XIII.
SCHINDLER to B. SCHOTT SOHNE, Mainz.
_Vienna, April_ 12, 1827.
I would already have liked to take the liberty of forwarding to you the
enclosed document in the name of our Beethoven as his dying request;
but after the passing away of our friend, there was so much business
to attend to that I found it impossible. Unfortunately, it was not
possible to get the document legalised, for that Beethoven would
have had to sign it at the law court, which was utterly impossible.
Beethoven, however, requested Court Councillor v. Breuning and myself
to add our names as witnesses, as we were both present. We, therefore,
believe that it will serve the purpose for which it was drawn up. I
must further mention that in this document you possess the _last_
signature of this immortal man; for this was the last stroke of his pen.
I cannot now refrain from telling you something about the last hours
when he was still conscious (namely, on the 24th of March, from early
morning until about one o'clock in the afternoon), for to you, sirs,
this will surely be of great interest. When I came to him on the
morning of the twenty-fourth of March, I found his face quite drawn;
moreover, he was so weak that with the greatest effort he could only
utter two or three intelligible words. The _Ordinarius_ soon arrived,
and, after watching him for a few moments, said to me: 'Beethoven's
end is rapidly approaching.' As the business of the Will had been
settled, so far as was possible, the previous day, there remained for
us only one ardent wish: to get him reconciled with heaven, in order
that the world might also be shown that he ended his life as a true
Christian. The Professor Ordinarius wrote it down, and begged him in
the name of all his friends, to partake of the Sacrament for the dying,
whereupon he answered calmly and steadily: 'I will.' The doctor went
away, leaving me to see to this. Beethoven then said to me: 'My only
request is that you write to Schott and send him the document: he _will
need it_. And write to him in my name, for I am too weak, and say
that I much desire him to send the wine. Also, if you have still time
to-day, write to England.' The clergyman came about twelve o'clock,
and the religious ceremony took place in the most edifying manner. And
now for the first time he seemed to feel that his end was approaching,
for the clergyman had scarcely gone when he said to me and to young v.
Breuning: '_Plaudite amici, comœdia finita est!_' Have I not always
said that it would be thus? He then, once again, begged me not to
forget Schott; also again to write in his name to the Philharmonic
Society[88] to thank them for their great gift, and to add that the
Society had comforted his last days, and that even on the brink of the
grave he thanked the Society and the whole English nation for the great
gift. God bless them.
At this moment the chancery servant of v. Breuning entered the room
with the case of wine and the decoction, about quarter to one o'clock.
I put the two bottles of Rüdesheimer and the two other bottles of the
decoction on the table at his bedside. He looked at them, saying: ''Tis
a pity, a pity, too late!' These were his last words. Immediately
after, commenced the death throes, so that he could not utter a sound.
Towards evening he lost consciousness and became delirious, which
lasted up to the evening of the 25th, when visible signs of approaching
death appeared. In spite of it, he died only on the 26th at quarter to
six o'clock in the evening.
This death struggle was terrible to behold, for his constitution,
especially his chest, was like that of a giant. Of your Rüdesheimer, he
took still a few spoonfuls until he passed away.
Thus I have the pleasure of acquainting you with the last three days of
our unforgettable friend.
In conclusion, accept the assurance, etc.,
ANTON SCHINDLER.
FOOTNOTES:
[85] For the Letters, I have been kindly allowed by Messrs. J. M.
Dent & Co., to use Mr. J. S. Shedlock's splendid translation in his
monumental, "_Letters of Ludwig van Beethoven_" (2 volumes, 1909),
which contain no less than 7,220 documents.
[86] The variations mentioned were those for Piano and Violin on the
well-known theme, _Se vuol ballar_, from Mozart's _Figaro_. (See page
224, 1A).
[87] Quotation from a well-known song.
[88] This English Society had sent him a present of £100 and a
magnificent edition of Handel which gave him the greatest pleasure
during his last days.
THOUGHTS
[ILLUSTRATION: PAGE OF AUTOGRAPH OF "MOONLIGHT" SONATA.]
(IN BEETHOVEN'S HOUSE AT BONN.)
_To face page_ 100.
THOUGHTS
ON MUSIC.
"_Il n'y a pas de règle qu'on ne peut blesser à cause de_ SCHÖNER"
(There is no rule which one cannot break for the sake of BEAUTY). This
expression appears in the original in French except for the last word
_Schöner_.
