Life of Beethoven Part 20

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[Ill.u.s.tration: musical notation]

This _Allegretto_ is continued until the theme is taken up in C minor.

The first _Larghetto_ time is then resumed.

I recommend orchestral directors to try on the piano this fragment as far as the A minor pa.s.sage, and they will be convinced of the deep expression produced by the variations of the _tempi_ as I have marked them. The phrase in C major _ff_ likewise demands a deviation from the original time, and if slightly accelerated will be found to acquire additional power and effect.[136]

The style of performance above described will be found to infuse into this long movement a degree of grace, dignity, and feeling, which is not attainable if the _tempo_ be kept uniform. By the variation the orchestra is kept constantly on the stretch, but the performance will be found easy if it be conducted with steadiness and decision.

I do not recollect anything remarkable with regard to the manner of performing the other movements of this Symphony. The _tempi_ as marked may be adhered to.

I have already observed that Beethoven marked the second movement of the A major Symphony with the direction _Andante, quasi Allegretto_. But at the part in C major the time may be somewhat quickened, which will be found to produce an extremely pleasing effect, forming likewise a fine contrast to the mysterious character of the introduction. The pa.s.sage in A minor, which prepares the conclusion, demands, particularly in those parts where the violins answer the wind-instruments, little breaks of the time, which the subject and the declamation render indispensable.

The right colouring is thus given to the back-ground of the picture, and the deepest impression produced on the hearer.

Concerning the Symphonia Eroica, Beethoven wished that the first movement should be taken in more moderate time than is indicated by the direction, _allegro con brio_, which in the course of performance is usually converted into a _presto_. This detracts from the elevated character of the composition, and transforms it into a concertante display. On the contrary, a perfectly tranquil movement should prevail from beginning to end, even in the loudest parts. The tempo should be somewhat r.e.t.a.r.ded in this phrase:--

[Ill.u.s.tration: musical notation]

and this measure should be maintained to the following _pianissimo_ pa.s.sage,--

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where a gentle _accelerando_ brings back the original time of the movement. This latter time must be rigidly observed as far as the _forte_ phrase in B major. The same changes of time should be observed in the corresponding phrases of the second part of the movement.

Before I proceed to comment on the second movement, the Marcia funebre, I must bring to the reader's recollection Beethoven's declaration in reference to this movement, given in the Second Period. Whether this declaration be taken as jest or earnest, it contains a great deal of truth. Though Beethoven said he composed the music appropriate to the tragical end of the great Emperor seventeen years prior to the event, yet the extent of his fancy is more powerfully manifested in the manner in which he has portrayed the catastrophe. Does not, for example, the middle movement in C major plainly point to the rising of a star of hope? Further on, does not this same middle movement indicate the firm resolution of the hero to overcome his fate? The succeeding fugue-movement, also, still pictures out a conflict with fate. After this there is perceptibly a decline of energy, which, however, again revives, until in this phrase:

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resignation is expressed, the hero gradually sinks, and at length, like other mortals, is consigned to the grave.

The _Maggiore_ itself demands a somewhat animated _tempo._

In the C minor Symphony, Beethoven intended that only a very few variations should be made in the time; yet these few are in the highest degree important and interesting, and they refer princ.i.p.ally to the first movement.

The opening of this movement (that is to say, the first five bars with the two pauses) requires to be played in something like this tempo, [Ill.u.s.tration: musical note] = 126, _an andante con moto_.[137] Thus the mystical character of the movement is in an infinite degree more clearly manifested than by a rapid expression of this phrase, so full of deep meaning. Beethoven expressed himself in something like vehement animation, when describing to me his idea:--"It is thus that Fate knocks at the door." At the sixth bar, where the first violin is introduced, the _allegro con brio_, [Ill.u.s.tration: musical note] = 108, commences; and this time is continued until this pa.s.sage[138]--

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where, according to Beethoven's idea, Fate again knocks at the door--only more slowly. At the pa.s.sage for the first violin, in the succeeding bar, the _allegro_ is again taken up.

In the second part of this movement the r.e.t.a.r.dation of the quick time occurs twice: first at the phrase succeeding the pause on the major triad of E flat.[139]

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And secondly at the repet.i.tion of the same phrase (page 43 of the Score).

Respecting any essential changes of time in the other three movements of this Symphony, I received no information from Beethoven.

The above hints on matter and manner in relation to Beethoven's music will, I trust, be found satisfactory. For several reasons it appears to me that further details would here be out of place. I must, however, most earnestly and indignantly protest against every reproach founded on the suspicion that these hints and other observations did not emanate from Beethoven, but have been the offspring of my invention. Beethoven's Quartett, performed by Schuppanzigh and the three other initiated players, plainly shows the effect which the music was capable of producing when executed in obedience to the composer's personal directions. Those who have not had the good fortune to hear that performance, and to have thereby obtained the advantage of observing that by varying the time at suitable points powerful effects are produced, and the most abstruse music rendered an intelligible language to unlearned ears, may possibly doubt the accuracy of what I have stated; but, nevertheless, unjustly.

