Chapter L: Van Beethoven (2)

It was christened by the Hamburg publisher, Cranz, with the name of "Pastoral Sonata." The autograph is dated 1801, and the work is exceeding happy in mood, the last two movements almost boisterously so, the _Finale_ being a mad gallop home. This Sonata has four movements, and it is most probable that it was written before the two _Fantasia Sonatas_. The first movement opens with a phrase of nine bars over a gentle tapping tonic pedal. It is a splendid specimen of development by elimination and condensation. In the middle portion, just before the recapitulation, the phrase seems almost to disappear into thin air.

The _Andante_ in D minor, with its epigrammatic _Trio_ in the tonic major, was once a great favourite with the composer. The _Scherzo_ which despite its title is really a _Minuet_, is one of his happiest, and the Rondo is full of the joy of field and forest.

16th SONATA, Opus 31, No. 1, in G major.

_Allegro vivace--Adagio grazioso--Rondo._

This Opus contains three Sonatas--a favourite grouping with the composer. Although No. 1 was published in 1802, this Sonata, so simple in technique, has the feeling of having been conceived much earlier. The _Adagio_, with its elaborate flowery passages of no particular meaning, drops back to the Hummel style, and is developed to a considerable length. The Rondo is bright and sunshiny throughout.

17th SONATA, Opus 31, No. 2, in D minor.

_Allegro--Adagio--Allegretto._

One of the most splendid of all Beethoven's Sonatas. The opening movement is full of the most speaking of all Beethoven's sonorous and passionate recitatives. The _Adagio_ is in full binary form. It is very expressive, entirely evolved from a three-note figure, a little Hummelian. The final _Allegretto_ is all spun out from the little four-note germ said to have been suggested to the composer by the cantering of a horse.

18th SONATA, Opus 31, No. 3, in E flat.

_Allegro--Scherzo--Minuet and Trio--Presto con fuoco._

In this characteristic work, where we find both a Scherzo and a Minuet, the former in duple time, we again return to four movements. The mood throughout is of unclouded happiness. It is extremely interesting throughout, from the first bar which opens in an original manner with the "added sixth" chord to the Coda which returns to the same idea.

The _Scherzo_ is in one of Beethoven's freakish moods, full of capricious turns and fun of all kinds. The third movement is a true Minuet of the olden style, whilst the _Presto_ is one of those cantering movements the germ for which must have been derived from the hunting songs of the people.

19th SONATA, Opus 49, No. 1, in G minor and major.

_Andante--Rondo._

This and the following Sonata, although published in 1802, must have been written much earlier; in fact, the theme of the G major Rondo was the original of the Minuet of the _Septet_.

20th SONATA, Opus 49. No. 2, in G major.

_Allegro ma non troppo--Minuet and Trio._

This Sonata contains little of interest, both the Allegro and the Minuet are in the olden style.

21st SONATA, Opus 53, in C major.

_Allegro con brio--Introduzione--Rondo._

This fine Sonata, too often made a mere piece of virtuosity, was dedicated to Beethoven's early friend and patron, Count Waldstein. The form is remarkable. A first movement, full of light and colour, and the romantic _Molto Adagio_ forming an introduction to the final Rondo with its magnificent _Coda_. Beethoven originally intended the famous _Andante in F_ for the slow movement of this Sonata, but finally discarded it in favour of the present slow introduction. The second hymn-like subject of the first movement does not appear in the tonic key, either in the exposition or in the recapitulation, but only after the final development near the end of the piece. The simple subject of the Rondo was the result as shown of six separate attempts in Beethoven's note-books. The whole meaning of it is lost unless the low C of the left hand is taken into the phrase. It will then be seen to have a close connection with the opening figure of the introduction. The Rondo is often played too fast, the full effect of the _Coda_ is often lost by the preceding Rondo being taken too fast.

The _glissando_ octave passage in it is very difficult on modern pianos on account of the deeper key fall.

22nd SONATA, Opus 54, in F major.

This remarkable Sonata, which appeared for the first time in April, 1806, is in two movements only--a _Tempo d'un Menuetto_, in full binary form (more like a Sonata movement than a Minuet), and a _Allegretto con moto_ (somewhat Etude-like), with a _Prestissimo_ Coda in which the hands very easily get tied up. This Sonata is comparatively little known, doubtless on account of its over topping neighbours, the _Waldstein_ and the _Appassionata_. Bulow metronomed the opening movement at the quite moderate rate of 104 to the crotchet. The octave _bravura_ subject appears there in its full majesty. The _cadenza_ is noteworthy.

23rd SONATA, Opus 57, in F minor.

(Labelled _Appassionata_ by the publisher Cranz).

_Assai allegro--Andante con moto with variations--Allegro
ma non troppo._

This Sonata, which was dedicated to Count Franz von Brunswick, is perhaps the most truly characteristic of all Beethoven's sonatas. The usual portrait of Beethoven with the massive jaws firmly set, the upturned eyes, the visage lined by suffering, the head of a Titan, might be quite appropriately placed here in the volume of the Sonatas, rather than at the beginning; for with the deep passionate note which sounds ceaselessly throughout the first movement and the immense vitality of the _Finale_, the calm beauty of the _Andante_ with its variations, it holds the palm amongst all sonatas written for the clavier. Hackneyed it certainly is, but even through the indifferent temperaments of mere finger players, the immense force of the ideas easily penetrates.

It is a superb example of the growth of Beethoven's immense creations from two of the tiniest of germs (a) the first three opening notes--_C_, _A flat_, _F_--(b) the _C_, _D_, _C_ in the third and fourth bars. The whole sonata grows as naturally from these as the huge oak from the acorn. Bridge subjects, second subjects, coda figures, the chief theme of the _Andante_, as also the _impetuoso_ subject of the _Finale_, are all derived from these two little germs. Lenz calls the Sonata "a volcanic eruption, which rends the earth and shuts out the sky with a shower of projectiles." The first movement and the last movement have truly immense _codas_.

For a clue to this sonata, Beethoven told an enquirer to read Shakespeare's _Tempest_.

24th SONATA, Opus 78, in F sharp major.

_Adagio cantabile (4 bars)--Allegro ma non troppo--Allegro vivace._

This Sonata was composed in October, 1809 (considerably later than _Les Adieux Sonata_, which was published in July, 1811) and appeared for the first time in December, 1810. Thus an interval of five years separates it from the _Sonata Appassionata_. It was dedicated to the Countess von Brunswick, and the piece was a special favourite with the composer. A delightful feeling of happiness pervates the whole piece, and one cannot help feeling that this cheerful mood drew the composer to the choice of this radiant key. The first four bars form a sort of question to which the succeeding _Allegro_ supplies the answer.

