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BY ROMAIN ROLLAND TRANSLATED BY B. CONSTANCE HULL WITH A BRIEF ANALYSIS OF THE SONATAS, THE SYMPHONIES, AND THE QUARTETS BY A. EAGLEFIELD HULL MUS. DOC. (OXON). With 24 Musical Illustrations and 4 Plates and an Introduction by Edward Carpenter , Author of Towards Democracy , &c. NEW YORK HENRY HOLT AND COMPANY 1917...
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" I want to prove that whoever acts rightly and nobly, can by that alone bear misfortune." BEETHOVEN. (To the Municipality of Vienna, Feb. 1, 1819.) The air is heavy around us. The world is stifled by a thick and vitiated atmosphere—an undignified materialism which weighs on the mind and heart hindering the work of governments and individuals alike. We are being suffocated. Let us throw open the windows that God's free air may come in, and that we may breathe the breath of heroes. Life is stern. It is a daily battle for those not content with an unattractive mediocrity of soul. And a sad battle it is, too, for many—a combat without grandeur, without happiness, fought in solitude and silence. Weighed down by poverty and domestic cares, by excessive and senseless tasks which waste the strength to no purpose, without a gleam of hope, many souls are separated...
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By Edward Carpenter It is not very generally recognised that Beethoven was not only a great musician, but a great leader and teacher. He freed the human spirit from innumerable petty bonds and conventions, he recorded the profoundest experiences of life, and gave form and utterance to emotions hardly guessed—certainly not definitely expressed—before his time. Personally I feel I owe much more to Beethoven in these respects than I do to Shakespeare: and though this, of course, may be a purely personal or accidental matter, yet I mention it in order to show that the music of such a man has, after all, the closest bearing on actual life. M. Romain Rolland in his excellent little study has brought this prophetic and inspiring quality of Beethoven's life and music out very strongly. He has traced the tragedy of Beethoven's life and experience, and its culmination in a kind of liberation...
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He was short and thick set, broad shouldered and of athletic build. A big face, ruddy in complexion—except towards the end of his life, when his colour became sickly and yellow, especially in the winter after he had been remaining indoors far from the fields. He had a massive and rugged forehead, extremely black and extraordinarily thick hair through which it seemed the comb had never passed, for it was always very rumpled, veritable bristling "serpents of Medusa." [1] His eyes shone with prodigious force. It was one of the chief things one noticed on first encountering him, but many were mistaken in their colour. When they shone out in dark splendour from a sad and tragic visage, they generally appeared black; but they were really a bluish grey. [2] Small and very deep-set, they flashed fiercely in moments of passion or warmth, and dilated in a peculiar way under...
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Alone, Alone, Alone. (To Lichnovsky, 21 Sept., 1814) ....
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For my brothers CARL and —— BEETHOVEN. O ye men who regard or declare me to be malignant, stubborn or cynical, how unjust are ye towards me! You do not know the secret cause of my seeming so. From childhood onward, my heart and mind prompted me to be kind and tender, and I was ever inclined to accomplish great deeds. But only think that during the last six years I have been in a wretched condition, rendered worse by unintelligent physicians. Deceived from year to year with hopes of improvement, and then finally forced to the prospect of lasting infirmity (which may last for years, or even be totally incurable). Born with a fiery, active temperament, even susceptive of the diversions of society, I had soon to retire from the world, to live a solitary life. At times, even, I endeavoured to forget all this, but how harshly was...
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From an Engraving by Blasius Hoefel after the Drawing by Louis Letronne, 1814. To face page 64....
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( Vienna, June 1, 1800). My dear, my good Amenda, my heartily beloved friend. With deep emotion, with mixed pain and pleasure did I receive and read your last letter. To what can I compare your fidelity, your attachment to me. Oh! how pleasant it is that you have always remained so kind to me; yes, I also know that you, of all men, are the most trustworthy. You are no Viennese friend ; no, you are one of those such as my native country produces. How often do I wish you were with me, your Beethoven is most unhappy, and at strife with nature and Creator. The latter I have often cursed for exposing His creatures to the smallest chance, so that frequently the richest buds are thereby crushed and destroyed. Only think that the noblest part of me, my sense of hearing has become very weak. Already, when...
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(1798?) Dear Chr. You let me hear something yesterday about a portrait of myself. I wish you to proceed somewhat carefully in the matter. I fear if we return it through F., the disagreeable B. or the arch-fool Joseph might interfere, and then the matter might be meant as a mean trick played on me, and that would be really most annoying. I should have to avenge myself, and the whole populasse does not deserve it. Try to get hold of the thing as well as you can. I assure you that after this I should put a notice in the newspaper, requesting all painters not to take my portrait without my consent, were I afraid of falling into perplexity over my own countenance. As to the matter of taking off my hat, it is altogether stupid, and at the same time too impolite for me to retaliate. Pray explain...
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Vienna, November 2, 1793. Honoured Eleonore, my dearest friend. I shall soon have been in this capital a whole year, yet only now do you receive a letter from me, but you were certainly constantly in my thoughts. Frequently, indeed, did I hold converse with you and your dear family, but, for the most part, not with the tranquility of mind which I should have liked. Then it was that the fatal quarrel hovered before me, and my former behaviour appeared to me so abominable. But the past cannot be undone, and what would I not give if I could blot out of my life my former conduct so dishonouring to me, so contrary to my character. Many circumstances, indeed, kept us at a distance from each other, and, as I presume, it was especially the insinuations resulting from conversations on either side which prevented all reconciliation. Each of us...
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Vienna, June 29, 1800. My good, dear Wegeler. I am most grateful to you for thinking of me; I have so little deserved it, or sought to deserve it at your hands. And yet you are so very good, and are not kept back by anything, not even by my unpardonable negligence, but always remain a faithful, good, honest friend. That I could ever forget you, and especially all of you who were so kind and affectionate to me, no, do not believe it; there are moments in which I myself long for you—yes, and wish to spend some time with you. My native land, the beautiful country in which I first saw the light of the world, is ever as beautiful and distinct before mine eyes as when I left you. In short, I shall regard that time as one of the happiest of my life, when I see...
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November 16 (1801 ?) My good Wegeler. I thank you for the fresh proof of your anxiety concerning myself, and all the more as I am so little deserving of it. You want to know how I am, what I am taking; and however unwillingly I may discuss the matter, I certainly like best to do it with you. For the last few months, Vering has ordered herb plasters to be constantly placed on both arms; and these, as you will know, are composed of a certain bark. This is a most unpleasant cure, as, until the bark has sufficiently drawn, I am deprived for a day or so of the free use of my arms, to say nothing of the pain. I cannot, it is true, deny that the humming with which my deafness actually began, has become somewhat weaker, especially in the left ear. My hearing, however, has...
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Vienna , 15 th (or something like it), January , 1801. With great pleasure, my dearly beloved brother and friend, have I read your letter. I thank you right heartily for the good opinion you have expressed concerning me and my works, and hope I may prove myself really worthy of it. Please also convey my dutiful thanks to Herr K. for his courtesy and friendly feelings towards me. Your undertakings likewise make me glad, and I hope, if works of art can procure gain, that it will fall to the lot of genuine true artists, rather than to mere shopkeepers. That you wish to publish the works of Sebastian Bach rejoices my heart, which beats in unison with the high art of this forefather of harmony, and I desire soon to see the scheme in full swing. I hope that here, so soon as golden peace has been proclaimed,...
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Coblentz , 28 December , 1825. My dear old Louis. I cannot allow one of Ries' ten children to leave Vienna without recalling him to your remembrance. If during the twenty-eight years since I left Vienna, you have not received a long letter from me every two months, you must put it down to your own silence after the first letters which I sent you. It should not be so and especially now that we other old people live so entirely in the past and derive our chief pleasure in recollections of our youth. For me at least, my acquaintance and my firm friendship to you, thanks to your good mother whom God now blesses, is a guiding star in my life, towards which I turn with pleasure. I raise my eyes to you as to a hero, and I am proud to be able to say: 'I have had...
