Not even a Beethoven was spared the tormenting question of texts for
composition. It is fortunate for posterity that he did not exhaust his
energies in setting inefficient libretti, that he did not believe that
good music would suffice to command success in spite of bad texts. The
majority of his works belong to the field of purely instrumental music.
Beethoven often gave expression to the belief that words were a less
capable medium of proclamation for feelings than music. Nevertheless
it may be observed that he looked upon an opera, or lyric drama, as the
crowning work of his life. He was in communication with the best poets
of his time concerning opera texts. A letter of his on the subject was
found in the blood-spotted pocketbook of Theodor Komer. The conclusion
of his creative labors was to be a setting of Goethe’s “Faust;” except
“Fidelio,” however, he gave us no opera. His songs are not many although
he sought carefully for appropriate texts. Unhappily the gift of poetry
was not vouchsafed him.
22. “Always the same old story: the Germans can not put together a good
libretto.”
(To C. M. von Weber, concerning the book of “Euryanthe,” at Baden, in
October, 1823. Mozart said: “Verses are the most indispensable thing for
music, but rhymes, for the sake of rhymes, the most injurious. Those who
go to work so pedantically will assuredly come to grief, along with the
music.”)
23. “It is difficult to find a good poem. Grillparzer has promised to
write one for me,--indeed, he has already written one; but we can not
understand each other. I want something entirely different than he.”
(In the spring of 1825, to Ludwig Rellstab, who was intending to write
an opera-book for Beethoven. It may not be amiss to recall the fact
that Mozart examined over one hundred librettos, according to his own
statement, before he decided to compose “The Marriage of Figaro.”)
24. “It is the duty of every composer to be familiar with all poets, old
and new, and himself choose the best and most fitting for his purposes.”
(In a recommendation of Kandler’s “Anthology.”)
25. “The genre would give me little concern provided the subject were
attractive to me. It must be such that I can go to work on it with love
and ardor. I could not compose operas like ‘Don Juan’ and ‘Figaro;’
toward them I feel too great a repugnance. I could never have chosen
such subjects; they are too frivolous.”
(In the spring of 1825, to Ludwig Rellstab.)
26. “I need a text which stimulates me; it must be something moral,
uplifting. Texts such as Mozart composed I should never have been
able to set to music. I could never have got myself into a mood for
licentious texts. I have received many librettos, but, as I have said,
none that met my wishes.”
(To young Gerhard von Breuning.)
27. “I know the text is extremely bad, but after one has conceived
an entity out of even a bad text, it is difficult to make changes in
details without disturbing the unity. If it is a single word, on which
occasionally great weight is laid, it must be permitted to stand. He is
a bad author who can not, or will not try to make something as good
as possible; if this is not the case petty changes will certainly not
improve the whole.”
(Teplitz, August 23, 1811, to Hartel, the publisher, who wanted some
changes made in the hook of “The Mount of Olives.”)
28. “Good heavens! Do they think in Saxony that the words make good
music? If an inappropriate word can spoil the music, which is true, then
we ought to be glad when we find that words and music are one and
not try to improve matters even if the verbal expression is
commonplace--dixi.”
(January 28, to Gottfried Hartel, who had undertaken to make changes in
the book of “The Mount of Olives” despite the prohibition of Beethoven.)
29. “Goethe’s poems exert a great power over me not only because of
their contents but also because of their rhythms; I am stimulated to
compose by this language, which builds itself up to higher orders as
if through spiritual agencies, and bears in itself the secret of
harmonies.”
(Reported as an expression of Beethoven’s by Bettina von Arnim to
Goethe.)
30. “Schiller’s poems are difficult to set to music. The composer must
be able to rise far above the poet. Who can do that in the case of
Schiller? In this respect Goethe is much easier.”
(1809, after Beethoven had made his experiences with the “Hymn to Joy”
and “Egmont.”)