Ludwig von Beethoven was born in 1770 at Bonn, where his father was then
tenor singer in the chapel of the elector of Cologne. At an unusually
early age he was able to perform that first of all works for forming a
finished player on the organ or the piano-forte, the preludes and fugues
of Sebastian Bach, called “Le Clavecin bien tempéré.” At this time he
displayed equal progress in composition; for, in the same year, he
published variations to a march, sonatas, and songs, all for the
piano-forte.
In 1792, he was sent by the elector to Vienna, as court-organist, to
study the theory of music under the celebrated J. Haydn, who, on leaving
Vienna for London two years after, intrusted his pupil to the care of
the learned Albrechtsberger. He was then more distinguished for his
performance than his composition. Judging by the criticisms of his early
works, harshness of modulation, melodies more singular than pleasing,
and an evident struggle to be original, were among the principal faults
of which he was accused. Severe as these critics were on him as a
composer, they were lavish in their praises of him as a player. In their
opinion, no one could equal him in spirit and brilliancy of execution;
and nothing more was wanting to perfect his performance, than more
precision and distinctness of touch. His greatest power consisted in
extemporary performance, and in the art of varying any given theme
without the least premeditation. In this he approached nearest to
Mozart, and has never had a rival since.
The precarious situation of the court of Cologne during the war, and the
death of the elector in 1801, in whom the art of music lost one of its
most zealous patrons, induced Beethoven to choose Vienna as his
permanent residence. As original and independent in his general way of
thinking, as in his musical productions, a decided enemy to flattery, an
utter stranger to every thing dishonourable, he disdained to court the
favour of any one, however wealthy or high in rank. He has consequently
resided nearly thirty years in that splendid metropolis, in open
hostility with many; and in friendship with only a few, whom the
admiration of his great genius will not allow to take offence, either at
the singularity of his manner, or the candour with which he gives his
honest opinions. Till very lately, he had hardly any other emolument
than what his compositions produced him, and consequently he was too
often in circumstances very unworthy of such a great genius.
In Austria, the native composers have experienced a neglect similar to
that which Frederick the Great displayed to the literati of Prussia.
Salieri, the Italian, has all the honours and emoluments of principal
maestro di capella to their majesties; whereas the inimitable Beethoven
relies entirely on his own strength, without the smallest portion of
imperial munificence. It must have been a consideration like this,
together with the increase of difficulties, that determined him, in
1809, to accept an offer from the new Westphalian court of Jerome
Buonaparte, of the situation of maestro di capella. Fortunately, for the
honour of Vienna and of Austria, the archduke Rudolph, and the princes
Lobkowitz and Kinsky, induced him to alter this resolution. In
expressions at once the most favourable and delicate, these princes had
a document drawn up, by which they settled on Beethoven an annuity of
4000 florins, with no other condition, than that so long as he derives
the benefit of it, he must reside at Vienna, or in some other part of
the Austrian dominions; but he cannot travel into foreign countries,
unless with the consent of his patrons. Vienna has thus become the place
of his abode during the principal part of his life. Although he had a
great wish to see foreign countries, particularly England, he has never
applied for leave of absence to the archduke Rudolph, who is now his
only patron, the princes Lobkowitz and Kinsky being dead. It has,
however, been doubted whether his presence would add, either here or any
where else, to his celebrity. His warmth of temper, extreme frankness,
and singularity of manners, (which he is little able to rule according
to the prescribed forms of society,) his little reserve in judging of
people, and above all, his great deafness, seem little calculated to
endear his person to the true admirers of his genius. Notwithstanding
these foibles, which more frequently belong to great than to ordinary
men, his character, as a man and as a citizen, ranks deservedly high.
There is a rectitude in his moral conduct, which ensures to him the
esteem of every honourable person.
Beethoven’s works are universally acknowledged to be, for the greater
part, productions of the highest order. In the loftier strains of
composition, he has attained so eminent a rank, that it is difficult to
say who excels him. In many of his orchestral symphonies, overtures,
quartettos for the violin, concertos, trios, and sonatas for the
piano-forte, he may be placed without the slightest presumption by the
side of Haydn and Mozart. His overture to the “Men of Prometheus,” and
his piano-forte concerto in C minor, Op. 37, would alone be sufficient
to immortalize him. They will ever be heard with delight after any
overture or concerto, even of Mozart. A list of his works is copied from
that very excellent periodical work, the “Harmonicon,” into the
“Biographical Dictionary of Musicians,” from whence the present notice
of Beethoven is derived.