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Vienna , 7 th October , 1826. My dear old friend. I cannot tell you how much pleasure your letter and that of your Lorchen gave me. Certainly, a reply ought to have been sent with lightning speed, but I am generally somewhat careless about writing, because I think that the better sort of men know me without this. I often compose the answer in my mind, but when I wish to write it down, I usually throw the pen away, because I cannot write as I feel. I remember all the love which you have constantly shown me, for instance, when you had my room whitewashed, and so pleasantly surprised me. It is the same with the Breuning family. If we were separated, that happened in the natural course of things; every one must pursue and try to attain distinction in his calling; but the eternal unshaken foundations of...
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Vienna, February 17, 1827. Fortunately I received your second letter through Breuning. I am still too weak to answer it, but you may believe me that everything in it is welcome and desirable. My recovery, if I may call it so, is very slow; a fourth operation is to be expected, although the doctors do not say anything about it. I am patiently thinking that every evil has sometimes its good. But now I am astonished to see from your last letter that you have not received anything. From the present letter you will perceive that I wrote to you already on the tenth of December last year. With the portrait, it is the same, as you will see from the date when you receive it. 'Frau Steffen said,' [87] in short, Stephen wished to send you these things if some opportunity offered, but they remained lying here up to...
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March 6, 1827. I do not doubt that you, dear Sir, have received through Herr Moscheles my letter of the 22nd of February; but as I have found by chance among my papers, S.'s address, I do not hesitate to write direct to you and recall my request again to your mind. Up to now I cannot look forward to an end of my terrible illness; on the contrary, my sufferings, and with it, my cares, have still increased. On the 29th of February I underwent my fourth operation, and it may be, perhaps, my fate to undergo a fifth or even more. If this continues, my illness will surely last till the middle of summer, and what will then become of me? How shall I then manage to live till I have recovered strength enough to gain my own living by my pen? In short, I will not trouble...
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Vienna, March 14, 1827. My dear Moscheles. Some days ago I found out through Herr Lewinger that you inquired in a letter to him of the 10th of February regarding the state of my illness, of which so many different rumours have been spread about. Although I have no doubts whatever that my letter of the 24th of February has arrived, which will explain everything you desire to know, I can but thank you for your sympathy with my sad lot, and beseech you to be solicitous about the request which you know of from my first letter, and I am quite convinced that, in union with Sir Smart and other of my friends, you will succeed in bringing about a favourable result for me at the Philharmonic Society. I have once more written to Sir Smart about it. On the 27th of February I underwent the fourth operation, and...
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Vienna, March 18, 1827. With what emotion I read your letter of the 1st March is not to be described in words. This magnanimity of the Philharmonic Society, with which they anticipated my request, has touched my inmost heart. I, therefore, ask you, dear Moscheles, to be the organ through which I can express my most heartfelt thanks to the Philharmonic Society for their sympathy and help. Tell these worthy men that if God restores me to health, I shall try practically to show my gratitude by works, and that I leave it to the Society to choose what I shall write for them. A whole sketched Symphony (the 10th) is in my desk, also a new Overture, or even something else. As regards the concert which the Philharmonic Society has resolved on giving for my benefit, I beg the Society not to give up this intention. In short, I...
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Vienna, April 12, 1827. I would already have liked to take the liberty of forwarding to you the enclosed document in the name of our Beethoven as his dying request; but after the passing away of our friend, there was so much business to attend to that I found it impossible. Unfortunately, it was not possible to get the document legalised, for that Beethoven would have had to sign it at the law court, which was utterly impossible. Beethoven, however, requested Court Councillor v. Breuning and myself to add our names as witnesses, as we were both present. We, therefore, believe that it will serve the purpose for which it was drawn up. I must further mention that in this document you possess the last signature of this immortal man; for this was the last stroke of his pen. I cannot now refrain from telling you something about the last...
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" Il n'y a pas de règle qu'on ne peut blesser à cause de Schöner " (There is no rule which one cannot break for the sake of Beauty ). This expression appears in the original in French except for the last word Schöner . "Music ought to create and fan the fire of the spirit of man." "Music is a higher revelation than the whole of wisdom and the whole of philosophy. He who penetrates the meaning of my music shall be freed from all the misery which afflicts others." (To Bettina, 1810.) "There is nothing finer than to approach the Divine and to shed its rays on the human race." "Why do I write? What I have in my heart must come out; and that is why I compose." "Do you believe that I think of a divine violin when the spirit speaks to me and that I...
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"In all that concerns me as an artist, no one has ever heard me say that I pay the least attention to what has been written about me." (To Schott, 1825.) "I think with Voltaire that mere fly-stings will not hold back a run-away horse." (1826.) "As for these idiots, one can only let them talk. Their prattling will certainly not make anyone immortal, any more than it will raise to immortality any of those whom Apollo has destined for it." (1801.) THE NINE SYMPHONIES...
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Dedicated to the Baron van Swieten. Adagio molto—Allegro con brio—Andante cantabile con moto—Minuetto e Trio—Finale. Although this Symphony was originally performed at the first of the composer's personally-arranged concerts in Vienna, on April 2nd, 1800, the sketches for it extend over the preceding five years. Though the symphony is in the composer's first period style, it does not rank amongst the very finest works of this period. The slow introduction starts on a dominant seventh out of the key. [Listen] The musical quotations are taken from E. Pauer's excellent piano solo arrangements of the Symphonies (Augener Ltd.). The first movement proper is orthodox in form, and only once or twice do we catch a glimpse of the Beethoven to be, notably in the muttering bass passages near the end of the exposition. The Andante which is also in Sonata-form proper and opens fugally, contains some original drum-work. The Minuet, purely...
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Dedicated to Prince Carl Lichnovsky. Adagio molto—Allegro con brio—Larghetto—Scherzo and Trio—Allegro molto. In the Second Symphony, which is a great advance on the first, the composer's hold of his subject is much firmer and the subjects themselves are more striking. [Listen] The Larghetto is full of lovely curves, and there is some charming conversational work between the wood-wind instruments. The horn passage is the precursor of many fine symphony subjects of a martial nature for the horns. [Listen] Whilst the chromatic harmony is purely Mozartian, the Scherzo is a genuine Beethovenian outburst, full of verve and piquant in touch. [Listen] There is a feeling of broadness about the brilliant and energetic Finale which is absent from the Finale of the First Symphony....
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Dedicated to Prince Lobkovitz. Allegro con brio—Marcia funèbre—Scherzo and Trio—Finale. This Symphony was completed in August, 1804, and first performed on April 7th, 1805. The French Ambassador at Vienna had suggested that Beethoven should write a work on the grand scale based on his admiration for Napoleon as the saviour of France from the horrors of the Revolution; and it is a fact that Beethoven actually dedicated this Symphony to Napoleon, but when the news came that the First Consul had declared himself Emperor, Beethoven tore up the title page in a rage and added the following superscription:— Sinfonia Eroica, composta per festeggiare il Souvenire di un grand' Uomo, E dedicata A Sua Altezza Serenissima Il Principe di Lobkovitz da Luigi van Beethoven, Op. 55 No. III. delle Sinfonie. This is one of the grandest and most powerful of the works in the Second Period style. It is noteworthy that...
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Dedicated to Count Oppensdorf. Adagio—Allegro vivace—Adagio—Menuetto—Finale. This happy and serene work has been undeservedly overshadowed by its two towering neighbours. Schumann has called it a slender Greek maiden between two Norse giants. The opening Adagio sounds the only dark mood in the Symphony. [Listen] It is lashed on to the Allegro by some powerful violin scales. [Listen] The flute, oboe and bassoon converse sportively over the second subject. A strange sequential passage in unison upon the strings in three-bar phrases following a happy little canon on the wood-wind instruments and some powerful syncopations lead in to the development. An atmosphere of humour and good feeling permeates the movement. The lovely melody which forms the chief theme of the Adagio is given to the violins. It is accompanied by a strong persistent rhythmic figure, which is transferred later on to the drums with great effect. The wood-wind work and the horn...
