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

Neefe was soon after promoted, the Elector giving him charge of the secular as well as the sacred music of the Court, upon which Beethoven received his first appointment, that of cembalist of the orchestra. The duty of the cembalist is to preside at the piano. Only a good musician would be capable of filling such a position, as all the accompaniments were played from the score. He held this for two years, afterward playing viol in the orchestra for several years more. This work in the orchestra was later of the greatest possible benefit to him in composing. There was no salary at first, but the post had an important bearing on his life, as he was obliged to attend all the rehearsals as well as the performances of the opera, always taking an active part. Before he reached the age of fifteen he was appointed second court organist. During this year he studied the violin with Franz Ries, which enabled him a few years later to play in the band.

It was in Beethoven's fifteenth year that he played the organ every morning at the six o'clock mass in the Minorite church. For some years before and during this period he was busy trying his hand at musical composition, but nothing which he composed during his youth amounts to much. He could improvise in a marvelous manner and he attracted much attention by the exercise of this talent, becoming famous in this connection long before he was known as a composer.

His creative talent unfolded itself slowly. He had high ideals and worked faithfully toward their attainment. Failure to reach the level of his aspirations did not dishearten him; rather it spurred him on to greater effort.

The discerning intellect is always in advance of the creative. His delight in Bach was great; he studied him to such purpose that, at twelve years, he was able to play the greater part of the Well-tempered Clavichord. His wonderful interpretation of Bach, later, on his arrival in Vienna, immediately placed him in the front rank of virtuosi, according to Hüttenbrenner, Schubert's friend.

As a boy he was docile, shy and reserved, caring nothing for the ordinary games of boys, or at least not participating in them to any extent. At an age when other boys begin learning their games, he began in composition, being forced to it, no doubt, by his father. He is said to have written a cantata at the age of ten to the memory of an English friend of the family, who died early in the year 1781. Some variations on a march in C minor bear the following statement: Composées par un jeune amateur L v B age de dix ans.

From year to year he kept on in musical composition, feeling his way, not discouraged by his inability to produce anything great, although Mozart's precocity and genius were no doubt frequently held up to him by others as an example to profit by. When he was seventeen he went to Vienna, the funds for the trip probably being furnished by the Elector. Here he met Mozart, then at the height of his fame, whose operas were frequently produced in Bonn and throughout Germany. He probably had some lessons from him. Mozart was very much occupied with the approaching production of Don Giovanni, which took place in Prague shortly after the young man's arrival. As Beethoven's visit terminated in three months, it is not likely that he derived much benefit from these lessons. On his first meeting with the master he extemporized for him on a subject given him by Mozart. That this was a momentous occasion to the impressionable Beethoven is certain. The emotions called up by the meeting enabled him to play with such effect that when he had finished, the well-known remark was elicited from Mozart: "Pay attention to him. He will make a noise in the world some day."

Beethoven, however, was compelled to return to Bonn, owing to the serious illness of his mother, who died of consumption July 17, 1787. He now took charge of the family and had a hard life from almost every point of view, his one enjoyment probably being in the exercise of his art. The affection between mother and son was one of the few bright spots in a boyhood of toil and privation. The father's harshness served to accentuate the kindness of the mother, and he felt her death keenly. He gave a few lessons, most unwillingly, the money from which, together with his salary as assistant organist and a portion of the father's salary, kept the family together, affording them some degree of comfort.

His return, no doubt, retarded his artistic development. The musical atmosphere of Vienna would have been much better for him, especially at this period, when he was entering manhood and eager to get at the works of contemporary composers. In those times only a small amount of the music that was written, was published. Many of the lesser works were composed merely to grace some social function, with but little thought given them as to their ultimate fate. It was customary to play from manuscript, copies of which were not readily attainable. In a city like Vienna new music was constantly being produced, occasionally at public concerts, but most often at social gatherings. The freemasonry existing among musicians and the wealthy amateurs was such that a musician of any talent was sure to be received, and put on a friendly footing. No other city in Europe afforded such opportunities for musical culture as did Vienna. It was the home of Mozart and Haydn and a host of lesser composers, as well as instrumentalists and singers. Music in one form or another was the chief diversion of the better classes, the wealthier of whom maintained their private orchestra. Many of these latter were fine performers, taking part regularly in the concerts given by their orchestras.

