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[98] Schindler, by the way, relates in his Biography of Beethoven (3rd ed. 2nd Part, p. 212) that, already in 1816, when there was a proposal made by Hoffmeister to Beethoven to issue a new edition of his pianoforte music, the master conceived the intention of indicating the poetic idea ("Poetische Idee") underlying his various works. And the biographer adds: "This term (i.e. poetic idea) belongs to Beethoven's epoch, and was used by him as frequently as was, for example, the expression 'poetic contents' by others—in opposition to works which only offer an harmonic and rhythmic play of tones. Writers on æsthetics of our day declaim against the latter term; with good reason, if it refer to programme-music; without reason, if they extend their negation to all Beethoven's music, and deny its poetic contents. Whence that tendency, which so frequently manifests itself, and that strong desire to give pictorial explanations, especially of the Beethoven symphonies and sonatas, if they contained nothing but a well-ordered harmonic and rhythmic play of tones, and if they—or, at least, some of them—were not based on some special idea? What other composer creates this almost irresistible desire?"
[99] Mr. E. Pauer, in his preface to Ernst von Elterlein's Beethoven's Pianoforte Sonatas explained for the lovers of the musical art,—a valuable and interesting book,—remarks: "Herr von Elterlein's design is not so much to describe the beauties of Beethoven's sonatas, as to direct the performer's attention to these beauties, and to point out the leading and characteristic features of each separate piece" (the italics are ours).
[100] The Finale of a Sonata in A flat by Cramer, one of three dedicated to Haydn, is said to have suggested to Beethoven the Finale of his Sonata in A flat (Op. 26). Dr. Erich Prieger, who has recently published a facsimile of the autograph of Beethoven's sonata, in his preface quotes some passages from the Cramer Finale, which certainly seem to show that the Bonn master was to some extent influenced by his predecessor. Here is the second of the three passages quoted:—
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[101] Woelfl's "Ne plus Ultra" Sonata would have long been forgotten but for Dussek's "Plus Ultra." See [chapter] on "Predecessors of Beethoven."
[102] In Steibelt's two sonatas (Op. 62), for instance, the airs "If a body meet a body," "Jesse Macpharlane," and "La Chrantreuse" [Transcriber's Note: So in original, probably should be "Chartreuse">[ are introduced. In his Op. 40 we also find "The Caledonian Beauty," "The Maid of Selma," "'Twas within a mile of Edinbro' town," and "Life let us cherish." Woelfl's sonatas (Op. 35, 38) also contain Scotch airs, and his "Ne plus Ultra" has variations on "Life let us cherish."