The movements are succinct in form, almost epigrammatic, and whilst very gracious and pleasing, are not hefty for all sorts and conditions of hands. The opening phrase of the Finale is very striking, so, too, is the coda with its wonderful disappointed cadence and its equally marvellous finish. The intricate work of the arpeggios relates it to the E major Sonata, Opus 109, and all the way through it, there is a curious oscillation betwixt major and minor modes.

25th SONATA, Opus 79, in G.

_Presto alla tedesca--Andante--Vivace._

This is practically a Sonatina, and calls for little mention. Some authorities regard it as an unfinished sketch, whilst others ascribe it to a considerably earlier date although it was clearly completed in 1809. The term _Tedesca_ means "in the German style," and has reference to the country dance, _Ländler_. Beethoven employs the term only twice in his published works--here and in the fifth movement of the B flat quartet, Opus 130, where he describes the movement in one of the sketches as _Allemande Allegro_. In a Bagatelle, No. 3 of Opus 119, he uses the term in French, _A l'allemande_.

The first movement gives some good practice in crossing the hands. The second movement might easily be mistaken for a gondolier's song by Mendelssohn. The third movement is a lively _Con Moto_ in simple Rondo form.

26th SONATA, Opus 81a, in E flat.

_Adagio--Allegro--Andante espressivo--Vivacissimamente._

Styled by Beethoven himself, _Les adieux, l'absence, et la retour_. (The parting, the absence, and the return). As such it is the finest piece of programme music ever written. It is dedicated to his friend and patron, the Archduke Rudolph, but it is not known definitely that it was connected with the absence of the Archduke himself. The general feeling seems to suggest a more tender attachment. The music is Beethoven at his very best, and is truly representative of his mature period. The interrelation of the whole of the music, its close affinity with the opening musical motto of three notes, under which Beethoven wrote _Lebe-wohl_ (Fare thee well) is astounding. Whether written in clear notes or obscured subtly, this leading motive lies at the bottom of every phrase. It is the generating idea, the essence of the whole Sonata. Although we have styled it programme music, it would be the greatest mistake, however, to regard it as something pictorial and definite. The idea is only used as the generating impulse of each of the three chief movements, and the work loses no whit (perhaps, even gains) by being heard as a piece of absolute music. Those interested in musical psychology will find it, however, a most interesting study to trace the derivation of the various phrases of the opening _Allegro_ of the _Andante_ (see bass chords), and even of the _Finale_ to one of the two tiny cellules found in the first three bars of the introduction. The movements are all in Sonata form. The _Andante_ has no development section and runs into the _Finale_ without break.

27th SONATA, Opus 90, in E.

_Con vivacità a sempre con sentimento ed espressione--Non troppo
presto (Rondo)._

This work, completed on August 16th, 1814, appeared for the first time in June, 1815. It is in two movements, and is one of the first works in which Beethoven gave bi-lingual _tempo_ indications (Italian and German), the other example being _Les Adieux_ Sonata, Opus 81. On one occasion, in 1815, when the Englishman Neate was discussing the meaning of music with Beethoven, the composer admitted somewhat vaguely that he "never worked without a picture in his mind." Be this as it may, the composer was always greatly enraged when other people attempted to fix pictures to his music, as did the publisher who gave the title "La chasse" to the unchristened overture, Op. 115. The first movement has a tender wistful charm and romantic feeling; it is the very poetry of sound. The first subject with its three themes is square-cut, exactly 24 bars in length, ending with a perfect cadence in the tonic key. The development is closely knit, and the overlapping phrases with their diminution and augmentation, which bring in the return of the first subject, are as wonderful as they are convincing.

Schindler relates that Beethoven, referring to these two movements, said: "The first might represent 'Combat between Heart and Head,' and the second, 'Dialogue with the beloved one.'" Be this as it may, the Rondo, judging from the interior evidence, was written first. In many of his sonatas the only connection apparently aimed at between the various movements is that of right contrast and suitable key-relationship.

28th SONATA, Opus 101, in A major.

_Allegretto ma non troppo--Vivace alla Marcia--Adagio ma non
troppo--Allegro risoluto._

Dedicated to Freund Dorothea Ertmann and performed for the first time as new on February 18th, 1816; it was not published until February, 1817. With this Sonata we reach the third period of Beethoven's works, that in which reflection and philosophy play such a great part. Many passages in some of his latest works reach such a massive spaciousness that they seem to lose all touch of human comprehension. Beethoven was seeking a new style, in striving after which his music became more and more contrapuntal. One cannot help connecting his use of the fugue in many of his later works with this new phase. But it was not the fugue of Bach, but one filled with sublimity and mysticism in which he attempted to render the spiritual force more and more concentrated, the meaning sometimes becomes completely dissipated in his attempt to grasp and hold it. Such is not the case, however, with the fugue with which this Sonata ends. It grows out of the chief theme of the Finale and forms the development portion in this combination of the Fugue and Sonata form proper.

The martial feeling in the first movement seems to have produced a substitute for the _Minuet_ or _Scherzo_ movement. The _trio_ with its prolonged coda is in deep poetic vein. The _Largo_ is permeated with profound feeling and is connected with the _Finale_ by a reminiscence of the first movement. The whole work is entirely happy and presents an untroubled frame of mind.

29th SONATA, Opus 106.

_Allegro--Scherzo--Adagio sostenuto--Fugue._

The first two movements were finished in April, 1818; the two last were composed in the summer of that year. The Sonata was ready for publication in March, 1819, but did not appear until September, 1819. It carried the sub-title "Sonata for the Hammerclavier."[89] It is dedicated to the staunch friend and patron, the Archduke Rudolph, and is the longest of all Beethoven's sonatas, being about twice as long as the longest of the others. The first movement (over four hundred bars in length) is evolved from the two little germs contained in the first two bars. There is a long bridge passage in which derivative themes occur before the second subject in three sections. A long development follows and a superb return with a powerful coda. In the three bars preceding the return, all the "A sharps" are usually misprinted "natural." This A sharp should be the enharmonic of the following B flat.

The _Scherzo_ is fantastic in the extreme. From the playful mood of the first part it is suddenly plunged into the inexpressible anguish of the minor trio. A short _Presto_ unison phrase of eight bars brushes this aside, a tremor on a minor ninth preceding the happy return of the Scherzo.

The _Adagio_ is one of the sublimest things in all music. It certainly reaches heights which transcend the limits of the piano. A remarkable bridge, which changes mood no less than six times, forms a sort of prelude to the final fugue which is drawn from the opening germ of the work. It is a struggle of giants, unbridled in its onslaught. _Fuga a tre voci, con alcune licenze_ Beethoven marked it, and its great licenses and amazing contortions have puzzled many minds. The heavenly interludes, however, transport one into the pure air of the _Sanctus_ of the Mass in D. The similarity of the opening phrases of the _Allegro_, the _Scherzo_ and the _Adagio_, should be noticed. It was by such means that Brahms later on strove to unify the separate movements of his longer forms.

30th SONATA, Opus 109, in E major.

