Chapter L: Van Beethoven (1)

Hummel is here and has called on me several times.

XII.

To I. MOSCHELES in London.

_Vienna, March_ 18, 1827.

With what emotion I read your letter of the 1st March is not to be described in words. This magnanimity of the Philharmonic Society, with which they anticipated my request, has touched my inmost heart. I, therefore, ask you, dear Moscheles, to be the organ through which I can express my most heartfelt thanks to the Philharmonic Society for their sympathy and help. Tell these worthy men that if God restores me to health, I shall try practically to show my gratitude by works, and that I leave it to the Society to choose what I shall write for them. A whole sketched Symphony (the 10th) is in my desk, also a new Overture, or even something else. As regards the concert which the Philharmonic Society has resolved on giving for my benefit, I beg the Society not to give up this intention. In short, I shall try to fulfil any wish expressed by the Society, and never have I undertaken a work with such ardour as will now be displayed. May it only please God to restore me soon again to health, and then I shall prove to these magnanimous Englishmen that I know how to value their sympathy to me in my sad condition.

I was compelled to accept the whole sum of 1,000 fl., since I was then in the disagreeable position of having to draw out invested money.

Your noble behaviour I shall never forget, and I shall soon render my thanks in particular to Sir Smart and Herr Stump. The metronomised _Ninth Symphony_ please hand to the Philharmonic Society. Enclosed find the markings.

Your most devoted friend,

BEETHOVEN.

XIII.

SCHINDLER to B. SCHOTT SOHNE, Mainz.

_Vienna, April_ 12, 1827.

I would already have liked to take the liberty of forwarding to you the enclosed document in the name of our Beethoven as his dying request; but after the passing away of our friend, there was so much business to attend to that I found it impossible. Unfortunately, it was not possible to get the document legalised, for that Beethoven would have had to sign it at the law court, which was utterly impossible. Beethoven, however, requested Court Councillor v. Breuning and myself to add our names as witnesses, as we were both present. We, therefore, believe that it will serve the purpose for which it was drawn up. I must further mention that in this document you possess the _last_ signature of this immortal man; for this was the last stroke of his pen.

I cannot now refrain from telling you something about the last hours when he was still conscious (namely, on the 24th of March, from early morning until about one o'clock in the afternoon), for to you, sirs, this will surely be of great interest. When I came to him on the morning of the twenty-fourth of March, I found his face quite drawn; moreover, he was so weak that with the greatest effort he could only utter two or three intelligible words. The _Ordinarius_ soon arrived, and, after watching him for a few moments, said to me: 'Beethoven's end is rapidly approaching.' As the business of the Will had been settled, so far as was possible, the previous day, there remained for us only one ardent wish: to get him reconciled with heaven, in order that the world might also be shown that he ended his life as a true Christian. The Professor Ordinarius wrote it down, and begged him in the name of all his friends, to partake of the Sacrament for the dying, whereupon he answered calmly and steadily: 'I will.' The doctor went away, leaving me to see to this. Beethoven then said to me: 'My only request is that you write to Schott and send him the document: he _will need it_. And write to him in my name, for I am too weak, and say that I much desire him to send the wine. Also, if you have still time to-day, write to England.' The clergyman came about twelve o'clock, and the religious ceremony took place in the most edifying manner. And now for the first time he seemed to feel that his end was approaching, for the clergyman had scarcely gone when he said to me and to young v. Breuning: '_Plaudite amici, comœdia finita est!_' Have I not always said that it would be thus? He then, once again, begged me not to forget Schott; also again to write in his name to the Philharmonic Society[88] to thank them for their great gift, and to add that the Society had comforted his last days, and that even on the brink of the grave he thanked the Society and the whole English nation for the great gift. God bless them.

At this moment the chancery servant of v. Breuning entered the room with the case of wine and the decoction, about quarter to one o'clock. I put the two bottles of Rüdesheimer and the two other bottles of the decoction on the table at his bedside. He looked at them, saying: ''Tis a pity, a pity, too late!' These were his last words. Immediately after, commenced the death throes, so that he could not utter a sound. Towards evening he lost consciousness and became delirious, which lasted up to the evening of the 25th, when visible signs of approaching death appeared. In spite of it, he died only on the 26th at quarter to six o'clock in the evening.

This death struggle was terrible to behold, for his constitution, especially his chest, was like that of a giant. Of your Rüdesheimer, he took still a few spoonfuls until he passed away.

Thus I have the pleasure of acquainting you with the last three days of our unforgettable friend.

In conclusion, accept the assurance, etc.,

ANTON SCHINDLER.

FOOTNOTES:

[85] For the Letters, I have been kindly allowed by Messrs. J. M. Dent & Co., to use Mr. J. S. Shedlock's splendid translation in his monumental, "_Letters of Ludwig van Beethoven_" (2 volumes, 1909), which contain no less than 7,220 documents.

[86] The variations mentioned were those for Piano and Violin on the well-known theme, _Se vuol ballar_, from Mozart's _Figaro_. (See page 224, 1A).

[87] Quotation from a well-known song.

[88] This English Society had sent him a present of £100 and a magnificent edition of Handel which gave him the greatest pleasure during his last days.

THOUGHTS

(IN BEETHOVEN'S HOUSE AT BONN.)

_To face page_ 100.

THOUGHTS

ON MUSIC.

"_Il n'y a pas de règle qu'on ne peut blesser à cause de_ SCHÖNER" (There is no rule which one cannot break for the sake of BEAUTY). This expression appears in the original in French except for the last word _Schöner_.

* * * * *

"Music ought to create and fan the fire of the spirit of man."

