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pay much attention to the little niceties of life.

In common with his contemporaries, Zmeskall found his principal enjoyment in music. He gave musical parties at his quarters, playing the cello himself, and gathered about him many of the most distinguished artists and amateurs of the day. Beethoven was always interested in feats of virtuosity, but he cared little for the compositions of others. He occupied himself with his own work to the exclusion of that of his contemporaries. His musical library was scant, consisting of a small collection of the works of the early Italian masters, bound in one volume, some of Mozart's sonatas—which must have seemed to him curiously stunted and commonplace in comparison with his own—and a portion of Don Giovanni. In addition, he possessed all of Clementi's sonatas, which he greatly admired and which formed the basis of the musical studies of his nephew for several years. Lastly there were a few works of Bach, consisting of the Well-tempered Clavichord, some motets, three volumes of exercises, some inventions, symphonies and a toccato.

In speaking of Weber he said that he began to learn too late, and makes the curious criticism that Weber's only apparent effort was to attain the reputation of geniality. In reading Freischutz, he said he could hardly help smiling at certain parts, but afterward qualified this by saying that he could judge it better if he could hear it. Schindler says, that when Rossini came to Vienna in 1822, and endeavored to call on Beethoven, the master succeeded in escaping his visits. His opinion of Händel is high. He once remarked to a friend who called on him, "Händel is the greatest composer that ever lived." Continuing the narrative this friend, J.A. Stumpf of London, says, "I cannot describe the pathos and sublimity with which he spoke of the Messiah of that immortal genius. We all felt moved when he said, "Ich würde mein Haupt entblössen und auf seinem Grabe niederknieen." (I would kneel at his grave with uncovered head.)"

Of Mozart, he said, near the end of his life, in a letter to the Abbe Stadler, "All my life I have been esteemed one of the greatest admirers of Mozart's genius and will remain so until my latest breath." Czerny said that he was at times inexhaustible in praise of Mozart, although he cared nothing for his piano works and he makes a severe criticism on Don Giovanni. "In this opera Mozart still retained the complete Italian cut and style. Moreover, the sacred art should never be degraded to the foolery of so scandalous a subject. The Zauberflöte will ever remain his greatest work, for in this he showed himself the true German composer." Of Cherubini's Requiem he said, "as regards his conception of it, my ideas are in perfect accord with his and sometime I mean to compose a Requiem in that style." (Later in life his opinion of Cherubini was greatly modified). He seldom spoke of Haydn, and had nothing of that master's compositions in his library.

Beethoven's collections in literature were far more extensive and interesting than in music. He was essentially a student. His predilections and thoughts all tended toward the acquisition of knowledge. This was a veritable passion with him. His mind ranged through almost every department of literature. In the intervals of his work, worn by fatigue, he was in the habit of resting his mind by reading the classics, or Persian literature. Schindler, who was near him for the last ten years of his life says in relation to Beethoven's love of the Greek classics. "He could recite long passages from them. If any one asked him where this or that quotation was to be found he could find it as readily as a motive from his own works." Elsewhere he says, "Plato's Republic was transfused into his very flesh and blood." He was an insatiable reader of history. As may be supposed Shakespeare was an especial favorite with him. There is a curious little work published called Beethoven's Brevier, made up of those portions of Shakespeare and the classics for which he had a particular regard. Here, Shakespeare is first on the list. There are also many selections from the Greek, and from Schiller, Goethe, Herder and others.

Although a man of considerable culture, he was not an educated man, all his available time and strength having been required for his musical training. He was, however, the equal or superior in mental attainments of any of the great musicians, with the exception of Wagner. He had the strongest faith in his own powers. It was his belief that almost anything could be accomplished by trying. Side by side with this belief was the ineradicable conviction that intellectual culture was of more importance than anything else in the universe. He stated his views finely on this subject in a letter to a young girl, unknown to him, who had sent him a present with a letter expressing her appreciation of his music. "Do more than simply practice the art (of music), penetrate rather, into the heart and soul of it. It will be found well worth while, for art and knowledge alone have the power to elevate mankind up to Deity itself. Should you want anything of me at any time, write me with entire confidence. The true artist is never arrogant; rather he sees with regret how illimitable all art is, and how far from the goal he remains. While he may be admired, he only grieves that he cannot reach the point toward which his better genius beckons him."