_Vivace ma non troppo--Prestissimo--Andante and Variations._

Dedicated to Maximiliana Brentano.

Written at the age of fifty, it seems possible that he poured into these later instrumental movements much that he felt was beyond the vocal forms of the great _Mass in D_ which was occupying his thoughts at this time. The rhapsodic first movement with its light and happy figures, repeatedly broken in upon by the deeply expressive _Adagio_ phrases; the remarkable uncouth Scherzo with the subject in the bass and the angelic variations, one in fugue form, and the other a _tour de force_ with its thrilling pedals, the beatific return of the theme at the end, given this sonata a high place amongst the happiest conceptions of the master.

31st SONATA, Opus 110, in A flat.

_Moderato cantabile--Molto allegro--Arioso dolente--Fuga._

The autograph is dated December 25th, 1821, and the work appeared for the first time in August, 1822. Here we find Beethoven in his most exalted mood, and it is significant that whilst the main outlines of the Sonata-form are at the foundation of the piece, he has gone still a step farther in the direction of welding the whole sonata into one piece. The first, the movement of development, is on the usual lines but is handled with great freedom. The second movement is one of those fast pieces, somewhat fantastic, with which Schumann has made us familiar at a later period. A remarkable _recitative_ bridge portion follows which leads into one of the most beautiful airs ever penned by Beethoven, the _Arioso Dolente_. This runs into the Fugue, which is here used not so much as a movement in itself, but a concentration of the chief expression of the whole piece. Vincent d'Indy compares the expression here with that of the 15th String Quartet, Opus 132, written four years later, which contains the Song of gratitude to God for his goodness. In this Sonata, we have as it were a terrible combat against misfortune, then a return to life and hope, not in a calm pious prayer, but in an exultant hymn of joy triumphant.

The subject of the final Fugue is a simplification of the initial idea of the first movement. This opening movement is penetrated with a great religious calm. The _Scherzo_ is somewhat puzzling, but appears to be a somewhat sorrowful frolic, a rather bitter amusement. In the Fugue, suffering disappears; even fantastic cleverness comes to the fore with the subject in contrary movement. Little by little life and joy return, and with the re-establishment of the tonic key, the piece triumphs in an enthusiasm of good feeling. The Italian indications to this sonata are fuller and more unusual, and show that Beethoven was aiming at the deepest possible expression. The use of the _Una Corda_, and the insertion of the _Arioso Dolente_ into the Fugue, show what a struggle Beethoven underwent in the conquest of his feelings.

32nd SONATA, Opus 111, in C minor.

_Maestoso--Allegro con brio--Arietta._

Although the designation _Sonata_ persists with Beethoven right along throughout all his periods, yet in this last sonata we have left the first ones completely out of sight. The name must be taken merely in its general sense of a piece of high aims; or even in its literal sense, the Italian word meaning simply _to play_. This Sonata, which was dedicated to the Archduke Rudolph, is practically a Prelude and Fugue, with an Air and Variations. The introduction contains two themes, a leonine, stormy one and a singing phrase. The Fugue opens like a veritable thunder-storm. There are short phrases in the major which answer to the second subject, a brief snatch of two celestial bars, and the agitated atmosphere again unfolds itself. This second subject, which is a mere phrase, is repeated in the last portion of the Fugue in the tonic major, which brings the Fugue into line with the Sonata form proper. The beauty of the Coda has not been surpassed by Brahms in his sublimest moments.

After the storm, a calm. Beethoven concludes his world contribution of Sonatas with an air of celestial happiness, varied in the most lovely manner possible. "A voice from above," someone has called it. The variations lap round it tenderly like the waves caressing the sands on a beautiful calm day. The first variation gently stirs the rhythm of the theme. The second doubles the movement, and the third redoubles, and yet the peaceful calm is not disturbed. Into the _Coda_ steals one of those beautiful pensive movements in the minor key. This emerges into the return of the theme, scintillating with heavenly radiance. Thus Beethoven closes his Sonatas in a heavenly peace.

FOOTNOTES:

[89] Beethoven could not endure the foreign word _pianoforte_.

THE SONATAS FOR VIOLIN AND PIANOFORTE

THE SONATAS FOR VIOLIN AND PIANOFORTE

1st SONATA, Opus 12, No. 1, in D.

_Allegro con brio--Tema con Variazioni--Rondo._

This is the first of a set of three Sonatas published in 1799, and dedicated to F. A. Salieri. It is noteworthy that it was a favourite custom with Beethoven to publish his works in sets of threes; thus, Opus 1, Three Trios for Pianoforte, Violin and Cello; Opus 2, Three Sonatas for Pianoforte; Opus 9, Three Trios for Strings; Opus 10, Three Sonatas for Pianoforte; Opus 30, Three Sonatas for Pianoforte and Violin; Opus 31, Three Sonatas for Pianoforte; Opus 59, Three Quartets for Strings (dedicated to Prince Rasumovsky); and the Opus 12.

No. 1 of this Opus is a vivacious work of no great depth, and the phraseology is in the Mozartian manner. The theme is a 16-bar phrase, given out by the piano and repeated on the violin in two sections. The variations are four in number, the third being in the minor, and there is a short Coda. The Rondo is on modern lines approximating to Sonata form.

2nd SONATA, Opus 12, No. 2, in A.

_Allegro vivace--Andante più tosto Allegretto--Allegro piacevole._

Although this Sonata offers no outstanding point of interest, it is to be regretted that it is not more frequently heard. There are one or two places where the sunny sky is slightly overcast, but on the whole, it is a work brimful of youthful happiness. The _Andante_, somewhat frail, is like the _Finale_, full of fine melody, and gay with optimistic feelings of youth.

3rd SONATA, Opus 12, No. 3, in E flat.

_Allegro con spirito--Adagio con molto espressione--Rondo._

The tuneful, breezy _Allegro_ contains some brilliant work for the piano. The _Adagio_ seems hardly deep enough to carry its broad time with dignity. The delicate Finale--short, simple, and tuneful--is well rounded off.

4th SONATA, Opus 23, in A minor and major.

_Presto--Andante--Scherzo--Allegro molto._

This Sonata, published in 1801, and dedicated to the Count Moritz von Fries, is one of the more serene works of the "first-period" style. Its charms are not readily apparent, but it is full of interest to the serious musician. The subjects of the opening _Presto_ are not very distinguished. The composer seems to have felt this, and has consequently introduced an unusual amount of new matter into the development section. The gentle, placid _Andante_, with its eloquent rests, has some unusual passages, notably the bridge (bar 33) where a definite theme is treated fugally in three parts. The Finale, undefined, strange and unusual, possesses that weird note which so frequently sounds in Schumann's pieces. The key of A minor seems to possess the right key-colour for this bustling, indefinite, and somewhat uneasy sort of mood. In this direction, one calls to mind the _Kreutzer Sonata_, with which this movement has much in common. There are more subtle reminiscences; the new theme in semibreves, which plays such a great part in the middle of the Rondo, recalls the fugal _Finale_ of Mozart's _Jupiter Symphony_. The powerful _Coda_ recalls all the foregoing moods. The movement is very valuable from the psychological point of view, for Beethoven was at the age of 31 years.