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Dedicated to the Prince von Lobkovitz and the Count von Rasumovsky. Allegro con brio—Andante con moto—Scherzo and Trio—Finale Allegro. This famous Symphony with its rugged first movement, its lovely Andante , its mysterious Scherzo and its proud, fiery Finale , was first performed together with the so-called Sixth Symphony on December 22nd, 1808. The Pastoral Symphony No. 6 was probably written before the 5th. The first movement opens without introduction with the famous phrase of four unison notes which Beethoven once explained as "Thus fate knocks at the door." [Listen] From this tiny germ the whole of this fierce stormy movement is evolved. Not even the beautiful tender second subject, nor the lovely little unbarred oboe cadenza can win it away from this rugged fierce mood. When this second subject appears in the recapitulation, still in the minor, the atoning major outburst which immediately follows is quickly brushed aside by...
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Dedicated to Prince von Lobkovitz and Count von Rasumovsky. Pastoral Symphony, or a recollection of country life. More an expression of feeling than a painting. Allegro ma non troppo—Andante molto moto—Allegro—Allegretto. This Symphony, often slighted on account of its so-called realisms and its classification amongst "programme music," is, nevertheless, one of the finest pieces in the whole range of absolute music. The labelling of the various movements by Beethoven—"Joyous sensations roused by arrival in the country," "Scene by the brook," "Merry gathering of country peasants," "Thunderstorm," "Glad and grateful feeling after the storm"—is quite superfluous. How artistically Beethoven has introduced the bird calls—the quail, the nightingale, and the cuckoo—into just the right place—the coda of the Andante . And the thunder-storm. What a magnificent introduction to the Finale it makes! Beethoven has never once transgressed the great principles of form and balance in this Symphony. The opening movement is a...
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Dedicated to Count Moritz von Fries. Poco sostenuto—Vivace—Allegretto—Scherzo—Finale. This Symphony was completed in May, 1812, but was not performed until December, 1813, at a Concert undertaken by Maelzel for the benefit of the wounded soldiers at the Battle of Hanau, October 30th, which Concert also contained Beethoven's Battle Symphony . In form, the Symphony contains nothing unusual. In subject, it is full of romance and colour from beginning to end. Opening with a long introduction, which is almost a movement in itself, this contains a strong marching figure, and runs into the Vivace by the means of a half cadence. The Vivace , a rhythmical movement in 6-8 time, is full of a verve and vitality which seems to reach its fullest power on the horns and wind instruments with their tucketting rhythms. [Listen] The Coda amounts to a second development, and the whole movement goes with a splendid swing...
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Allegro vivace e con brio—Allegretto—Presto—Allegro vivace. "The little one," as Beethoven affectionately called this symphony, was written during four months of the summer and early autumn of 1812. It is smaller in scale, slighter in texture, than the other symphonies. Erroneously regarded as a return to an earlier style, and labouring for some time under the absurd title of "Ballet-Symphony," it has been somewhat neglected in the past. Without the grandeur of the Fifth or the romance of the Seventh, it contains a lasting, if less easy, charm, perfect finish, and a rich fund of good humour. Only a small orchestra is used, but it is handled in a masterly way, as the octave drums in the masterly finale, the charming staccato chords for wood-wind with boisterous interjections from the full orchestra, the running conversations between the violins and the basses, fully testify. The first movement is in the usual...
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Allegro ma non troppo un poco maestoso—Molto vivace—Adagio molto e cantabile—Choral Finale. It is important to remember, as M. Romain Rolland has reminded us, that this is not a Choral Symphony in the strict sense of the term, but a "Symphony with a Final Chorus." The choral Finale was written by Beethoven in a separate MS., and, as with most of his other final movements, he seems to have expected no closer connection with the preceding three movements than that of general suitability. His original idea for a last movement to this Symphony was the Finale of the String Quartet in A minor, Opus 132, but for some reason or other his sketches for voices on Schiller's Ode were taken up again and worked into a Finale for this Symphony. Ten years had elapsed between the completion of the Eighth Symphony and the consummation of the Ninth, the colossal first...
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The first Sonata has the usual four movements of the Haydn form: Allegro—Adagio—Menuetto and Trio—Prestissimo . The first and the last are in the usual Sonata form proper. The slow movement follows Mozartian lines. This Sonata is the first of the set of three in this Opus, which are all dedicated to Joseph Haydn, and the fact of such a superscription points to the respect which Beethoven had for the older composer, although he could not find it in his heart to continue with him long as his pupil. The whole of the Sonata, which appeared for the first time in 1796 and was probably written much earlier, is decidedly conventional in form, and shews us Beethoven starting on the lines laid down by those who went before him—Philip Emanuel Bach, Haydn, and Mozart. The first movement is pure Haydn music, and the only glimmer of the future Beethoven comes...
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Allegro vivace—Largo appassionata—Scherzo and Trio—Rondo grazioso. There is a distinct advance in the second Sonata. Although there are still the accepted four movements, the Minuet has now become a Scherzo. This Sonata was probably written shortly after the first, and in it we see how quickly Beethoven took a firm hold of form and design in construction. There is a feeling of considerable power about the first subject, and its short, pithy figures promise well for the development portion, a fact of which Beethoven takes immediate advantage. The second subject has a dual tonality, beginning in E minor and ending in E major. This, of course, re-appears in the final section in A minor and major. There is considerable double counterpoint, and we have the characteristic rumblings in the bass. The canon in three parts at the octave, in the development portion, taxes the right hand of most players. The...
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Allegro con brio—Adagio—Scherzo—Allegro assai. This, the third of the set of the three early Sonatas dedicated to Haydn, appeared for the first time on March 9th, 1796, when Beethoven was twenty-six years of age. Eugen d'Albert regards this Sonata as essentially a virtuoso piece. This is saying rather much, although he is right in warning the interpreter against any attempts to render it mysterious by hyper-critical subtleties. The first subject of the opening movement is a typical Beethoven one, evolved from a short figure of two bars. Some brilliant passage work then occurs. It was certainly Beethoven's custom at this early period to regard such passages in a more physical sense. The second subject enters with a dominant minor section, followed by a major section, in which appears some fine canonic work. The minor part of this subject, which was adapted from an early pianoforte quartet which Beethoven had written...
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Allegro molto e con brio—Largo con gran espressione—Allegretto Minore—Rondo. This Sonata which appeared for the first time on October 7, 1797, is dedicated to the Countess Babette von Keglevics. The composer, at the age of twenty-seven was rapidly winning his spurs, but still wrote on the old lines and with the customary four movements. His Minuet however has now become a lively movement and lost all traces of its origin in the stately dance. It is quite likely, however, that the Minuets of Haydn and Mozart were also taken at a lively rate, incompatible with the dance. The first movement in regular "Sonata Form" is in six-eight time, in happy mood. The joyous rhythm is occasionally emphasised by sforzando syncopations. The subjects are all very taking, and there are some striking modulations in the development. The Largo is full of religious calm. There is a striking interrupted cadence at bar...
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Allegro molto e con brio—Adagio molto—Prestissimo. This Sonata is dedicated to the Countess von Brovne, and appeared for the first time on September 26, 1798. It is in three movements—the slow movement in A flat major. There is no Minuet or Scherzo , the Finale instead being instilled with the spirit of the Scherzo . The first movement is the usual development form, the first subject being composed in Beethoven's usual manner of two figures here, (a) upward flight, (b) soft chords. It ends with a decided perfect cadence, the bridge subject entering after a bar's silence. It is noteworthy that the second subject on its return appears in F major, before settling down finally into C minor. This first movement, although in the minor, breathes a happy contented spirit, which deepens into seriousness in the Adagio. This opens with a beautiful 16 bar phrase. We then pass straight into...
