FOOTNOTES:
[36] See for quotations from the sketch-books, Mason's "Beethoven and His Forerunners," pp. 304-314. Several of the complete sketch-books, edited by Nottebohm, are published by Breitkopf and H?tel.
[37] See Von Lenz's "Beethoven et ses trois styles."
[38] In numbering the measures, begin with the first (partial) measure, even though it is incomplete.
CHAPTER XII.
BEETHOVEN—II.
I. FORM AND CONTENT.
Our study of the Path?ique Sonata has shown how closely Beethoven followed the models of Haydn and Mozart, at the same time infusing into them a new spirit. The first movement of that sonata does not differ materially in form from the first movement of Mozart's G-minor Symphony, discussed in Chapter IX, yet Beethoven takes us into a new world, far removed from that world of pure impersonal beauty in which Mozart dwelt. Beethoven is the man struggling, fighting, working out his own individuality, learning through bitter experience; Mozart is the artist not so much turning his own experience into music, as creating outside himself imperishable works of an almost superhuman beauty. In many of Beethoven's works there is this same regularity of form coupled with freedom of expression. The brusqueness of his style led his contemporaries to think him an iconoclast; and it was not till many years after works like the Fifth Symphony were produced that the public began to understand how orthodox they are.
This free individual expression, now a characteristic of art generally and evident enough in all phases of human life—this assertion of the personal point of view—began with Beethoven and has been increasing ever since his day, until we now have music in which certain phrases or themes no longer please us as beautiful sounds, but exist for some ulterior and individual purpose.
