BEETHOVEN.
Ludwig von Beethoven was born in 1770 at Bonn, where his father was then tenor singer in the chapel of the elector of Cologne. At an unusually early age he was able to perform that first of all works for forming a finished player on the organ or the piano-forte, the preludes and fugues of Sebastian Bach, called “Le Clavecin bien tempéré.” At this time he displayed equal progress in composition; for, in the same year, he published variations to a march, sonatas, and songs, all for the piano-forte.
In 1792, he was sent by the elector to Vienna, as court-organist, to study the theory of music under the celebrated J. Haydn, who, on leaving Vienna for London two years after, intrusted his pupil to the care of the learned Albrechtsberger. He was then more distinguished for his performance than his composition. Judging by the criticisms of his early works, harshness of modulation, melodies more singular than pleasing, and an evident struggle to be original, were among the principal faults of which he was accused. Severe as these critics were on him as a composer, they were lavish in their praises of him as a player. In their opinion, no one could equal him in spirit and brilliancy of execution; and nothing more was wanting to perfect his performance, than more precision and distinctness of touch. His greatest power consisted in extemporary performance, and in the art of varying any given theme without the least premeditation. In this he approached nearest to Mozart, and has never had a rival since.
The precarious situation of the court of Cologne during the war, and the death of the elector in 1801, in whom the art of music lost one of its most zealous patrons, induced Beethoven to choose Vienna as his permanent residence. As original and independent in his general way of thinking, as in his musical productions, a decided enemy to flattery, an utter stranger to every thing dishonourable, he disdained to court the favour of any one, however wealthy or high in rank. He has consequently resided nearly thirty years in that splendid metropolis, in open hostility with many; and in friendship with only a few, whom the admiration of his great genius will not allow to take offence, either at the singularity of his manner, or the candour with which he gives his honest opinions. Till very lately, he had hardly any other emolument than what his compositions produced him, and consequently he was too often in circumstances very unworthy of such a great genius.
In Austria, the native composers have experienced a neglect similar to that which Frederick the Great displayed to the literati of Prussia. Salieri, the Italian, has all the honours and emoluments of principal maestro di capella to their majesties; whereas the inimitable Beethoven relies entirely on his own strength, without the smallest portion of imperial munificence. It must have been a consideration like this, together with the increase of difficulties, that determined him, in 1809, to accept an offer from the new Westphalian court of Jerome Buonaparte, of the situation of maestro di capella. Fortunately, for the honour of Vienna and of Austria, the archduke Rudolph, and the princes Lobkowitz and Kinsky, induced him to alter this resolution. In expressions at once the most favourable and delicate, these princes had a document drawn up, by which they settled on Beethoven an annuity of 4000 florins, with no other condition, than that so long as he derives the benefit of it, he must reside at Vienna, or in some other part of the Austrian dominions; but he cannot travel into foreign countries, unless with the consent of his patrons. Vienna has thus become the place of his abode during the principal part of his life. Although he had a great wish to see foreign countries, particularly England, he has never applied for leave of absence to the archduke Rudolph, who is now his only patron, the princes Lobkowitz and Kinsky being dead. It has, however, been doubted whether his presence would add, either here or any where else, to his celebrity. His warmth of temper, extreme frankness, and singularity of manners, (which he is little able to rule according to the prescribed forms of society,) his little reserve in judging of people, and above all, his great deafness, seem little calculated to endear his person to the true admirers of his genius. Notwithstanding these foibles, which more frequently belong to great than to ordinary men, his character, as a man and as a citizen, ranks deservedly high. There is a rectitude in his moral conduct, which ensures to him the esteem of every honourable person.
Beethoven’s works are universally acknowledged to be, for the greater part, productions of the highest order. In the loftier strains of composition, he has attained so eminent a rank, that it is difficult to say who excels him. In many of his orchestral symphonies, overtures, quartettos for the violin, concertos, trios, and sonatas for the piano-forte, he may be placed without the slightest presumption by the side of Haydn and Mozart. His overture to the “Men of Prometheus,” and his piano-forte concerto in C minor, Op. 37, would alone be sufficient to immortalize him. They will ever be heard with delight after any overture or concerto, even of Mozart. A list of his works is copied from that very excellent periodical work, the “Harmonicon,” into the “Biographical Dictionary of Musicians,” from whence the present notice of Beethoven is derived.
