Beethoven by George Alexander Fischer (reading in the dark .TXT) 📕
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The project of a Requiem Mass was of particular interest to him; it comes to the fore frequently. He mentioned it shortly after the completion of the Mass in C. Then, when his brother Karl died it is again considered. It is also mentioned on the occasion of the tragic death of Prince Kinsky, who had acted so liberally by him in the matter of the pension. It is probable that the work of writing a Requiem Mass would have proved congenial to him. He was in the right mood for it on completion of the Mass in D, and it is rather singular that he did not undertake it instead of the Symphony. Religious questions were occupying his mind more and more in these years. It must be admitted that his religion was as peculiar to himself as was his music. He affiliated with no church, although baptized as a Catholic, and brought up in that church; but the frequent appeals to the Divinity in his journals, show his belief in, and reliance on, a higher power. He formulated his own religion as did Thoreau. The man who could write, "Socrates and Jesus were patterns to me" lived a correct life in its essentials. His asceticism, his unselfishness, the sympathy which he continually showed for others, his unworldliness,—what else is this but the gist of New Testament teaching? Like a tree nourished on alien soil, which yet produces fairer and better fruit than the native ones, and becomes the parent of a new variety, this man achieved his high development of character by being a law unto himself like the anchorites of old.
CHAPTER XIVWe stand to-day before the Beethovenian Symphony as before the landmark of an entirely new period in the history of universal art, for through it there came into the world a phenomenon not even remotely approached by anything the art of any age or any people has to show us.
—Wagner.
uring the period of his work on the Mass, and for some time before, Beethoven's thoughts were occupied more or less with that stupendous work, the Ninth Symphony, sketches for which began to appear already in 1813, shortly after his meeting with Goethe. That Beethoven looked up to Goethe ever after as to a spiritual mentor, studying his works, absorbing his thought, is plain. In projecting this symphony he may very well have designed it as a counterpart to Faust, as has been suggested. Actually begun in 1817, it had to be laid aside before much had been accomplished on it, in favor of the Mass in D. This gave him plenty of time to mature his conception of the work; and this ripening process, covering a period of ten years from its first inception, was one of the factors which helped him achieve his wondrous result. His work on the Mass was a good preparation for the psychological problems expounded in the Symphony.
Here is a work so interwoven into Beethoven's very life and spirit, that the mention of his name at once calls to mind the Ninth Symphony. It is the work of the seer approaching the end of his life-drama, giving with photographic clearness a résumé of it. Here are revelations of the inner nature of a man who had delved deeply into the mysteries surrounding life, learning this lesson in its fullest significance, that no great spiritual height is ever attained without renunciation. The world must be left behind. Asking and getting but little from it, giving it of his best, counting as nothing its material advantages, realizing always that contact with it had for him but little joy, the separation from it was nevertheless a hard task. This mystery constantly confronted Beethoven, that, even when obeying the finer behests of his nature, peace was not readily attained thereby; often there was instead, an accession of unhappiness for the time being. Paradoxically peace was made the occasion for a struggle; it had to be wrested from life. No victory is such unless well fought for and dearly bought.
This eternal struggle with fate, this conflict forever raging in the heart, runs through all the Symphonies, but nowhere is it so strongly depicted as in this, his last. We have here in new picturing, humanity at bay, as in the recently completed Kyrie of the grand mass. The apparently uneven battle of the individual with fate,—the plight of the human being who finds himself a denizen of a world with which he is entirely out of harmony, who, wrought up to despair, finds life impossible yet fears to die,—is here portrayed in dramatic language. To Wagner the first movement pictured to him "the idea of the world in its most terrible of lights," something to recoil from. "Beethoven in the Ninth Symphony," he says, "leads us through the torment of the world relentlessly until the ode to joy is reached."
Great souls have always taught that the only relief for this Weltschmerz is through the power of love; that universal love alone can transform and redeem the world. This is the central teaching of Jesus, of Buddha, of all who have the welfare of humanity at heart. It was Beethoven's solution of the problem of existence. Through this magic power, sorrows are transmuted into gifts of peace and happiness. Beethoven loved his kind. Love for humanity, pity for its misfortunes, hope for its final deliverance, largely occupied his mind. With scarcely an exception Beethoven's works end happily. Among the sketches of the last movement of the Mass in D, he makes the memorandum, "Stärke der Gesinnungen des innern Friedens. Über alles ... Sieg." (Strengthen the conviction of inward peace. Above all—Victory). The effect of the Choral Finale is that of an outburst of joy at deliverance, a celebration of victory. It is as if Beethoven, with prophetic eye, had been able to pierce the future and foresee a golden age for humanity, an age where altruism was to bring about cessation from strife, and where happiness was to be general. Such happiness as is here celebrated in the Ode to Joy, can indeed, only exist in the world through altruism. Pity,[B] that sentiment which allies man to the divine, comes first. From this proceeds love, and through these and by these only is happiness possible. This was the gist of Beethoven's thought. He had occupied himself much with sociological questions all his life, always taking the part of the oppressed.
