Beethoven, George Alexander Fischer [best selling autobiographies .TXT] 📗

other great forces in the universe; he impresses one as being the discoverer, rather than the creator of them.

Schindler, who saw much of him during these years, says of his absorption in this work: "He actually seemed possessed, especially during the composition of the Credo." It was while he was at work on this portion of the Mass, notably the great fugue, et vitam venturi (the life everlasting), that Schindler called on him one afternoon, but could not gain admission. He knew the master was at home as he could hear him stamping and shouting, singing the different parts as if mad. Finally the door was opened and Beethoven appeared. He was faint from hunger and overwork, having eaten nothing since the previous noon. His servants had, indeed, prepared some food for him the previous day, but he was too much interested in his work to think of it, and they were afraid to urge it on him, or indeed, go near him, while in the stress of composition. He had worked the previous night until overtaken by exhaustion and on awaking in the morning had at once resumed his work, continuing it until interrupted by Schindler's arrival.

A work so transcendental in character as is this, calls for close and sympathetic study even to get an approximate understanding of its marvels. It is a characteristic of works of this nature, that although not easily comprehended, they are likewise not readily exhausted. Much study, many renderings only serve to bring out new values. Only by bringing to them of our best will they be revealed.

It must have been with a feeling of relief that he finally delivered a copy of the Mass complete into the Archduke's hands in March of 1822, just two years after the Installation.

Beethoven wrote the sovereigns of Russia, France, Prussia and Saxony, proposing a subscription of fifty ducats, about $115 each, for the Mass. The first acceptance came from Prussia. One of the minor officials in Vienna was commissioned by Prince von Hatzfeld, the Prussian Ambassador, to ask Beethoven if he would not prefer a royal order instead of the fifty ducats. Beethoven's reply was characteristic. Without a moment's hesitation he said with emphasis, "fifty ducats!" showing the slight value he placed on distinctions of this kind. A reply that must have gratified him very much was that received from the King of France. In his letter to him, Beethoven refers to the Mass as "L'œuvre le plus accompli." Louis XVIII, not only forwarded his acceptance (and the fifty ducats), but had also a gold medal struck off, containing his portrait on one side, and on the other, the following inscription: "Donné par le Roi à monsieur Beethoven." The King of Saxony delayed his remittance for a long while, and Beethoven was greatly irritated thereby.

But little other work was undertaken during the four years he was occupied on the Mass unless we except the three grand piano sonatas, opus 109, 110 and 111, which were composed during the intervals. A mere by-product so to speak, undertaken with the object of resting his faculties jaded by the strain of the greater work, his mind notwithstanding was keyed up to a high pitch, while engaged on them. The lofty imaginings which occupied his thoughts while on the Mass are reflected in them, rendering them unapproachable as piano sonatas. The master himself, set a great value on them.

Now that the Mass was completed he began to give his attention to other works. To celebrate the opening of the rehabilitated Josephstadt theatre which occurred in the autumn of 1822, Beethoven wrote a new overture, Weihe des Hauses. He also worked over for this occasion his Ruins of Athens, written in 1812, for which the text was altered to suit the new conditions and several new numbers added. Another representation of the almost forgotten Fidelio, which was selected by Fräulein Schroeder-Devrient for her benefit, and which was a pronounced success through the genius of this remarkable woman, led to a commission for a new opera from a Vienna manager. This was followed shortly after by a similar order from Berlin on his own terms. There had also been some talk before this about an opera on an American subject, the Founding of Pennsylvania. It was suggested by a minor poet and government official, Johann Ruprecht, whose poem, Merkenstein, Beethoven had set to music previous to 1816. In 1820 Beethoven had planned an Italian tour and had intended taking Ruprecht with him. They must have quarrelled later, as in a letter to Schindler in 1823 Beethoven refers to Ruprecht in the most abusive terms.

A commission that must have gratified Beethoven exceedingly, but which, however, was not acted upon, was that which emanated from Breitkopf and Härtel, who sent the famous critic Friederich Rochlitz to Vienna in July, 1822, with a proposition that he write some Faust music in the style of the Egmont music. It is narrated that Beethoven received the proposition with joy, but gave only a qualified assent. There is no doubt that he would have found inspiration in the text, and that a noble work would have resulted, but he feared the nervous strain of such an undertaking. "I should enjoy it," he said to Rochlitz, "but I shudder at the thought of beginning works of such magnitude. Once engaged on them, however, I have no difficulty." His labors on the Mass aged him. In his prime on its inception, he emerged from his seclusion on completing it, infirm and broken in health. The idea of the Faust music attracted him, as it would have been strictly symphonic in character. He occasionally refers to it subsequently, but never got so far as to enter themes for it in his note-books. Wagner essayed it, but went no further than to write the overture. The subject of Faust still awaits a capable interpreter.

