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

eethoven's life in its devotion to the attainment of a single end, the perfection of his art, affords an object lesson, which cannot fail to encourage and stimulate every one engaged in creative work of any kind. His earnestness and industry is the key-note to his achievement. He worked harder than any composer we have any record of, with the possible exception of Wagner. If we consider how the compositions improved in his hands, while being worked over, as is shown by the sketch-books, a simple process of reasoning will convince the reader that any man's work, in any line, can be improved by adopting the same methods. Beethoven's own words in this connection are, "the boundary does not yet exist, of which it can be said to talent cooperating with industry, 'Thus far shalt thou go and no farther.'" The more he worked over his compositions the better they became. When he required a theme for a particular purpose, if the right thought did not at once come to mind, his practice was to write as near it as possible. By the time this was done an improvement would suggest itself. He would then write it again, and before the ink was dry, would start at it yet again, each effort bringing him nearer the goal, and this progress was the incentive that led him to continue until the idea he was reaching for became a reality. His intuitive faculties were highly developed, and he had Goethe's "heavenly gift" of imagination, but this would have been as nothing without his power of concentration. All his abilities were focused on his art. He made everything else subservient to the one idea of attaining perfection in it. He succeeded too, by giving his genius free play, by allowing his individuality to shape itself in accordance with its own laws. The circumstances of his life favored this action. Responsible to no one for years before reaching maturity, he was nowhere hampered or repressed as might have been the case had he had a home life. Strong characters are best left alone to work out their own development. It is only the weak ones that have to be supported. He met every demand that his art made on him. It was only by a complete surrender, by a concentration of all his forces into one channel, that he attained his results. By losing the world, he gained it. The great ones in every age, in every art or calling,—those who attained to saintship,—seers,—prophets,—all went this road.

He had absolute confidence in his judgment. He seldom considered what his audience would like. The best that was in him was what he gave to the world. He knew its value, and if others could not understand it, he knew the time would come when it would be appreciated. In art as in religion, faith is a necessary preliminary to all great achievements.

In going so far beyond us, in pushing the art to the limit of its possibilities, Beethoven has made portions of his work inaccessible to the large body of people who look upon music as an art for enjoyment only. The same kind of problem that is presented to this generation in the works of his last years, confronted his contemporaries in those of his middle life, which were as far beyond the comprehension of his own generation as the more abstruse works of his last years are beyond the ability of the present. To a future age, seemingly, has been relegated, as an heritage of the past, the best fruit of Beethoven's genius. When the Mass in D and the last Quartets can be heard frequently, a new era in the art will have been inaugurated.

It would be a mistake to suppose that Beethoven was a pessimist, or a misanthrope. Placed here to live and suffer, not knowing why it should be so, he yet teaches that relentless fate cannot prevail against those who make a good fight. "I did not wish to find when I came to die that I had not lived," said Thoreau, paraphrasing from Voltaire, (most men die without having lived). "I did not wish to live what was not life, living is so dear." Beethoven's idea of the purport of life was similar. He believed, and put his theory into practice, that each man has within himself the potentialities with which he shapes his own destiny. Fate and Destiny are verities that have to be faced, but they do not have all their own way with us. Each of us has the power to control his destiny to some extent. By willing it so the tendency is toward betterment. Always the highest powers are on our side. Life, after all, is worth while. This was the gist of his philosophy. He sought to establish an optimistic view of life, with the object of making the problem easier to solve.

Fichte, in his work "Über das Wesen des Gelehrten", gives the literary man the place of priest in the world, continually unfolding the Godlike to man. This was also Beethoven's aim. Haydn charged him with being an atheist, but his works as well as his life refute this charge. The Kyrie and the Agnus Dei of the Mass in D, could never have been produced had he been other than a devout, religious man. In his journals he continually addresses the Godhead. Outwardly, however, he gave no sign. "Religion and general-bass," he said once, with a touch of humor, "are in themselves two inscrutable things (abgeschlossene Dinge) about which one should not argue."

He was solicitous that his nephew should receive proper religious instruction, and made this a point in his letters to the magistrates while the lawsuit over him was in progress. After giving his ideas as to the proper education of the young man, in which French, Greek, music and drawing take a prominent place, he adds, "I have found a holy father who has undertaken to instruct him in his duties as a Christian, as well as a man, for only on this