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Allegro—Allegretto—Presto. The tenth Opus, which first appeared on September 26th, 1798, contains three Sonatas, all dedicated to the Countess von Brovne. The Sonata is in three movements—the first a movement of development, the second a Scherzo , and the third a playful Presto . The whole Sonata is cast in happy mood. The mysterious and somewhat eerie feeling of the Minuet being completely dispelled by the happiness of the Trio (which, curiously, enough, Brahms seems to have written over again in his Scherzo in E flat minor). The mood at the first part of this Scherzo has a close relationship with the Scherzo in the Eroica Symphony . There are several noteworthy points about the development of the first movement. It opens with a treatment of the last three notes of the exposition in capricious manner. The development closes, too, with this idea, but it also contains a completely new...
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Presto—Largo e mesto—Menuetto—Trio—Rondo. This Sonata is one of the greatest works of the first period, if not, indeed, the greatest of them all. The first movement is a wonderful evolution from the first four-note figure, the development full of all kinds of strong devices, the stormy episode in the middle based on the rhythm of the opening phrase of the Sonata and the marvellous slow movement full of passion and tenderness, from its opening five-bar phrase to its beautiful close with those amazing tonic pedal chords. The spirited Minuet, really a Scherzo with two bars taken as one, is admirably contrasted with the Hunting Song of the Trio . Did Beethoven ever use the horse which Count Brovne gave him? The fine Rondo is cast on the old lines but filled with such new feeling. The structure of the slow movement is in song form with five sections:— (a) Theme...
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Grave—Allegro di molto e con brio—Adagio cantabile—Rondo. Published for the first time in 1799, and dedicated to the Prince Carl von Lichnovsky. Although one of the few authentic titles, it is difficult to see the meaning of its bearing of the Sonata as a whole, unless indeed it is applied to the sad and dramatic introduction theme which, indeed, deserves as a leading motive to the first movement being introduced before the development section, and it ends just before the coda. The slow movement is of wonderful serenity and breathes a great religious calm. Still, it was a great offence against good feeling to make the single a double chant out of it as one of our cathedral organists has done. The Rondo does not quite reach the high plains of the first two movements, it was probably written much earlier; note the reflective mood again just before the final...
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Allegro—Allegretto—Rondo. The two Sonatas in this Opus, which is dedicated to the Baroness von Braun, are not very interesting. No. 9 has no slow movement. The meditative feeling having, apparently, crept into the Allegretto , which should again be taken as two bars in one. The Rondo in E is of great beauty and finish. The middle episode has again the feeling of a hunting song. They appeared for the first time in December, 1799....
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Allegro—Andante—Scherzo. The first movement, in Sonata form, is a remarkable example of the growth of a whole movement from a single germ. The Andante is an air with variations. The form of this is really ternary, although if the second part be repeated, it will throw the theme into five sections, A, B, A, B, A. The first variation places the air in the tenor, the second divides the harmony rhythmically, the third breaks up the harmony into semiquavers. Purists hold that this movement is wrongly barred throughout, the first beat coming where the third now is. In the last sprightly movement, the Scherzo and Finale seem to have run into one. The only other examples of Beethoven's use of the designation Scherzo for a movement not in Scherzo and Trio form are in the pianoforte sonata Opus 31 No. 3, and in the string quartet in C minor....
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Allegro con brio—Adagio con molta espressione—Minuetto—Rondo. Dedicated to the Countess von Brovne. This Sonata is the finest since the Opus 10, No. 3 in D. It is not so deep in feeling as some of the preceding pieces, and the composer's preoccupation with development somewhat duly prolongs the first movement. It is full, however, of characteristic vigour for its own sake, and the Adagio , long-drawn as it is, possess a great charm. This long-drawn meditative piece is the only case in the Sonatas of a slow movement having all the elements of the true Sonata forms—exposition and development, recapitulation, coda. If the Adagio breathes of the open country, the Minuet savours of the salon. In this rather old-fashioned Minuet, the Trio is styled "Minore." The Rondo with four refrains, the last two varied....
45 minute read
Andante con variazioni—Scherzo—Marcia funèbre—Rondo. Dedicated to the Prince Carl von Lichnovsky. This Sonata was announced for the first time on March 3rd, 1802. Two of the movements are in slow time—an Air with Variations, and a "Funeral March on the death of a hero." The March is said to have been written as a set-off to the popular one of that day in Paer's opera, Achilles . It is not a lamentation, but rather a tragic elegiac picture set in an impressive frame. One feels the throb of brass, the blare of trumpets, the roll of muffled drums, the impressive pageantry of death. The opening Andante is beautiful, and in the variations the theme breathes as it were through a thin lovely veil. The technique looks backwards rather than forwards, and the movement ends with a calm phrase. The final Rondo bubbles with life ceaselessly until it disappears in a...
53 minute read
Sonata quasi una Fantasia. Andante—Allegro—Andante—Allegro molto e vivace—Adagio con espressione—Allegro vivace. Dedicated to Princess Lichtenstein. This Sonata was first published together with the following one in C sharp minor on March 3rd, 1802. They were both composed in 1801, the happy year of the composer's love for Countess Giuletta Guicciardi. The term Fantasia by no means implies formlessness, but rather a departure from the ordinary Sonata form. The first movement—an Andante , full of light and shade—is held by purists to be wrongly barred throughout, the first beat being the third, and so on. It is followed by an Allegro in C major which leads back to the return of the Andante , this time varied. The Allegro , which takes the place of the Scherzo , is full of imagination and vigour. The slow movement is used as a bridge leading into the Finale . All the movements are...
1 minute read
Adagio sostenuto—Allegretto—Presto agitato. The title page describes the work as for clavecin or pianoforte . The nickname, "Moonlight," given to it by the poet Rellstab, has no authority and only serves very faintly to define the peaceful charm of this sensitive picture, which was more probably inspired by the composer's romantic love for the Countess Giulietta Guicciardi. The direction in Italian, "to be played throughout with the greatest delicacy," is significant, although the term senza sordini is somewhat vague. It may have meant that it is to be played with the sustaining pedal, i.e., without the dampers. It is probably a general indication that the piece requires the pedal to sustain each harmony, for nowhere is harmony put to such effective use as in the dreamy yet placid opening Adagio . There is scarcely a stir, except where an occasional minor 9th causes a slight emotional ripple. A little Allegretto...
49 minute read
Allegro—Andante—Scherzo—Rondo. Dedicated to Joseph Eiden von Sonnenfels. It was christened by the Hamburg publisher, Cranz, with the name of "Pastoral Sonata." The autograph is dated 1801, and the work is exceeding happy in mood, the last two movements almost boisterously so, the Finale being a mad gallop home. This Sonata has four movements, and it is most probable that it was written before the two Fantasia Sonatas . The first movement opens with a phrase of nine bars over a gentle tapping tonic pedal. It is a splendid specimen of development by elimination and condensation. In the middle portion, just before the recapitulation, the phrase seems almost to disappear into thin air. The Andante in D minor, with its epigrammatic Trio in the tonic major, was once a great favourite with the composer. The Scherzo which despite its title is really a Minuet , is one of his happiest, and...
21 minute read
Allegro vivace—Adagio grazioso—Rondo. This Opus contains three Sonatas—a favourite grouping with the composer. Although No. 1 was published in 1802, this Sonata, so simple in technique, has the feeling of having been conceived much earlier. The Adagio , with its elaborate flowery passages of no particular meaning, drops back to the Hummel style, and is developed to a considerable length. The Rondo is bright and sunshiny throughout....
