Chapter IV: Front Matter (4)

+----------------------+----------+------------+-------------+
| | Original | | Extractives |
| Description. | Gravity. | Alcohol %. | (Solids) %. |
+----------------------+----------+------------+-------------+
| Munich Draught Dark | 1056.4 | 3.76 | 6.58 |
| " " " | 1052.6 | 3.38 | 6.45 |
| " " Light | 1048.0 | 3.18 | 5.55 |
| " " " | 1048.1 | 4.05 | 3.92 |
| " Export | 1054.3 | 3.68 | 6.32 |
| " " | 1059.5 | 4.15 | 7.48 |
| " Bock Beer[9] | 1076.6 | 4.53 | 10.05 |
| Pilsener Bottle | 1047.7 | 3.47 | 4.90 |
| " Draught | 1044.3 | 3.25 | 4.58 |
| Berlin Dark | 1055.2 | 3.82 | 6.17 |
| " Light | 1056.5 | 4.36 | 5.46 |
| " Weissbier | 1033.1 | 2.644 | 3.01 |
+----------------------+----------+------------+-------------+

It will be seen that, broadly speaking, the original gravity of German and Austrian beers is lower than that of English beers, and this also applies to the alcohol. On the other hand, the foreign beers are relatively very rich in solids, and the extractives: alcohol ratio is high. (See BREWING.)

C. AMERICAN BEERS AND ALES.

(Analyses by M. Wallerstein.)

+------------------------+----------+------------+-------------+
| | Original | | Extractives |
| Description. | Gravity. | Alcohol %. | (Solids) %. |
+------------------------+----------+------------+-------------+
| Bottom \ 1. | 1046.7 | 3.48 | 5.08 |
| Fermentation | 2. | 1055.6 | 3.56 | 6.50 |
| Beers | 3. | 1063.4 | 4.12 | 7.43 |
| (Lager Type). / 4. | 1046.0 | 2.68 | 5.96 |
| 5. | 1051.7 | 3.42 | 5.86 |
+------------------------+----------+------------+-------------+
| Top Fermentation \ 1. | 1084.2 | 5.89 | 8.60 |
| Ales | 2. | 1073.5 | 6.46 | 5.69 |
| (British Type) / 3. | 1068.0 | 5.50 | 5.53 |
+------------------------+----------+------------+-------------+

It will be noted that the American _beers_ (i.e. bottom fermentation products of the lager type) are very similar in composition to the German beers, but that the ales are very much heavier than the general run of the corresponding British products.

_Production and Consumption._--(For manufacture of beer, see BREWING.) Germany is the greatest beer-producing nation, if liquid bulk be taken as a criterion; the United States comes next, and the United Kingdom occupies the third place in this regard. The consumption per head, however, is slightly greater in the United Kingdom than in Germany, and very much greater than is the case in the United States. The 1905 figures with regard to the total production and consumption of the three great beer-producing countries, together with those for 1885, are as under:--

+----------------+--------------------------------+---------------------+
| | | Consumption per |
| Country. | Total Production (Gallons). | Head of Population |
| | | (Gallons) |
+----------------+------------------+-------------+----------+----------+
| | 1905. | 1885. | 1905. | 1885 |
| +------------------+-------------+----------+----------+
| German Empire | 1,538,240,000 | 932,228,000 | 23.3 | 19.8 |
| United States | 1,434,114,180 | 494,854,000 | 19.9 | 8.8 |
| United Kingdom | 1,227,933,468[10]| 993,759,000 | 27.90[10]| 27.1 |
+----------------+------------------+-------------+----------+----------+

The chief point of interest in the preceding table is the enormous increase in the United States. In considering the figures, the character of the beer produced must be taken into consideration. Thus, although Germany produces roughly 25% more beer in liquid measurement than the United Kingdom, the latter actually uses about 50% more malt than is the case in the German breweries. According to a Viennese technical journal, the quantities of malt employed for the production of one hectolitre (22 gallons) of beer in the respective countries is 0.40 cwt. in the German empire, 0.72 cwt. in the United States, and 0.81 cwt. in the United Kingdom. In a sense, therefore, England may still claim pre-eminence as a beer-producing nation. Large as the _per capita_ consumption in the United Kingdom may seem, it is considerably less than is the case in Bavaria, which stands at the head of the list with over 50 gallons, and in Belgium, which comes second with 47.7 gallons. In the city of Munich the consumption is actually over 70 gallons, that is to say, about 1-1/2 pints a day for every man, woman and child. It is curious to note that in Germany, which is usually regarded as a beer-drinking country _par excellence_, the consumption per head of this article is slightly less than in England, and that inversely the average German consumes more alcohol in the shape of spirits than does the inhabitant of the British Islands (consumption of spirits per head: Germany, 1.76 gallons; United Kingdom, 0.99 gallons). This is accounted for by the fact that the peasantry of the northern and eastern portions of the German empire consume spirits almost exclusively. In the British colonies beer is generally one of the staple drinks, but if we except Western Australia, where about 25 gallons per head of population are consumed, the demand is much smaller than in the United Kingdom. In Australia generally, the _per capita_ consumption amounts to about 12 gallons, in New Zealand to 10 gallons, and in Canada to 5 gallons. (P. S.)

FOOTNOTES:

[1] London Ales.

[2] Strong Burton Mild Ale.