His next commission was a simple one, consisting of an order early in the spring of 1823 from Diabelli, composer and head of a large publishing house in Vienna, for six variations on a waltz by him (Diabelli). The dance was always a favorite musical form with Beethoven in his lighter moments, and the variation form,—capable of a degree of sprightliness, vivacity and originality in the right hands which give it an entrancing effect, to which we come again and again with pleasure, was something peculiarly his own at every stage of his artistic career. His earliest essays in composition are in this form. Variations occupy a prominent part in all his works, whether chamber-music, sonatas or symphonies. They are introduced perhaps with best effect in the works of his last years, in the Ninth Symphony, and in the last quartets.

He accepted the order with pleasure and began work on it at once on reaching his summer quarters. This was congenial work, affording him relief from the mental strain imposed on him by his labors on the Ninth Symphony, which was then under way. A price of eighty ducats ($180) was fixed by the publisher at the outset for the set, but the master enjoyed his work so much, that the six, when completed, were increased to ten, then to twenty, and twenty-five, and so on until the number grew to thirty-three. These variations are extremely elaborate and difficult, a characteristic of most of his work in these years.

Wagner never tired of exploiting the variation form in his operas, particularly in the Tetralogy. He frequently refers to Beethoven's masterly use of it. "Haydn first, Beethoven last, have conferred artistic value on this form," he says in the article on conducting; later on in the same work, he says, "the wondrous second movement of Beethoven's great C minor Sonata" (opus 111), "and the last movement of the Eroica Symphony should be grasped as an infinitely magnified Variation section." Bach also excelled in it, the Variation form being constantly met with throughout his works.

The summer of 1823 was spent at Hetzendorf, a village of which Beethoven was always fond. He had secured large and comfortable quarters in the house of a Baron Pronay, which, from Schindler's account was a fine old mansion in the centre of a large park. It suited Beethoven admirably. There was a fine view of the surrounding country from his windows, the situation was healthful, and he delighted in walking about when not at work. But he gave up this comfortable home before the summer was ended, simply on account of the extravagant politeness of his landlord, who, conscious of the value of so distinguished a tenant, always greeted him with "profound obeisances" when they met. This opera bouffe deportment though undertaken with the best of motives on the Baron's part, became so embarrassing that Beethoven finally fled to Baden with all his belongings, including the grand piano, although his rent had been paid in advance for the entire summer. Schindler assisted in this migration, joining him at five o'clock one morning.

The year 1823 in which Beethoven practically completed his life-work (with the exception of the last quartets) is the dawn of a new musical genius, versatile, accomplished, many-sided, who as performer was qualified to rank with the older master. On New-year's day of this year, Franz Liszt, who had been studying under Czerny for two years past, made his first appearance in Vienna in concert, in which he took the public by storm. Beethoven seems not to have been present, and strangely, when we reflect on his intimacy with Czerny, seems to have been unaware of the existence of this talented youth. During the autumn of this year, the elder Liszt called on Beethoven, bringing with him the young Franz. Beethoven held himself aloof at first, receiving his visitors coldly. He unbent however, on hearing the youth perform, and stooped and kissed him. During this autumn he also received a visit from Weber and young Julius Benedict, his pupil. Weber was preparing his recently completed opera Euryanthe, for a first production in Vienna. He had produced Fidelio in the foregoing spring season at Dresden, where he was officially stationed, and had made a success of it with Frau Schroeder-Devrient. Considerable correspondence must have passed between the two composers on this matter, and Weber could hardly have omitted calling when coming to Vienna, although the memory of his former strictures on Beethoven's music must have embarrassed him. Weber had stated on hearing the Seventh Symphony for the first time that Beethoven was now fit for the madhouse, and his criticisms in general had been adverse. This, however, was something which Beethoven had never objected to; moreover, time had amply vindicated him as to the symphonies, so he could afford to be generous to his youthful critic. Beethoven was genial and kindly, and the younger man was deeply impressed by the master's reception of him. Euryanthe proved a failure and Weber called again to ask Beethoven's advice as to remodelling the work.

The libretto Melusina, which was submitted to him by Grillparzer found such favor in his eyes as to lead to its acceptance, but when he came face to face with the project, his former experience with opera was sufficient to deter him, and he abandoned the idea, giving as an excuse the inferiority of the German singers. That this was only an excuse, is plain, since only a short time afterward Mlle. Sontag was intrusted with the exceedingly difficult soprano parts of the Mass in D and the Ninth Symphony. He was hard at work on this Symphony at the time, which will serve to explain and accentuate his reluctance to again attempt operatic composition, a style of work diametrically opposed to that which had engaged his attention for many years previously. It would too, have necessitated shelving the Symphony indefinitely, and, although he needed the money which the opera would have yielded, his interest in the Symphony was paramount; he could not bring himself to abandon it. With failing powers