* * * * *
"Music ought to create and fan the fire of the spirit of man."
* * * * *
"Music is a higher revelation than the whole of wisdom and the whole of
philosophy.... He who penetrates the meaning of my music shall be freed
from all the misery which afflicts others."
(To Bettina, 1810.)
* * * * *
"There is nothing finer than to approach the Divine and to shed its
rays on the human race."
* * * * *
"Why do I write? What I have in my heart must come out; and that is why
I compose."
* * * * *
"Do you believe that I think of a divine violin when the spirit speaks
to me and that I write what it dictates?"
(To Schuppanzigh.)
* * * * *
"According to my usual manner of composing, even in my instrumental
music, I always have the whole in my mind; here, however, that whole is
to a certain extent divided, and I have afresh to think myself into the
music."
(To Treitschke: from correspondence concerning Beethoven's musical
settings to some of his poems. Treitschke was the man who revised
the libretto of _Fidelio_ when it was seriously thought of reviving
it.)
* * * * *
"One should compose without a piano. The faculty of expressing what one
desires and feels (which is so essential a need to noble natures) comes
only by degrees."
(To the Archduke Rudolph.)
* * * * *
"The descriptions of a picture belong to painting; even the poet in
this matter may, in comparison with my art, esteem himself lucky, for
his domain in this respect is not so limited as mine, yet the latter
extends further into other regions, and to attain to our kingdom is not
easy."
(To Wilhelm Gerhardi in Leipzig from Nussdorf, July, 1817.)
* * * * *
"Liberty and progress are the goals of art just as of life in
general. If we are not as solid as the old masters, the refinement of
civilization has at least enlarged our out-look."
(To Archduke Rudolph.)
* * * * *
"I am not in the habit of altering my compositions when they are once
finished. I have never done this, for I hold firmly that the slightest
change alters the character of the composition."
(To George Thomson, publisher, Edinburgh.)
* * * * *
"Pure Church music ought to be performed entirely _by the voices
only_, except for the _Gloria_ or words of that kind. That is why
I prefer Palestrina; but it would be absurd to imitate him without
possessing his spirit and his religious convictions."
(To the organist Freudenberg.)
* * * * *
"When your piano pupil has the proper fingering, the exact rhythm and
plays the notes correctly, pay attention only to the style; do not stop
for little faults or make remarks on them until the end of the piece.
This method produces _musicians_, which after all is one of the chief
aims of musical art.... For the passage work (virtuosity) make him
use all the fingers freely.... Doubtless by employing fewer fingers
a 'pearly' effect is obtained--as it is put--'like a pearl.' But one
likes other jewels at times."
(To Czerny.)
(The Baron de Trémont wrote in 1809, "Beethoven's piano playing was
not very correct and his manner of fingering was often faulty; the
quality of his tone was not beyond reproach. But who could dream of
the player? One was completely absorbed by the thoughts which his
hands tried to express as well as they could.")
* * * * *
"Amongst the old masters, only Handel and Sebastian Bach had true
genius."
(To the Archduke Rudolph, 1819.)
* * * * *
"My heart beats in entire concord with the lofty and grand art of
Sebastian Bach, that patriarch of harmony (_dieses Urvaters der
Harmonie_.")
(To Hofmeister, 1801.)
* * * * *
"I have always been one of the greatest admirers of Mozart, and I shall
remain so until my latest breath."
(To the Abbé Stadler, 1826.)
* * * * *
"I admire your works above all other pieces for the theatre. I am in
ecstasy each time I hear a new work by you, and I take more interest
in them than in my own. In brief, I admire you and I love you.... _You
will always remain the one I esteem most amongst all my contemporaries.
If you wish to give me an extreme pleasure do write me a few lines.
That would give me great satisfaction. Art unites everybody_, how much
more true artists, _and perhaps you will consider me also worthy_ of
being counted one of this number."
(To Cherubini, 1823.)
(The words in italics are in French in the original with some
defective spelling. This letter to Cherubini was not answered.)
ON CRITICISM.
"In all that concerns me as an artist, no one has ever heard me say
that I pay the least attention to what has been written about me."
(To Schott, 1825.)
* * * * *
"I think with Voltaire that mere fly-stings will not hold back a
run-away horse."
(1826.)
* * * * *
"As for these idiots, one can only let them talk. Their prattling will
certainly not make anyone immortal, any more than it will raise to
immortality any of those whom Apollo has destined for it."
(1801.)