5th SONATA, Opus 24, in F.

_Allegro--Adagio molto espressivo--Scherzo--Rondo._

This graceful and happy Sonata, also published in 1801 and dedicated, like its predecessor, to the Count Moritz von Fries, is the most popular in the "early-period" style. The first movement is full of serene happiness. The Adagio has a lovely theme, dreamy and languorous as a summer's day. The _Scherzo_ is characteristic, full of fun and oddity; the Rondo, full of good spirits, the chief theme being varied at each return.

6th SONATA, Opus 30, No. 1, in A.

_Allegro--Adagio molto espressivo--Allegretto con variazioni._

This is the first of a set of three Sonatas dedicated to the Kaiser Alexander I. With this Opus the true individuality of Beethoven is manifested. Although the opening of this work is not particularly striking, yet the movement has a clarity of style and delicacy of workmanship together with distinct melodic charm. The theme of the _Adagio_ is of great beauty, caressing in its tenderness. For the _Finale_, Beethoven turns to his beloved Variations form. This was not the original Finale which was "lifted" in a moment of haste to form the conclusion of the Kreutzer Sonata. Still, one cannot deny that the present variations suit this charming poetical sonata much better than the _Finale_ of the _Kreutzer_ would have done.

7th SONATA, Opus 30, No. 2, in C minor.

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

This favourite work is one of the great masterpieces of music. The first and last movements sound the clear note of Beethoven's personality--a king here comes to his own. The first movement opens with a veritable quatrain of musical poetry. The gay martial swing of the second subject is remarkable. Stormy episodes follow, and the development section commences with a new idea. Conflict succeeds conflict before the serenity of the exposition returns. The beautiful _Adagio_ flows along with a solemn majesty, although there are one or two short dramatic points. The _Scherzo_, bright and tuneful, somewhat naive, does not give us the fulness of the real Beethoven which we get in the sombre, energetic and passionate _Finale_.

8th SONATA, Opus 30, No. 3, in G.

_Allegro assai--Tempo di Minuetto--Allegro vivace._

After the stormy power and the serene beauties of the Sonata in C minor (a key which always called forth Beethoven's best) this Sonata appears somewhat colourless. The long-drawn _Tempo_ _di Minuetto_ is a little tedious, whilst the first and last movements, though vigorous and well varied in mood, by no means give us the deep Beethoven of the C minor Sonata. The scoring of many of the passages is unusually thin, and reminiscent of Haydn not at his best.

9th SONATA, Opus 47, in A.

Dedicated to Rudolph Kreutzer.

_Adagio--Presto--Andante con variazioni--Presto._

Though absurdly over-estimated, perhaps on account of Tolstoy's stupid novel, this still remains one of the great masterpieces in music. Commissioned by a Mulatto violinist named Bridgetower, and written, as the original title-page says, "in a specially brilliant style," it was first given at 8 o'clock on a May morning in 1803 in the Augarten at Vienna, with Beethoven at the piano and Bridgetower with the violin. The Sonata opens with a majestic introduction, ending on a dominant pause. Tradition has it that Bridgetower improvised a cadenza here and that Beethoven approved. Amongst the whirl and excitement of the bold and vigorous opening _Presto_, the hymn-like second subject stands out with a marvellous way. Nothing is lost of the tenderness of the _Andante_ in the brilliant variations which follow it, and this is all the more wonderful because this piece is the most virtuoso-like of all Beethoven's chamber-music. Tenderness with Beethoven is no maudlin sentiment, but the gentle sympathy of a strong man. The Tarantelle-like _Finale_ originally belonged to the Sonata of Opus 30, No. 1, A major, but, as Beethoven had been dilatory in his commission, the time having arrived and no _Finale_, he took the _Finale_ from the earlier Sonata and wrote a new one for it later on.

10th SONATA, Opus 96, in G.

_Allegro moderato--Adagio espressivo--Scherzo allegro--Poco Allegretto._

This was written in 1810 and dedicated to Beethoven's firm friend and patron, the Archduke Rudolph. Although not really characteristic of the master's latest style, which does not commence until Opus 106, yet it is the most intimate of all the violin sonatas. It stands amongst the very great works and is indeed in some ways superior to the C minor. The _Adagio_, calm and sublime, is one of the most beautiful things in music. The scoring is like that of a string quartet. The ending dies away and creeps almost imperceptibly into the _Scherzo_ through an unexpected C sharp. Full of life and bubbling over with fun, it has a jolly _trio_ and a _coda_ of its own. The _Finale_ touches every mood from gay to sad, from lively to severe. The lovely _Adagio_ makes a re-appearance in it, but the gay mood wins, for with a freakish little _Presto_ the Sonata is brought to a triumphant close.

THE STRING QUARTETS

THE STRING QUARTETS

1st QUARTET, Opus 18, No. 1, in F.

Dedicated to Prince Lobkovitz.

_Allegro con brio--Adagio affettuoso ed appassionato--Scherzo--Allegro._

Composed in 1800 at the age of 30, this first set of quartets belongs to the same period as the great C minor Symphony, No. 5. The music of No. 1 is Mozartian in type, very charming, and the scoring is light and graceful. The _Adagio_ is very beautiful, and one can feel in it the future Beethoven. Indeed we almost arrive at maturity in the episode in D flat in the _Finale_, where Beethoven uses the melody which he again took up in his ballet "The Men of Prometheus" and in his Third Symphony.

2nd QUARTET, Opus 18, No. 2, in G. major.

_Allegro--Adagio cantabile--Scherzo--Allegro molto quasi Presto._

This quartet is even more like Mozart and Haydn than No. 1, except for the fact that Beethoven keeps his music in rather higher registers. The _Adagio_ is not so Beethovenish as the slow movement of No. 1, but it contains an episode marked Allegro. The _Finale_ is full of spirit, but it is not the Beethoven in the "unbuttoned" mood of the later works. There is some effective work for the G string on the 1st Violin, for Paganini had already cast his glamour over Europe.

3rd QUARTET, Opus 18, No. 3, in D.

_Allegro--Andante con moto--Allegro--Presto._

This beautiful quartet, composed a year later than the first two, already points to the maturity of the second period, especially in the first movement. The _Andante_ opens with a lovely melody for the 2nd Violin on the G string; restraint and broadness in playing should be the player's aim here. Parry refers to the fine balance of form in this Quartet in his article in Groves' Dictionary. The _Scherzo_ is here marked _Maggiore--Minore--Maggiore_. The _Presto_ is full of Beethoven spirit and handling, in one passage in particular, having spaciousness, which is such a striking feature in the final quartets.

