"We lived at Bruhl for two years, and while there, I used to hear a lady practicing near us. During the summer evenings her windows were generally open, and I walked to and fro outside to listen to her."
She seemed so shy that Beethoven said no more, but seated himself quietly before the piano and began to play. He had no sooner struck the first chord than I knew what would follow. Never, during all the years I knew him, did I hear him play as he then played to that blind girl and her brother. He seemed to be inspired; and, from the instant that his fingers began to wander along the keys, the very tone of the instrument seemed to grow sweeter and more equal.
The brother and sister were silent with wonder and rapture. The former laid aside his work; the latter, with her head bent slightly forward, and her hands pressed tightly over her breast, crouched down near the end of the piano, as if fearful lest even the beating of her heart should break the flow of those magical sounds.
Suddenly the flame of the single candle wavered, sank, flickered, and went out. Beethoven paused, and I threw open the shutters, admitting a flood of brilliant moonlight. The room was almost as light as before, the moon's rays falling strongest upon the piano and player. His head dropped upon his breast; his hands rested upon his knees; he seemed absorbed in deep thought. He remained thus for some time. At length the young shoemaker rose and approached him eagerly.
"Wonderful man!" he said, in a low tone. "Who and what are you?"
"Listen!" said Beethoven, and he played the opening bars of the Sonata in F. A cry of recognition burst from them both, and exclaiming, "Then you are Beethoven!" they covered his hands with tears and kisses.
He rose to go, but we held him back with entreaties. "Play to us once more—only once more!"
He suffered himself to be led back to the instrument. The moon shone brightly in through the window, and lighted up his glorious, ragged head and massive figure. "I will improvise a Sonata to the Moonlight!" said he, looking up thoughtfully to the sky and stars. Then his hands dropped on the keys, and he began playing a sad and infinitely lovely movement, which crept gently over the instrument, like the calm flow of moonlight over the dark earth. This was followed by a wild, elfin passage in triple time—a sort of grotesque interlude, like the dance of sprites upon the lawn. Then came a swift agitato finale—a breathless, hurrying, trembling movement, descriptive of flight, and uncertainty, and vague impulsive terror, which carried us away on its rustling wings, and left us all in emotion and wonder.
"Farewell to you!" said Beethoven, pushing back his chair, and turning toward the door—"farewell to you!"
"You will come again?" asked they, in one breath.