* * * * *

"Music is a higher revelation than the whole of wisdom and the whole of philosophy.... He who penetrates the meaning of my music shall be freed from all the misery which afflicts others."

(To Bettina, 1810.)

* * * * *

"There is nothing finer than to approach the Divine and to shed its rays on the human race."

* * * * *

"Why do I write? What I have in my heart must come out; and that is why I compose."

* * * * *

"Do you believe that I think of a divine violin when the spirit speaks to me and that I write what it dictates?"

(To Schuppanzigh.)

* * * * *

"According to my usual manner of composing, even in my instrumental music, I always have the whole in my mind; here, however, that whole is to a certain extent divided, and I have afresh to think myself into the music."

(To Treitschke: from correspondence concerning Beethoven's musical
settings to some of his poems. Treitschke was the man who revised
the libretto of _Fidelio_ when it was seriously thought of reviving
it.)
* * * * *

"One should compose without a piano. The faculty of expressing what one desires and feels (which is so essential a need to noble natures) comes only by degrees."

(To the Archduke Rudolph.)

* * * * *

"The descriptions of a picture belong to painting; even the poet in this matter may, in comparison with my art, esteem himself lucky, for his domain in this respect is not so limited as mine, yet the latter extends further into other regions, and to attain to our kingdom is not easy."

(To Wilhelm Gerhardi in Leipzig from Nussdorf, July, 1817.)

* * * * *

"Liberty and progress are the goals of art just as of life in general. If we are not as solid as the old masters, the refinement of civilization has at least enlarged our out-look."

(To Archduke Rudolph.)

* * * * *

"I am not in the habit of altering my compositions when they are once finished. I have never done this, for I hold firmly that the slightest change alters the character of the composition."

(To George Thomson, publisher, Edinburgh.)

* * * * *

"Pure Church music ought to be performed entirely _by the voices only_, except for the _Gloria_ or words of that kind. That is why I prefer Palestrina; but it would be absurd to imitate him without possessing his spirit and his religious convictions."

(To the organist Freudenberg.)

* * * * *

"When your piano pupil has the proper fingering, the exact rhythm and plays the notes correctly, pay attention only to the style; do not stop for little faults or make remarks on them until the end of the piece. This method produces _musicians_, which after all is one of the chief aims of musical art.... For the passage work (virtuosity) make him use all the fingers freely.... Doubtless by employing fewer fingers a 'pearly' effect is obtained--as it is put--'like a pearl.' But one likes other jewels at times."

(To Czerny.)

(The Baron de Trémont wrote in 1809, "Beethoven's piano playing was
not very correct and his manner of fingering was often faulty; the
quality of his tone was not beyond reproach. But who could dream of
the player? One was completely absorbed by the thoughts which his
hands tried to express as well as they could.")

* * * * *

"Amongst the old masters, only Handel and Sebastian Bach had true genius."

(To the Archduke Rudolph, 1819.)

* * * * *

"My heart beats in entire concord with the lofty and grand art of Sebastian Bach, that patriarch of harmony (_dieses Urvaters der Harmonie_.")

(To Hofmeister, 1801.)

* * * * *

"I have always been one of the greatest admirers of Mozart, and I shall remain so until my latest breath."

(To the Abbé Stadler, 1826.)

* * * * *

"I admire your works above all other pieces for the theatre. I am in ecstasy each time I hear a new work by you, and I take more interest in them than in my own. In brief, I admire you and I love you.... _You will always remain the one I esteem most amongst all my contemporaries. If you wish to give me an extreme pleasure do write me a few lines. That would give me great satisfaction. Art unites everybody_, how much more true artists, _and perhaps you will consider me also worthy_ of being counted one of this number."

(To Cherubini, 1823.)

(The words in italics are in French in the original with some
defective spelling. This letter to Cherubini was not answered.)

ON CRITICISM.

"In all that concerns me as an artist, no one has ever heard me say that I pay the least attention to what has been written about me."

(To Schott, 1825.)

* * * * *

"I think with Voltaire that mere fly-stings will not hold back a run-away horse."

(1826.)

* * * * *

"As for these idiots, one can only let them talk. Their prattling will certainly not make anyone immortal, any more than it will raise to immortality any of those whom Apollo has destined for it."

(1801.)

* * * * *

THE NINE SYMPHONIES

THE NINE SYMPHONIES

SYMPHONY No. 1 in C major, Opus 21.

Dedicated to the Baron van Swieten.

_Adagio molto--Allegro con brio--Andante cantabile con moto--Minuetto e Trio--Finale._

Although this Symphony was originally performed at the first of the composer's personally-arranged concerts in Vienna, on April 2nd, 1800, the sketches for it extend over the preceding five years. Though the symphony is in the composer's first period style, it does not rank amongst the very finest works of this period. The slow introduction starts on a dominant seventh out of the key.

[Music score]

The musical quotations are taken from E. Pauer's excellent piano solo arrangements of the Symphonies (Augener Ltd.).

The first movement proper is orthodox in form, and only once or twice do we catch a glimpse of the Beethoven to be, notably in the muttering bass passages near the end of the exposition. The _Andante_ which is also in Sonata-form proper and opens fugally, contains some original drum-work. The Minuet, purely Haydnesque, shows a certain delight in orchestral colour.

[Music score]

In the trio the first chord is struck no less than nine times, as though the young composer was entirely occupied with the charm of his orchestral colouring. The _Finale_ is not highly individual. The work is scored for strings, wood-wind, two horns, two trumpets and two drums.

2nd SYMPHONY in D, Opus 36.

Dedicated to Prince Carl Lichnovsky.

_Adagio molto--Allegro con brio--Larghetto--Scherzo and Trio--Allegro molto._

In the Second Symphony, which is a great advance on the first, the composer's hold of his subject is much firmer and the subjects themselves are more striking.