23 minute read
Allegro—Adagio—Allegretto. One of the most splendid of all Beethoven's Sonatas. The opening movement is full of the most speaking of all Beethoven's sonorous and passionate recitatives. The Adagio is in full binary form. It is very expressive, entirely evolved from a three-note figure, a little Hummelian. The final Allegretto is all spun out from the little four-note germ said to have been suggested to the composer by the cantering of a horse....
36 minute read
Allegro—Scherzo—Minuet and Trio—Presto con fuoco. In this characteristic work, where we find both a Scherzo and a Minuet, the former in duple time, we again return to four movements. The mood throughout is of unclouded happiness. It is extremely interesting throughout, from the first bar which opens in an original manner with the "added sixth" chord to the Coda which returns to the same idea. The Scherzo is in one of Beethoven's freakish moods, full of capricious turns and fun of all kinds. The third movement is a true Minuet of the olden style, whilst the Presto is one of those cantering movements the germ for which must have been derived from the hunting songs of the people....
13 minute read
Andante—Rondo. This and the following Sonata, although published in 1802, must have been written much earlier; in fact, the theme of the G major Rondo was the original of the Minuet of the Septet ....
9 minute read
Allegro ma non troppo—Minuet and Trio. This Sonata contains little of interest, both the Allegro and the Minuet are in the olden style....
1 minute read
Allegro con brio—Introduzione—Rondo. This fine Sonata, too often made a mere piece of virtuosity, was dedicated to Beethoven's early friend and patron, Count Waldstein. The form is remarkable. A first movement, full of light and colour, and the romantic Molto Adagio forming an introduction to the final Rondo with its magnificent Coda . Beethoven originally intended the famous Andante in F for the slow movement of this Sonata, but finally discarded it in favour of the present slow introduction. The second hymn-like subject of the first movement does not appear in the tonic key, either in the exposition or in the recapitulation, but only after the final development near the end of the piece. The simple subject of the Rondo was the result as shown of six separate attempts in Beethoven's note-books. The whole meaning of it is lost unless the low C of the left hand is taken into...
33 minute read
This remarkable Sonata, which appeared for the first time in April, 1806, is in two movements only—a Tempo d'un Menuetto , in full binary form (more like a Sonata movement than a Minuet), and a Allegretto con moto (somewhat Etude-like), with a Prestissimo Coda in which the hands very easily get tied up. This Sonata is comparatively little known, doubtless on account of its over topping neighbours, the Waldstein and the Appassionata . Bulow metronomed the opening movement at the quite moderate rate of 104 to the crotchet. The octave bravura subject appears there in its full majesty. The cadenza is noteworthy....
1 minute read
(Labelled Appassionata by the publisher Cranz). Assai allegro—Andante con moto with variations—Allegro ma non troppo. This Sonata, which was dedicated to Count Franz von Brunswick, is perhaps the most truly characteristic of all Beethoven's sonatas. The usual portrait of Beethoven with the massive jaws firmly set, the upturned eyes, the visage lined by suffering, the head of a Titan, might be quite appropriately placed here in the volume of the Sonatas, rather than at the beginning; for with the deep passionate note which sounds ceaselessly throughout the first movement and the immense vitality of the Finale , the calm beauty of the Andante with its variations, it holds the palm amongst all sonatas written for the clavier. Hackneyed it certainly is, but even through the indifferent temperaments of mere finger players, the immense force of the ideas easily penetrates. It is a superb example of the growth of Beethoven's immense...
55 minute read
Adagio cantabile (4 bars)—Allegro ma non troppo—Allegro vivace. This Sonata was composed in October, 1809 (considerably later than Les Adieux Sonata , which was published in July, 1811) and appeared for the first time in December, 1810. Thus an interval of five years separates it from the Sonata Appassionata . It was dedicated to the Countess von Brunswick, and the piece was a special favourite with the composer. A delightful feeling of happiness pervates the whole piece, and one cannot help feeling that this cheerful mood drew the composer to the choice of this radiant key. The first four bars form a sort of question to which the succeeding Allegro supplies the answer. The movements are succinct in form, almost epigrammatic, and whilst very gracious and pleasing, are not hefty for all sorts and conditions of hands. The opening phrase of the Finale is very striking, so, too, is the...
43 minute read
Presto alla tedesca—Andante—Vivace. This is practically a Sonatina, and calls for little mention. Some authorities regard it as an unfinished sketch, whilst others ascribe it to a considerably earlier date although it was clearly completed in 1809. The term Tedesca means "in the German style," and has reference to the country dance, Ländler . Beethoven employs the term only twice in his published works—here and in the fifth movement of the B flat quartet, Opus 130, where he describes the movement in one of the sketches as Allemande Allegro . In a Bagatelle, No. 3 of Opus 119, he uses the term in French, A l'allemande . The first movement gives some good practice in crossing the hands. The second movement might easily be mistaken for a gondolier's song by Mendelssohn. The third movement is a lively Con Moto in simple Rondo form....
1 minute read
Adagio—Allegro—Andante espressivo—Vivacissimamente. Styled by Beethoven himself, Les adieux, l'absence, et la retour . (The parting, the absence, and the return). As such it is the finest piece of programme music ever written. It is dedicated to his friend and patron, the Archduke Rudolph, but it is not known definitely that it was connected with the absence of the Archduke himself. The general feeling seems to suggest a more tender attachment. The music is Beethoven at his very best, and is truly representative of his mature period. The interrelation of the whole of the music, its close affinity with the opening musical motto of three notes, under which Beethoven wrote Lebe-wohl (Fare thee well) is astounding. Whether written in clear notes or obscured subtly, this leading motive lies at the bottom of every phrase. It is the generating idea, the essence of the whole Sonata. Although we have styled it programme...
1 minute read
Con vivacità a sempre con sentimento ed espressione—Non troppo presto (Rondo). This work, completed on August 16th, 1814, appeared for the first time in June, 1815. It is in two movements, and is one of the first works in which Beethoven gave bi-lingual tempo indications (Italian and German), the other example being Les Adieux Sonata, Opus 81. On one occasion, in 1815, when the Englishman Neate was discussing the meaning of music with Beethoven, the composer admitted somewhat vaguely that he "never worked without a picture in his mind." Be this as it may, the composer was always greatly enraged when other people attempted to fix pictures to his music, as did the publisher who gave the title "La chasse" to the unchristened overture, Op. 115. The first movement has a tender wistful charm and romantic feeling; it is the very poetry of sound. The first subject with its three...
1 minute read
Allegretto ma non troppo—Vivace alla Marcia—Adagio ma non troppo—Allegro risoluto. Dedicated to Freund Dorothea Ertmann and performed for the first time as new on February 18th, 1816; it was not published until February, 1817. With this Sonata we reach the third period of Beethoven's works, that in which reflection and philosophy play such a great part. Many passages in some of his latest works reach such a massive spaciousness that they seem to lose all touch of human comprehension. Beethoven was seeking a new style, in striving after which his music became more and more contrapuntal. One cannot help connecting his use of the fugue in many of his later works with this new phase. But it was not the fugue of Bach, but one filled with sublimity and mysticism in which he attempted to render the spiritual force more and more concentrated, the meaning sometimes becomes completely dissipated in...
1 minute read
Allegro—Scherzo—Adagio sostenuto—Fugue. The first two movements were finished in April, 1818; the two last were composed in the summer of that year. The Sonata was ready for publication in March, 1819, but did not appear until September, 1819. It carried the sub-title "Sonata for the Hammerclavier." [89] It is dedicated to the staunch friend and patron, the Archduke Rudolph, and is the longest of all Beethoven's sonatas, being about twice as long as the longest of the others. The first movement (over four hundred bars in length) is evolved from the two little germs contained in the first two bars. There is a long bridge passage in which derivative themes occur before the second subject in three sections. A long development follows and a superb return with a powerful coda. In the three bars preceding the return, all the "A sharps" are usually misprinted "natural." This A sharp should be...