[3] Fairly representative of "Pale Ales."

[4] Heavy Stock Ales.

[5] Irish Stout.

[6] Nos. 2 and 3 are respectively "single" and "double" London Stouts
from the same brewery.

[7] London Porter or Cooper.

[8] The specific gravity, or "gravity" as it is always termed in the
industry, of the brewer is 1000 times the specific gravity of the
physicist. This is purely a matter of convention and convenience.
Thus when a brewer speaks of a wort of a "gravity" of 1045
(ten-forty-five) he means a wort having a specific gravity of 1.045.
Each unit in the brewer's scale of specific gravity is termed a
"degree of gravity." The wort referred to above, therefore, possesses
forty-five _degrees_ of gravity. The "original gravity," it may here
be mentioned, represents the specific gravity of the wort (see
BREWING) before fermentation. The solids in the original wort may be
ascertained by dividing the excess of the gravity over 1000 by 3.86.
Thus in the case of Mild Ale No. 1 the excess of the original gravity
over 1000 is 1055.13 - 1000 = 55.13. Dividing this by 3.86 we get
14.28, which indicates that the wort from which the beer was
manufactured contained 14.28% of solids. In the trade the gravity of
a beer (or rather of the wort from which it is derived) is generally
expressed in pounds per barrel. This means the excess in weight of a
barrel of the wort over the weight of a barrel of water. The weight
of a barrel (36 gallons) of water is 360 lb.; in the above example
the weight of a barrel of the beer wort is 360 X 1.05513 = 379.8. The
gravity of the wort in lb. is therefore 379.8 - 360 = 19.8. The beer
which is made from this wort would also be called a 19.8 lb. beer,
the reference in all cases being to the original wort.

[9] A particularly heavy beer, only brewed at certain times in the
year.

[10] The maxima of production and consumption were reached in
1899/1900, when the production amounted to 1,337,509,116 gallons (at
the standard gravity) and consumption to 32.28 gallons per head.

BEERSHEBA, a place midway between Gaza and Hebron (28 m. from each), frequently referred to in the Bible as the southern limit of Palestine ("Dan to Beersheba," Judg. xx. i, &c.) Its foundation is variously ascribed to Abraham and Isaac, and different etymologies for its name are suggested, in the fundamental documents of Genesis (xxi. 22, xxvi. 26). It was an important holy place, where Abraham planted a sacred tree (Gen. xxi. 23), and where divine manifestations were vouchsafed to Hagar (Gen. xxi. 17), Isaac (xxvi. 24), Jacob (xlvi. 2) and Elijah (1 Kings xix. 5). Amos mentions it in connexion with the shrines of Bethel and Gilgal (Amos v. 5) and denounces oaths by its _numen_ (viii. 14). The most probable meaning of the name is "seven wells," despite the non-Semitic construction involved in this interpretation. Seven ancient wells still exist here, though two are stopped up. Eusebius and Jerome mention the place in the 4th century as a large village and the seat of a Roman garrison. Extensive remains of this village exist, though they are being rapidly quarried away for building; some inscriptions of great importance have been found here. Later it appears to have been the site of a bishopric; remains of its churches were still standing in the 14th century. Some fine mosaics have been here unearthed and immediately destroyed, in sheer wantonness, by the natives quarrying building-stone. The Biblical Beersheba probably exists at Bir es-Seba', 2 m. distant.

BEESLY, EDWARD SPENCER (1831- ), English historian and positivist, son of the Rev. James Beesly, was born at Feckenham, Worcestershire, on the 23rd of January 1831. He was educated at Wadham College, Oxford, which may be regarded as the original centre of the English positivist movement. Richard Congreve (q.v.) was tutor at Wadham from 1849 to 1854, and three men of that time, Frederic Harrison (q.v.), Beesly and John Henry Bridges (1832-1906), became the leaders of Comtism in England. Beesly left Oxford in 1854 to become assistant-master at Marlborough College. In 1859 he was appointed professor of history at University College, London, and of Latin at Bedford College, London, in 1860. He resigned these appointments in 1893 and 1889, and in 1893 became the editor of the newly-established _Positivist Review_. He collaborated in the translation of Comte's system of _Positive Polity_ (4 vols., 1875-1879), translated his _Discourse on the Positive Spirit_ (1903), and wrote a biography of Comte for a translation of the first two chapters of his _Cours de philosophie positive_, entitled _Fundamental Principles of Positive Philosophy_ (1905). Professor Beesly stood unsuccessfully as Liberal candidate for Westminster in 1885 and for Marylebone in 1886, and is the author of numerous review articles on social and political topics, treated from the positivist standpoint, especially on the Irish question. His works also include a series of lectures on Roman history, entitled _Catiline, Clodius, Tiberius_ (1878), in which he rehabilitates in some degree the character of each of his subjects, and _Queen Elizabeth_ (1892), in the "Twelve English Statesmen" series.