[Music score]

The _Larghetto_ is full of lovely curves, and there is some charming conversational work between the wood-wind instruments. The horn passage is the precursor of many fine symphony subjects of a martial nature for the horns.

[Music score]

Whilst the chromatic harmony is purely Mozartian, the _Scherzo_ is a genuine Beethovenian outburst, full of verve and piquant in touch.

[Music score]

There is a feeling of broadness about the brilliant and energetic _Finale_ which is absent from the _Finale_ of the First Symphony.

3rd SYMPHONY, Opus 35, "Eroica" in E flat. Dedicated to Prince
Lobkovitz.

_Allegro con brio--Marcia funèbre--Scherzo and Trio--Finale._

This Symphony was completed in August, 1804, and first performed on April 7th, 1805. The French Ambassador at Vienna had suggested that Beethoven should write a work on the grand scale based on his admiration for Napoleon as the saviour of France from the horrors of the Revolution; and it is a fact that Beethoven actually dedicated this Symphony to Napoleon, but when the news came that the First Consul had declared himself Emperor, Beethoven tore up the title page in a rage and added the following superscription:--

_Sinfonia Eroica, composta per festeggiare il Souvenire di un grand' Uomo, E dedicata A Sua Altezza Serenissima Il Principe di Lobkovitz da Luigi van Beethoven, Op. 55 No. III. delle Sinfonie._

This is one of the grandest and most powerful of the works in the Second Period style. It is noteworthy that all the principal themes are based on the intervals of the common chord, or on the little pendant of the diminished third which forms the tail of the first subject.

The work opens _in medias res_ with two strong chords, the chief subject entering on the cellos.

[Music score]

There is some lovely responsive work between the wood-wind and the string bands for the second subject. The development is masterly and embraces a wonderful new subject, first entering on the oboes in the strange key of E minor. The recapitulation is approached in a marvellous way--the climax of the development being reached with a chord in C flat, the echoing reflections of which gradually die away until they reach a mere shimmering of violins, into which is suddenly thrown an unexpected entrance of the horn with the chief theme in the tonic key. Was it a slip? Of course not. Rather a stroke of genius. The movement has an immense _coda_, which with Beethoven at this period amounts to a second development.

The Funeral March is one of the grandest things in music. It is a pageant of a great world tribulation rather than an elegy for Napoleon, who was certainly not dead at that time. More probably Beethoven's mind was occupied with the misery and wretchedness caused by war than with the single hero of that period who reaped both glory and dishonour at one blow. The oboe subject in the Trio portion is only one of many wonderful passages in this piece. The speaking bass melodies, the majestic second subject on the strings almost bursting with eloquence, and the wonderful coda, not broken-hearted but buoyed up by the rhythm of things viewed broadly. Any attempt to connect the _Scherzo_ and _Finale_ with Napoleon must fail ludicrously. The _Scherzo_ is simply one of Beethoven's finest productions in one of his bubbling, vivacious moods. The three horns have a subject which appears to be a genuine hunting call.

[Music score]

It is a seven-bar phrase, the echoes to which are enchantingly coloured. The common chordal formation of the duple time interjection near the end suggests something more massive, and the little _coda_ figure, _E flat, E natural, F_, comes from the opening theme of the Symphony. The _Finale_ is an amazing set of variations, the bass of the eight-bar theme being displayed and varied many times before the melody itself enters at the eightieth bar; and even then we continually hark back to the bass. It is not until the close, after the melody has been given at a slow rate on the wood-wind in its proper setting, that it is taken up triumphantly and carried victoriously into the coda. Beethoven used this particular theme four times--in a Contretanz, in his _Finale_ to the _Men of Prometheus_, as the theme for his set of variations for piano, Opus 35 and in this Symphony. This curious method of writing a set of variations recurs 20 years later in the Ninth Symphony. A somewhat similar process has been adopted by Elgar in his _Enigma Variations_, as the theme used there is said to be the counter-subject of a concealed melody.

4th SYMPHONY in B flat, Opus 60.

Dedicated to Count Oppensdorf.

_Adagio--Allegro vivace--Adagio--Menuetto--Finale._

This happy and serene work has been undeservedly overshadowed by its two towering neighbours. Schumann has called it a slender Greek maiden between two Norse giants. The opening _Adagio_ sounds the only dark mood in the Symphony.

[Music score]

It is lashed on to the _Allegro_ by some powerful violin scales.

[Music score]

The flute, oboe and bassoon converse sportively over the second subject. A strange sequential passage in unison upon the strings in three-bar phrases following a happy little canon on the wood-wind instruments and some powerful syncopations lead in to the development. An atmosphere of humour and good feeling permeates the movement.

The lovely melody which forms the chief theme of the _Adagio_ is given to the violins. It is accompanied by a strong persistent rhythmic figure, which is transferred later on to the drums with great effect. The wood-wind work and the horn passages are exquisite.

The third movement _Allegro vivace_ is full of fun, lively syncopations and duple time effects giving it more of the nature of a _Scherzo_.

[Music score]

It has a charmingly tender trio and a coda of exquisite poetry ending with Schumann's "Just one more question for the horn to put" before the final crash. This is one of the longest movements which Beethoven has written in this form. The bright, sunny mood of the opening movements increases in the radiant _Finale_. There the modulations are surprising and the touches of humour delightful. The little skirmish on the part of the bassoon just before the return, the whimsical little notes on the flutes and violins, the augmentation of the subject as it fades away into the stealthy questionings between the violins and bassoons near the end, are but a few of the many little quips and sallies.

5th SYMPHONY in C minor, Opus 67.