* * * * *
THE NINE SYMPHONIES
THE NINE SYMPHONIES
SYMPHONY No. 1 in C major, Opus 21.
Dedicated to the Baron van Swieten.
_Adagio molto--Allegro con brio--Andante cantabile con moto--Minuetto e
Trio--Finale._
Although this Symphony was originally performed at the first of the
composer's personally-arranged concerts in Vienna, on April 2nd, 1800,
the sketches for it extend over the preceding five years. Though the
symphony is in the composer's first period style, it does not rank
amongst the very finest works of this period. The slow introduction
starts on a dominant seventh out of the key.
[Music score]
The musical quotations are taken from E. Pauer's excellent piano solo
arrangements of the Symphonies (Augener Ltd.).
The first movement proper is orthodox in form, and only once or twice
do we catch a glimpse of the Beethoven to be, notably in the muttering
bass passages near the end of the exposition. The _Andante_ which is
also in Sonata-form proper and opens fugally, contains some original
drum-work. The Minuet, purely Haydnesque, shows a certain delight in
orchestral colour.
[Music score]
In the trio the first chord is struck no less than nine times, as
though the young composer was entirely occupied with the charm of his
orchestral colouring. The _Finale_ is not highly individual. The work
is scored for strings, wood-wind, two horns, two trumpets and two drums.
2nd SYMPHONY in D, Opus 36.
Dedicated to Prince Carl Lichnovsky.
_Adagio molto--Allegro con brio--Larghetto--Scherzo and Trio--Allegro
molto._
In the Second Symphony, which is a great advance on the first,
the composer's hold of his subject is much firmer and the subjects
themselves are more striking.
[Music score]
The _Larghetto_ is full of lovely curves, and there is some charming
conversational work between the wood-wind instruments. The horn passage
is the precursor of many fine symphony subjects of a martial nature for
the horns.
[Music score]
Whilst the chromatic harmony is purely Mozartian, the _Scherzo_ is a
genuine Beethovenian outburst, full of verve and piquant in touch.
[Music score]
There is a feeling of broadness about the brilliant and energetic
_Finale_ which is absent from the _Finale_ of the First Symphony.
3rd SYMPHONY, Opus 35, "Eroica" in E flat. Dedicated to Prince
Lobkovitz.
_Allegro con brio--Marcia funèbre--Scherzo and Trio--Finale._
This Symphony was completed in August, 1804, and first performed
on April 7th, 1805. The French Ambassador at Vienna had suggested
that Beethoven should write a work on the grand scale based on his
admiration for Napoleon as the saviour of France from the horrors of
the Revolution; and it is a fact that Beethoven actually dedicated this
Symphony to Napoleon, but when the news came that the First Consul had
declared himself Emperor, Beethoven tore up the title page in a rage
and added the following superscription:--
_Sinfonia Eroica, composta per festeggiare il Souvenire di un
grand' Uomo, E dedicata A Sua Altezza Serenissima Il Principe di
Lobkovitz da Luigi van Beethoven, Op. 55 No. III. delle Sinfonie._
This is one of the grandest and most powerful of the works in the
Second Period style. It is noteworthy that all the principal themes are
based on the intervals of the common chord, or on the little pendant of
the diminished third which forms the tail of the first subject.
The work opens _in medias res_ with two strong chords, the chief
subject entering on the cellos.
[Music score]
There is some lovely responsive work between the wood-wind and the
string bands for the second subject. The development is masterly and
embraces a wonderful new subject, first entering on the oboes in
the strange key of E minor. The recapitulation is approached in a
marvellous way--the climax of the development being reached with a
chord in C flat, the echoing reflections of which gradually die away
until they reach a mere shimmering of violins, into which is suddenly
thrown an unexpected entrance of the horn with the chief theme in the
tonic key. Was it a slip? Of course not. Rather a stroke of genius. The
movement has an immense _coda_, which with Beethoven at this period
amounts to a second development.
The Funeral March is one of the grandest things in music. It is a
pageant of a great world tribulation rather than an elegy for Napoleon,
who was certainly not dead at that time. More probably Beethoven's mind
was occupied with the misery and wretchedness caused by war than with
the single hero of that period who reaped both glory and dishonour at
one blow. The oboe subject in the Trio portion is only one of many
wonderful passages in this piece. The speaking bass melodies, the
majestic second subject on the strings almost bursting with eloquence,
and the wonderful coda, not broken-hearted but buoyed up by the rhythm
of things viewed broadly. Any attempt to connect the _Scherzo_ and
_Finale_ with Napoleon must fail ludicrously. The _Scherzo_ is simply
one of Beethoven's finest productions in one of his bubbling, vivacious
moods. The three horns have a subject which appears to be a genuine
hunting call.