BEET, a cultivated form of the plant _Beta vulgaris_ (natural order Chenopodiaceae), which grows wild on the coasts of Europe, North Africa and Asia as far as India. It is a biennial, producing, like the carrot, a thick, fleshy tap-root during the first year and a branched, leafy, flowering stem in the following season. The small, green flowers are borne in clusters. A considerable number of varieties are cultivated for use on account of their large fleshy roots, under the names of mangel-wurzel or mangold, field-beet and garden-beet. The cultivation of beet in relation to the production of sugar, for which purpose certain varieties of beet stand next in importance to the sugar cane, is dealt with under SUGAR. The garden-beet has been cultivated from very remote times as a salad plant, and for general use as a table vegetable. The variety most generally grown has long, tapering, carrot-shaped roots, the "flesh" of which is of a uniform deep red colour throughout, and the leaves brownish red. It is boiled and cut into slices for being eaten cold; and it is also prepared as a pickle, as well as in various other forms. Beet is in much more common use on the continent of Europe as a culinary vegetable than in Great Britain, where it has, however, been cultivated for upwards of two centuries. The white beet, _Beta cicla_, is cultivated for the leaves, which are used as spinach. The midribs and stalks of the leaves are also stewed and eaten as sea-kale, under the name of Swiss chard. _B. cicla_ is also largely used as a decorative plant for its large, handsome leaves, blood red or variegated in colour.

The beet prospers in a rich deep soil, well pulverized by the spade. If manure is required, it should be deposited at the bottom of the trench in preparing the ground. The seeds should be sown in drills 15 ins. asunder, in April or early in May, and the plants are afterwards to be thinned to about 8 in. apart in the lines, but not more, as moderate-sized roots are preferable. The plants should grow on till the end of October or later, when a portion should be taken up for use, and the rest laid in in a sheltered corner, and covered up from frost. The roots must not be bruised and the leaves must be twisted off--not closely cut, as they are then liable to bleed. In the north the crop may be wholly taken up in autumn, and stored in a pit or cellar, beyond reach of frost. If it is desired to have fresh roots early, the seeds should be sown at the end of February or beginning of March; and if a succession is required, a few more may be sown by the end of March.

BEETHOVEN, LUDWIG VAN (1770-1827), German musical composer, was baptized (probably, as was usual, the day after birth) on the 17th of December 1770 at Bonn. His family is traceable to a village near Louvain, in Belgium, in the 17th century. In 1650 a lineal ancestor of the composer settled in Antwerp. Beethoven's grandfather, Louis, quarrelled with his family, came to Bonn in 1732, and became one of the court musicians of the archbishop-elector of Cologne. He was a genial man of estimable character, and though Ludwig van Beethoven was only four years old when his grandfather died, he never forgot him, but cherished his portrait to the end of his life. Beethoven's father, a tenor singer at the archbishop-elector's court, was of a rough and violent temper, not improved by his passion for drink, nor by the dire poverty under which the family laboured. He married Magdelina Leim or Laym, the widow of a _valet-de-chambre_ of the elector of Trier and daughter of the chief cook at Ehrenbreitstein. Beethoven's father wished to profit as early as possible by his son's talent, and accordingly began to give him a severe musical training, especially on the violin, when he was only five years old, at about which time they left the house in which he was born (515 Bonngasse, now preserved as a Beethoven museum, with a magnificent collection of manuscripts and relics). By the time Beethoven was nine his father had no more to teach him, and he entered upon a perhaps healthier course of clavier lessons under a singer named Pfeiffer. A little general education was also edged in by a certain Zambona. Van den Eeden, the court organist, and an old friend of his grandfather, taught him the organ and the pianoforte, and so rapid was Beethoven's progress that when C.G. Neefe succeeded to Van den Eeden's post in 1781, he was soon able to allow the boy to act as his deputy. With his permission Beethoven published in 1783 his earliest extant composition, a set of variations on a march by Dressler. The title-page states that they were written in 1780 _"par un jeune amateur Louis van Beethoven age de dix ans_." Beethoven's father was very clumsy in his unnecessary attempts to make an infant prodigy of his son; for the ante-dating of this composition, implying the correct date of birth, contradicts the post-dating of the date of birth by which he tried to make out that the three sonatas Beethoven wrote in the same year were by a boy of eleven. (Beethoven for a long time believed that he was born in 1772, and the certificate of his baptism hardly convinced him, because he knew that he had an elder brother named Ludwig who died in infancy.) In the same year, 1783, Beethoven was given the post of cembalist in the Bonn theatre, and in 1784 his position of assistant to Neefe became official. In a _catalogue raisonne_ of the new archbishop Max Franz's court musicians we find "No. 14, Ludwig Beethoven" described "as of good capacity, still young, of good, quiet behaviour and poor," while his father (No. 8) "has a completely worn-out voice, has long been in service, is very poor, of fairly good behaviour, and married."

In the spring of 1787 Beethoven paid a short visit to Vienna, where he astonished Mozart by his extemporizations and had a few lessons from him. How he was enabled to afford this visit is not clear. After three months the illness of his mother, to whom he was devoted, brought him back. She died in July, leaving a baby girl, one year old, who died in November. For five more years Beethoven remained at Bonn supporting his family, of which he had been since the age of fifteen practically the head, as his father's bad habits steadily increased until in 1789 Ludwig was officially entrusted with his father's salary. He had already made several lifelong friends at Bonn, of whom the chief were Count Waldstein and Stephan Breuning; and his prospects brightened as the archbishop-elector, in imitation of his brother the emperor Joseph II., enlarged the scale of his artistic munificence. By 1792 the archbishop-elector's attention was thoroughly aroused to Beethoven's power, and he provided for Beethoven's second visit to Vienna. The introductions he and Count Waldstein gave to Beethoven, the prefix "van" in Beethoven's name (which looked well though it was not really a title of nobility), and above all the unequalled impressiveness of his playing and extemporization, quickly secured his footing with the exceptionally intelligent and musical aristocracy of Vienna, who to the end of his life treated him with genuine affection and respect, bearing with all the roughness of his manners and temper, not as with the eccentricities of a fashionable genius, but as with signs of the sufferings of a passionate and noble nature.

