Beethoven by George Alexander Fischer (reading in the dark .TXT) 📕
- Author: George Alexander Fischer
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An inner pressure led him to choose a life of self-abnegation and rectitude. He saw through and over and beyond the illusions and allurements of the senses, and so was enabled to live entirely in harmony with the moral order of the world, in an age, and among a people, largely given over to the pursuit of pleasure.
A long life is generally considered the best gift which the Fates have to bestow. In the summary of a man's life it is usually treated of as implying special virtues in the subject. But a long life in itself is as nothing in comparison to the quality of the life that is lived. It is by achievement only that its value can be determined.
WAGNER'S INDEBTEDNESS TO BEETHOVENBeethoven, in Wagner's estimation, is a landmark in music, just as Shakespeare is in literature, as Jesus or Buddha in religion. He is the central figure; all others are but radii emanating from him. To Beethoven was it given to express clearly what the others could but dimly perceive. The relation of men like Bach or Händel toward Beethoven, Wagner held to be analogous to that of the prophets toward Jesus, namely, one of expectancy. The art reached its culmination in Beethoven. This is Wagner's summary of the significance of Beethoven's work, and he proclaimed it continually, from the housetops. It was in some sort a religious exercise to him to make propaganda for the master to whom he felt himself so deeply indebted. The burden of his utterances on the subject of the musician's art is, "A greater than I exists. It is Beethoven."
Chiefly, perhaps, of the philosopher and the poet must we needs feel that if any genius reaches out into an interpenetrating spiritual world, theirs must do so.
—F.W.H. Myers, Human Personality, Chapter on Genius.
In art the best of all is too spiritual to be given directly to the senses; it must be born in the imagination of the beholder, although begotten by the work of art.
—Schopenhauer.
agner's achievement can be attributed, in part, to a certain quality of intellectual receptivity, by virtue of which he was enabled to appropriate to himself the genius of two of his predecessors for whom he had a special affinity. His epoch-making work was rendered possible through Shakespeare and Beethoven, who served him as models all his life.
Every great achievement is referable to some preceding one often quite as great but more obscure. No man stands alone in his deed. The doer of every great work has been helped thereto by his predecessors working the same soil. The greater the performance, the more prominently this comes out sometimes, as in the case of Shakespeare whose indebtedness to Christopher Marlowe and others will at once come to mind.
To Beethoven and to Shakespeare, Wagner paid tribute on all occasions. Especially is this true in his relation to Beethoven, to whom he readily yields the palm in the realm of music. In the eight volumes of his Gesammelte Schriften, no single fact stands out more clearly than his recognition of Beethoven as his chief, his master, from whom proceeds all wisdom and knowledge and truth. One can hardly read any of Wagner's prose writings without seeing how readily he falls into the place of disciple of Beethoven. "I knew no other pleasure," he says in A Pilgrimage to Beethoven, "than to plunge so deeply into his genius that at last I fancied myself become a portion thereof." The Pilgrimage, though an imaginative work, is the medium he employed to give utterance to his regard for Beethoven. His letters to musical friends, to Liszt, to Fischer, especially those to Ulig, are filled with praise of the older master. In a letter to Meyerbeer, in 1887, he states how he came to be a musician. "A passionate admiration of Beethoven impelled me to this step." The only one who was good enough in Wagner's eyes to be compared with Beethoven, was Shakespeare. These two names are frequently brought into juxtaposition in his works. No musician is worthy of comparison with his demigod. "Mozart died when he was just piercing into the mystery. Beethoven was the first to enter in," he says in his Sketches. As if even this praise were too great, he severely criticises Mozart's operas and symphonies elsewhere.
The deferential attitude which Wagner assumes toward Beethoven is not accorded any other musician. Consciously or not, when he talks about other musicians (except Bach) he, for the most part, assumes the rôle of censor. But Beethoven comes in for unstinted praise. "It is impossible," he says, "to discuss the essential nature of Beethoven's music without at once falling into the tone of rhapsody."
Wagner seems hardly to have been able, when writing about music, to refrain from mention of Beethoven, he is so full of the subject. It has a bearing on every important event in his life. At the ceremonies attending the laying of the foundation-stone of the Festival Play House at Bayreuth, the Ninth Symphony was performed, and in a little speech he says: "I wish to see the Ninth Symphony regarded as the foundation-stone of my own artistic structure." In "Religion and Art" we find these words: "to whom the unspeakable bliss has been vouchsafed of taking one of the last four symphonies of Beethoven into his heart and soul."