[Music score]
It is a seven-bar phrase, the echoes to which are enchantingly
coloured. The common chordal formation of the duple time interjection
near the end suggests something more massive, and the little _coda_
figure, _E flat, E natural, F_, comes from the opening theme of the
Symphony. The _Finale_ is an amazing set of variations, the bass of the
eight-bar theme being displayed and varied many times before the melody
itself enters at the eightieth bar; and even then we continually hark
back to the bass. It is not until the close, after the melody has been
given at a slow rate on the wood-wind in its proper setting, that it is
taken up triumphantly and carried victoriously into the coda. Beethoven
used this particular theme four times--in a Contretanz, in his _Finale_
to the _Men of Prometheus_, as the theme for his set of variations for
piano, Opus 35 and in this Symphony. This curious method of writing
a set of variations recurs 20 years later in the Ninth Symphony. A
somewhat similar process has been adopted by Elgar in his _Enigma
Variations_, as the theme used there is said to be the counter-subject
of a concealed melody.
4th SYMPHONY in B flat, Opus 60.
Dedicated to Count Oppensdorf.
_Adagio--Allegro vivace--Adagio--Menuetto--Finale._
This happy and serene work has been undeservedly overshadowed by its
two towering neighbours. Schumann has called it a slender Greek maiden
between two Norse giants. The opening _Adagio_ sounds the only dark
mood in the Symphony.
[Music score]
It is lashed on to the _Allegro_ by some powerful violin scales.
[Music score]
The flute, oboe and bassoon converse sportively over the second
subject. A strange sequential passage in unison upon the strings in
three-bar phrases following a happy little canon on the wood-wind
instruments and some powerful syncopations lead in to the development.
An atmosphere of humour and good feeling permeates the movement.
The lovely melody which forms the chief theme of the _Adagio_ is given
to the violins. It is accompanied by a strong persistent rhythmic
figure, which is transferred later on to the drums with great effect.
The wood-wind work and the horn passages are exquisite.
The third movement _Allegro vivace_ is full of fun, lively syncopations
and duple time effects giving it more of the nature of a _Scherzo_.
[Music score]
It has a charmingly tender trio and a coda of exquisite poetry ending
with Schumann's "Just one more question for the horn to put" before the
final crash. This is one of the longest movements which Beethoven has
written in this form. The bright, sunny mood of the opening movements
increases in the radiant _Finale_. There the modulations are surprising
and the touches of humour delightful. The little skirmish on the part
of the bassoon just before the return, the whimsical little notes on
the flutes and violins, the augmentation of the subject as it fades
away into the stealthy questionings between the violins and bassoons
near the end, are but a few of the many little quips and sallies.
5th SYMPHONY in C minor, Opus 67.
Dedicated to the Prince von Lobkovitz and the Count von Rasumovsky.
_Allegro con brio--Andante con moto--Scherzo and Trio--Finale Allegro._
This famous Symphony with its rugged first movement, its lovely
_Andante_, its mysterious _Scherzo_ and its proud, fiery _Finale_, was
first performed together with the so-called Sixth Symphony on December
22nd, 1808. The Pastoral Symphony No. 6 was probably written before the
5th.
The first movement opens without introduction with the famous phrase of
four unison notes which Beethoven once explained as "Thus fate knocks
at the door."
[Music score]
From this tiny germ the whole of this fierce stormy movement is
evolved. Not even the beautiful tender second subject, nor the lovely
little unbarred oboe cadenza can win it away from this rugged fierce
mood. When this second subject appears in the recapitulation, still
in the minor, the atoning major outburst which immediately follows is
quickly brushed aside by the impatience of the reinstated first theme.
Even the limitations of the old-fashioned horns and trumpets in those
days seemed to be turned to advantage in the colossal bare thirds and
fourths of the "Fate" notes.
The chief theme of the _Andante_, wonderfully sad, yet wonderfully
beautiful, is further enhanced by one of those majestic marching
subjects which only Beethoven could conceive. The beauty of the
wood-wind work is remarkable and the coda is full of strange fancies.