The talents of a Haydn and Mozart raised instrumental composition in
Germany to an astonishing elevation; and Beethoven may be said not only
to have maintained the art in that stupendous altitude, but even in
some respects to have brought it to still higher perfection. Reichardt,
in his letters from Vienna, says, “Haydn drew his quartets from the pure
source of his sweet and unsophisticated nature, his captivating
simplicity and cheerfulness; in these works he is still without an
equal. Mozart’s mightier genius and richer imagination took a more
extended range, and embodied in several passages the most profound and
sublime qualities of his own mind. Moreover, he was much greater as a
performer than Haydn, and as such, expected more from instruments than
the latter did. He also allowed more merit to highly wrought and
complicated compositions, and thus raised a gorgeous palace within
Haydn’s fairy bower. Of this palace Beethoven was an early inmate; and
in order adequately to express his own peculiar forms of style, he had
no other means but to surmount the edifice with that defying and
colossal tower, which no one will probably presume to carry higher with
impunity.”
“If any man,” says the Quarterly Musical Review, “can be said to enjoy
an almost universal admiration as a composer, it is Beethoven; who,
disdaining to copy his predecessors in any, the most distant, manner,
has, notwithstanding, by his energetic, bold, and uncommon style of
writing, carried away the prize from our modern Olympus. His
peculiar beauties may be enumerated as follows: originality of
invention--uncommon passages--a very energetic manner--imitative
passages almost innumerable--and abstruse scientific modulation. The
first of these peculiarities, no sincere lover of music who has heard
any of his symphonies will refuse to admit; and it is principally to
this prominent feature in all his works that the fame he has acquired is
owing. There is something in the first movements of all his overtures
and symphonies, which, to the hearer, conveys a clear impression that
the piece is not similar to any he ever heard before by other composers.
The frequent employment of discords unresolved with a full harmony, the
apparent sombre cast of expression by a continual richness and depth of
the bass, the evident preparation for some beautiful allegro or vivace
movement; all these conspire to raise the author in our estimation, and
to keep our attention alive. Yet, when he does lead us to the quick, it
is not upon a light, unmeaning, or dance-like passage, that he chooses
to work; conscious of his resources, he gives an excellent subject,
gradually rising into importance as the instruments one after the other
join in the stringed chorus; and when (as Maister Mace would say) ‘that
vast concording unity’ of the whole band comes ‘thundering in,’ we
perceive with what admirable skill the orchestra are brought together,
and afterwards, to the latter part of the piece, continue our admiration
of the scientific manner in which the parts are worked up. The
conclusion leaves us in regret.”
In Beethoven’s “Mount of Olives,” the introductory symphony is
considered to be so affecting and appropriate as to be equal, if not
superior, to Haydn’s introduction, or representation of “Chaos” in the
“Creation.” The whole is a striking instance of his originality of
invention. With respect to his energetic manner, nearly the whole of his
works abound with specimens of this description of beauty. Yet, however,
in the midst of his energy, variety, and abstruseness, ideas may
sometimes be discovered which create enthusiasm solely from their
simplicity. Of this description is the well-known passage in his “Battle
Sinfonia,” where the one fifer is supposed to be heard attempting to
rally the disordered ranks of the French army, by playing their national
air of “Malbrouk,” which he performs in a minor key, from his own
presumed thirst and fatigue.
It is said that Beethoven does not write down a single note of his
compositions till he has mentally completed them, and that he holds his
own earlier compositions in contempt. He usually passes the summer at
the pleasant village of Baden, about twelve miles from Vienna. He is
very deaf, but can hear without the assistance of any machine, when
addressed loudly and distinctly. His principal amusement in the country
is taking long walks in the most romantic parts of the vicinity; these
excursions he sometimes extends even through the night.[315]
[315] Biographical Dict. of Musicians.
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