Beethoven's life, though outwardly uneventful, was one of the most pathetic of tragedies. His character has had the same fascination for his biographers as it had for his friends, and there is probably hardly any great man in history of whom more is known and of whom so much of what is known is interesting. Yet it is all too much a matter of detail and anecdote to admit of chronological summarizing here, and for the disentangling of its actual incidents we must refer the reader to Sir George Grove's long and graphic article, "Beethoven," in the _Dictionary of Music and Musicians_, and to the monumental biography of Thayer, who devoted his whole life to collecting materials. These two biographical works, read in the spirit in which their authors conceived them, will reveal, beneath a mass of distressing, grotesque and sometimes sordid detail, a nobility of character and unswerving devotion to the highest moral ideas throughout every distress and temptation to which a passionate and totally unpractical temper and the growing shadow of a terrible misfortune could expose a man.

The man is surpassed only by his works, for in them he had that mastery which was denied to him in what he himself calls his attempt to "grapple with fate." Such of his difficulties as lay in his own character already showed themselves in his studies with Haydn. Haydn, who seems to have heard of him on his first visit to Vienna in 1787, passed through Bonn in July 1792, and was so much struck by Beethoven that it was very likely at his instigation that the archbishop sent Beethoven to Vienna to study under him. But Beethoven did not get on well with him, and found him perfunctory in correcting his exercises. Haydn appreciated neither his manners nor the audacity of his free compositions, and abandoned whatever intentions he may have had of taking Beethoven with him to England in 1794. Beethoven could do without sympathy, but a grounding in strict counterpoint he felt to be a dire necessity, so he continued his studies with Albrechtsberger, a mere grammarian who had the poorest opinion of him, but who could, at all events, be depended on to attend to his work. Almost every comment has been made upon the relations between Haydn and Beethoven, except the perfectly obvious one that Mozart died at the age of thirty-six, just at the time Beethoven came to Vienna, and that Haydn, as is perfectly well known, was profoundly shocked by the untimely loss of the greatest musician he had ever known. At such a time the undeniable clumsiness of Beethoven's efforts at academic exercises would combine with his general tactlessness to confirm Haydn in the belief that the sun had set for ever in the musical world, and would incline him to view with disfavour those bold features of style and form which the whole of his own artistic development should naturally have predisposed him to welcome. It is at least significant that those early works of Beethoven in which Mozart's influence is most evident, such as the Septet, aroused Haydn's open admiration, whereas he hardly approved of the compositions like the sonatas, _op._ 2 (dedicated to him), in which his own influence is stronger. Neither he nor Beethoven was skilful in expressing himself except in music, and it is impossible to tell what Haydn meant, or what Beethoven thought he meant, in advising him not to publish the last and finest of the three trios, _op._ 1. But even if he did not mean that it was too daring for the public, it can hardly be expected that he never contrasted the meteoric career of Mozart, who after a miraculous boyhood had produced at the age of twenty-five some of the greatest music Haydn had ever seen, with the slow and painful development of his uncouth pupil, who at the same age had hardly a dozen presentable works to his credit. It is not clear that Haydn ever came to understand Beethoven, and many years passed before Beethoven realized the greatness of the master whose teaching had so disappointed him.

From the time Beethoven settled permanently in Vienna, which he was soon induced to do by the kindness of his aristocratic friends, the only noteworthy external features of his career are the productions of his compositions. In spite of the usual hostile criticism for obscurity, exaggeration and unpopularity, his reputation became world-wide and by degrees actually popular; nor did it ever decline, for as his later works became notorious for their extravagance and unintelligibility his earlier works became better understood. He was no man of business, but, in a thoroughly unpractical way, he was suspicious and exacting in money matters, which in his later years frequently turned up in his conversation as a grievance, and at times, especially during the depreciation of the Austrian currency between 1808 and 1815, were a real anxiety to him. Nevertheless, with a little more skill his external prosperity would have been great. He was always a personage of importance, as is testified by more than one amusing anecdote, like those of his walks with Goethe and his half-ironical comments on the hats which flew off more for him than for Goethe; and in 1815 it seemed as if the summit of his fame was reached when his 7th symphony was performed, together with a hastily-written cantata, _Der glorreiche Augenblick_ and the blazing piece of descriptive fireworks entitled _Wellingtons Sieg oder die Schlacht bei Vittoria_, once popular in England as the _Battle Symphony_. The occasion for this performance was the congress of Vienna; and the government placed the two halls of the Redouten-Saal at his disposal for two nights, while he himself was allowed to invite all the sovereigns of Europe. In the same year he received the freedom of the city, an honour much valued by him. After that time his immediate popularity, as far as new works were concerned, became less eminent, as that of his more easy-going contemporaries began to increase. Yet there was, not only in the emotional power of his earlier works, but also in the known cause of his increasing inability to appear in public, something that awakened the best popular sensibilities; and when his two greatest and most difficult works, the 9th symphony and parts of the _Missa Solemnis_, were produced at a memorable concert in 1824, the storm of applause was overwhelming, and the composer, who was on the platform in order to give the time to the conductor, had to be turned round by one of the singers in order to _see_ it.

