In the cyclical forms of instrumental music, Beethoven is preëminent from all points of view, formally, technically, aesthetically, and spiritually. Moreover, there is a Shakesperian quality in his wonderful tone-poems. Like the great poet he touches every chord of the heart and appeals to the imagination more potently than other poets. Beethoven's creations, like Shakespeare's, are distinguished by great diversity of character; each is a type by itself. His great symphonies stand in as strong contrast with each other as do the plays of Shakespeare with each other. Beethoven is the least of a mannerist of all composers. "Each composition leaves a separate image and impression on the mind." His compositions are genuine poems, that tell their meaning to the true listener clearly and unmistakably in the language of tones, a language which, however, cannot be translated into mere words, as has often been attempted in the flowery and fanciful effusions of various writers, like Wagner, Lenz, Marx, and others, who waste labor and thought in trying to do the impossible.
In the Pantheon of art Beethoven holds a foremost place beside the great poets and artists of all time, with Æschylus and Dante, Michael Angelo and Shakespeare. Like these inspired men he has widened and ennobled the mind and the soul of humanity. "In his last works," says Edward Dannreuther, "he passes beyond the horizon of a mere singer and poet, and touches upon the domain of the seer and prophet, where in unison with all genuine mystics and ethical teachers he delivers a message of religious love and resignation, and release from the world." Or as Wagner wrote, "Our civilization might receive a new soul from the spirit of Beethoven's music, and a renovation of religion which might permeate it through and through."
FRESCO IN VIENNA OPERA HOUSE.
From a photograph. Representing scenes from the Opera of Fidelio.
FRANZ PETER SCHUBERT