
Dictionary of Music and
Musicians," also his "Beethoven and His Nine
Symphonies" (1896), which reached a third
Also

article "

edition in 1898-

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