Beethoven by George Alexander Fischer (reading in the dark .TXT) 📕

eference has already been made to the fact that Beethoven's opus 1 was published in 1795, something like three years after taking up his residence in Vienna, and when he was twenty-four years of age. It consists of three Trios for piano and strings. When Haydn returned from London and heard these Trios, the master criticised one of them and advised him not to publish it. Beethoven thought this particular one the best of the three, and others concur with him in this opinion. Shortly after, he published his opus 2, consisting of three sonatas dedicated to Haydn, besides variations and smaller pieces. But this does not by any means give the amount of his compositions for this period, some of which were not published until many years afterward.

All this time, Beethoven, though playing frequently at the houses of his aristocratic friends, had not yet made his appearance in public, but about the time that his opus 1 appeared, he played at a concert given in aid of the Widow's Fund of the Artists' Society. He composed for this occasion a Grand Concerto (opus 15) in C major for piano and orchestra, taking the piano part himself. It was finished on the day preceding that on which the concert was held, the copyists waiting in another room for their parts. At the rehearsal, the piano being one-half note out of tune, he transposed it into C sharp, playing it without the notes. Very soon after, he appeared again in public, at a concert given for the benefit of Mozart's widow, when he played one of Mozart's concertos. The beginning once made, he appeared rather frequently as a performer, not only in Vienna, but extended his trips the next year as far as Berlin, where he encountered Hümmel.

But Beethoven's mind was always turned toward composition. It had been the aim of his life, even at Bonn, to become a great creative artist. For this he had left his native city, and the larger opportunities for musical culture afforded by his life in Vienna must have directed his thoughts still more strongly into this channel. An important social event of the period was the annual ball of the Artists' Society of Vienna. Süsmayer, pupil and intimate friend of Mozart, the composer of several of the "Mozart Masses," had composed music for this ball and Beethoven was asked to contribute something likewise, with the result that he composed twelve waltzes and twelve minuets for it. He also had in hand at the same time piano music, songs, and studies in orchestral composition. Nothing which he produced in these years, however, gave any forecast of what he would eventually attain to. This is paralleled in the case of Bach, who, up to his thirtieth year was more famous as a performer than as composer.

Beethoven's earlier compositions were regarded as the clever product of an ambitious young musician. Although later in life, he all but repudiated the published work of these years, some of the thoughts from the sketch-books of this period were utilized in the work of his best years.

He acquired a habit early in life of carrying a note-book when away from his rooms, in which he recorded musical ideas as they came to him. His brain teemed with them; these he entered indiscriminately, good and bad, assorting them later, discarding some, altering others, seldom retaining a musical thought exactly as it was first presented to his consciousness. Music became the one absorbing passion of his life. It took the place of wife and children; it was of more importance to him than home or any other consideration. His compositions show continual progress toward artistic perfection to the end of his life, and this was attained only by infinite labor.

It may not be out of place here to reflect on the essentially unselfish character of the man of genius. He lives and strives, not for himself, but for others; he pursues an objective end only. Among the forces making for the regeneration of mankind, he is foremost.

There is little of importance to record concerning Beethoven for the few years following the publication of his opus 1. He continued to perform occasionally in public, and also gave a few lessons, but his time was taken up with study and composition for the most part. It was a period of earnest endeavor, the compositions of which consist of the better class of piano music, as well as trios, quartets and occasional songs, his work being much in the style of Mozart and Haydn; the quality of emotional power and intellectuality not yet having appeared to any extent.

His great productions, those that show his genius well developed, are coincident with the beginning of the nineteenth century. The years 1800 and 1801 were an epoch with him as a composer. He was now thirty, and was beginning to show of what stuff he was made. These two years saw the production of some of the imperishable works of the master, namely: the First Symphony, the Oratorio Christus am Oelberg, and the Prometheus Ballet Music. It is probable that he had given earnest thought to these works for some years previously, and had had them in hand for two years or more before their appearance. The First Symphony calls for special mention as in it the future Symphonist is already foreshadowed. He was almost a beginner at orchestral work, but it marks an epoch in this class of composition, raising it far beyond anything of the kind that had yet appeared. Viewed in the light of later ones it is apparent that he held himself in; that he was tentative compared with his subsequent ones. Considered as a symphony and compared with what had been produced in this class up to that time, it is a daring innovation and was regarded as such by the critics. He broadened and enlarged the form and gave it a dignity that was unknown to it before this time.

Beethoven's sonatas are as superior to those that had preceded them as are his symphonies. He enlarged them, developed the Scherzo from the Minuet and made them of more importance in every way. With Haydn the Minuet was gay and lively, a style of music well adapted to Haydn's particular temperament and character; but Beethoven in the Scherzo carried the idea further than anything of which Haydn had dreamed. Before Beethoven's First Symphony appeared, he had composed a dozen or more sonatas and was in a position to profit by the experience gained thereby. He felt his way in these, the innovations all turning out to be improvements.

One has only to compare the sonatas of Mozart and Haydn with those of Beethoven to be at once impressed with the enormous importance of the latter. As has been stated, the experience gained with the sonata was utilized in the First Symphony, each succeeding one showing growth. Beethoven's artistic instinct was correct, but he did not trust to this alone. He proceeded carefully, weighing the matter well, and his judgment was usually right. There is evidence from his exercise books that he had this Symphony in mind as early as 1795. It was first produced on April 2, 1800, at a concert which he gave for his own benefit at the Burg theatre. On this occasion he improvised on the theme of the Austrian National Hymn, recently composed by Haydn, well known in this country through its insertion in the Hymnal of the Protestant Episcopal Church, under the title of Austria. Beethoven's hearing was sufficiently intact at this time to enable him to hear his symphonies performed, an important matter while his judgment was being formed.

The Prometheus Ballet Music, opus 43, consisting of overture, introduction and sixteen numbers, was first performed early in 1801, and achieved immediate success, so much so that it was published at once as pianoforte music. In addition to the Prometheus, there is to be credited to this period the C minor concerto, opus 37, a septet for strings and wind, opus 20, a number of quartets, and other compositions. The Christus am Oelberg (The Mount of Olives), opus 85, Beethoven's first great choral work, has already been mentioned. In this oratorio Jesus appears as one of the characters, for which he has been severely criticised. His judgment was at fault in another respect also in having the concert stage too much in mind. The composition at times is operatic in character, while the text calls for a mode of treatment solemn and religious, as in Passion-music. If set to some other text, this work would be well nigh faultless; the recitatives are singularly good, and there is a rich orchestration. It is reminiscent of Händel and prophetic of Wagner. The Hallelujah Chorus in particular is a magnificent piece of work. As is the case with the Messiah, its beauties as well as its defects are so apparent, so pronounced, that the latter serve as a foil to bring out its good qualities in the strongest relief. It was first performed in the spring of 1803, in Vienna, on which occasion Beethoven played some of his other compositions. It was repeated three times within the year.

Other contributions of 1801 are two grand sonatas, the "Pastorale" in D, opus 28, the Andante of which is said to have been a favorite of Beethoven's and was often played by him, and the one in A flat, opus 26, dedicated to Prince