Signs of deafness had given him grave anxiety as early as 1708. For a long time he successfully concealed it from all but his most intimate friends, while he consulted physicians and quacks with eagerness; but neither quackery nor the best skill of his time availed him, and it has been pointed out that the root of the evil lay deeper than could have been supposed during his lifetime. Although his constitution was magnificently strong and his health was preserved by his passion for outdoor life, a post-mortem examination revealed a very complicated state of disorder, evidently dating almost from childhood (if not inherited) and aggravated by lack of care and good food. The touching document addressed to his brothers in 1802, and known as his "will," should be read in its entirety, as given by Thayer (iv. 4). No verbal quotation short of the whole will do justice to the overpowering outburst which runs almost in one long unpunctuated sentence through the whole tragedy of Beethoven's life, as he knew it then and foresaw it. He reproaches men for their injustice in thinking and calling him pugnacious, stubborn and misanthropical when they do not know that for six years he has suffered from an incurable condition, aggravated by incompetent doctors. He dwells upon his delight in human society, from which he has had so early to isolate himself, but the thought of which now fills him with dread as it makes him realize his loss, not only in music but in all finer interchange of ideas, and terrifies him lest the cause of his distress should appear. He declares that, when those near him had heard a flute or a singing shepherd while he heard nothing, he was only prevented from taking his life by the thought of his art, but it seemed impossible for him to leave the world until he had brought out all that he felt to be in his power. He requests that after his death his present doctor, if surviving, shall be asked to describe his illness and to append it to this document in order that at least then the world may be as far as possible reconciled with him. He leaves his brothers his property, such as it is, and in terms not less touching, if more conventional than the rest of the document, he declares that his experience shows that only virtue has preserved his life and his courage through all his misery.

And, indeed, his art and his courage rose far above any level attainable by those artists who are slaves to the "personal note," for his chief occupation at the time of this document was his 2nd symphony, the most brilliant and triumphant piece that had ever been written up to that time. On a smaller scale, in which mastery was the more easily attainable as experiment was more readily tested, Beethoven was sooner able to strike a tragic note, and hence the process of growth in his style is more readily traceable in the pianoforte works than in the larger compositions which naturally represent a series of crowning results. Only in his last period does the pianoforte cease to be Beethoven's normal means of expression. Accordingly, if in the discussion of Beethoven's works, with which we close this article, we dwell rather more on the pianoforte sonatas than on his greater works, it is not only because they are more easily referred to by the general reader, but because they are actually a key to his intellectual development, such as is afforded neither by his life nor by the great works which are themselves the crowning mystery and wonder of musical art.

Deafness causes inconvenience in conversation long before it is noticeable in music, and in 1806 Beethoven could still conduct his opera _Fidelio_ and be much annoyed at the inattention to his nuances; and his last appearance as a player was not until 1814, when he made a great impression with his B flat trio, _op._ 97. At the end of November 1822 an attempt to conduct proved disastrous. The touching incident in 1824 has been described, but up to the last Beethoven seems to have found or imagined that ear-trumpets (of which a collection is now preserved at Bonn) were of use to him in playing to himself, though his friends were often pained when the pianoforte was badly out of tune, and were overcome when Beethoven in soft passages did not make the notes sound at all. The instrument sent him by Broadwood in 1817-1818 gave him great pleasure and he answered it with a characteristically cordial and quaint letter in the best of bad French. His fame in England was often a source of great comfort to him, especially in his last illness, when the London Philharmonic Society, for which the 9th symphony was written and a 10th symphony projected, sent him L100 in advance of the proceeds of a benefit concert which he had begged them to give, being in very straitened circumstances, as he would make no use of the money he had deposited in the bank for his nephew.

This nephew was the cause of most of his anxiety and distress in the last twelve years of his life. His brother, Kaspar Karl, had often given him trouble; for example, by obtaining and publishing some of Beethoven's early indiscretions, such as the trio-variations, _op._ 44, the sonatas, _op._ 49, and other trifles, of which the late _opus_ number is thus explained. In 1815, after Beethoven had quarrelled with his oldest friend, Stephan Breuning, for warning him against trusting his brother in money matters, Kaspar died, leaving a widow of whom Beethoven strongly disapproved, and a son, nine years old, for the guardianship of whom Beethoven fought the widow through all the law courts. The boy turned out utterly unworthy of his uncle's persistent devotion, and gave him every cause for anxiety. He failed in all his examinations, including an attempt to learn some trade in the polytechnic school, whereupon he fell into the hands of the police for attempting suicide, and, after being expelled from Vienna, joined the army. Beethoven's utterly simple nature could neither educate nor understand a human being who was not possessed by the wish to do his best. His nature was passionately affectionate, and he had suffered all his life from the want of a natural outlet for it. He had often been deeply in love and made no secret of it; but Robert Browning had not a more intense dislike of "the artistic temperament" in morals, and though Beethoven's attachments were almost all hopelessly above him in rank, there is not one that was not honourable and respected by society as showing the truthfulness and self-control of a great man. Beethoven's orthodoxy in such matters has provoked the smiles of Philistines, especially when it showed itself in his objections to Mozart's _Don Giovanni_, and his grounds for selecting the subject of _Fidelio_ for his own opera. The last thing that Philistines will ever understand is that genius is far too independent of convention to abuse it; and Beethoven's life, with all its mistakes, its grotesqueness and its pathos, is as far beyond the shafts of Philistine wit as his art.