Dedicated to the Prince von Lobkovitz and the Count von Rasumovsky.

_Allegro con brio--Andante con moto--Scherzo and Trio--Finale Allegro._

This famous Symphony with its rugged first movement, its lovely _Andante_, its mysterious _Scherzo_ and its proud, fiery _Finale_, was first performed together with the so-called Sixth Symphony on December 22nd, 1808. The Pastoral Symphony No. 6 was probably written before the 5th.

The first movement opens without introduction with the famous phrase of four unison notes which Beethoven once explained as "Thus fate knocks at the door."

[Music score]

From this tiny germ the whole of this fierce stormy movement is evolved. Not even the beautiful tender second subject, nor the lovely little unbarred oboe cadenza can win it away from this rugged fierce mood. When this second subject appears in the recapitulation, still in the minor, the atoning major outburst which immediately follows is quickly brushed aside by the impatience of the reinstated first theme. Even the limitations of the old-fashioned horns and trumpets in those days seemed to be turned to advantage in the colossal bare thirds and fourths of the "Fate" notes.

The chief theme of the _Andante_, wonderfully sad, yet wonderfully beautiful, is further enhanced by one of those majestic marching subjects which only Beethoven could conceive. The beauty of the wood-wind work is remarkable and the coda is full of strange fancies.

[Music score]

The _Scherzo_ has some eloquent bass passages, and its rhythmic horn figures are full of veiled mystery and heavy with some dark foreboding.

[Music score]

The trio is a fiery _Fugato_ with strange outbursts on the basses. The curious hesitations on its re-appearance and the weird bridge passages at the end, with the long sustained chord on the strings and the mysterious drum tapping, cause the movement to veer gradually round to the fiery march-like coda, with its light, graceful, contrasted episodes. The _Scherzo_ theme insinuates itself into the _Finale_ near the coda, which is of amazing brilliancy, ending with a _Presto_ which fairly sweeps the hearer away with it.

The orchestra is the largest the composer has used so far. It includes three trombones, double bassoon, and piccolo, which, however, are only used for the brilliant _Finale_.

6th SYMPHONY (Pastoral) in F, Opus 68.

Dedicated to Prince von Lobkovitz and Count von Rasumovsky.

_Pastoral Symphony, or a recollection of country life. More an
expression of feeling than a painting._

_Allegro ma non troppo--Andante molto moto--Allegro--Allegretto._

This Symphony, often slighted on account of its so-called realisms and its classification amongst "programme music," is, nevertheless, one of the finest pieces in the whole range of absolute music. The labelling of the various movements by Beethoven--"Joyous sensations roused by arrival in the country," "Scene by the brook," "Merry gathering of country peasants," "Thunderstorm," "Glad and grateful feeling after the storm"--is quite superfluous. How artistically Beethoven has introduced the bird calls--the quail, the nightingale, and the cuckoo--into just the right place--the coda of the _Andante_. And the thunder-storm. What a magnificent introduction to the _Finale_ it makes! Beethoven has never once transgressed the great principles of form and balance in this Symphony.

The opening movement is a true country picture, full of the tonics and dominants of summer happiness.

[Music score]

Bird-like twitterings and horn calls come from all directions, yet how perfectly balanced it all is and what a marvel of development! The scene by the brook with its drowsy re-iterated figure on the under-current of divided strings is the very Bourdon ever sounding in Nature herself.

[Music score]

Wagner has not forgotten this in his _Woodland Murmurs_. The dance of the villagers, founded on the old country dances, is full of humorous touches, the drowsy bassoon notes, the romp round, and into this almost without warning, breaks the storm. A remarkably controlled storm it is, too, free from any vulgarity. A lovely bit of blue sky showing at the end, leads straight into the shepherd's song of thankfulness, which although containing several interesting points, the triple pedal at the opening with its horn yodel, etc., is somewhat lengthy and not very interesting. Beethoven had once intended to introduce words and chorus here, "Lord, we thank Thee," and it seems a pity that this idea was not carried out.

7th SYMPHONY in A major, Opus 92.

Dedicated to Count Moritz von Fries.

_Poco sostenuto--Vivace--Allegretto--Scherzo--Finale._

This Symphony was completed in May, 1812, but was not performed until December, 1813, at a Concert undertaken by Maelzel for the benefit of the wounded soldiers at the Battle of Hanau, October 30th, which Concert also contained Beethoven's _Battle Symphony_. In form, the Symphony contains nothing unusual. In subject, it is full of romance and colour from beginning to end.

Opening with a long introduction, which is almost a movement in itself, this contains a strong marching figure, and runs into the _Vivace_ by the means of a half cadence. The _Vivace_, a rhythmical movement in 6-8 time, is full of a verve and vitality which seems to reach its fullest power on the horns and wind instruments with their tucketting rhythms.

[Music score]

The _Coda_ amounts to a second development, and the whole movement goes with a splendid swing from beginning to end.

Rhythm but of another kind is also paramount in the elegiac pageant-like movement designated _Allegretto_, but curiously enough marked by Beethoven himself at 76, by Maelzel's newly-invented metronome. It is a highly coloured pageant, seen through a veil of mist, typified by the wonderful six-four chord on the wood-wind with which it commences and concludes. The structure of the _Scherzo_ (here marked _Presto_) has a strong relationship with its splendid fire and strong duple time effects to that in the 6th Symphony. The romance of the Trio with its wonderful low horn work is equally fine, and the movement is broadened out to considerable length by the return of the _Trio_ and of the _Presto_, thus making it a kind of Rondo--A, B, A, B, A--to say nothing of the humorous juxta-position of the two near the end.