4th QUARTET, Opus 18, No. 4, in C minor.

_Allegro ma non tanto--Scherzo--Menuetto--Rondo._

Written in Beethoven's favourite key, C minor, this quartet is remarkable for its melodiousness. It has no slow movement and contains both a Scherzo and a Minuet, the former marked Andante Scherzoso quasi Allegretto and opening in a Fugato style reminiscent of the Andante of the First Symphony. Both this and the Minuet contain the characteristic Sforzandi, especially that on the third beat of triple time. The Prestissimo Coda brings the Finale to a powerful conclusion.

5th QUARTET, Opus 18, No. 5, in A.

_Allegro--Minuet--Air and Variations--Allegro._

This quartet is chiefly remarkable for its lovely _Andante_ and set of variations on the beautiful theme which has all the natural feeling of a genuine folk-song. The first variation is _Fugato_; the second has sparkling triplets for the 1st violin; the third woodland murmurs, whilst the cellos and violas occupy themselves with the melody.

The fourth is organ-like in treatment, whilst the final one starts on a boisterous scamper home, which ends, however, in a melancholy, dreamy meditation. The _Finale_ is Mozartian.

6th QUARTET, Opus 18, No. 6, in B flat.

_Allegro con brio--Adagio ma non troppo--Scherzo--La
Malinconia--Allegretto quasi Allegro._

This favourite quartet, composed in 1800, has five movements; whereas the fourth quartet has no slow movement.

The arrangement of the five movements seems to suggest some sort of carefully-arranged "programme;" but woe always overtook the man who dared to attach a definite story to any of the music in these pieces in Beethoven's lifetime. The opening movement, full of vitality, and asks for _spiccato_ bowing. It is very light in texture. The first _Adagio_ is full of graceful tunefulness, somewhat elaborate in texture, and containing many characteristic touches of expression; so too, does the _Scherzo_. The second slow movement _Adagio_, entitled by Beethoven _La Malinconia_ (grief), is one of Beethoven's most moving pieces of music. Knowing here that he was entering into new territory, he especially marks such movements to be played with the greatest feeling _più gran delicatezza_. This movement runs directly into the final _Allegretto_, which indeed returns to it twice, as though unable to throw off completely the bitter taste of those sad moments.

7th QUARTET, Opus 59, No. 1, in F.

No. 1 of the set dedicated to Count Rasumovsky.

_Allegro--Allegretto Vivace e sempre Scherzando--Adagio molto e
mesto--Thème russe con Variazioni._

This fine but difficult quartet, sometimes called the Cello Quartet on account of the prominence given to this instrument, was written in 1806. The Count himself is supposed to have played the cello, and the set of variations on the Russian song used for the _Finale_ was a second compliment to Beethoven's noble Russian patron. Beethoven took his theme from the Prabst collection, 1815, which is not now published, having been superseded by Rimsky-Korsakoff's fine collection. The theme is found there (No. 13) marked _Andante_ and the Russian words may be translated--

Ah, is this my fate?
And what a fate!

The technique and the subject matter is very much more advanced. The first movement contains a remarkable unison passage for the full strings, some remarkable high work for the 1st violin and some wonderful colour effects. The _Allegretto_ is a busy, gossipy movement in B flat. The _Adagio molto_ is a typical Beethoven _Adagio_. It is the real thing. It runs into the Finale through a long and difficult cadenza for the 1st Violin over a dominant pedal. The ending of the quartet contains some very full effects and is almost orchestral in style.

8th QUARTET, Opus 59, No. 2, in E minor.

_Allegro--Adagio--Allegretto--Finale._

The second quartet of the Rasumovsky set is even more elaborate than the first. The opening movement, though containing some dark, passionate moods akin to the _Appassionata Sonata_, is nevertheless happy and delicate in tone. Its technical requirements are great. The quartet opens with two strong chords, then a silent bar, which the composer fills in curiously enough in the recapitulation. The lovely long-drawn Adagio in E major is marked by Beethoven _con molto di sentimento_ (with great feeling). Here again he is in his new territory. It is as though he said to the players, "Wake up! this is an entirely new kind of music." The playful _Allegretto_ introduces another Slav folk-song, which can be found in Rimsky-Korsakoff's collection (No. 45). It is sacred and majestic in tone, a song of glory to the Creator. It forms the major _trio_ portion, which is carefully welded on to the return of the opening minor movement. The _Finale_ represents Beethoven's very happiest mood. It starts clean out of the key in C major. Seldom is Beethoven so happy as we find him here in the _Finale_, which although written in the sharp signature throughout, is really in the key of C major; the episodes only and the coda only just managing to restore the balance of E minor.

9th QUARTET, Opus 59, No. 3, in C major.

_Introduzione--Allegro vivace--Andante con moto--Menuetto--Allegro
molto (Fuge)._

This, the third of the Rasumovsky set, was composed in 1806. Starting clean out of the key, a few bars of _Andante_ introduction gradually lean towards C major. The first movement is remarkably clear and lucid in style and finely coloured in harmony. Beethoven is in one of his happiest moods. The exquisite _Andante_ in A minor opens with a _pizzicato_ bass and ends in the same manner. It is a highly finished movement. The Minuet is of the stately dance order and appears in the tonic key C major. The coda to it ends on the dominant seventh, thus bringing in the remarkable spiccato Fugue which Brahms played from memory as an encore at a concert in Vienna in 1867. The _Una Corda_ set of entries preserving the homogeneity of tone and adding greatly to the effect of the intensity of the _crescendi_ is particularly fine.

10th QUARTET, Opus 74, in E flat.

_Poco adagio--Allegro--Adagio ma non troppo--Presto--Allegretto con
variazione._

This remarkable quartet, composed in 1809 and dedicated to the Prince Lobkovitz, is widely known under the title of the Harp Quartet on account of the remarkable pizzicato arpeggios in the opening Allegro. A short introduction is marked _sotto voce_. The _Allegro_ contains a brilliant cadenza for the Violin--Beethoven's only excursion into the virtuoso field in chamber music. The very beautiful _Adagio_ is Beethoven at his very best, whilst the _Presto Scherzo_ is curious in form, being arranged with varying _tempi_, thus, on the following plan:--_Presto_ C minor, _Più Presto-Trio_ C major, C minor, _Presto_ repeated, and again the C major, finishing with the C minor. This leads without break into a set of six variations: the second, notable for its lovely viola melody; and the sixth, organ-like in character over a cello pedal-point.

11th QUARTET, Opus 95, in F minor.

_Allegro con brio--Allegretto ma non troppo--Allegro assai vivace ma
serioso--Allegretto agitato._

This quartet is dedicated to Count Zmeskal, Beethoven's willing secretary and man of affairs. Here in this work which stands on the border line between Beethoven's second and third styles, we have the gruff and brooding Beethoven. The somewhat short opening movement is full of intense feeling. The _Allegretto_ is calm and religious, ethereal in tone and contains a fine fugato passage. The third movement, which takes the place of a _Scherzo_, is dark in feeling and pervaded with gloom. A short _Larghetto_ introduction leads into the _Finale_ agitated and restless in character, but ending with a brilliant gleam of sunshine.