The next year we find Beethoven taking his meals at the Zehrgarten, where artists, professors from the university, and other notable people congregated. It was at this period that he made the acquaintance of Count Ferdinand Waldstein, the first of the aristocratic circle of friends which surrounded him all his life. Count Waldstein at twenty-four, on coming of age, entered the Germanic order, passing the year of his novitiate at the Court of the Elector at Bonn. The senior by eight years, his influence over Beethoven was considerable, as is evidenced in many ways. The Count was an enthusiastic amateur, visiting him frequently. He gave him a piano, and was useful to him in many ways. The social position of Count Waldstein was such that his friendly attitude toward Beethoven at once attracted the attention of others to the young musician. From this time on he was able to choose his friends from among the best people of his native city. The young man commemorated the friendship by taking an air of the Count's, who was somewhat of a composer, and composing twelve variations for four hands for the piano from it. Later, in 1805, after the Eroica Symphony and Fidelio, when the master had become famous, he composed the great Waldstein Sonata, opus 58, and dedicated it to him. The Waldstein family became extinct with Ferdinand, but the name will live for centuries through these compositions.

About the time of his first meeting with Count Waldstein, Beethoven made another acquaintance, which had an important bearing on his subsequent life. This was Von Breuning. He and Beethoven took violin lessons of Franz Ries. Stephen von Breuning liked Beethoven from the start and introduced him at his mother's house. The Breunings were in good circumstances, cultivated, good-natured and hospitable. They delighted in having him about, and treated him with the utmost consideration. Madame von Breuning formed a sincere, motherly affection for him; he was soon on a footing in their house almost equal to that of a member of the family. He went with them about this time on a visit to some of their relations in another city. They were instrumental in shaping his destiny in various ways, and their friendship was of great moment to him throughout life. Beethoven, then in his eighteenth year, gave lessons to the daughter Eleonore, as well as to the youngest son, Lenz. Eleonore afterward married Dr. Wegeler, who was in the same circle. Many years later he collaborated with Ries's son Ferdinand in writing reminiscences of the master.

The names of Count Waldstein and the Von Breunings are indelibly associated with Beethoven's name as friends from the beginning. When we consider how every circumstance of Beethoven's family and mode of life tended against his forming desirable friendships, how rough in exterior and careless of his appearance he was, we can ascribe it only to the force of his character that he should have the friendship of such people. He had done nothing as yet to lead people to believe that he would ever become a great composer. As has been stated, however, he was a pianist of great originality, with a remarkable talent for improvising, which, no doubt, had much to do in making him a welcome guest wherever he went.

Madame von Breuning, with her woman's tact, and the fine intuitive perceptions that were characteristic of her, looked after his intellectual development, and was helpful to him in various ways, encouraging him as well in his musical studies. But Beethoven was by no means an easy person to get along with, as she soon found out. He was fiery and headstrong, disliking all restraint, being especially impatient of anything that savored of patronage. She seems to have known that in Beethoven she had before her that rarest product of humanity, a man of genius, and had infinite patience with him. His dislike for teaching was pronounced, then, as in after years, and she was often at her wits' end to get him to keep his engagements in this respect. She, in short, did for Beethoven what Madame Boehme did for Goethe many years before, when the poet left his native Frankfort and came to Leipsic. He was but sixteen, and found in her a friend, counsellor, almost a mother, who not only instructed him about dress and deportment, which soon enabled him to obliterate his provincialism, but showed a motherly solicitude for him, which must have been of great help to him in many ways.

Madame von Breuning interested Beethoven in the classics, as well as in contemporary philosophical literature. Lessing, Goethe and Schiller became favorite authors with him. A much-thumbed translation of Shakespeare was a valued part of his small library in after years. He devoted much study to Homer and to Plato. Beethoven left school at the age of thirteen, and could not have given much time to his studies even when at school, as so much was required of him in his music. He learned a little—a very little, of French, also some Latin and Italian, and made up for his deficiencies by studying at home. Intellectual gifts were valued by the Von Breunings; to the youth, in his formative period, association with people like these was an education in itself.

About this time the Elector enlarged the sphere of his musical operations by establishing a national opera at Bonn, modeled after the one maintained by his imperial brother at Vienna. The works were produced on a good scale, and some excellent singers were engaged. Beethoven was appointed to play the viola, and this connection with the orchestra was of inestimable value to him in many ways. It not only gave him a knowledge of orchestration; it also made him familiar with the noted operas, which must have been greatly enjoyed by him. Mozart's operas were given a prominent place in the