The _Finale_ is also planned on the big scale, colossal in force and mighty in stride. There is a curious perversity of scale in the First Subject as though Beethoven was no longer satisfied with the ordinary major. The marvellous stride of the Bass at the end is not the least amazing of the features in this wonderful movement. Perhaps, this symphony holds together as one complete whole more than any other. It gives one the impression of having been written uninterruptedly from the first movement to last.

8th SYMPHONY, in F major, Opus 93.

_Allegro vivace e con brio--Allegretto--Presto--Allegro vivace._

"The little one," as Beethoven affectionately called this symphony, was written during four months of the summer and early autumn of 1812. It is smaller in scale, slighter in texture, than the other symphonies. Erroneously regarded as a return to an earlier style, and labouring for some time under the absurd title of "Ballet-Symphony," it has been somewhat neglected in the past. Without the grandeur of the Fifth or the romance of the Seventh, it contains a lasting, if less easy, charm, perfect finish, and a rich fund of good humour. Only a small orchestra is used, but it is handled in a masterly way, as the octave drums in the masterly finale, the charming _staccato_ chords for wood-wind with boisterous interjections from the full orchestra, the running conversations between the violins and the basses, fully testify.

The first movement is in the usual development form.

[Music score]

A sprightly _Allegretto_ takes the place of the slow movement. The third movement goes back to the early minuet, instead of the Scherzo.

[Music score]

The final movement is a masterpiece of construction and development which its astounding interruptions so amply justifies finally.

[Music score]

9th SYMPHONY, in D minor, With Final Chorus on Schiller's "Ode to
Joy." (Op. 125).

_Allegro ma non troppo un poco maestoso--Molto vivace--Adagio molto e
cantabile--Choral Finale._

It is important to remember, as M. Romain Rolland has reminded us, that this is not a Choral Symphony in the strict sense of the term, but a "Symphony with a Final Chorus." The choral _Finale_ was written by Beethoven in a separate MS., and, as with most of his other final movements, he seems to have expected no closer connection with the preceding three movements than that of general suitability. His original idea for a last movement to this Symphony was the Finale of the String Quartet in A minor, Opus 132, but for some reason or other his sketches for voices on Schiller's Ode were taken up again and worked into a _Finale_ for this Symphony. Ten years had elapsed between the completion of the Eighth Symphony and the consummation of the Ninth, the colossal first three movements of which are on the highest plane of all music. As to the complete success of the choral numbers, opinions differ widely. The first movement, colossal in conception and dignified in tone, has moods of great passion and wonderful tenderness. The opening theme is mighty in aspiration, rugged in power.

[Music score]

The second movement is the _Scherzo_, one of Beethoven's longest, and perhaps his very finest. It is all brought about by the little germ theme of three notes, which, amongst other things, suggests an unusual tuning of the drums in octaves. A _fugato_ follows, after which the second subject enters in the unorthodox key of C major. It is here that many conductors take upon themselves to thicken Beethoven's wood-wind melody, with the brass instruments. The _Trio_ is built up on a delightful double theme ushered in by the very first entry of the bass trombone.

[Music score]

The _Adagio_ opens with a melody of the utmost nobility, perfect in curve, and of a marvellous serenity.

[Music score]

A sudden modulation brings us to a new subject in D major in 3/4 time.

[Music score]

The first subject then re-appears in G major, this is followed by a mystic passage in E flat major, in which fragments of the first theme appear after the manner of a dreamy meditation in which there is some magnificent work for the horn. The first subject then appears in the original key and gradually passes over into a solemn and majestic _coda_. The form is original, even with Beethoven.

Immediately a huge hubbub breaks out from the whole of the wood-wind instruments. A short hasty review of a few bars from each of the first three movements follows, and after the bass instruments had commented rather brusquely on these appearances, the famous tune in D major breaks in on the cellos and basses alone. The melody gradually unfolds itself but finally is suddenly broken off by the discordant hubbub again, and the solo baritone voice enters with the words, "O brothers, not these tones."

[Music score]

The opening quartet and chorus is based entirely on the famous tune. The following number is a tenor solo and chorus to the accompaniment of a military band with all the appurtenances thereof--big drum, triangle and cymbals. A broad chorus follows, _Andante maestoso, a capella_ in style; and as movement after movement enters, the devout feeling of mysticism and awe increases, until the final chorus

_Chant one greeting, myriads countless_

caps with warm dazzling sunlight one of the highest peaks in all music.

THE PIANOFORTE SONATAS

THE PIANOFORTE SONATAS

1st SONATA, Op. 2, No. 1, in F minor.

The first Sonata has the usual four movements of the Haydn form: _Allegro--Adagio--Menuetto and Trio--Prestissimo_. The first and the last are in the usual Sonata form proper. The slow movement follows Mozartian lines. This Sonata is the first of the set of three in this Opus, which are all dedicated to Joseph Haydn, and the fact of such a superscription points to the respect which Beethoven had for the older composer, although he could not find it in his heart to continue with him long as his pupil. The whole of the Sonata, which appeared for the first time in 1796 and was probably written much earlier, is decidedly conventional in form, and shews us Beethoven starting on the lines laid down by those who went before him--Philip Emanuel Bach, Haydn, and Mozart.

The first movement is pure Haydn music, and the only glimmer of the future Beethoven comes in with that lovely little tune at the _Coda_. The development portion is thin and characterless. The first subject of the second movement was adapted from an early pianoforte quartet. A similar process was resorted to in the first movement of the third Sonata of this set for the second subject. The expression of this movement is not deep, nor does it sound that note of serenity which we regard as the chief characteristic of a Beethoven slow movement of the mature period.