[Music score]
The _Scherzo_ has some eloquent bass passages, and its rhythmic horn
figures are full of veiled mystery and heavy with some dark foreboding.
[Music score]
The trio is a fiery _Fugato_ with strange outbursts on the basses.
The curious hesitations on its re-appearance and the weird bridge
passages at the end, with the long sustained chord on the strings and
the mysterious drum tapping, cause the movement to veer gradually round
to the fiery march-like coda, with its light, graceful, contrasted
episodes. The _Scherzo_ theme insinuates itself into the _Finale_ near
the coda, which is of amazing brilliancy, ending with a _Presto_ which
fairly sweeps the hearer away with it.
The orchestra is the largest the composer has used so far. It includes
three trombones, double bassoon, and piccolo, which, however, are only
used for the brilliant _Finale_.
6th SYMPHONY (Pastoral) in F, Opus 68.
Dedicated to Prince von Lobkovitz and Count von Rasumovsky.
_Pastoral Symphony, or a recollection of country life. More an
expression of feeling than a painting._
_Allegro ma non troppo--Andante molto moto--Allegro--Allegretto._
This Symphony, often slighted on account of its so-called realisms and
its classification amongst "programme music," is, nevertheless, one of
the finest pieces in the whole range of absolute music. The labelling
of the various movements by Beethoven--"Joyous sensations roused by
arrival in the country," "Scene by the brook," "Merry gathering of
country peasants," "Thunderstorm," "Glad and grateful feeling after the
storm"--is quite superfluous. How artistically Beethoven has introduced
the bird calls--the quail, the nightingale, and the cuckoo--into just
the right place--the coda of the _Andante_. And the thunder-storm. What
a magnificent introduction to the _Finale_ it makes! Beethoven has
never once transgressed the great principles of form and balance in
this Symphony.
The opening movement is a true country picture, full of the tonics and
dominants of summer happiness.
[Music score]
Bird-like twitterings and horn calls come from all directions, yet
how perfectly balanced it all is and what a marvel of development!
The scene by the brook with its drowsy re-iterated figure on the
under-current of divided strings is the very Bourdon ever sounding in
Nature herself.
[Music score]
Wagner has not forgotten this in his _Woodland Murmurs_. The dance of
the villagers, founded on the old country dances, is full of humorous
touches, the drowsy bassoon notes, the romp round, and into this almost
without warning, breaks the storm. A remarkably controlled storm it is,
too, free from any vulgarity. A lovely bit of blue sky showing at the
end, leads straight into the shepherd's song of thankfulness, which
although containing several interesting points, the triple pedal at the
opening with its horn yodel, etc., is somewhat lengthy and not very
interesting. Beethoven had once intended to introduce words and chorus
here, "Lord, we thank Thee," and it seems a pity that this idea was not
carried out.
7th SYMPHONY in A major, Opus 92.
Dedicated to Count Moritz von Fries.
_Poco sostenuto--Vivace--Allegretto--Scherzo--Finale._
This Symphony was completed in May, 1812, but was not performed until
December, 1813, at a Concert undertaken by Maelzel for the benefit
of the wounded soldiers at the Battle of Hanau, October 30th, which
Concert also contained Beethoven's _Battle Symphony_. In form, the
Symphony contains nothing unusual. In subject, it is full of romance
and colour from beginning to end.
Opening with a long introduction, which is almost a movement in
itself, this contains a strong marching figure, and runs into the
_Vivace_ by the means of a half cadence. The _Vivace_, a rhythmical
movement in 6-8 time, is full of a verve and vitality which seems to
reach its fullest power on the horns and wind instruments with their
tucketting rhythms.
[Music score]
The _Coda_ amounts to a second development, and the whole movement goes
with a splendid swing from beginning to end.
Rhythm but of another kind is also paramount in the elegiac
pageant-like movement designated _Allegretto_, but curiously enough
marked by Beethoven himself at 76, by Maelzel's newly-invented
metronome. It is a highly coloured pageant, seen through a veil of
mist, typified by the wonderful six-four chord on the wood-wind with
which it commences and concludes. The structure of the _Scherzo_ (here
marked _Presto_) has a strong relationship with its splendid fire and
strong duple time effects to that in the 6th Symphony. The romance of
the Trio with its wonderful low horn work is equally fine, and the
movement is broadened out to considerable length by the return of the
_Trio_ and of the _Presto_, thus making it a kind of Rondo--A, B, A, B,
A--to say nothing of the humorous juxta-position of the two near the
end.