36 minute read
Vivace ma non troppo—Prestissimo—Andante and Variations. Dedicated to Maximiliana Brentano. Written at the age of fifty, it seems possible that he poured into these later instrumental movements much that he felt was beyond the vocal forms of the great Mass in D which was occupying his thoughts at this time. The rhapsodic first movement with its light and happy figures, repeatedly broken in upon by the deeply expressive Adagio phrases; the remarkable uncouth Scherzo with the subject in the bass and the angelic variations, one in fugue form, and the other a tour de force with its thrilling pedals, the beatific return of the theme at the end, given this sonata a high place amongst the happiest conceptions of the master....
1 minute read
Moderato cantabile—Molto allegro—Arioso dolente—Fuga. The autograph is dated December 25th, 1821, and the work appeared for the first time in August, 1822. Here we find Beethoven in his most exalted mood, and it is significant that whilst the main outlines of the Sonata-form are at the foundation of the piece, he has gone still a step farther in the direction of welding the whole sonata into one piece. The first, the movement of development, is on the usual lines but is handled with great freedom. The second movement is one of those fast pieces, somewhat fantastic, with which Schumann has made us familiar at a later period. A remarkable recitative bridge portion follows which leads into one of the most beautiful airs ever penned by Beethoven, the Arioso Dolente . This runs into the Fugue, which is here used not so much as a movement in itself, but a concentration...
1 minute read
Maestoso—Allegro con brio—Arietta. Although the designation Sonata persists with Beethoven right along throughout all his periods, yet in this last sonata we have left the first ones completely out of sight. The name must be taken merely in its general sense of a piece of high aims; or even in its literal sense, the Italian word meaning simply to play . This Sonata, which was dedicated to the Archduke Rudolph, is practically a Prelude and Fugue, with an Air and Variations. The introduction contains two themes, a leonine, stormy one and a singing phrase. The Fugue opens like a veritable thunder-storm. There are short phrases in the major which answer to the second subject, a brief snatch of two celestial bars, and the agitated atmosphere again unfolds itself. This second subject, which is a mere phrase, is repeated in the last portion of the Fugue in the tonic major, which...
47 minute read
Allegro con brio—Tema con Variazioni—Rondo. This is the first of a set of three Sonatas published in 1799, and dedicated to F. A. Salieri. It is noteworthy that it was a favourite custom with Beethoven to publish his works in sets of threes; thus, Opus 1, Three Trios for Pianoforte, Violin and Cello; Opus 2, Three Sonatas for Pianoforte; Opus 9, Three Trios for Strings; Opus 10, Three Sonatas for Pianoforte; Opus 30, Three Sonatas for Pianoforte and Violin; Opus 31, Three Sonatas for Pianoforte; Opus 59, Three Quartets for Strings (dedicated to Prince Rasumovsky); and the Opus 12. No. 1 of this Opus is a vivacious work of no great depth, and the phraseology is in the Mozartian manner. The theme is a 16-bar phrase, given out by the piano and repeated on the violin in two sections. The variations are four in number, the third being in the...
23 minute read
Allegro vivace—Andante più tosto Allegretto—Allegro piacevole. Although this Sonata offers no outstanding point of interest, it is to be regretted that it is not more frequently heard. There are one or two places where the sunny sky is slightly overcast, but on the whole, it is a work brimful of youthful happiness. The Andante , somewhat frail, is like the Finale , full of fine melody, and gay with optimistic feelings of youth....
15 minute read
Allegro con spirito—Adagio con molto espressione—Rondo. The tuneful, breezy Allegro contains some brilliant work for the piano. The Adagio seems hardly deep enough to carry its broad time with dignity. The delicate Finale—short, simple, and tuneful—is well rounded off....
1 minute read
Presto—Andante—Scherzo—Allegro molto. This Sonata, published in 1801, and dedicated to the Count Moritz von Fries, is one of the more serene works of the "first-period" style. Its charms are not readily apparent, but it is full of interest to the serious musician. The subjects of the opening Presto are not very distinguished. The composer seems to have felt this, and has consequently introduced an unusual amount of new matter into the development section. The gentle, placid Andante , with its eloquent rests, has some unusual passages, notably the bridge (bar 33) where a definite theme is treated fugally in three parts. The Finale, undefined, strange and unusual, possesses that weird note which so frequently sounds in Schumann's pieces. The key of A minor seems to possess the right key-colour for this bustling, indefinite, and somewhat uneasy sort of mood. In this direction, one calls to mind the Kreutzer Sonata ,...
23 minute read
Allegro—Adagio molto espressivo—Scherzo—Rondo. This graceful and happy Sonata, also published in 1801 and dedicated, like its predecessor, to the Count Moritz von Fries, is the most popular in the "early-period" style. The first movement is full of serene happiness. The Adagio has a lovely theme, dreamy and languorous as a summer's day. The Scherzo is characteristic, full of fun and oddity; the Rondo, full of good spirits, the chief theme being varied at each return....
39 minute read
Allegro—Adagio molto espressivo—Allegretto con variazioni. This is the first of a set of three Sonatas dedicated to the Kaiser Alexander I. With this Opus the true individuality of Beethoven is manifested. Although the opening of this work is not particularly striking, yet the movement has a clarity of style and delicacy of workmanship together with distinct melodic charm. The theme of the Adagio is of great beauty, caressing in its tenderness. For the Finale , Beethoven turns to his beloved Variations form. This was not the original Finale which was "lifted" in a moment of haste to form the conclusion of the Kreutzer Sonata. Still, one cannot deny that the present variations suit this charming poetical sonata much better than the Finale of the Kreutzer would have done....
37 minute read
Allegro con brio—Adagio cantabile—Scherzo—Allegro. This favourite work is one of the great masterpieces of music. The first and last movements sound the clear note of Beethoven's personality—a king here comes to his own. The first movement opens with a veritable quatrain of musical poetry. The gay martial swing of the second subject is remarkable. Stormy episodes follow, and the development section commences with a new idea. Conflict succeeds conflict before the serenity of the exposition returns. The beautiful Adagio flows along with a solemn majesty, although there are one or two short dramatic points. The Scherzo , bright and tuneful, somewhat naive, does not give us the fulness of the real Beethoven which we get in the sombre, energetic and passionate Finale ....
27 minute read
Allegro assai—Tempo di Minuetto—Allegro vivace. After the stormy power and the serene beauties of the Sonata in C minor (a key which always called forth Beethoven's best) this Sonata appears somewhat colourless. The long-drawn Tempo di Minuetto is a little tedious, whilst the first and last movements, though vigorous and well varied in mood, by no means give us the deep Beethoven of the C minor Sonata. The scoring of many of the passages is unusually thin, and reminiscent of Haydn not at his best....
1 minute read
Dedicated to Rudolph Kreutzer. Adagio—Presto—Andante con variazioni—Presto. Though absurdly over-estimated, perhaps on account of Tolstoy's stupid novel, this still remains one of the great masterpieces in music. Commissioned by a Mulatto violinist named Bridgetower, and written, as the original title-page says, "in a specially brilliant style," it was first given at 8 o'clock on a May morning in 1803 in the Augarten at Vienna, with Beethoven at the piano and Bridgetower with the violin. The Sonata opens with a majestic introduction, ending on a dominant pause. Tradition has it that Bridgetower improvised a cadenza here and that Beethoven approved. Amongst the whirl and excitement of the bold and vigorous opening Presto , the hymn-like second subject stands out with a marvellous way. Nothing is lost of the tenderness of the Andante in the brilliant variations which follow it, and this is all the more wonderful because this piece is the...