12th QUARTET, Opus 127, in E flat.

Dedicated to Count Nicolas von Galitzen.

_Maestoso--Allegro--Adagio--Scherzando vivace--Finale._

Although probably published before his death, this quartet is generally classed with the posthumous ones which represent fully Beethoven's third style. Although all these quartets contain many orchestral effects, yet he never exceeds the limits of the true string quartet style. To say that string quartet writing is only an imperfectly filled-in sketch of orchestral idium is not correct; otherwise, when Beethoven had four instruments at his disposal, would he have written some of those spacious passages for three, or even two instruments only?

The opening movement has a double subject--the _Maestoso_ introduction accompanying the _Allegro_ subject on every appearance. The _Adagio_ is dreamy in mood and has a touching _Andante_ episode, also a striking excursion to E major before the final return. The _Scherzando vivace_, which must not be taken too quickly, is also a striking example of Beethoven's characteristic contrapuntal writing and contains a passage in Beethoven's famous _Ritmo di tre battute_ (Rhythm of three bars); another instance of this occurs in the _Ninth Symphony_. The tempo is constantly changing throughout and the highly dramatic music, free in style, settles down more into a lyric and rhythmic style for the _Finale_, the long _coda_ of which is extremely characteristic, starting right away from the key.

13th QUARTET, Opus 130, in B flat.

Dedicated to Count Nicolas von Galitzen.

_Adagio ma non troppo--Allegro--Presto--Andante con moto--Danza alla
tedesca--Cavatina--Finale._

This quartet, written in 1825, is one of Beethoven's longest, and contains six movements. The opening piece carries its _Adagio_ introduction through all the appearances of the _Allegro_ subject. The second subject is of wonderful beauty. The development section very short. The unusual _Presto_ in B flat minor very succinct; is the nearest approach to Brahms. The _Andante_ is really a _Scherzo_ treated like an _Andante_ in form. The third movement is cast in the rhythm of a German country dance; the theme is varied on its re-appearance. The famous _Cavatina_ has a remarkable _beklemmt_ (fear) episode and a wonderful _Bebung_ chord at the close. The lovely second subject of The _Finale_ has been used by Borodin as a theme in the _Finale_ of his Second Quartet. There is a very proper little Fugue in the development portion. The original _Finale_ was published separately as Opus 133; it is a terrificly long-drawn Fugue and is regarded as almost incomprehensible by even the most ardent admirers of Beethoven's third style.

14th QUARTET, Opus 131, in C sharp minor.

Published in 1827.

_Adagio--Allegro molto vivace--Allegro moderato--Andante--Presto._

Although marked off in separate movements, this quartet is practically one long continuous piece. It opens with a mystic Fugue, organ-like in character and contains several fine enharmonic changes of key. At the _Allegro molto vivace_ the tonality is lifted a semitone. This movement is light in character and simple in texture, almost Mozartian. An air with variations is approached by a _recitative_ and introduction. This is followed by a _Presto_, where Beethoven appears in one of his joking moods. The _tempo_ here alters continually, then comes a short _Adagio_ section, a lamentation broken off by one of Beethoven's gruff shrugs, and the last movement opens with a clearly marked theme in happy mood. Strongly contrasted portions occur from time to time, but the work ends triumphantly.

15th QUARTET, Opus 132, in A minor.

_Assai sostenuto--Allegro--Allegro ma non tanto--Molto
adagio--Andante--Alla marcia--Allegro appassionata._

The opening movement is on the same lines as that of the preceding quartet. Moods change constantly and the development is of the freest kind; there are two parts to the second subject, one a vivacious little figure, two a short singing phrase. The _Allegro_ in A major is in ternary form and takes the place of the _Scherzo_. Then follows that remarkable movement in the Lydian mode headed "A convalescent's sacred song of thanksgiving to the divinity." This interesting modal piece was written after the composer's illness. The variations of it alternate with the _Andante_ in D major, thus producing striking contrasts of key colour. The final _Allegro_ is in free Sonata form.

16th QUARTET, Opus 135, in F major.

_Allegretto--Vivace--Lento assai--Grave ma non troppo tratto._

This quartet is on a much smaller scale. The opening movement, whilst characteristic of the third period, is easily comprehended. The subject of the slow movement is one of Beethoven's most beautiful melodies, and the _Finale_ commences with the famous musical motto--

"_Must it be?
It must be_"

founded on a little altercation with his cook.

The movement is characterised by some very perverse part-writing.

These final quartets present many problems, even to the most profound students of Beethoven's works.

BIBLIOGRAPHY

BIBLIOGRAPHY

If one wishes to know Beethoven better, reference should be made to the principal biographies and other works on Beethoven, of which we give a brief list:--

I.--FOR BEETHOVEN'S LETTERS.

LUDWIG NOHL.--_Briefe Beethovens_, 1865, Stuttgart.

LUDWIG NOHL.--_Neue Briefe Beethovens_, 1867, Stuttgart.

LUDWIG RITTER VON KOECHEL.--_83 Original Briefe L.V.B. an den Erzherzog Rudolph_, 1865, Vienna.

ALFRED SCHOENE.--_Briefe von Beethoven an Marie Graefin Erdödy geb. Graefin Niszky und Mag. Brauchte_, 1866, Leipzig.

THEODOR VON FRIMMEL.--_Neue Beethoveniana_, 1886.

_Katalog der mit der Beethoven--Feier zu Bonn, an II.--15 Mai, 1890,
verbundenen Ausstellung von Handschriften, Briefen, Bildnissen,
Reliquien Ludwig van Beethovens._ Bonn, 1890.

LA MARA.--_Musikerbriefe aus fünf Jahrhunderten._ Leipzig, 1892.

DR. A. CHRISTIAN KALISCHER.--_Neue Beethoven, Briefe_. Berlin and Leipzig, 1902.

DR. A. CHRISTIAN KALISCHER.--_Beethovens Sämmtliche Briefe._ Kritische Ausgabe mit Erläuterungen, 5 vol. Leipzig and Berlin, 1906-1908.

DR. FRITZ PRELINGER.--_Beethovens Sämmtliche Briefe und Aufzeichnungen_, 3 vols. Vienna and Leipzig, 1907.

By far the most useful books for the English reader, and, indeed, for any reader, are the two splendid volumes of _Beethoven's Letters_. A critical edition with explanatory notes translated from Kalischer by J. S. Shedlock. (London: J. M. Dent & Co., 1909).

The translation of the letters contained in this present volume have been taken from that work by kind permission of the author and the publishers.

A good selection from these letters, issued in one volume at a moderate price, would be a great boon to English readers.