The _Minuet and Trio_ is purely Mozartian, especially in its double counterpoint and its inversion of parts. Some characteristic touches are found in the second subject of the last movement, which is in two parts, and the use of an altogether new subject in the development portion. This device is next used in the Sonata in F, Opus 10, No. 2--a device carried to great perfection in the development portion of the first movement of the _Eroica Symphony_. The use of this broad subject does away with any idea of development, although the movement is built up on a figure of three chords, a point referred to in both codas. The first part of the second subject has that weird, foreboding feeling, which we feel frequently in Schumann's music. Already he shews a striking fondness for the diminished third; but the passage is not particularly striking. Far otherwise is the beautiful little tune of eight bars which forms the second part of this subject.

2nd SONATA, Op. 2, No. 2, in A.

_Allegro vivace--Largo appassionata--Scherzo and Trio--Rondo grazioso._

There is a distinct advance in the second Sonata. Although there are still the accepted four movements, the Minuet has now become a Scherzo. This Sonata was probably written shortly after the first, and in it we see how quickly Beethoven took a firm hold of form and design in construction. There is a feeling of considerable power about the first subject, and its short, pithy figures promise well for the development portion, a fact of which Beethoven takes immediate advantage.

The second subject has a dual tonality, beginning in E minor and ending in E major. This, of course, re-appears in the final section in A minor and major. There is considerable double counterpoint, and we have the characteristic rumblings in the bass. The canon in three parts at the octave, in the development portion, taxes the right hand of most players. The recapitulation is shortened and considerably altered.

In the _Largo Appassionata_ we get very near to the grandeur of Beethoven's middle style. The opening subject has serenity, and there is scarcely anything passionate in the whole movement which breathes of solemn yet tender earnestness. This movement may be regarded as either in Rondo form or in Ternary form. There is a powerful episode in flats near the end, but the music closes with an epilogue full of tender feeling.

We find a right boisterous joy in the _Scherzo_, which is evolved from one single little figure. The sequence of dominant seventh chords in the bridge, however, was already somewhat hackneyed even at that time.

The final Rondo is a graceful movement which owes much to Mozart. An episode leads to the second subject in E major, and this in its turn to the re-appearance of the first subject in varied form. Then comes a stormy episode in the minor which gradually subsides into the return of the first subject, then of the second subject, and finally winds up with a long _coda_ containing reminiscences of all the subjects.

3rd SONATA, Opus 2, No. 3, in C major.

_Allegro con brio--Adagio--Scherzo--Allegro assai._

This, the third of the set of the three early Sonatas dedicated to Haydn, appeared for the first time on March 9th, 1796, when Beethoven was twenty-six years of age. Eugen d'Albert regards this Sonata as essentially a virtuoso piece. This is saying rather much, although he is right in warning the interpreter against any attempts to render it mysterious by hyper-critical subtleties.

The first subject of the opening movement is a typical Beethoven one, evolved from a short figure of two bars. Some brilliant passage work then occurs. It was certainly Beethoven's custom at this early period to regard such passages in a more physical sense. The second subject enters with a dominant minor section, followed by a major section, in which appears some fine canonic work. The minor part of this subject, which was adapted from an early pianoforte quartet which Beethoven had written in his youthful period, abounds in the turns and trills characteristic of that time. The broken octaves in the coda are frequently rendered now-a-days by alternate double octaves between the two hands in demisemiquavers.

The development is much more Beethovenish, containing some striking double octave cataclysms. There is also a very fine enharmonic change from an F minor chord to F sharp minor. The Coda is noteworthy as it includes some fine arpeggio effects and a striking slow _cadenza_.

The second movement, _Adagio_ in E major, opens with one of Beethoven's dignified slow themes, which is sandwiched in Rondo fashion with disturbing episodes throughout. The first episode (in E minor) contains conversational work between the bass and the treble, the left hand crossing the right for the latter. At the end of the return of the first theme, there is a very striking example of an interrupted cadence--the dominant chord of E major being followed by the tonic chord of C.

The _Scherzo_ (three-four time) is in C major, and should be taken at a fast rate. It is one of those movements which would have been better written in six-four time by running two bars into one.

The final movement is a grandiose Rondo--six-eight time--in C major, which requires a good technique, especially for the left hand. The second subject is somewhat conventional, but the next episode contains one of those lovely hymn-like tunes in which Beethoven delights. For the third episode, the subject of the first episode is repeated, but here in the tonic key; thus making the form what is known as Modern Rondo or Sonata Rondo, in contrast to the old Rondo in which every episode was different. The _Coda_ is remarkable and is certainly of the virtuoso order. I never play it without thinking of the _Coda_ to Mendelssohn's _Wedding March_. The sequences at the 15th bar after the _Vivacissimo_ are not easy to finger. D'Albert fingers the upper part, 3, 4, 5, and the lower three notes with the thumb. Larger hands will produce a better effect by fingering the right hand top notes, 4, 5, 5, and the alto, 2, 1, 1. The triple shake near the end is frequently played by an alternation of six-four chords in either hand. There is a remarkable example of an interrupted cadence here, where D becomes D sharp leading to an A major chord. These unexpected rallentandos and calando before the strepitous rush home become a standing characteristic in Beethoven's music.

4th SONATA, Opus 7, in E flat.

_Allegro molto e con brio--Largo con gran espressione--Allegretto
Minore--Rondo._

This Sonata which appeared for the first time on October 7, 1797, is dedicated to the Countess Babette von Keglevics. The composer, at the age of twenty-seven was rapidly winning his spurs, but still wrote on the old lines and with the customary four movements. His Minuet however has now become a lively movement and lost all traces of its origin in the stately dance. It is quite likely, however, that the Minuets of Haydn and Mozart were also taken at a lively rate, incompatible with the dance.