Many enthusiasts have worked in Wagner's cause from Liszt down, but none have equalled Wagner in this respect—in enthusiasm for his master. He pays tribute to Beethoven in all conceivable places. He first heard of him when told of his death. His first acquaintance with Beethoven's music was a year after the master's death, on his arrival at Leipzig at the Gewandhaus concerts. Wagner was then in his sixteenth year. "Its impression on me was overpowering," he says. "The music to his Egmont so inspired me that I determined not to allow my own completed tragedy to be launched until provided with such like music. Without the slightest diffidence I believed that I could write this needful music." He had up to this time no special leaning toward music. He had not previously entertained a thought of it as a career, but his first hearing of Beethoven's music decided him to adopt it, such was the kinship between these two minds. Through Beethoven he discovered that "music," to use his own words, "is a new language in which that which is boundless can express itself with a certainty impossible to be misunderstood."[G]
[G] Thoreau, in 1840, expressed himself similarly. We quote from the recently published Service. "Music is a language, a mother tongue, a more mellifluous and articulate language than words, in comparison with which speech is recent and temporary. There is as much music in the world as virtue. In a world of peace and love music would be the universal language and men greet each other in the fields in such accents as a Beethoven now utters at rare intervals at a distance."
The episode made a turning-point in his life. Hitherto his whole mind and thought had been placed on literature, the drama in particular, as a career. Through Beethoven he first learned what a power music possesses in the portrayal of the emotions and passions. He had, as he says, an intimate love and knowledge of Mozart without apparently being much influenced thereby. Up to this time Shakespeare had been his archetype. Now, with a fine discriminating intelligence, marvellous in a youth of sixteen, Beethoven is to be included in this hero-worship, and is eventually to supplant his former ideal. "It was Beethoven who opened up the boundless faculty of instrumental music for expressing elemental storm and stress," he says in the "Art-Work of the Future," and elsewhere in the same article, "the deed of the one and only Shakespeare, which made of him a universal man, a very god, is yet but the kindred deed of the solitary Beethoven, who found the language of the artist-manhood of the future."
Wagner's criticisms on music are admirable. Here he expresses his thoughts as plainly as in his compositions. His disquisitions on music as an art and on Beethoven in particular, are always lucid and forcible. He may be misty in his philosophical speculations, but when he speaks on music it is in the authoritative tone of the master, familiar with every phase of his subject. He always contributes something of value, and his thoughts are an illumination.
Had Wagner never written a line of music, had he elected to be a literary man, a poet, a dramatist, philosopher, his fame to-day would still be world-wide. Had he confined his genius into this one channel of literary expression, as was his original intention, with his mental equipment, and a Napoleonic ambition that balked at nothing, the product would have been as original and extraordinary, we may be sure, as is his art-product in music. Wagner, the musician, is so commanding a figure that the literary man is obscured; but when we consider the magnitude of his literary achievement, the dramas Tannhäuser, Lohengrin, Flying Dutchman, Tristan, Parsifal, the stupendous Ring of the Nibelung, the essays on music, philosophy, criticism and sociology, and reflect that it is, so to speak, a by-product, it becomes apparent that, had he made literature his chief aim in life, the result would have been notable in the annals of the century.
Wagner seriously contemplated writing a biography of Beethoven at one time, and devoted several months to collecting materials for it. But his finances were still in bad shape, and he was unable to undertake it without an order from some publisher, who would have been required to advance money. He was unable to find such a party, and the project was abandoned, most unfortunately, as he would have made a valuable contribution to the subject. The short biographical sketch he wrote on Beethoven on the centenary anniversary of the master's birth, shows marvellous insight, especially in relation to the critical and analytical parts of it. This work, instinct with worship of the master, is a product of Wagner's mature years. Here, as in his earliest utterances on Beethoven, he is the disciple glad to do homage to his master.
"A century may pass," said Schopenhauer in a letter to the publishers of the (English) Foreign Review and Continental Miscellany, offering to translate Kant for them, in response to a wish he had seen expressed in their journal that England might ere long have a translation of Kant, "a century may pass ere there shall again meet in the same head so much Kantian Philosophy, with so much English, as happen to dwell together in mine." Likewise centuries may elapse before another such musician will appear possessing the literary ability, critical faculty, ardor and enthusiasm that Wagner had for this work.
There is an affinity between them in which mind speaks to mind. When writing on Bach's influence on Beethoven, he says:[H] "If Haydn passed as teacher of the youth, for the mightily unfolding art-life of the man, our great Sebastian Bach became his leader. Bach's wonder-work became his Bible; in it he read,
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