At the beginning of 1827 Beethoven had projects for a 10th symphony, music to Goethe's _Faust_, and (under the stimulus of his newly acquired collection of Handel's works) any amount of choral music, compared to which all his previous compositions would have seemed but a prelude. But he was in bad health; his brother Johann, with whom he had been staying, had not allowed him a fire in his bedroom, and had sent him back to Vienna in an open chaise in vile weather; and the chill which resulted ended in a fatal illness. Within a week of his death Beethoven was still full of his projects. Three days before the end he added a codicil to his will, and saw Schubert, whose music had aroused his keen interest, but was not able to speak to him, though he afterwards spoke of the Philharmonic Society and the English, almost his last words being "God bless them." On the 26th of March 1827, during a fierce thunderstorm, he died.

_Beethoven's Music._--The division of Beethoven's work into three styles has become proverbial, and is based on obvious facts. The styles, however, are not rigidly separated, either in themselves or in chronology. Nor can the popular description of Beethoven's first manner as "Mozartesque" be accepted as doing justice to a style which differs more radically from Mozart's than Mozart's differs from Haydn's. The style of Beethoven's third period is no longer regarded as "showing an obscurity traceable to his deafness," but we have, perhaps, only recently outgrown the belief that his later treatment of form is revolutionary. The peculiar interest and difficulty in tracing Beethoven's artistic development is that the changes in the materials and range of his art were as great as those in the form, so that he appears in the light of a pioneer, while the art with which he started was nevertheless already a perfectly mature and highly organized thing. And he is perhaps unique among artists in this, that his power of constructing perfect works of art never deserted him while he revolutionized his means of expression. No doubt this is in a measure true of all the greatest artists, but it is seldom obvious. In mature art vital differences in works of similar form are generally more likely to be overlooked than to force themselves on the critic's attention. And when they become so great as to make a new epoch it is generally at the cost of a period of experiment too heterogeneous and insecure for works of art to attain great permanent value. But in Beethoven's case, as we have said, the process of development is so smooth that it is impossible to separate the periods clearly, although the ground covered is, as regards emotional range, at least as great as that between Bach and Mozart. No artist has ever left more authoritative documentary evidence as to the steps of his development than Beethoven. In boyhood he seems to have acquired the habit of noting down all his musical ideas exactly as they first struck him. It is easy to see why in later years he referred to this as a "bad habit," for it must often take longer to jot down a crude idea than to reject it; and by the time the habit was formed Beethoven's powers of self-criticism were unparalleled, and he must often have felt hampered by the habit of writing down what he knew to be too crude to be even an aid to memory. Such first intuitions, if not written down, would no doubt be forgotten; but the poetic mood, the _Stimmung_, they attempt to indicate, would remain until a better expression was forthcoming. Beethoven had acquired the habit of recording them, and thereby he has, perhaps, misled some critics into over-emphasizing the contrast between his "tentative" self-critical methods and the quasi-extempore outpourings of Mozart. This contrast is probably not very radical; indeed, we may doubt whether in every thoughtful mind any apparently sudden inspiration is not preceded by some anticipatory mood in which the idea was sought and its first faint indications tested and rejected so instantaneously as to leave no impression on the memory.

The number and triviality of Beethoven's preliminary sketches should not, then, be taken as evidence of a timid or vacillating spirit. But if we regard his sketches as his diary their significance becomes inestimable. They cover every period of Beethoven's career, and represent every stage of nearly all his important works, as well as of innumerable trifles, including ideas that did not survive to be worked out. And the type of self-criticism is the same from beginning to end. There is no tendency in the middle or last period, any more than in the first, to "subordinate form to expression," nor do the sketches of the first period show any lack of attention to elements that seem more characteristic of the third. The difference between Beethoven's three styles appears first in its full proportions when we realize this complete continuity of his method and art. We have ventured to cast doubts upon the Mozartesque character of his early style, because that is chiefly a question of perspective. While he was handling a range of ideas not, in a modern view, glaringly different from Mozart's, he had no reason to use a glaringly different language. His contemporaries, however, found it more difficult to see the resemblance; and, though their criticism was often violently hostile, they saw with prejudice a daring originality which we may as well learn to appreciate with study. Beethoven himself in later years partly affected and partly felt a lack of sympathy with his own early style. But he had other things to do than to criticize it. Modern prejudice has not his excuse, and the neglect of Beethoven's early works is no less than the neglect of the key to the understanding of his later. It is also the neglect of a mass of mature art that already places Beethoven on the same plane as Mozart, and contains perhaps the only traces in all his work of a real struggle between the forces of progress and those of construction. We will therefore give special attention to this subject here.

