Beethoven, a character study; together with Wagner's indebtedness to Beethoven

by George Alexander Fischer

Dear Zmeskall,—

Won't you kindly send me the mirror that hangs next to your window for a few hours. Mine is broken. If you will at the same time have the goodness to buy me such another you will do me a great favor. Your outlay will be immediately returned to you.

Pardon dear Z my importunity. I hope soon to see you.

Your,
Bthvn.

Beethoven's lapses from grammar (untranslatable into English), indicate his impatience at the trivial wants and necessities which interrupt his creative work and take his thoughts from his compositions. Instances of bad grammar in his letters are frequent, when dealing with ordinary topics. In no sense a polished man, he could, however, when the occasion required it, assume in his grammar and diction the grace and elegance of the scholar, but it does not often come to the front. He was too rugged, too headstrong, to pay much attention to the little niceties of life.

In common with his contemporaries, Zmeskall found his principal enjoyment in music. He gave musical parties at his quarters, playing the cello himself, and gathered about him many of the most distinguished artists and amateurs of the day. Beethoven was always interested in feats of virtuosity, but he cared little for the compositions of others. He occupied himself with his own work to the exclusion of that of his contemporaries. His musical library was scant, consisting of a small collection of the works of the early Italian masters, bound in one volume, some of Mozart's sonatas—which must have seemed to him curiously stunted and commonplace in comparison with his own—and a portion of Don Giovanni. In addition, he possessed all of Clementi's sonatas, which he greatly admired and which formed the basis of the musical studies of his nephew for several years. Lastly there were a few works of Bach, consisting of the Well-tempered Clavichord, some motets, three volumes of exercises, some inventions, symphonies and a toccato.

In speaking of Weber he said that he began to learn too late, and makes the curious criticism that Weber's only apparent effort was to attain the reputation of geniality. In reading Freischutz, he said he could hardly help smiling at certain parts, but afterward qualified this by saying that he could judge it better if he could hear it. Schindler says, that when Rossini came to Vienna in 1822, and endeavored to call on Beethoven, the master succeeded in escaping his visits. His opinion of Händel is high. He once remarked to a friend who called on him, "Händel is the greatest composer that ever lived." Continuing the narrative this friend, J.A. Stumpf of London, says, "I cannot describe the pathos and sublimity with which he spoke of the Messiah of that immortal genius. We all felt moved when he said, "Ich würde mein Haupt entblössen und auf seinem Grabe niederknieen." (I would kneel at his grave with uncovered head.)"

Of Mozart, he said, near the end of his life, in a letter to the Abbe Stadler, "All my life I have been esteemed one of the greatest admirers of Mozart's genius and will remain so until my latest breath." Czerny said that he was at times inexhaustible in praise of Mozart, although he cared nothing for his piano works and he makes a severe criticism on Don Giovanni. "In this opera Mozart still retained the complete Italian cut and style. Moreover, the sacred art should never be degraded to the foolery of so scandalous a subject. The Zauberflöte will ever remain his greatest work, for in this he showed himself the true German composer." Of Cherubini's Requiem he said, "as regards his conception of it, my ideas are in perfect accord with his and sometime I mean to compose a Requiem in that style." (Later in life his opinion of Cherubini was greatly modified). He seldom spoke of Haydn, and had nothing of that master's compositions in his library.

Beethoven's collections in literature were far more extensive and interesting than in music. He was essentially a student. His predilections and thoughts all tended toward the acquisition of knowledge. This was a veritable passion with him. His mind ranged through almost every department of literature. In the intervals of his work, worn by fatigue, he was in the habit of resting his mind by reading the classics, or Persian literature. Schindler, who was near him for the last ten years of his life says in relation to Beethoven's love of the Greek classics. "He could recite long passages from them. If any one asked him where this or that quotation was to be found he could find it as readily as a motive from his own works." Elsewhere he says, "Plato's Republic was transfused into his very flesh and blood." He was an insatiable reader of history. As may be supposed Shakespeare was an especial favorite with him. There is a curious little work published called Beethoven's Brevier, made up of those portions of Shakespeare and the classics for which he had a particular regard. Here, Shakespeare is first on the list. There are also many selections from the Greek, and from Schiller, Goethe, Herder and others.

Although a man of considerable culture, he was not an educated man, all his available time and strength having been required for his musical training. He was, however, the equal or superior in mental attainments of any of the great musicians, with the exception of Wagner. He had the strongest faith in his own powers. It was his belief that almost anything could be accomplished by trying. Side by side with this belief was the ineradicable conviction that intellectual culture was of more importance than anything else in the universe. He stated his views finely on this subject in a letter to a young girl, unknown to him, who had sent him a present with a letter expressing her appreciation of his music. "Do more than simply practice the art (of music), penetrate rather, into the heart and soul of it. It will be found well worth while, for art and knowledge alone have the power to elevate mankind up to Deity itself. Should you want anything of me at any time, write me with entire confidence. The true artist is never arrogant; rather he sees with regret how illimitable all art is, and how far from the goal he remains. While he may be admired, he only grieves that he cannot reach the point toward which his better genius beckons him."