2. In the free-variation form, about like his Choral Fantasia, Op. 80, or the choral finale of his Ninth Symphony, both of which give a faithful illustration of his improvisations in this form.
3. In the mixed genre, where, in the potpourri style, one thought follows upon another, as in his solo Fantasia, Op. 77. Often a few tones would suffice to enable him to improvise an entire piece (as, for instance, the Finale of the third Sonata, D major, of Op. 10).
Nobody equalled him in the rapidity of his scales, double trills, skips, etc.—not even Hummel. His bearing while playing was masterfully quiet, noble and beautiful, without the slightest grimace (only bent forward low, as his deafness grew upon him); his fingers were very powerful, not long, and broadened at the tips by much playing, for he told me very often indeed that he generally had to practise until after midnight in his youth.
In teaching he laid great stress on a correct position of the fingers (after the school of Emanuel Bach, which he used in teaching me); he could scarcely span a tenth. He made frequent use of the pedals, much more frequent than is indicated in his works. His playing of the scores of Handel and Gluck and the fugues of Seb. Bach was unique, in that in the former he introduced a full-voicedness and a spirit which gave these works a new shape.
He was also the greatest a vista player of his time (even in score-reading); he scanned every new and unfamiliar composition like a divination and his judgment was always correct, but, especially in his younger years, very keen, biting, unsparing. Much that the world admired then and still admires he saw in an entirely different light from the lofty point of view of his genius.
Extraordinary as his playing was when he improvised, it was frequently less successful when he played his printed compositions, for, as he never had patience or time to practise, the result would generally depend on accident or his mood; and as his playing, like his compositions, was far ahead of his time, the pianofortes of the period (until 1810), still extremely weak and imperfect, could not endure his gigantic style of performance. Hence it was that Hummel’s purling, brilliant style, well calculated to suit the manner of the time, was much more comprehensible and pleasing to the public. But Beethoven’s performance of slow and sustained passages produced an almost magical effect upon every listener and, so far as I know, was never surpassed.
Characteristics of the Composer
Pass we to certain minor characteristic traits which Ries has recorded of his master:
Beethoven recalled his youth, and his Bonn friends, with great pleasure, although his memory told of hard times, on the whole. Of his mother, in particular, he spoke with love and feeling, calling her often an honest, good-hearted woman. He spoke but little and unwillingly of his father, who was most to blame for the family misery, but a single hard word against him uttered by another would anger him. On the whole he was a thoroughly good and kind man, on whom his moods and impetuousness played shabby tricks. He would have forgiven anybody, no matter how grievously he had injured him or whatever wrong he had done him, if he had found him in an unfortunate position. (“Notizen,” p. 122.)