Beethoven by George Alexander Fischer (reading in the dark .TXT) 📕

This year saw the completion of the Seventh and Eighth Symphonies besides other important compositions; not so bad an achievement for a sick man, this record of two years' work. Sick or well, at home or abroad, his work went on; it was a part of his life, as necessary, apparently, as eating or sleeping. In size the Seventh Symphony exceeds any of the preceding ones. "Eine meiner vorzüglichsten" (one of my best), is Beethoven's statement in regard to it. Here the composer's meaning is not so readily elucidated as in the Pastoral, for instance. It means all things to all people. He usually had a clearly defined purpose or idea before him when composing, particularly in the case of his large orchestral works. Of the creations of such a man, it was to be expected that they would increase in grandeur with each succeeding one. Every great thing achieved is only an earnest of still greater in reserve. The fertility of his mind was exhaustless. As he penetrated deeper into this new world of the imagination, wider vistas were constantly being opened before his mental vision. "What I have in my heart must come out when I write," he stated to Czerny. "I never thought of writing for fame and honor." Grandeur and simplicity are prominent traits in Beethoven's character and these are exemplified in the Seventh Symphony. Wagner calls it the Apotheosis of the dance. "Der in Tönen idealisch verkörperten Leibesbewegung," [an ideal embodiment in tones of the movements of the human form]. This dance element is the characteristic trait of the symphony; the dance element on a colossal scale. Listen to Wagner's summary: "But one Hungarian peasant dance in the final movement of his Symphony in A (the Seventh) he played for the whole of nature; so played that who could see her dancing to it in orbital gyrations must deem he saw a planet brought to birth before his very eyes." In these later symphonies we see the beginnings of the mysticism which so profoundly influenced Beethoven in his last years, reaching its consummation in the Mass in D, the last Quartets, and the Ninth Symphony. From this period on, the picture to be drawn of him is of a man retiring more and more into himself as his growing experience with the world shows him his unfitness for it. Only in his work did he have any real reason for living. His every-day life became, for the most part, a phantasmagoria, wherein persons and events continually changed from grotesque to sublime, where nothing was stable or to be depended upon. The only reality was in his art. The consciousness that he was composing works that would go down the ages and delight many generations to come, was probably satisfaction enough to him to compensate him for anything he was called on to endure. With the progress of his deafness his inability to cope with even the ordinary affairs of life increased, and this also had the effect of withdrawing him from the world. The spiritual insight gained by years of introspection, of communion with the higher part of his nature enabled him to discover truths hidden to the consciousness of the ordinary man. "That power of shaping the incomprehensible now grows with him; the joy in exercising this power becomes humor. All the pain of existence is wrecked upon the immense pleasure derived from the play with it; the creator of worlds, Brahma, laughs to himself as he perceives the illusion with reference to himself; regained innocence plays jestingly with the thorns of expiated guilt; the emancipated conscience banters itself with the torments it has undergone. And all his seeing and his fashioning is steeped in that marvellous gayety (Heiterkeit) which music first acquired through him." (Wagner.)

A peculiarity of Beethoven's work often commented on, is the extreme simplicity of his themes as they first appear in his sketch-books. These are usually elaborated, thus changing their character, taking on new meaning with the growth and development of the idea in the composer's mind; when through with it, however, the thought appears fresh and spontaneous, such was his consummate art, as if it had never undergone any elaboration. But sometimes the theme maintains its original simplicity, and the masterwork appears in the orchestration which surrounds it; at times even this maintains an archaic simplicity. Thus in the coda of the vivace of the Seventh Symphony, a simple melody is reiterated eleven times in succession, with no other orchestration than the pedal-point on E by the rest of the instruments.

The symphonies in general are the language of a buoyant, gay, blithesome mood, as befits their design for concert use. In them, for the most part, he addresses people in their holiday humor. His experience with Fidelio may have impressed the fact upon his mind that sorrow and pain should be sparingly portrayed on festive occasions. Not so with the piano sonatas, which can be heard and studied in the privacy of one's home. Even the quartets may be placed in the category since they do not require an elaborate equipment and preparation for their production.