If Beethoven did not direct the performance of his instrumental music in the manner above described, it was for the important reason that he had not, _ex officio_, any orchestra under his control, and none would have had patience to be schooled by him. This sort of study could only be practicable with the well-organised orchestra of a chapel or musical _Conservatoire_. With respect to the orchestra of the Vienna Theatre, the performers engaged in it have always insisted that, with the exception of their duties on the nights of performance, nothing more shall be required of them; and the orchestra of the Concert-Spirituel includes among its coadjutors many dilletanti, who cannot devote the necessary time to rehearsals.

These circ.u.mstances serve to explain the complaints made by Beethoven to Hofrath Rochlitz in the year 1822. Those complaints, which unfortunately contained mortifying truths, are thus related by Rochlitz in his work ent.i.tled "Fur Freunde der Tonkunst," vol. iv. p. 355:--"He (Beethoven), turning the conversation upon himself and his works, said:--'None of my compositions are heard here.'--'None in the summer season?' inquired I, writing the words on the slate.--'Neither in summer nor winter,'

exclaimed he.--'What should they hear?--Fidelio?'--'They cannot perform it, and would not listen to it if they could.'--'The Symphonies?'--'They have not time for them.'[140]--'The Concertos?'--'Our instrumental players prefer strumming and sc.r.a.ping their own productions.'--'The Solos?'--'They have been long out of fas.h.i.+on here; and now-a-days Fas.h.i.+on rules everything,'" &c.

I once more repeat that Beethoven's music would have founded a new era, had the composer been enabled, in the new edition of his works, to accomplish the much-desired object of cla.s.sical explanation--or had he possessed the control of an orchestra, which, under his own instruction and superintendence, he might have made a model for the whole musical world. That his ideas of possible improvement would not have been narrowly circ.u.mscribed, may be inferred from the proposition laid down by himself--"The boundary does not yet exist of which it can be said to talent co-operating with industry--_Thus far shalt thou go and no farther!_"

I had just finished this portion of my work when the "Journal des Debats," of the 18th of January last, containing a letter from Vienna, dated the 5th of the same month, reached my hands. This letter relates to a calligraphic collection of Beethoven's works, which the Archduke Rudolph has bequeathed by will to the "Society of the Lovers of Music of the Austrian Empire," whose patron his Imperial Highness had been for many years. It contains some inaccuracies, which might furnish occasion for misconceptions and controversies; it may, therefore, not be amiss to subjoin a simple statement of the fact--in which Beethoven is directly implicated--in order to correct the errors in that letter.

Mr. Tobias Haslinger, while a partner in the house of Steiner and Co., music-publishers (of which he is now sole proprietor), undertook to produce a calligraphic copy of all Beethoven's works. After a number of the works already printed had been so copied, Beethoven received intelligence of the circ.u.mstance; and though the expensive undertaking of Mr. Haslinger was represented to him as a mercantile speculation, which, however, according to his statement, it was not intended to be, the composer was perfectly indifferent, since he could not have raised any reasonable objection, let the purpose of the enterprise be what it might. Now, the letter from Vienna in the "Journal des Debats" a.s.serts that Beethoven had previously revised and corrected, and, "in fact, put the finis.h.i.+ng hand" to all his works for the benefit of this calligraphic copy: this a.s.sertion must be contradicted. At the time that Beethoven heard what Mr. Haslinger was about, he was not on good terms with the above-mentioned house, neither of course with Mr. Haslinger himself; and soon afterwards followed the rupture mentioned in the Third Period, because Beethoven would not subscribe to the scale of prices in Mr. Haslinger's hand-writing. By such inaccurate statements sent forth to the world, not without some object, as I suppose, I am induced to subjoin that list of prices.[141] From the remarks annexed, in Beethoven's own handwriting, it will be seen that, just at this time (1821 and 1822), the above-mentioned publishers were in treaty with Beethoven respecting an edition of his complete works. Another Vienna house was likewise treating with him at the same time for the same purpose. How, then, could Beethoven have put a finis.h.i.+ng hand to his works for the benefit of that calligraphic copy, since he himself projected an edition of them, and had so many important points not yet settled in his own mind to decide upon? And though he may have subsequently corrected a few wrong notes (of which there are unluckily too many in his works) for Mr. Haslinger's undertaking, this cannot by any means be called "putting the finis.h.i.+ng hand to a work." It were indeed to be wished that Beethoven had done so in this instance, and that his intentions were to be found there. How many and what great works has Beethoven written after the rupture with that house, which have been introduced into the calligraphic copy! Is it to be supposed that he put the finis.h.i.+ng hand to these also for the benefit of that undertaking? If so, look, above all, at the Quartett No. 13, and others of the latest Quartetts, and discover if you can the remarks and explanations to them which Beethoven sent to Prince Nicholas von Galitzen, to St. Petersburg (as I have mentioned at pp. 34-36 of the present volume), and which he designed to append in a more explicit form to a second edition, in order to render those works more intelligible; and then those "hieroglyphics," as they are called, will be all at once deciphered for the whole world, and bright suns.h.i.+ne pervade them, as it does his Quartett No. 1.