II.--FOR BEETHOVEN'S LIFE.

GOTTFRIED FISCHER.--_Manuscrit_ (especially interesting for the
childhood of Beethoven). Fischer, who died in 1864, was the owner
of the house where the Beethoven family lived for two generations.
He and his sister Cecilia knew Beethoven as a boy intimately, and
have recorded their remembrances of him, which are very valuable, on
condition that they are used with some criticism. The manuscript is
in the Beethovenhaus at Bonn. Deiters (see below) has published some
extracts from them.

F. G. WEGELER and FERDINAND REIS.--_Biographie Notizen über Ludwig
van Beethoven_ (especially valuable for the first part of his life),
Coblentz. 1838. Re-issued by Dr. Kalischer in 1905.

LUDWIG NOHL.--_Eine stille Liebe zu Beethoven._ Berlin, 1857. (A
publication of the Journal of Mlle. Fanny Giannatasio del Rio, who
knew and loved Beethoven about 1816).

ANTON SCHINDLER.--_Beethovens Biographie._ 1840. (For the second part
of his life).

ANTON SCHINDLER.--_Beethoven in Paris, Münster_, 1842.

GERHARD VON BREUNING.--_Aus dem Schwarzspanierhause_, 1874. (The
Schwarzspanierhaus was the house in Vienna in which Beethoven died. It
was pulled down during the winter of 1903).

MOSCHELES.--_The Life of Beethoven_, London, 2 vols. 1841.

ALEXANDER WHEELOCK THAYER, and continued by HERMANN DEITERS, and
later by HUGO REIMANN.--_Ludwig von Beethovens Leben_ (Translated
into English), 5 vols., 1908. This biography was commenced in 1866,
but was interrupted by the death of the author in 1897 at Trieste
where he was the American Consul. The work stood still till 1816,
when Deiters undertook to finish it; but he died in 1907 before he
had published the second volume. Riemann finished the work from the
materials left by Deiters. It is by far the most important work on
Beethoven.

LUDWIG NOHL.--_Beethovens Leben_, 4 vols., 1864-1877.

LUDWIG NOHL.--_Beethoven nach den Schilderungen seiner Zeitgenossen_,
Stuttgart.

A. B. MARZ.--_L. van Beethovens Leben und Schaffen_, 2 vols. 5th
Edition revised by G. Behncke. Berlin, 1902.

VICTOR WILDER.--_Beethoven, sa vie et son œuvre_, 1883.

III.--FOR BEETHOVEN'S WORKS.

BEETHOVEN.--_Complete works_, critical edition, Breitkopf and
Haertel, Leipzig, 38 vols.

G. NOTTEBOHM.--_Thematisches Verzeichniss der im Druck erschienen
Werke von Ludwig van Beethoven_, Leipzig, 1868.

A. W. THAYER.--_Chronologisches Verzeichniss der Werke von
Beethoven._ 1865.

G. NOTTEBOHM.--_Ein Skizzenbuch von Beethoven._ 1865.

G. NOTTEBOHM.--_Ein Skizzenbuch von Beethoven aus dem Jahre, 1803._ 1880.

G. NOTTEBOHM.--_Beethovens Studien._ 1873.

G. NOTTEBOHM.--_Beethoveniana. Zweite Beethoveniana._ 1872-87.

GEORGE GROVE.--_Beethoven and his Nine Symphonies._ London, Novello, 1896.

J. G. PRODHOMME.--_Les Symphonies de Beethoven_, 1906.

ALFREDO COLOMBANI.--_Le Nove Sinfonie di Beethoven._ Turin, 1897.

ERNST VON ELTERLEIN.--_Beethovens Claviersonaten._ Fifth edition,
1895.

WILLIBALD NAGEL.--_Beethoven und seine Klavier-sonaten._ Two volumes,
1903-1905.

J. S. SHEDLOCK.--_The Pianoforte Sonata._ London, Methuen, 1900.

CHARLES CZERNY.--_Pianoforte School_ (part 4, chapters 2 and 3).

THEODOR HELM.--_Beethoven's Streichquartette._ 1885.

H. DE CURZON.--_Les lieder et airs detaches de Beethoven_, 1906.

OTTO JAHN.--_Leonore. Klavierauszug mit Text, nach der zweiten
Bearbeitung_, 1852.

DR. ERICH PRIEGER.--_Fidelio. Klavierauszug mit Text, nach der ersten
Bearbeitung_, 1906.

WILHELM WEBER.--_Beethoven's Missa Solemnis_, 1897.

MARIAM TENGER.--_Beethoven's Unsterbliche Geliebte_, 1890. The
historical value of this book has been frequently contested. Mariam
Tenger was the confidential friend of Theresa in her last years. It is
very likely that Theresa, then aged, may involuntarily have idealised
her remembrances; but the foundation of the story appears reliable.

A. EHRHARD.--_Franz Grillparzer_, 1900.

THEODOR VON FRIMMEL.--_Ludwig van Beethoven_ (in the collection of
_Berühmte, Musiker_), Berlin, 1901.

JEAN CHANTAVOINE.--_Beethoven_, Paris, 1907.

DR. ALFRED CHRISTIAN KALISCHER.--_Beethoven und seiner Zeitgenossen
Beitrage zur Geschichte des Kunstlers und Menschen._ 4 vols., 1910.
A collection of documents of the greatest interest on the whole
circle of Beethoven's friends. This wealth of information renews in a
great part the psychology of Beethoven.

PROF. DR. RICHARD STERNFELD.--_Zur Einfuhrung in Ludwig von
Beethoven's Missa Solemnis._

IGNAZ VON SEYFRIED.--_Ludwig von Beethoven im Generalbass,
Kontrapunkt, und in der Kompositions Lehre_, 1832.

W. DE LENZ.--_Beethoven et ses trois styles._ (Analysis of his
pianoforte sonatas), (out of print), 1854.

OULIBICHEFF.--_Beethoven, ses critiques et ses glossateurs_, 1857.

WASIELEWSKI.--_Beethoven_, 2 volumes, Berlin, 1886.

R. SCHUMANN.--_Music and Musicians._ Translated by Fanny Raymond
Ritter, London, Reeves.

RICHARD WAGNER.--_Beethoven._ Leipzig, 1870.

VINCENT D'INDY.--_Beethoven._ Paris, 1911.

BEETHOVEN'S PORTRAITS.

1789.--_Silhouette of Beethoven at eighteen years._ (Beethoven's house
at Bonn; reproduced in Frimmel's Biography, page 16).

1791-2.--_Miniature of Beethoven_ by Gerhard von Kügelgen. (In the
possession of George Henschel, London; reproduced in "Musical Times"
of December, 1892, page 8).

1801.--_Drawing by G. Stainhauser_, engraved by Johann Neidl.
(Reproduced in "Les Musiciens," celebres by Felix Clement, 1878, page
267; Frimmel, page 28).