The truth is that there are several styles in Beethoven's first period, in the centre of which, "proving all things," is the true and mature Beethoven, however wider may be the scope of his later maturity. And he did not, as is often alleged, fail to show early promise. The pianoforte quartets he wrote at the age of fifteen are, no doubt, clumsy and childish in execution to a degree that contrasts remarkably with the works of Mozart's, Mendelssohn's or Schubert's boyhood; yet they contain material actually used in the sonatas, _op._ 2, No. 1, and _op._ 2, No. 3. And the passage in _op._ 2, No. 3, is that immediately after the first subject, where, as Beethoven then states it, it embodies one of his most epoch-making discoveries, namely, the art of organizing a long series of apparently free modulations by means of a systematic progression in the bass. In the childish quartet the principle is only dimly felt, but it is nevertheless there as a subconscious source of inspiration; and it afterwards gives inevitable dramatic truth to such passages as the climax of the development in the sonata, _op._ 57 (commonly called _Appassionata_), and throughout the chaos of the mysterious introduction to the C major string-quartet, _op._ 59, No. 3, prepares us for the world of loveliness that arises from it.

Although with Beethoven the desire to express new thoughts was thus invariably both stimulated and satisfied by the discovery of the necessary new means of expression, he felt deeply the danger of spoiling great ideas by inadequate execution; and his first work in a new form or medium is, even if as late as the Mass in C, _op._ 89, almost always unambitious. His teachers had found him sceptical of authority, and never convinced of the practical convenience of a rule until he had too successfully courted disaster. But he appreciated the experience, though he may have found it expensive, and traces of crudeness in such early works as he did not disown are as rare as plagiarisms. The first three pianoforte sonatas, _op._ 2. show the different elements in Beethoven's early style as clearly as possible. Sir Hubert Parry has aptly compared the opening of the sonata, _op._ 2, No. 1, with that of the finale of Mozart's G minor symphony, to show how much closer Beethoven's texture is. The slow movement well illustrates the rare cases in which Beethoven imitates Mozart to the detriment of his own proper richness of tone and thought, while the finale in its central episode brings a misapplied and somewhat diffuse structure in Mozart's style into direct conflict with themes as "Beethovenish" in their terseness as in their sombre passion. The second sonata is flawless in execution, and entirely beyond the range of Haydn and Mozart in harmonic and dramatic thought, except in the finale. And it is just in the adoption of the luxurious Mozartesque rondo form as the crown of this work that Beethoven shows his true independence. He adopts the form, not because it is Mozart's, but because it is right and because he can master it. The opening of the second subject in the first movement is a wonderful application of the harmonic principle already mentioned in connexion with the early piano quartets. In all music nothing equally dramatic can be found before the D minor sonata, _op._ 31, No. 2, which is rightly regarded as marking the beginning of Beethoven's second period. The slow movement, like those of _op._ 7 and a few other early works, shows a thrilling solemnity that immediately proves the identity of the pupil of Haydn with the creator of the 9th symphony. The little _scherzo_ no less clearly foreshadows the new era in music by the fact that in so small and light a movement a modulation from A to G sharp minor can occur too naturally to excite surprise. If the later work of Beethoven were unknown there would be very little evidence that this sonata was by a young man, except, perhaps, in the remarkable abruptness of style in the first movement, an abruptness which is characteristic, not of immaturity, but of art in which problems are successfully solved for the first time. This abruptness is, however, in a few of Beethoven's early works carried appreciably too far. In the sonata in C minor, _op._ 10, No. 1, for example, the more vigorous parts of the first movement lose in breadth from it, while the finale is almost stunted.

But Beethoven was not content to express his individuality only in an abrupt epigrammatic style. From the outset breadth was also his aim, and while he occasionally attempted to attain a greater breadth than his resources would properly allow (as in the first movement of the sonata, _op._ 2, No. 3, and that of the violoncello sonata, _op._ 5, No. 1, in both of which cases a kind of extempore outburst in the coda conceals the collapse of his peroration), there are many early works in which he shows neither abruptness of style nor any tendency to confine himself within the limits of previous art. The C minor trio, _op._ 1, No. 3, is not more remarkable for the boldness of thought that made Haydn doubtful as to the advisability of publishing it, than for the perfect smoothness and spaciousness of its style. These qualities Beethoven at first naturally found easier to retain with less dramatic material, as in the other trios in the same _opus_, but the C minor trio does not stand alone. It represents, perhaps, the most numerous, as certainly the noblest, class of Beethoven's early works. Certainly the smallest class is that in which there is unmistakable imitation of Mozart, and it is significant that almost all examples of this class are works for wind instruments, where the technical limitations narrowly determine the style and discourage the composer from taking things seriously. Such works are the beautiful and popular septet, the quintet for pianoforte and wind instruments (modelled superficially, yet closely and with a kind of modest ambition, on Mozart's wonderful work for the same combination) and, on a somewhat higher level, the trio for pianoforte, clarinet and violoncello, _op._ 11.