We read of his ordering complete sets of Schiller and Goethe in the summer of 1809. The study of these authors carried on under most unfavorable conditions, bore good fruit subsequently, as some good work was inspired by them. The Egmont music, which appeared the following year, the Calm Sea and Prosperous Voyage, Bundeslied, the different settings of Erlkönig, the four settings of Sehnsucht are instances, although this does not by any means complete the list of his settings from the works of the authors just named.

CHAPTER XIII
ToC MISSA SOLEMNIS

Christianity is the doctrine of the deep guilt of the human race through its existence alone, and the longing of the heart for deliverance from it.

—Schopenhauer.

T

o Christianity and the spirit of religion in man we are indebted for some of the finest arts which adorn our civilization. It was the religious principle which brought into being the temples and statuary of ancient Greece, as well as the splendid examples of Gothic architecture, which have come down to us from the middle ages. It is this which has given us those masterpieces in painting and sculpture, which have so enriched the world; but above all it has given us music, highest of all the arts. Here its influence has been most potent. Originating outside the church, it found its best development within it. Religious fervor had inspired some imperishable works of genius at a period when nothing much had yet been done in secular music. The Masses of Palestrina, the entire life-work of Sebastian Bach, the oratorios of Händel, are cases in point. The old masters with hardly an exception gave their best thought to sacred music. Bach has been mentioned. Haydn's important work comes under this classification. Of the works of Händel, only those of a religious nature have survived to the present day, although he composed many operas.

The Masses and Passion-music of the old composers were often written without hope of reward, entirely from love of the subject; they were impelled to it, either through religious ardor, or from the force of their artistic perceptions. The stateliness and solemnity of the Mass, the tragic possibilities of the Passion, appealed to them, and satisfied the tendency toward mysticism, which is so often a part of the artistic nature.

As an art, music finds its best development when of a religious character. While operatic and even orchestral music in general, is written more for the sake of giving pleasure than with any clearly defined ethical purpose, the music of the Mass and Passion, religious ceremonies, entering into man's profoundest experiences, is given for spiritual enlightenment, and, being a part of the soul's needs, demands and receives higher treatment and more serious consideration than secular music. The very frame of mind which takes possession of a person while listening to music of a religious character, is favorable to a true appreciation of it. The listener is more in earnest, and the emotions called up by the subject impress him more strongly than when listening to secular music. These considerations have their influence on the composer also. We usually find in religious music of the best class, depth and earnestness of purpose commensurate with the expectation of the listener.

These few words are preliminary to a consideration of the Mass in D, the work in which Beethoven reached his culmination as an artist. He himself so regarded it, declaring it to be his greatest and best work. It is certain that he spent more time on it, and gave it a larger share of his attention than was devoted to any other of his works.

For several years prior to this, Beethoven's muse had been silent for the most part. No important work since the completion of the Eighth Symphony had been achieved, with the exception of the sonatas mentioned in a previous chapter. This was owing to the various lawsuits in which he found himself involved. His troubles had now been adjusted, however, to such an extent as to enable him to again turn his attention to large works. The pension which had been settled on him in 1809 had been imperilled by the death of Prince Kinsky and the bankruptcy of Prince Lobkowitz. The portion of it which had been pledged to him by these gentlemen had been discontinued or greatly reduced, and Beethoven had to have recourse to the law to protect his rights. A compromise was finally effected, which resulted in the pension being paid in part. Although the litigation, in regard to his nephew was still on, it was becoming more and more apparent that the outcome of it would be in his favor. His mind at rest on these points, we find him once more in good health and spirits, with creative energy not only unimpaired but greater than ever. "In general, every evil to which we do not succumb is a benefactor," said Emerson.

The announcement of the Archduke's appointment as Archbishop of Olmütz, had been definitely made during the summer of 1818. It was well known for years previously that he would receive this appointment, and it is quite likely that Beethoven had always intended writing a mass to commemorate it. Considering the close relations existing between master and pupil for so many years, and Beethoven's obligations to Rudolph in money matters, he could hardly have let so momentous an event go by, without writing a mass for it. A mass was probably always intended, but not such a one as eventually grew out of his original idea, which, expanding, augmenting in force and grandeur as the significance of the work took possession of his mind, finally became an apotheosis of friendship, a message to the world.

That the Archduke appreciated Beethoven and valued his friendship is plain. He carefully preserved the letters written him by the master and dedicated to him some of his own compositions. He had as complete a library of Beethoven's works as was attainable, and was thoroughly familiar with the master's music. That Beethoven responded to this to an equal degree is not likely. He lived too abstracted a life for that. He valued this friendship as much as such a man could, considering the disparity in rank and the difference in mode of thought of the two men. In dedicating so many of his compositions to

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