[B] The German rendering Mitleid has a higher significance than its English equivalent. Literally it means sharing the sorrow of the afflicted one. It may be said in passing that this sentiment is the central idea in Parsifal.
Schindler, who was almost constantly with Beethoven at this time, tells of the difficulty the master experienced in finding a suitable way of introducing the choral part. He finally hit upon the naïve device of adding words of his own in the form of a recitative, which first appears in the sketch-book as, "Let us sing the immortal Schiller's Song, 'Freude schöner Götterfunken.'" This was afterward changed to the much better form as now appears, "O Freunde, nicht diese Töne! sondern lasst uns angenehmere anstimmen, und freudenvollere." (O friends, not these tones. Let us sing a strain more cheerful, more joyous.)
The whole character and design of the Ode to Joy will be better apprehended when it is stated that it is in reality an Ode to Freedom. With its revolutionary spirit Beethoven was entirely in accord. Already in his twenty-third year he contemplated setting it to music. Later, in the note-book of 1812, the first line of the poem appears, in connection with a scheme for an overture. It is worthy of remark that the Symphony was well under way before he decided on incorporating the Ode in it.
The Ninth Symphony was first performed in this country in 1846 in Castle Garden, by the New York Philharmonic Society, which had been organized four years previously. George Loder conducted it. When we consider the herculean efforts Wagner was obliged to make to get permission to perform it in Dresden in this selfsame year, it speaks well for "North America." Subsequent performances of it in New York by this Society are as follows:
PERFORMANCE CONDUCTOR Second April 28, 1860 Theo. Eisfeld. Third April 29, 1865 Theo. Eisfeld. Fourth February 1, 1868 C. Bergmann. Fifth April 28, 1877 Dr. L. Damrosch. Sixth February 12, 1881 Theo. Thomas. Seventh April 10, 1886 Theo. Thomas. Eighth April 12, 1890 Theo. Thomas. Ninth April 23, 1892 Anton Seidl. Tenth April 11, 1896 Anton Seidl. Eleventh April 2, 1898 Vander Stucken. Twelfth April 7, 1900 E. Paur. Thirteenth April 4, 1902 E. Paur.It was not performed in New York during the years 1903 and 1904.
Beethoven's correspondence with Count Brühl of the Berlin Theatre in the matter of an opera for that city, led him, owing to the apathy of the Vienna public at this time toward his works, to offer the new Symphony and the Mass for a first hearing in Berlin. At this time, and for some years previously, Rossini's music had captured the Vienna public so completely that no other was desired. That this light evanescent work should be preferred to his own, was resented by the master. He decided to offer the new works to Count Brühl, the Italian craze not having yet penetrated Berlin. As soon as this became known however, a reaction followed, and a memorial was addressed to Beethoven by his friends, begging him to reconsider the matter, and produce the new works in Vienna, as well as write a new opera for them. The appeal was signed by thirty of the most prominent men of affairs in the city. The list of names is a noble one, each being prominently connected in some way with music. Among composers and performers may be mentioned Czerny and the Abbe Stadler. Artario & Co., Diabelli and Leidersdorf, were music publishers. Count Palfy and Sonnleithner were operatic managers, while counselor Kiesewetter and J.F. Costelli were authors of libretti and songs. The others were prominent in court circles, and their devotion to music was such as to give weight to the communication. The memorial itself is discursive to a point which taxes one's patience, but the expressions of appreciation and friendship are genuine, and must have gratified Beethoven extremely. Naturally but one outcome was probable as a result of this memorial. Shortly after receiving it, he announced to his friends that the initial performance of these works would be held in Vienna. Strangely, a difficulty at once arose, in the matter of selecting a suitable place for the performance. Had Beethoven left the management of the affair in the hands of his friends, and given his attention to securing sufficient rehearsals for the new Symphony, which finally had to be produced after being rehearsed twice only, it would have been better all around. With the vacillating disposition which characterized him in all business matters, he was not only of no aid, but so complicated matters by his indecision on every point, that the arrangements finally came to a standstill, his friends who were assisting him being at their wits' end. These were Schindler, Count Lichnowsky, and the violinist Schuppanzich. At this juncture, these old and tried friends, thinking that strategy might succeed where diplomacy had failed, hit upon the following plan to bring matters to a focus. Schindler was at this time living at Beethoven's house, and the plan decided on was to have Count Lichnowsky and Schuppanzich call there as if by accident. The conversation would naturally turn to the approaching concert and leading
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