The talents of a Haydn and Mozart raised instrumental composition in Germany to an astonishing elevation; and Beethoven may be said not only to have maintained the art in that stupendous altitude, but even in some respects to have brought it to still higher perfection. Reichardt, in his letters from Vienna, says, “Haydn drew his quartets from the pure source of his sweet and unsophisticated nature, his captivating simplicity and cheerfulness; in these works he is still without an equal. Mozart’s mightier genius and richer imagination took a more extended range, and embodied in several passages the most profound and sublime qualities of his own mind. Moreover, he was much greater as a performer than Haydn, and as such, expected more from instruments than the latter did. He also allowed more merit to highly wrought and complicated compositions, and thus raised a gorgeous palace within Haydn’s fairy bower. Of this palace Beethoven was an early inmate; and in order adequately to express his own peculiar forms of style, he had no other means but to surmount the edifice with that defying and colossal tower, which no one will probably presume to carry higher with impunity.”
“If any man,” says the Quarterly Musical Review, “can be said to enjoy an almost universal admiration as a composer, it is Beethoven; who, disdaining to copy his predecessors in any, the most distant, manner, has, notwithstanding, by his energetic, bold, and uncommon style of writing, carried away the prize from our modern Olympus. His peculiar beauties may be enumerated as follows: originality of invention—uncommon passages—a very energetic manner—imitative passages almost innumerable—and abstruse scientific modulation. The first of these peculiarities, no sincere lover of music who has heard any of his symphonies will refuse to admit; and it is principally to this prominent feature in all his works that the fame he has acquired is owing. There is something in the first movements of all his overtures and symphonies, which, to the hearer, conveys a clear impression that the piece is not similar to any he ever heard before by other composers. The frequent employment of discords unresolved with a full harmony, the apparent sombre cast of expression by a continual richness and depth of the bass, the evident preparation for some beautiful allegro or vivace movement; all these conspire to raise the author in our estimation, and to keep our attention alive. Yet, when he does lead us to the quick, it is not upon a light, unmeaning, or dance-like passage, that he chooses to work; conscious of his resources, he gives an excellent subject, gradually rising into importance as the instruments one after the other join in the stringed chorus; and when (as Maister Mace would say) ‘that vast concording unity’ of the whole band comes ‘thundering in,’ we perceive with what admirable skill the orchestra are brought together, and afterwards, to the latter part of the piece, continue our admiration of the scientific manner in which the parts are worked up. The conclusion leaves us in regret.”
In Beethoven’s “Mount of Olives,” the introductory symphony is considered to be so affecting and appropriate as to be equal, if not superior, to Haydn’s introduction, or representation of “Chaos” in the “Creation.” The whole is a striking instance of his originality of invention. With respect to his energetic manner, nearly the whole of his works abound with specimens of this description of beauty. Yet, however, in the midst of his energy, variety, and abstruseness, ideas may sometimes be discovered which create enthusiasm solely from their simplicity. Of this description is the well-known passage in his “Battle Sinfonia,” where the one fifer is supposed to be heard attempting to rally the disordered ranks of the French army, by playing their national air of “Malbrouk,” which he performs in a minor key, from his own presumed thirst and fatigue.
It is said that Beethoven does not write down a single note of his compositions till he has mentally completed them, and that he holds his own earlier compositions in contempt. He usually passes the summer at the pleasant village of Baden, about twelve miles from Vienna. He is very deaf, but can hear without the assistance of any machine, when addressed loudly and distinctly. His principal amusement in the country is taking long walks in the most romantic parts of the vicinity; these excursions he sometimes extends even through the night.[315]
[315] Biographical Dict. of Musicians.