Development of First Movement Form.—Of Beethoven’s first movements, it may be said that no one has ever spoken with the perfect freedom and naturalness which he displays. Each part of the movement he strengthened and developed; the first section announced two themes, contrasting, but still closely identified; sometimes with a slow introduction to usher them in; the Development was given a contrapuntal treatment, solidified by rich harmonies; the third section was varied by rhythmic or tonal devices, tending to broaden its effect; and, finally, the Coda was sometimes developed to the length of a fourth section, in which reminiscences of material used previously were worked up to a fitting climax.

Devices for Giving Unity.—But the most evident characteristic which Beethoven put into this form was that of Unity, or Continuity of idea. This he accomplished by several means. Of these, the first was by separating the most striking parts of his subjects into short, definite phrases or motives, and by introducing these in every variety of manner throughout the movement, sometimes in a sequence on different degrees of the scale, sometimes by imitation in different voices, again by varying the length of the component notes, and finally by dropping off portions, while the portions remaining keep the idea still before the auditor. Or, some casual phrase, in an unimportant section, will strike his fancy and he will develop it with a wealth of imagery astonishing in its inventiveness.[10]

Continuity of Various Parts.—This constant presentment of a thematic idea also serves to bind passages closely together which, in the sonatas of Haydn and Mozart, were separated by definite pauses. Indeed, Beethoven sedulously avoids a complete cadence, seeking, by leading the listener eagerly on from one connecting phrase to another, to retain the interest and make it mount up higher and higher, as the effects grow in intensity. So phrases are made to overlap one another, with their boundaries practically eliminated. It has been said that Beethoven tore down the fences which Haydn and Mozart had erected between the various parts of the Sonata Form; and this is proven by the fact that, in the Beethoven sonatas, authorities frequently differ as to where one part ends and another begins, so close and continuous is the bond between them.

Dramatic Effects in Climaxes.—This close connection is made a ready element toward the dramatic expression which finds vent in the climaxes, made from culminating tonal effects, where the thematic phrase mounts up step by step, higher and higher, growing breathless by shortened rhythm, until the hearer is brought to the summit of dramatic intensity; and here thunderous arpeggios, mingled together by the use of the pedal, hold him spellbound with their sonorous waves of sound. The supreme passion which Beethoven does not wholly conceal even in his quieter moods appears frequently in strange, agitated rhythms and startling accents thrown upon unexpected notes or in unexpected places. He also used many more marks of expression than his predecessors.

Freedom in Modulations.—The boldness of his modulations has already been mentioned; and these appear with the most freedom in the development sections, where tonalities pile upon one another, until the auditor is apparently inextricably involved in a maze of harmonies; from which, naturally as the awakening from a dream, he finds himself transported back to the original key, in which the first theme is taking its course. Beethoven’s sense of proportion, however, sees to it that this intricacy of keys is well prepared by the definite tonality of his original subjects, and by the final complete restatement of the original key. His harmonies frequently shocked his contemporaries by their violations of conventional rules; but they have long since been justified by succeeding musicians, who have departed from them to much bolder flights.

Program Music.—It has been said that Beethoven furnishes examples of the program style—that is, the depicting of definite ideas through music. We have already found a tendency of this sort among the early French clavier composers—Rameau, the Couperins and others of their school; also in some of the German writers, like Pachelbel and Kuhnau. Viewed in relation to these early composers, Beethoven’s work seems to have little in common, since his nearest approach to program music was in attaching to some of his works certain moods, inspired by events or scenes. Thus he gives the name “Pathétique” to the sonata, opus 13, “Appassionata” to opus 57, “Les Adieux” to opus 81; while we have the “Pastoral” symphony, depicting the mood inspired by country scenes, and the “Eroica,” showing the mood arising from the contemplation of a hero’s career.

Pianoforte Concertos.—The same characteristics which are noted in his pianoforte sonatas appeared, developed still further, in his larger works, such as his symphonies and piano concertos. The latter, five in number, display the resources of the virtuosity of Beethoven’s day, and yet keep this always subordinated to the inspired musical sentiment, with which the orchestra nobly accords. The last two of these, belonging to the maturity of his genius, amply display the powers of genuine expression.

Variations.—Of numerous other piano compositions, the sets of Variations are prominent. He was fond of taking some short and simply constructed musical thought, sometimes from some song or opera, and treating it in every variety of manner that his fertile genius could suggest. Such compositions, while generally playful in mood, have the finish which Beethoven never failed to give to his work.

Beethoven’s Accuracy in Writing.—It is this seriousness toward his art which most fully accentuates the real underlying drift of his nature. In the midst of his untidy ménage, when confusion of material goods reigned about him, Beethoven nevertheless treated each work which flowed from his pen with the most careful and critical revision, never allowing it to go out until he had absolutely fixed each note in its proper place. Where his art was involved, his usually irritable nature acquired a fund of patience; so that sometimes whole scores were rewritten, until he arrived at accurate expression; and, when that point was reached, his fiat was irrevocable. It is thus a satisfaction to note that he has not left us the erratic wanderings of an eccentric mind; but the completed and matured product of a genius, speaking with authority and precision.