53 minute read
Allegro moderato—Adagio espressivo—Scherzo allegro—Poco Allegretto. This was written in 1810 and dedicated to Beethoven's firm friend and patron, the Archduke Rudolph. Although not really characteristic of the master's latest style, which does not commence until Opus 106, yet it is the most intimate of all the violin sonatas. It stands amongst the very great works and is indeed in some ways superior to the C minor. The Adagio , calm and sublime, is one of the most beautiful things in music. The scoring is like that of a string quartet. The ending dies away and creeps almost imperceptibly into the Scherzo through an unexpected C sharp. Full of life and bubbling over with fun, it has a jolly trio and a coda of its own. The Finale touches every mood from gay to sad, from lively to severe. The lovely Adagio makes a re-appearance in it, but the gay mood...
32 minute read
Dedicated to Prince Lobkovitz. Allegro con brio—Adagio affettuoso ed appassionato—Scherzo—Allegro. Composed in 1800 at the age of 30, this first set of quartets belongs to the same period as the great C minor Symphony, No. 5. The music of No. 1 is Mozartian in type, very charming, and the scoring is light and graceful. The Adagio is very beautiful, and one can feel in it the future Beethoven. Indeed we almost arrive at maturity in the episode in D flat in the Finale , where Beethoven uses the melody which he again took up in his ballet "The Men of Prometheus" and in his Third Symphony....
29 minute read
Allegro—Adagio cantabile—Scherzo—Allegro molto quasi Presto. This quartet is even more like Mozart and Haydn than No. 1, except for the fact that Beethoven keeps his music in rather higher registers. The Adagio is not so Beethovenish as the slow movement of No. 1, but it contains an episode marked Allegro. The Finale is full of spirit, but it is not the Beethoven in the "unbuttoned" mood of the later works. There is some effective work for the G string on the 1st Violin, for Paganini had already cast his glamour over Europe....
32 minute read
Allegro—Andante con moto—Allegro—Presto. This beautiful quartet, composed a year later than the first two, already points to the maturity of the second period, especially in the first movement. The Andante opens with a lovely melody for the 2nd Violin on the G string; restraint and broadness in playing should be the player's aim here. Parry refers to the fine balance of form in this Quartet in his article in Groves' Dictionary. The Scherzo is here marked Maggiore—Minore—Maggiore . The Presto is full of Beethoven spirit and handling, in one passage in particular, having spaciousness, which is such a striking feature in the final quartets....
24 minute read
Allegro ma non tanto—Scherzo—Menuetto—Rondo. Written in Beethoven's favourite key, C minor, this quartet is remarkable for its melodiousness. It has no slow movement and contains both a Scherzo and a Minuet, the former marked Andante Scherzoso quasi Allegretto and opening in a Fugato style reminiscent of the Andante of the First Symphony. Both this and the Minuet contain the characteristic Sforzandi, especially that on the third beat of triple time. The Prestissimo Coda brings the Finale to a powerful conclusion....
27 minute read
Allegro—Minuet—Air and Variations—Allegro. This quartet is chiefly remarkable for its lovely Andante and set of variations on the beautiful theme which has all the natural feeling of a genuine folk-song. The first variation is Fugato ; the second has sparkling triplets for the 1st violin; the third woodland murmurs, whilst the cellos and violas occupy themselves with the melody. The fourth is organ-like in treatment, whilst the final one starts on a boisterous scamper home, which ends, however, in a melancholy, dreamy meditation. The Finale is Mozartian....
53 minute read
Allegro con brio—Adagio ma non troppo—Scherzo—La Malinconia—Allegretto quasi Allegro. This favourite quartet, composed in 1800, has five movements; whereas the fourth quartet has no slow movement. The arrangement of the five movements seems to suggest some sort of carefully-arranged "programme;" but woe always overtook the man who dared to attach a definite story to any of the music in these pieces in Beethoven's lifetime. The opening movement, full of vitality, and asks for spiccato bowing. It is very light in texture. The first Adagio is full of graceful tunefulness, somewhat elaborate in texture, and containing many characteristic touches of expression; so too, does the Scherzo . The second slow movement Adagio , entitled by Beethoven La Malinconia (grief), is one of Beethoven's most moving pieces of music. Knowing here that he was entering into new territory, he especially marks such movements to be played with the greatest feeling più gran...
1 minute read
No. 1 of the set dedicated to Count Rasumovsky. Allegro—Allegretto Vivace e sempre Scherzando—Adagio molto e mesto—Thème russe con Variazioni. This fine but difficult quartet, sometimes called the Cello Quartet on account of the prominence given to this instrument, was written in 1806. The Count himself is supposed to have played the cello, and the set of variations on the Russian song used for the Finale was a second compliment to Beethoven's noble Russian patron. Beethoven took his theme from the Prabst collection, 1815, which is not now published, having been superseded by Rimsky-Korsakoff's fine collection. The theme is found there (No. 13) marked Andante and the Russian words may be translated— Ah, is this my fate? And what a fate! The technique and the subject matter is very much more advanced. The first movement contains a remarkable unison passage for the full strings, some remarkable high work for the...
1 minute read
Allegro—Adagio—Allegretto—Finale. The second quartet of the Rasumovsky set is even more elaborate than the first. The opening movement, though containing some dark, passionate moods akin to the Appassionata Sonata , is nevertheless happy and delicate in tone. Its technical requirements are great. The quartet opens with two strong chords, then a silent bar, which the composer fills in curiously enough in the recapitulation. The lovely long-drawn Adagio in E major is marked by Beethoven con molto di sentimento (with great feeling). Here again he is in his new territory. It is as though he said to the players, "Wake up! this is an entirely new kind of music." The playful Allegretto introduces another Slav folk-song, which can be found in Rimsky-Korsakoff's collection (No. 45). It is sacred and majestic in tone, a song of glory to the Creator. It forms the major trio portion, which is carefully welded on to...
46 minute read
Introduzione—Allegro vivace—Andante con moto—Menuetto—Allegro molto (Fuge). This, the third of the Rasumovsky set, was composed in 1806. Starting clean out of the key, a few bars of Andante introduction gradually lean towards C major. The first movement is remarkably clear and lucid in style and finely coloured in harmony. Beethoven is in one of his happiest moods. The exquisite Andante in A minor opens with a pizzicato bass and ends in the same manner. It is a highly finished movement. The Minuet is of the stately dance order and appears in the tonic key C major. The coda to it ends on the dominant seventh, thus bringing in the remarkable spiccato Fugue which Brahms played from memory as an encore at a concert in Vienna in 1867. The Una Corda set of entries preserving the homogeneity of tone and adding greatly to the effect of the intensity of the crescendi...
44 minute read
Poco adagio—Allegro—Adagio ma non troppo—Presto—Allegretto con variazione. This remarkable quartet, composed in 1809 and dedicated to the Prince Lobkovitz, is widely known under the title of the Harp Quartet on account of the remarkable pizzicato arpeggios in the opening Allegro. A short introduction is marked sotto voce . The Allegro contains a brilliant cadenza for the Violin—Beethoven's only excursion into the virtuoso field in chamber music. The very beautiful Adagio is Beethoven at his very best, whilst the Presto Scherzo is curious in form, being arranged with varying tempi , thus, on the following plan:— Presto C minor, Più Presto-Trio C major, C minor, Presto repeated, and again the C major, finishing with the C minor. This leads without break into a set of six variations: the second, notable for its lovely viola melody; and the sixth, organ-like in character over a cello pedal-point....
34 minute read
Allegro con brio—Allegretto ma non troppo—Allegro assai vivace ma serioso—Allegretto agitato. This quartet is dedicated to Count Zmeskal, Beethoven's willing secretary and man of affairs. Here in this work which stands on the border line between Beethoven's second and third styles, we have the gruff and brooding Beethoven. The somewhat short opening movement is full of intense feeling. The Allegretto is calm and religious, ethereal in tone and contains a fine fugato passage. The third movement, which takes the place of a Scherzo , is dark in feeling and pervaded with gloom. A short Larghetto introduction leads into the Finale agitated and restless in character, but ending with a brilliant gleam of sunshine....
