[84] Mozart expressed himself in a similar manner; and Haydn, when at a performance of the Messiah in Westminster Abbey, was nearly overpowered by its sublime strains, and wept like a child.
[85] From the Harmonicon, December, 1825.
[86] Beethoven had already expressed himself to the same effect two years before to Hofrath Rochlitz, as may be seen in his work—"For the Friends of Music," vol. 4, page 355. I shall recur to this subject at the conclusion of the musical part of this book.
[87] There is no doubt that the vocal parts of Beethoven's works frequently lie very high, especially in places where words are to be pronounced. This is the case with his ninth Symphony with Soli and Chorus. The 1st recitative for the bass voice is in some parts uncomfortably high; and the composer himself permits the singer, in its opening notes, to sing
. He would certainly have given similar licences in several other parts of this recitative, if it had not been against his plan of unity in this musical poem, as the same notes of the recitative are performed by the double-bass in the foregoing instrumental movement. When I prepared, for the first time, to conduct this Symphony, on the occasion of its revival by the Philharmonic Society (April 17th, 1837), I found similar difficulties in other parts of the vocal movement. An imperfect execution of these was to be apprehended, derogatory to the general effect. I considered it a bold undertaking to attempt any alteration, since every work which comes from such a master-genius should be reverentially handled: I nevertheless ventured to facilitate the execution of the passages in question. The full amount of changes made by me is acknowledged in the following illustration:—in so doing I hope to prove the truth of the saying, "that he who accuses himself has the best chance of finding mercy at the hands of critical judges."—ED.
[88] He was in a measure right, for, what with fioriture and roulades, the true Cantabile style had until then remained to these two ladies.
[89] The same thing took place with the bass solo part, in which, however, Beethoven at length gave way, and made a little alteration in the recitative, because it was too high for the singer.
[90] In this they were not in the wrong. As to the saying, "jurare in verba magistri," I am of opinion that it would be better to spoil the effect of a whole piece than to destroy a single voice; and that therefore every skilful Director should make such alteration as may be found necessary for the voices, especially in the Mass, where there are many soprano passages, which may be screamed, but cannot be sung. These alterations are, besides, very easily made, and the effect will be grand and true, when all the voices can proceed at ease.
[91] For an account of this Concert see Supplement, No. III., Vol. II.