When Beethoven was informed that Mr. Haslinger was in treaty with the Archduke Rudolph for the sale of the calligraphic works, and that the price demanded for them was said (if I recollect rightly) to be 40,000 florins--the "Journal des Debats" says that they cost the Archduke upwards of 90,000 florins (223,000 francs)--the great master was again indifferent, and merely muttered to himself something about "a poor devil," and that, "such he was and such he should ever remain while others contrived to suck out his marrow and fatten upon it." But I was accustomed to such exclamations, or freaks of fancy: they had nothing alarming, but much that grieved; for when the beloved friend had vented his spleen in this manner, he would take up the pen and again fall to writing what he used punningly to call _Noten in Nothen_--notes in emergency.

II.

CHARACTERISTIC TRAITS AND PECULIARITIES OF BEETHOVEN.

Beethoven's Religious Principles--His Dislike of giving Lessons--His Frankness, and, at the same time, Dexterity in evading Questions--Vindication of him from the charge of Discourtesy to Brother Artists--Proofs that though a rigid, he was a just Critic--Kind Encouragement afforded by him to Professional Merit--His modest Appreciation of Himself--His Extempore Playing--His Every-day Occupations--Propensity for Dabbling in Water--Pension--Certificates--Beethoven erroneously compared with Jean Paul Richter--Mortifying Trick played by him at the instigation of a Friend--Motivo of a Movement in one of his Quartetts--His Peculiar Habits in Eating and Drinking--Extent of his Knowledge of Languages--Comments on Statements of M. von Seyfried relative to Beethoven's domestic Habits--Spurious MSS.

attributed to him--His Person--Portraits of him.

Beethoven was educated in the Catholic religion; and that he was truly religious, the whole tenor of his life sufficiently proves. It was, however, a remarkable peculiarity in his character that he never conversed on religion, or expressed any opinion on the creeds of different Christian sects. If my

[Ill.u.s.tration: Fac-simile of Beethoven's Hand-writing.

_Published by Henry Colburn 13 Great Marlborough Street 1841_]

observation ent.i.tles me to form an opinion on the subject, I should say be inclined to Deism; in so far as that term may be understood to imply natural religion. He had written with his own hand two inscriptions, said to be taken from a temple of Isis. These inscriptions, which were framed, and for many years constantly lay before him on his writing-table, were as follows:--

I. "I AM THAT WHICH IS.--I AM ALL THAT IS, ALL THAT WAS, AND ALL THAT SHALL BE.--NO MORTAL MAN HATH MY VEIL UPLIFTED!"

II. "HE IS ONE, SELF-EXISTENT, AND TO THAT ONE ALL THINGS OWE THEIR EXISTENCE."[142]

I shall carefully watch over the preservation of these pious relics of my friend, who regarded them as an epitome of the loftiest and purest religion. They were to him dearly-prized treasures.

I have already, in the biographical part of this work, alluded to Beethoven's repugnance to giving lessons. I may now add that his distaste for tuition was experienced by the "dames de predilection" who could boast of being his pupils. Even these ladies found themselves sometimes forgotten by him for weeks at a time; and, when at length he presented himself, he was generally received with looks of displeasure, which, however, made but little impression on him. With respect to his mode of conveying instruction, the following particulars may interest the reader.

Those who wished to obtain from Beethoven that valuable information which he was so capable of communicating, could not succeed in that object unless they had the opportunity of being near him at every hour of the day; for nothing could induce him to give himself up to any business at a fixed time. Now and then he would speak readily and entertainingly on the various branches of knowledge with which he was familiar; he would even give direct instruction; but how few had opportunity to profit by these communicative intervals! They frequently occurred at meal-times, and during his walks, or, to speak more properly, runs; and on these occasions he would often suddenly break off the conversation if he found his companion unable to keep pace with him.

In his philosophic discussions there were only two topics which Beethoven never touched upon, and which, indeed, he carefully avoided--namely, thorough-ba.s.s and religion. Both, he declared, were exhausted subjects, which admitted of no farther discussion.