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

by George Alexander Fischer

As an art, music finds its best development when of a religious character. While operatic and even orchestral music in general, is written more for the sake of giving pleasure than with any clearly defined ethical purpose, the music of the Mass and Passion, religious ceremonies, entering into man's profoundest experiences, is given for spiritual enlightenment, and, being a part of the soul's needs, demands and receives higher treatment and more serious consideration than secular music. The very frame of mind which takes possession of a person while listening to music of a religious character, is favorable to a true appreciation of it. The listener is more in earnest, and the emotions called up by the subject impress him more strongly than when listening to secular music. These considerations have their influence on the composer also. We usually find in religious music of the best class, depth and earnestness of purpose commensurate with the expectation of the listener.

These few words are preliminary to a consideration of the Mass in D, the work in which Beethoven reached his culmination as an artist. He himself so regarded it, declaring it to be his greatest and best work. It is certain that he spent more time on it, and gave it a larger share of his attention than was devoted to any other of his works.

For several years prior to this, Beethoven's muse had been silent for the most part. No important work since the completion of the Eighth Symphony had been achieved, with the exception of the sonatas mentioned in a previous chapter. This was owing to the various lawsuits in which he found himself involved. His troubles had now been adjusted, however, to such an extent as to enable him to again turn his attention to large works. The pension which had been settled on him in 1809 had been imperilled by the death of Prince Kinsky and the bankruptcy of Prince Lobkowitz. The portion of it which had been pledged to him by these gentlemen had been discontinued or greatly reduced, and Beethoven had to have recourse to the law to protect his rights. A compromise was finally effected, which resulted in the pension being paid in part. Although the litigation, in regard to his nephew was still on, it was becoming more and more apparent that the outcome of it would be in his favor. His mind at rest on these points, we find him once more in good health and spirits, with creative energy not only unimpaired but greater than ever. "In general, every evil to which we do not succumb is a benefactor," said Emerson.

The announcement of the Archduke's appointment as Archbishop of Olmütz, had been definitely made during the summer of 1818. It was well known for years previously that he would receive this appointment, and it is quite likely that Beethoven had always intended writing a mass to commemorate it. Considering the close relations existing between master and pupil for so many years, and Beethoven's obligations to Rudolph in money matters, he could hardly have let so momentous an event go by, without writing a mass for it. A mass was probably always intended, but not such a one as eventually grew out of his original idea, which, expanding, augmenting in force and grandeur as the significance of the work took possession of his mind, finally became an apotheosis of friendship, a message to the world.

That the Archduke appreciated Beethoven and valued his friendship is plain. He carefully preserved the letters written him by the master and dedicated to him some of his own compositions. He had as complete a library of Beethoven's works as was attainable, and was thoroughly familiar with the master's music. That Beethoven responded to this to an equal degree is not likely. He lived too abstracted a life for that. He valued this friendship as much as such a man could, considering the disparity in rank and the difference in mode of thought of the two men. In dedicating so many of his compositions to him, and in consenting to teach him for so long a period, he showed the esteem in which he held him. Probably no other person, man or woman received the deference and consideration from Beethoven, which he accorded the Archduke. The republican, socialistic Beethoven was not specially influenced by his rank; rather, it was his personality and devotion to music, which won the regard of the master and formed the bond between them.

In the composition of the mass, Beethoven was on familiar ground; the work was congenial to him. The emotions called up by the subject swayed him to such an extent that he had difficulty in keeping it within bounds. The mass was a form of music with which he had been associated from childhood. It will be remembered that he played the organ at the age of twelve years at church services, a practice which was kept up for some years. His earliest impressions on the subject of music were in this style. He was, in addition, inclined to it by temperament.

The beautiful text appealed to him strongly. It is related that when the German version of his first Mass (in C) was brought him, he quickly opened the manuscript and ran over a few pages. When he came to the Qui tollis, the tears trickled from his eyes and he was obliged to desist, saying with the deepest emotion, "Yes, that was precisely my feeling when I composed it."

His journal entries at the time of beginning work on the Mass in D show how completely the subject had taken possession of him. "To compose true religious music, consult the old chorals in use in monasteries," he wrote, which gives the clew to his frequent lapses into the ancient ecclesiastical modes, the Lydian and Dorian, in this mass, a practice for which Bach furnished a precedent. "Drop operas and everything else, write only in your own style," is another entry of this time, showing his predilection for church music.

The summer of 1818 was spent at Mödling. He was in the best of health and spirits as stated, and began the work with great energy and enthusiasm. His whole nature seemed to change, Schindler states, when he began the great work. His interest and absorption in it was extraordinary, as is shown by the sketch-books from the beginning. Enthusiasm carried him on to the consummation of a greater work than any he had yet accomplished. Hitherto, every achievement was merely a resting-place up the mountainside, the prospect acting as a spur to him to go yet higher, well knowing what Emerson finely stated, and was putting into practice at this very time, that new gifts will be supplied in proportion as we make use of those we have. Dem Muthigen hilft Gott! said Schiller. Beethoven seemed to have some prevision that only a few more years would be allotted him for work; when he began on the mass his inspiration was like a river that had broken its bounds. Every nerve and fibre of his being called him to his work. He was like a war-horse that scents the battle. He now abandoned himself more than ever to the impulse for creating. For the next few years he lived the abstracted life of the enthusiast to whom every-day concerns are but incidental and unimportant things, and his art the one great matter. The gigantic tone-pictures which were constantly forming themselves in his inner consciousness were of so much greater importance than the events of his external life, that the latter were dwarfed by comparison and lost their significance. He now made a greater surrender of the ties connecting him with every-day life than ever before. His industry was phenomenal, but it soon became apparent that the work would not be ready for the Installation, the date of which was set for March 20, 1820. It was in reality not completed until nearly two years after this event.

We have a good description of the master at this time by the artist Klober, who had been commissioned by a wealthy relative who was forming a gallery of famous Vienna artists, to paint a portrait of Beethoven.