1802.--_Engraving by Scheffner_, after Stainhauser. (Beethoven's house
at Bonn; reproduced in "Die Musik," of March 15th, 1902, page 1145).

1802.--_Miniature of Beethoven_, by Christian Hornemann. (In the
possession of Madame de Breuning at Vienna; reproduced in Frimmel,
page 31).

1805.--_Portrait of Beethoven_ by W. J. Mahler. (In the possession of
Robert Heimler, Vienna; reproduced in "Musical Times," December, 1892,
page 7; "Frimmel," page 34).

1808.--_Drawing by L. F. Schnorr de Carolsfeld_, lithographed by J.
Bauer. (Beethoven's house at Bonn).

1812.--_Cast of Beethoven_, modelled by Franz Klein.

1812.--_Bust of Beethoven_, by Franz Klein, from the cast. (Belonging
to E. Streicher, piano manufacturer, in Vienna; reproduced in Frimmel,
page 46; "Musical Times," December, 1892, page 19).

1814.--_Drawing by L. Letronne_, engraved by Blasius Hoefel. (The
finest portrait of Beethoven; Beethoven's house at Bonn contains the
original, which he offered to Wegeler; reproduced in Frimmel, page 51;
"Musical Times," December, 1892, page 21).

1815.--_Drawing by L. Letronne_, engraved by Riedel. (Reproduced in
"Die Musik," page 1147).

1815.--_Second portrait of Beethoven_, by Mahler. (In the possession
of Ignace von Gleichenstein of Fribourg-en-Brisgau. Reproduction in
Beethoven's house at Bonn).

1815.--_Portrait of Beethoven_, by Christian Heckel. (In the
possession of J. F. Heckel, of Mannheim; reproduction in Beethoven's
house at Bonn).

1818.--_Engraving_ from the drawing of Beethoven by Aug. von Kloeber.
(Reproduced in "Musical Times," December, 1892, page 25). The original
drawing by Kloeber is in the collection of Dr. Erich Prieger at Bonn.

1819.--_Portrait of Beethoven_ by K. Joseph Stieler. (The property of Alex. Meyer Cohn, Berlin; reproduced in Frimmel, page 71).

1821.--_Bust of Beethoven_ by Anton Dietrich. (In the possession of
Leopold Schrotter, of Kristelli; reproduction in Beethoven's house at
Bonn).

1824-6.--_Caricatures of Beethoven walking_, by J. P. Lyser. (Original
in the Gesellschaft der Musikfreunde, Vienna; reproduced in Frimmel,
page 67; "Musical Times," December, 1892, page 15).

1823.--_Caricatures of Beethoven walking_, by Jos. van Boehm.
(Reproduced in Frimmel, page 70).

1823.--_Portrait of Beethoven_ by Waldmueller. (Belonging to Messrs.
Breitkopf and Haertel, Leipzig; reproduced in Frimmel, page 72).

1825-6.--_Drawing of Beethoven_ by Stepan Decker. (In the possession
of George Decker, Vienna; reproductions in Beethoven's house at Bonn).

1826.--_Drawing of Beethoven_ by A. Dietrich, lithographed by Jos.
Kriehuber. (Reproduced in Frimmel, page 73).

1826.--_Bust of Beethoven a la antique_, by Schaller. (The property of
the Philharmonic Society of London; copy in Beethoven's house at Bonn;
reproduced in Frimmel, page 74, and in "Musical Times," December,
1892).

1827.--_Sketch of Beethoven on his death-bed_, by Jos. Danhauser.
(In the possession A. Artaria, Vienna; reproduced in the "Allgemeine
Musik-Zeitung" of April 19th, 1901).

1827.--_Three sketches of Beethoven on his death-bed_, by Teltscher.
(In the possession of Dr. Aug. Heymann; published by Frimmel;
reproduced in the "Courier Musical" of November 15th, 1909).

1827.--_Mask of Beethoven dead_, modelled by Danhauser. (Beethoven's
house at Bonn).

Numerous portraits of Beethoven have been made since his death. The most remarkable work which has been dedicated to his memory is the monument of Max Klinger (Vienna, 1902).

CLASSIFICATION OF BEETHOVEN'S PIANOFORTE SONATAS IN ORDER OF STUDY

CLASSIFICATION OF BEETHOVEN'S PIANOFORTE SONATAS. IN ORDER OF STUDY

1. Op. 49, No. 2, in G major.

2. Op. 49, No. 1, in G minor.

3. Op. 14, No. 2, in G major.

4. Op. 14, No. 1, in E major.

5. Op. 79, in G major.

6. Op. 2, No. 1, in F minor.

7. Op. 10, No. 1, in C minor.

8. Op. 10, No. 2, in F major.

9. Op. 10, No. 3, in D major.

10. Op. 13, in C minor (_Pathétique_).

11. Op. 22, in B flat major.

12. Op. 28, in D major (_Pastorale_).

13. Op. 2, No. 2, in A major.

14. Op. 2, No. 3, in C major.

15. Op. 7, in E flat major.

16. Op. 26, in A flat major.

17. Op. 31, No. 1, in G major.

18. Op. 31, No. 3, in E flat major.

19. Op. 90, in E minor.

20. Op. 54, in F major.

21. Op. 27, No. 1, in E flat major.

22. Op. 27, No. 2 in C sharp minor. (_Moonlight_).

23. Op. 31, No. 2 in D minor.

24. Op. 53, in C major.

25. Op. 81, in E flat major. (_Les Adieux_).

26. Op. 78, in F sharp major.

27. Op. 57, in F minor. (_Appassionata_).

28. Op. 110, in A flat major.

29. Op. 109, in E major.

30. Op. 101, in A major.

31. Op. 111, in C minor.

32. Op. 106, in B flat major. (_The Giant_).

COMPLETE LIST OF BEETHOVEN'S COMPOSITIONS

LIST OF BEETHOVEN'S WORKS.

Compiled from Marx and Thayer.

I.--COMPOSITIONS WITH OPUS NUMBER

Opus

1. _Three Trios_ for pianoforte, violin, and violoncello, in E flat,
G major, and C minor; dedicated to Prince Lichnovsky; composed
1791-92.

2. _Three Sonatas_ for piano, in F minor, A major, and C major;
dedicated to Joseph Haydn; published 1796.

3. _Trio_ for violin, viola, violoncello, in E flat; composed in Bonn
before 1792.

4. _Quintet_ for two violins, two violas, and violoncello, in E flat
(from octet for wind instruments, Op. 103); published 1795.

5. _Two Sonatas_ for piano and violoncello, in F major and G minor;
dedicated to Frederic William II. of Prussia; composed in Berlin
in 1796.

6. _Sonata_ for piano, for four hands, in D major; published 1796-97.

7. _Sonata_ for piano, in E flat; dedicated to the Countess Babette
von Keglevics; published 1797.