The first movement in regular "Sonata Form" is in six-eight time, in happy mood. The joyous rhythm is occasionally emphasised by sforzando syncopations. The subjects are all very taking, and there are some striking modulations in the development.

The _Largo_ is full of religious calm. There is a striking interrupted cadence at bar 19, and one of those majestic march-like movements for the second subject, which on its return at the end, appears as a tenor melody. The movement is full of rich colouring. The tones of the flutes and other wood-wind instruments, may be imitated in parts also the song of birds.

The first part of the _Allegro_, which takes the place of the Minuet movement, is much more extended than usual. In place of the Trio, we have a movement in the tonic minor of low broken chords, full of that brooding sadness to which Schumann and Brahms in later days became so prone. This is linked up, however, to the return of the first joyous theme to which it forms an effective foil. The final Rondo in E flat is real Mozart, and Mozart at his best. Play the first subject through, sixteen bars in length. Still the bridge passage which follows is real Beethoven. He seems fairly obsessed with his little figure, unable to let it alone, repeating it no less than thirteen times in succession. There is a virile second subject. The middle episode is stormy and difficult to play unless one divines intuitively the right action. There is a remarkable enharmonic change on the last page but one, where the tonality is moved up a semitone from B flat to B natural (a device of which the composer is fond), returning seven bars later on by the chameleon-like "diminished seventh" chord. Reference is made in the _Coda_ to the rhythm of the stormy middle episode which is here turned to good use in the brilliant peroration.

5th SONATA, Opus 10, No. 1, in C minor.

_Allegro molto e con brio--Adagio molto--Prestissimo._

This Sonata is dedicated to the Countess von Brovne, and appeared for the first time on September 26, 1798. It is in three movements--the slow movement in A flat major. There is no _Minuet_ or _Scherzo_, the _Finale_ instead being instilled with the spirit of the _Scherzo_.

The first movement is the usual development form, the first subject being composed in Beethoven's usual manner of two figures here, (a) upward flight, (b) soft chords. It ends with a decided perfect cadence, the bridge subject entering after a bar's silence. It is noteworthy that the second subject on its return appears in F major, before settling down finally into C minor. This first movement, although in the minor, breathes a happy contented spirit, which deepens into seriousness in the Adagio. This opens with a beautiful 16 bar phrase. We then pass straight into the second subject, a florid one in a lighter vein of thought, closing in E major. A sprinkled dominant seventh takes the place of the development section, and the whole is then repeated. For the Coda, the first subject has passed into that serene happy atmosphere which only Beethoven's spirit seems to have penetrated. The Finale is again cast into development form, and is typical of the way Beethoven expands his movements from the smallest idea. There is a beautiful hymn-like second subject. Characteristically enough, just before finishing this bubbling movement joyfully, the composer falls into a deep reverie, but only to brush it aside almost impatiently by returning to the original idea.

6th SONATA, Opus 10, No. 2, in F major.

_Allegro--Allegretto--Presto._

The tenth Opus, which first appeared on September 26th, 1798, contains three Sonatas, all dedicated to the Countess von Brovne. The Sonata is in three movements--the first a movement of development, the second a _Scherzo_, and the third a playful _Presto_. The whole Sonata is cast in happy mood. The mysterious and somewhat eerie feeling of the Minuet being completely dispelled by the happiness of the Trio (which, curiously, enough, Brahms seems to have written over again in his Scherzo in E flat minor). The mood at the first part of this _Scherzo_ has a close relationship with the _Scherzo_ in the _Eroica Symphony_.

There are several noteworthy points about the development of the first movement. It opens with a treatment of the last three notes of the exposition in capricious manner. The development closes, too, with this idea, but it also contains a completely new subject in D minor. The prevalence of this tonality brings in the return section irregularly in D major. The _Presto_ is one of those playful movements, full of fun and written broadly in Sonata form lines.

7th SONATA, Opus 10, No. 3, in D major.

_Presto--Largo e mesto--Menuetto--Trio--Rondo._

This Sonata is one of the greatest works of the first period, if not, indeed, the greatest of them all. The first movement is a wonderful evolution from the first four-note figure, the development full of all kinds of strong devices, the stormy episode in the middle based on the rhythm of the opening phrase of the Sonata and the marvellous slow movement full of passion and tenderness, from its opening five-bar phrase to its beautiful close with those amazing tonic pedal chords. The spirited Minuet, really a _Scherzo_ with two bars taken as one, is admirably contrasted with the Hunting Song of the _Trio_. Did Beethoven ever use the horse which Count Brovne gave him? The fine Rondo is cast on the old lines but filled with such new feeling.

The structure of the slow movement is in song form with five sections:--

(a) Theme in D minor in two parts with cadences in C major and A minor.

(b) Modulatory section from F to D minor.

(c) Theme in D minor with cadences in B flat and in D.

(d) Development of the (a) and (b) sections.

(e) Concluding portion.

8th SONATA, (Pathétique), Opus 13, in C minor.

_Grave--Allegro di molto e con brio--Adagio cantabile--Rondo._

Published for the first time in 1799, and dedicated to the Prince Carl von Lichnovsky. Although one of the few authentic titles, it is difficult to see the meaning of its bearing of the Sonata as a whole, unless indeed it is applied to the sad and dramatic introduction theme which, indeed, deserves as a leading motive to the first movement being introduced before the development section, and it ends just before the coda. The slow movement is of wonderful serenity and breathes a great religious calm. Still, it was a great offence against good feeling to make the single a double chant out of it as one of our cathedral organists has done. The Rondo does not quite reach the high plains of the first two movements, it was probably written much earlier; note the reflective mood again just before the final whirlwind. There is no Scherzo or Minuet in this Sonata.