Take him all in all optimism prevails with him, or rather, in true philosophic spirit, he demonstrates that the sorrow, the inevitable trouble and misery of life, is more than offset by the good things the gods have provided. Life, after all, is a precious gift, which should be duly appreciated. A period of enjoyment, gayety, strengthens and fortifies the mind, and enables it better to bear the burdens when they come. The great creative genius, must perforce, in the very nature of things, be optimistic in his chosen work. He is more alive, more possessed with the belief that life with its opportunities is worth while, than is the case with the ordinary man going about his petty concerns. In common life, the busiest man is the happiest man, that is the most satisfied; and this contentment springs from the consciousness of doing something worth doing, the advantage of which will remain. With the man of genius, the feeling rises to elation, to rapture, when he considers the transcendent, imperishable nature of his work. "Dass Hervorbringen selbst ein Vergnügen und sein eigner Lohn ist."

The Eighth Symphony which was brought out at the same time as the Seventh is the shortest by a few bars, of the nine. It was completed in about four months from the date of its inception. Here as in the Seventh, the dance element is in the ascendant, commanding, swaying everything, thus coming back to first principles, almost to the origin of the art, as an art. The dance is the primordial, autochthonic form of music; its foundation so to speak. The song had its origin in the dance as indicated by its name "ballad." It is a comparatively simple matter to trace its upward course in instrumental music, as such. It is conceivable that people from remote times on, had the faculty of originating tunes, and of humming and singing them, and dancing to them long before such things as scales and notation were conceived of. Song and dance must have come into being at the same time, and the earliest dancing was done with a singing accompaniment. As people advanced in the art and became able to manufacture instruments with which to produce music to dance by, it is readily apparent that those persons who did not dance, derived pleasure from listening to it. The next step was to play these dance tunes without dancing. This naturally led to a collection of dance tunes. By playing three or four in succession it was soon found that a more agreeable effect was produced by selecting those differing in rhythm. Here we have the suite, the earliest orchestral form. After a while it was found that a change of key heightened the effect, and, when composing purely orchestral music not intended for actual use in dancing, the more original of the composers at times allowed the strict dance form to fall into abeyance in one or two movements to enable them to try their hand in another style, and also for contrast. A broadening and augmenting of the different forms and we have the sonata. The symphony is an enlargement of the sonata. All our intellectual progress is an unfolding, like a flower from the bud. We have first an impression, then an opinion, then demonstration.

Many years were to elapse before the next and last symphony was to appear; years in which the ripening process was to go on, and which were to culminate in the Mass in D, the Choral Symphony and the last quartets,—works that are in a class by themselves in the same sense that the works from the Third Symphony on, up to, and including the Eighth, are in a class apart from the others. His compositions prior to the Third Symphony are in the style of Mozart and Haydn. They are the naïve utterances of the young musician who does not yet realize that he has a mission to perform; whose ambition was to be ranked with his great predecessors. Of the works of the second period, it can be said that their most prominent characteristic is gayety (Heiterkeit). They are not all in this mood, and but rarely is the mood maintained throughout a single work, but it exists to the extent that it dominates it, just as the key-note to his later works is to be found in his mysticism. The works of the second period are coincident with his best years physically and when his mental powers had reached their highest maturity. When he found out what manner of man he was and realized the place he was destined to occupy among the great ones of earth; when he had accepted his destiny and had made his peace with himself it is easy to understand how a certain gayety and serenity should have spread itself over his life and have communicated itself to his works; and though this serenity was alternated by periods of despair, he allowed no more of this to appear in his work than his esthetic sense approved of. Like all highly organized people he sounded the gamut of joy and sorrow. His journal entries tell the story. One day, exulting in life and its possibilities he writes, "Oh, it would be glorious to live life over a thousand times." At another time he calls upon his God in abject despair to help him through the passing hour. At one time life is so difficult a problem that he sees not how it can be continued at all. Then he loses himself in his creations and soars into regions where his troubles cannot follow. This joyousness is the portion of many extraordinary people. Haydn and Mozart had it. "He has among other qualities that of great joyousness," says Carlyle, in speaking of Richter. "Goethe has it to some extent and Schiller too. It is a deep laughter, a wild laughter, and connected with it, there is the deepest seriousness."