It is futile to discuss the point at which Beethoven's second manner may be said to begin, but he has himself given us excellent evidence as to when and how his first manner (as far as that is a single thing) became impossible to him. Through quite a large number of works, beginning perhaps with the great string quintet, _op._ 29, new types of harmonic and emotional expression had been assimilated into a style at least intelligible from Mozart's point of view. Indeed, Beethoven's favourite way of enlarging his range of expression often seems to consist in allowing the Titanic force of his new inventions and the formal beauty of the old art to indicate by their contrast a new world grander and lovelier than either. Sometimes, as in the C major quintet, the new elements are too perfectly assimilated for the contrast to appear. The range of key and depth of thought is beyond that of Beethoven's first manner, but the smoothness is that of Mozart. In the three pianoforte sonatas, _op._ 31, the struggle of the transition is as manifest as its accomplishment is triumphant. The first movement of the first sonata (in G major) deals with widely separated keys on new principles. These are embodied in a style which for abruptness and jocular paradox is hardly surpassed by Beethoven's most nervous early works. The exceptionally ornate and dilatory slow movement reads almost like a protest; while the finale begins as if to show that humour should be beautiful, and ends by making fun of the beauty. The second sonata (in D minor) is the greatest work Beethoven had as yet written. Its first movement, already cited above in connexion with the dramatic sequences in _op._ 2, No. 2, is, like that of the _Sonata Appassionata_, a _locus classicus_ for such powerful means of expression. And it is worth noting that the only sketch known of this movement is a sketch in which nothing but its sequential plan is indicated. In the third sonata Beethoven enjoys on a higher plane an experience he had often indulged in before, the attainment of smoothness and breadth by means of a delicately humorous calm which gives scope to the finer subtleties of his new thoughts.

Beethoven himself wrote to his publisher that these three sonatas represented a new phase in his style; but when we realize his artistic conscientiousness it is not surprising that they should be contemporary with larger works like the 2nd symphony, which are far more characteristic of his first manner. His whole development is entirely ruled by his determination to let nothing pass until it has been completely mastered, and long before this his sketch-books show that he had many ambitious ideas for a 1st symphony, and that it was a deliberate process that made his ambitions dwindle into something that could be safely realized in the masterly little comedy with which he began his orchestral career. The easy breadth and power of the 2nd symphony represents an amply sufficient advance, and leaves his forces free to develop in less expensive forms those vast energies for which afterwards the orchestra and the string-quartet were to become the natural field.

In the "Waldstein" sonata, _op._ 53, we see Beethoven's second manner literally displacing his first; that is to say, we reach a state of things at which the two can no longer form an artistic contrast. The work, as we know it, is not only perfect, but has all the qualities of art in which the newest elements have long been familiar. The opening is on the same harmonic train of thought as that of the sonata, _op._ 31, No. 1, but there is no longer the slightest need for a paradoxical or jocular manner. On the contrary, the harmonies are held together by an orderly sequence in the bass, and the onrush is that of some calm diurnal energy of nature. The short introduction to the finale is harmonically and emotionally the most profound thing in the sonata, while the finale itself uses every new resource in the triumphant attainment of a leisure more splendid than any conceivable in the most spacious of Mozart's rondos. Yet it is well known that Beethoven originally intended the beautiful _andante_ in F, afterwards published separately, to be the slow movement of this sonata. That andante is, like the finale, a spacious and gorgeous rondo, which probably Beethoven himself could not have written at an earlier period. The modulation to D flat in its principal theme, and that to G flat near the end, are its chief harmonic effects and stand out in beautiful relief within its limits. After the first movement of the Waldstein sonata they would be flat and colourless. The sketch-books show that Beethoven, when he first planned the sonata, was by no means inattentive to the balance of harmonic colour in the whole scheme, but that at first he did not realize how far that scheme was going to carry him. He originally thought of the slow movement as in E major, a remote key to which, however, he soon assigned the more intimate position of complementary key in the first movement. He then worked at the slow movement in F with such zest that he did not discover until the whole sonata was finished that he had raised the first and last movements to an altogether higher plane of thought, though the redundancy of the two rondos in juxtaposition and the unusual length of the sonata were so obvious that his friends ventured to point them out. Beethoven's revision of his earliest works is now known to have been extensive and drastic; but this is the first instance, and _Fidelio_ and the quartet in B flat, _op._ 131, are the only other instances, of any later work needing important alteration after it was completely executed. From this point up to _op._ 101 we may study Beethoven's second manner entirely free from any survivals of his first, even as a legitimate contrast; though it is as impossible to fix a point before which his third manner cannot be traced as it is to ignore the premonitions of his second manner in his early works. The distinguishing features in Beethoven's second style are the result of a condition of art in which enormous new possibilities have become so well known that there is no need for stating them abruptly, paradoxically or emphatically, but also no need for working them out to remote conclusions. Hence these works have become for most people the best-known and best-loved type of classical music. In their perfect fusion of untranslatable dramatic emotion with every beauty of musical design and tone they have never been equalled, nor is it probable that any other art can show a wider range of thought embodied in a more perfect form. In music itself there is nothing else of so wide a range without grave artistic defects from which Beethoven is entirely free. Wagnerian opera aims at an ideal as truly artistic, and in so far of wider range than Beethoven's that it passes beyond the bounds of pure music altogether. Within those bounds Beethoven remained, and even the apparent exceptions (such as _Fidelio_ and his two great examples of "programme music," the _Pastoral Symphony_ and the sonata, _Les Adieux_) only show how universal his conception of pure music is. Extraneous ideas had here struck him as magnificent material for instrumental music, and he never troubled to argue whether instrumental music is the better or worse for expressing extraneous ideas. To describe the works of Beethoven's second period here would be to describe a library of well-known classics, and we must refer the reader for further details to the articles on SONATA FORMS, CONTRAPUNTAL FORMS, HARMONY and INSTRUMENTATION. It remains for us to attempt to indicate the essential features of his third style, and to conclude with a survey of his influence on the history of music.