9th SONATA, Opus 14, No. 1, in E major.

_Allegro--Allegretto--Rondo._

The two Sonatas in this Opus, which is dedicated to the Baroness von Braun, are not very interesting. No. 9 has no slow movement. The meditative feeling having, apparently, crept into the _Allegretto_, which should again be taken as two bars in one. The Rondo in E is of great beauty and finish. The middle episode has again the feeling of a hunting song.

They appeared for the first time in December, 1799.

10th SONATA, Opus 14, No. 2, in G major.

_Allegro--Andante--Scherzo._

The first movement, in Sonata form, is a remarkable example of the growth of a whole movement from a single germ.

The Andante is an air with variations. The form of this is really ternary, although if the second part be repeated, it will throw the theme into five sections, A, B, A, B, A. The first variation places the air in the tenor, the second divides the harmony rhythmically, the third breaks up the harmony into semiquavers. Purists hold that this movement is wrongly barred throughout, the first beat coming where the third now is.

In the last sprightly movement, the _Scherzo_ and _Finale_ seem to have run into one.

The only other examples of Beethoven's use of the designation _Scherzo_ for a movement not in Scherzo and Trio form are in the pianoforte sonata Opus 31 No. 3, and in the string quartet in C minor.

11th SONATA, Opus 22, in B flat.

_Allegro con brio--Adagio con molta espressione--Minuetto--Rondo._

Dedicated to the Countess von Brovne.

This Sonata is the finest since the Opus 10, No. 3 in D. It is not so deep in feeling as some of the preceding pieces, and the composer's preoccupation with development somewhat duly prolongs the first movement. It is full, however, of characteristic vigour for its own sake, and the _Adagio_, long-drawn as it is, possess a great charm.

This long-drawn meditative piece is the only case in the Sonatas of a slow movement having all the elements of the true Sonata forms--exposition and development, recapitulation, coda. If the _Adagio_ breathes of the open country, the Minuet savours of the salon. In this rather old-fashioned Minuet, the _Trio_ is styled "Minore." The Rondo with four refrains, the last two varied.

12th SONATA, Op. 26, in A flat.

_Andante con variazioni--Scherzo--Marcia funèbre--Rondo._

Dedicated to the Prince Carl von Lichnovsky.

This Sonata was announced for the first time on March 3rd, 1802. Two of the movements are in slow time--an Air with Variations, and a "Funeral March on the death of a hero." The March is said to have been written as a set-off to the popular one of that day in Paer's opera, _Achilles_.

It is not a lamentation, but rather a tragic elegiac picture set in an impressive frame. One feels the throb of brass, the blare of trumpets, the roll of muffled drums, the impressive pageantry of death. The opening _Andante_ is beautiful, and in the variations the theme breathes as it were through a thin lovely veil. The technique looks backwards rather than forwards, and the movement ends with a calm phrase. The final Rondo bubbles with life ceaselessly until it disappears in a faint whisper.

13th SONATA, Opus 27, No. 1, in E flat.

_Sonata quasi una Fantasia._

_Andante--Allegro--Andante--Allegro molto e vivace--Adagio con
espressione--Allegro vivace._

Dedicated to Princess Lichtenstein.

This Sonata was first published together with the following one in C sharp minor on March 3rd, 1802. They were both composed in 1801, the happy year of the composer's love for Countess Giuletta Guicciardi. The term _Fantasia_ by no means implies formlessness, but rather a departure from the ordinary Sonata form. The first movement--an _Andante_, full of light and shade--is held by purists to be wrongly barred throughout, the first beat being the third, and so on. It is followed by an _Allegro_ in C major which leads back to the return of the _Andante_, this time varied. The _Allegro_, which takes the place of the _Scherzo_, is full of imagination and vigour. The slow movement is used as a bridge leading into the _Finale_. All the movements are chained together in one whole. Just before the precipitant _Coda_, Beethoven takes a final glance back at the subject of the _Adagio_.

14th SONATA, Opus 27, No. 2, in C sharp minor.

_Adagio sostenuto--Allegretto--Presto agitato._

The title page describes the work as _for clavecin or pianoforte_. The nickname, "Moonlight," given to it by the poet Rellstab, has no authority and only serves very faintly to define the peaceful charm of this sensitive picture, which was more probably inspired by the composer's romantic love for the Countess Giulietta Guicciardi. The direction in Italian, "to be played throughout with the greatest delicacy," is significant, although the term _senza sordini_ is somewhat vague. It may have meant that it is to be played with the sustaining pedal, i.e., without the dampers. It is probably a general indication that the piece requires the pedal to sustain each harmony, for nowhere is harmony put to such effective use as in the dreamy yet placid opening _Adagio_. There is scarcely a stir, except where an occasional minor 9th causes a slight emotional ripple.

A little _Allegretto_ takes the place of the usual Minuet. It might be a dance of peasants, heard in the distance. The restless and passionate _Presto_ is one of the finest movements in all the master's works.

Like the preceding Sonata, all the movements follow on without break. But there is a definite organic connection between them, the _Finale_, and the opening movement in particular. Compare the first four semiquavers of the _Presto_ with the second quaver group of the _Adagio_, and the quaver chords in the second bar of the _Presto_ with the melodic figure in bars 5 and 6 of the opening movement.

The second subject of the _Finale_ has three well-defined sections, the first melodic, the second dolorous expressive chords, the third a souvenir of the first. The _Coda_ is one of the most deeply expressive things Beethoven has ever written. It ends with a powerful gust of unpent passion.

15th SONATA, Opus 28, in D major.

_Allegro--Andante--Scherzo--Rondo._

Dedicated to Joseph Eiden von Sonnenfels.