(Said to Schindler when the latter made him acquainted with the “Songs
of Ossian,” “Die Junge Nonne,” “Die Burgschaft,” of Schubert’s “Grenzen
der Menschheit,” and other songs.)
129. “There is nothing in Meyerbeer; he hasn’t the courage to strike at
the right time.”
(To Tomaschek, in October, 1814, in a conversation about the “Battle of
Victoria,” at the performance of which, in 1813, Meyerbeer had played
the big drum.)
130. “Rossini is a talented and a melodious composer, his music suits
the frivolous and sensuous spirit of the times, and his productivity is
such that he needs only as many weeks as the Germans do years to write
an opera.”
(In 1824, at Baden, to Freudenberg.)
131. “This rascal Rossini, who is not respected by a single master of
his art!”
(Conversation-book, 1825.)
132. “Rossini would have become a great composer if his teacher had
frequently applied some blows ad posteriora.”
(Reported by Schindler. Beethoven had been reading the score of “Il
Barbiere di Siviglia.”)
133. “The Bohemians are born musicians. The Italians ought to take
them as models. What have they to show for their famous conservatories?
Behold! their idol, Rossini! If Dame Fortune had not given him a pretty
talent and amiable melodies by the bushel, what he learned at school
would have brought him nothing but potatoes for his big belly.”
(In a conversation-book at Haslinger’s music shop, where Beethoven
frequently visited.)
136. “Goethe has killed Klopstock for me. You wonder? Now you laugh?
Ah, because I have read Klopstock. I carried him about with me for years
when I walked. What besides? Well, I didn’t always understand him. He
skips about so; and he always begins so far away, above or below; always
Maestoso! D-flat major! Isn’t, it so? But he’s great, nevertheless, and
uplifts the soul. When I couldn’t understand him I sort of guessed at
him.”
(To Rochlitz, in 1822.)
135. “As for me I prefer to set Homer, Klopstock, Schiller, to music; if
it is difficult to do, these immortal poets at least deserve it.”
(To the directorate of the “Gesellschaft der Musikfreunde” of Vienna,
January, 1824, in negotiations for an oratorio, “The Victory of the
Cross” [which he had been commissioned to write by the Handel and Haydn
Society of Boston. H. E. K.].)
136. “Goethe and Schiller are my favorite poets, as also Ossian
and Homer, the latter of whom, unfortunately, I can read only in
translation.”
(August 8, 1809, to Breitkopf and Hartel.)
137. “Who can sufficiently thank a great poet,--the most valuable jewel
of a nation!”
(February 10, 1811, to Bettina von Arnim. The reference was to Goethe.)
138. “When you write to Goethe about me search out all the words which
can express my deepest reverence and admiration. I am myself about to
write to him about ‘Egmont’ for which I have composed the music, purely
out of love for his poems which make me happy.”
(February 10, 1811, to Bettina von Arnim.)
139. “I would have gone to death, yes, ten times to death for Goethe.
Then, when I was in the height of my enthusiasm, I thought out my
‘Egmont’ music. Goethe,--he lives and wants us all to live with him. It
is for that reason that he can be composed. Nobody is so easily composed
as he. But I do not like to compose songs.”
(To Rochlitz, in 1822, when Beethoven recalled Goethe’s amiability in
Teplitz.)
140. “Goethe is too fond of the atmosphere of the court; fonder than
becomes a poet. There is little room for sport over the absurdities of
the virtuosi, when poets, who ought to be looked upon as the foremost
teachers of the nation, can forget everything else in the enjoyment of
court glitter.”
(Franzensbrunn, August 9, 1812, to Gottfried Hartel of Leipzig.)
141. “When two persons like Goethe and I meet these grand folk must be
made to see what our sort consider great.”
(August 15, 1812, in a description of how haughtily he, and how humbly
Goethe, had behaved in the presence of the Imperial court.)
142. “Since that summer in Carlsbad I read Goethe every day,--when I
read at all.”
(Remarked to Rochlitz.)
143. “Goethe ought not to write more; he will meet the fate of the
singers. Nevertheless he will remain the foremost poet of Germany.”
(Conversationbook, 1818.)
144. “Can you lend me the ‘Theory of Colors’ for a few weeks? It is an
important work. His last things are insipid.”
(Conversation-book, 1820.)