1 minute read
Dedicated to Count Nicolas von Galitzen. Maestoso—Allegro—Adagio—Scherzando vivace—Finale. Although probably published before his death, this quartet is generally classed with the posthumous ones which represent fully Beethoven's third style. Although all these quartets contain many orchestral effects, yet he never exceeds the limits of the true string quartet style. To say that string quartet writing is only an imperfectly filled-in sketch of orchestral idium is not correct; otherwise, when Beethoven had four instruments at his disposal, would he have written some of those spacious passages for three, or even two instruments only? The opening movement has a double subject—the Maestoso introduction accompanying the Allegro subject on every appearance. The Adagio is dreamy in mood and has a touching Andante episode, also a striking excursion to E major before the final return. The Scherzando vivace , which must not be taken too quickly, is also a striking example of Beethoven's characteristic...
56 minute read
Adagio ma non troppo—Allegro—Presto—Andante con moto—Danza alla tedesca—Cavatina—Finale. This quartet, written in 1825, is one of Beethoven's longest, and contains six movements. The opening piece carries its Adagio introduction through all the appearances of the Allegro subject. The second subject is of wonderful beauty. The development section very short. The unusual Presto in B flat minor very succinct; is the nearest approach to Brahms. The Andante is really a Scherzo treated like an Andante in form. The third movement is cast in the rhythm of a German country dance; the theme is varied on its re-appearance. The famous Cavatina has a remarkable beklemmt (fear) episode and a wonderful Bebung chord at the close. The lovely second subject of The Finale has been used by Borodin as a theme in the Finale of his Second Quartet. There is a very proper little Fugue in the development portion. The original Finale was...
41 minute read
Published in 1827. Adagio—Allegro molto vivace—Allegro moderato—Andante—Presto. Although marked off in separate movements, this quartet is practically one long continuous piece. It opens with a mystic Fugue, organ-like in character and contains several fine enharmonic changes of key. At the Allegro molto vivace the tonality is lifted a semitone. This movement is light in character and simple in texture, almost Mozartian. An air with variations is approached by a recitative and introduction. This is followed by a Presto , where Beethoven appears in one of his joking moods. The tempo here alters continually, then comes a short Adagio section, a lamentation broken off by one of Beethoven's gruff shrugs, and the last movement opens with a clearly marked theme in happy mood. Strongly contrasted portions occur from time to time, but the work ends triumphantly....
37 minute read
Assai sostenuto—Allegro—Allegro ma non tanto—Molto adagio—Andante—Alla marcia—Allegro appassionata. The opening movement is on the same lines as that of the preceding quartet. Moods change constantly and the development is of the freest kind; there are two parts to the second subject, one a vivacious little figure, two a short singing phrase. The Allegro in A major is in ternary form and takes the place of the Scherzo . Then follows that remarkable movement in the Lydian mode headed "A convalescent's sacred song of thanksgiving to the divinity." This interesting modal piece was written after the composer's illness. The variations of it alternate with the Andante in D major, thus producing striking contrasts of key colour. The final Allegro is in free Sonata form....
28 minute read
Allegretto—Vivace—Lento assai—Grave ma non troppo tratto. This quartet is on a much smaller scale. The opening movement, whilst characteristic of the third period, is easily comprehended. The subject of the slow movement is one of Beethoven's most beautiful melodies, and the Finale commences with the famous musical motto— " Must it be? It must be " founded on a little altercation with his cook. The movement is characterised by some very perverse part-writing. These final quartets present many problems, even to the most profound students of Beethoven's works. BIBLIOGRAPHY...
4 minute read
If one wishes to know Beethoven better, reference should be made to the principal biographies and other works on Beethoven, of which we give a brief list:— I.—FOR BEETHOVEN'S LETTERS. Ludwig Nohl. — Briefe Beethovens , 1865, Stuttgart. Ludwig Nohl. — Neue Briefe Beethovens , 1867, Stuttgart. Ludwig Ritter von Koechel. — 83 Original Briefe L.V.B. an den Erzherzog Rudolph , 1865, Vienna. Alfred Schoene. — Briefe von Beethoven an Marie Graefin Erdödy geb. Graefin Niszky und Mag. Brauchte , 1866, Leipzig. Theodor von Frimmel. — Neue Beethoveniana , 1886. Katalog der mit der Beethoven—Feier zu Bonn, an II.—15 Mai, 1890, verbundenen Ausstellung von Handschriften, Briefen, Bildnissen, Reliquien Ludwig van Beethovens. Bonn, 1890. La Mara. — Musikerbriefe aus fünf Jahrhunderten. Leipzig, 1892. Dr. A. Christian Kalischer. — Neue Beethoven, Briefe . Berlin and Leipzig, 1902. Dr. A. Christian Kalischer. — Beethovens Sämmtliche Briefe. Kritische Ausgabe mit Erläuterungen, 5 vol. Leipzig...
2 minute read
1789.— Silhouette of Beethoven at eighteen years. (Beethoven's house at Bonn; reproduced in Frimmel's Biography, page 16). 1791-2.— Miniature of Beethoven by Gerhard von Kügelgen. (In the possession of George Henschel, London; reproduced in "Musical Times" of December, 1892, page 8). 1801.— Drawing by G. Stainhauser , engraved by Johann Neidl. (Reproduced in "Les Musiciens," celebres by Felix Clement, 1878, page 267; Frimmel, page 28). 1802.— Engraving by Scheffner , after Stainhauser. (Beethoven's house at Bonn; reproduced in "Die Musik," of March 15th, 1902, page 1145). 1802.— Miniature of Beethoven , by Christian Hornemann. (In the possession of Madame de Breuning at Vienna; reproduced in Frimmel, page 31). 1805.— Portrait of Beethoven by W. J. Mahler. (In the possession of Robert Heimler, Vienna; reproduced in "Musical Times," December, 1892, page 7; "Frimmel," page 34). 1808.— Drawing by L. F. Schnorr de Carolsfeld , lithographed by J. Bauer. (Beethoven's house at...
1 minute read
1. Op. 49, No. 2, in G major. 2. Op. 49, No. 1, in G minor. 3. Op. 14, No. 2, in G major. 4. Op. 14, No. 1, in E major. 5. Op. 79, in G major. 6. Op. 2, No. 1, in F minor. 7. Op. 10, No. 1, in C minor. 8. Op. 10, No. 2, in F major. 9. Op. 10, No. 3, in D major. 10. Op. 13, in C minor ( Pathétique ). 11. Op. 22, in B flat major. 12. Op. 28, in D major ( Pastorale ). 13. Op. 2, No. 2, in A major. 14. Op. 2, No. 3, in C major. 15. Op. 7, in E flat major. 16. Op. 26, in A flat major. 17. Op. 31, No. 1, in G major. 18. Op. 31, No. 3, in E flat major. 19. Op. 90, in E minor. 20. Op....
38 minute read
Compiled from Marx and Thayer. I.—COMPOSITIONS WITH OPUS NUMBER Opus 1. Three Trios for pianoforte, violin, and violoncello, in E flat, G major, and C minor; dedicated to Prince Lichnovsky; composed 1791-92. 2. Three Sonatas for piano, in F minor, A major, and C major; dedicated to Joseph Haydn; published 1796. 3. Trio for violin, viola, violoncello, in E flat; composed in Bonn before 1792. 4. Quintet for two violins, two violas, and violoncello, in E flat (from octet for wind instruments, Op. 103); published 1795. 5. Two Sonatas for piano and violoncello, in F major and G minor; dedicated to Frederic William II. of Prussia; composed in Berlin in 1796. 6. Sonata for piano, for four hands, in D major; published 1796-97. 7. Sonata for piano, in E flat; dedicated to the Countess Babette von Keglevics; published 1797. 8. Serenade for violin, viola, and violoncello, in D major; published...