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

n the midst of these ironies of fate, this satyr-play of the nether forces with the master, in which he occupies at times so undignified a position, it is gratifying to note that the artist-life goes on apace. In the last quartets which now come up for consideration, the labors of the tone-poet are brought to a close.

The quartet was a favorite musical form with the master. Here the more intimate side of his nature is revealed. A more personal relation is established between composer and audience than is the case in the other forms in which he worked. As we have seen, the quartet, in the time of which we write, was universally in use at informal gatherings for the delectation of friends in the privacy of the home, and was not intended for concert use. The stateliness which characterizes the large symphonic forms is absent in chamber-music, but it has qualities of its own which we value as much.

The last quartets owe their existence to Prince Galitzin, a Russian nobleman, who had spent some time in Vienna in 1805, and became acquainted with Beethoven at the house of the Russian Ambassador, Count Rasoumowsky, for whom it will be remembered Beethoven composed three quartets, opus 59. In November of 1822 the Prince wrote Beethoven in the most flattering terms, asking him to compose three quartets at his own price, which were to be dedicated to him. The master accepted the commission gladly, fixing the modest sum of one hundred and fifty ducats (about $330) for the three, reserving, however, the right to sell the quartets to a publisher. Prince Galitzin was then living in state in St. Petersburg. His wife was a fine pianist, he himself a first-rate performer on the cello. They occupied a prominent position in the musical life of the city. The Prince was one of the original subscribers to the Mass in D, and has the credit of having brought about the first complete performance of this colossal work ever given.

When we consider the enormous expense of this undertaking, the copying of the many parts, as well as the sums paid for soloists, chorus and orchestra, most of which was probably borne by the Prince, and reflect that this is only an instance among many of his extravagant mode of living, it is not surprising to find that he became financially embarrassed, and was unable to carry out in full his obligation to Beethoven as regards paying for these works.

The Oratorio, "The Victory of the Cross," which had already been begun, was laid aside in favor of the quartets; it was never resumed. Notwithstanding his enthusiasm, work on the new commission made but slow progress. Ill health and preoccupation in his nephew's concerns took up much of his attention. Occasional sketches were made, but it was more than a year and a half before the first one was actually begun. It was outlined at Baden in the autumn of 1824, and finished on his return to Vienna. Mention is made of this quartet by the master in an interesting letter to Messrs. Schott of Mayence, who had bought the mass and symphony, and had also purchased the quartet, paying fifty ducats for it. Cordial relations had been established with these gentlemen, dating from the time of selling them the two great works just mentioned. Some of Beethoven's best letters are those written to his publishers. An extract from the letter above referred to follows:

"The quartet you shall also receive by the middle of October. Overburdened by work, and suffering from bad health, I really have some claim on the indulgence of others. I am here on account of my health, or rather to the want of it, although I already feel better.

"Apollo and the Muses do not yet intend me to become the prey of the bony scytheman, as I have yet much to do for you, and much to bequeath, which my spirit dictates and calls on me to complete before I depart hence for the Elysian Fields; I feel as if I had written scarcely more than a few notes."

The initial performance of the first of the Galitzin Quartets took place in the spring of 1825. Beethoven regarded the event as a momentous occurrence and required the four performers, Schuppanzich, Weiss, Linke and Holz, to sign a compact, each to "pledge his honor to do his best to distinguish himself and vie with the other in zeal."

The quartets once begun were carried on with ardor in the midst of most distressing occurrences, chief of which were ill health and its twin demon, poverty, as well as the waywardness of his nephew, all of which tended to draw him to the spiritual life. The character of Beethoven's work changed from the period of the Mass in D. An altered condition, an altogether new, different strain is apparent thenceforth. The deeply religious, mystical character of the first movement of the Ninth Symphony can be attributed to his previous absorption on the Mass. He worked out of this vein somewhat in the other movements as not being adapted to the uses for which the symphony is designed, but it reappears again in the quartets to the extent of dominating them.

The one in B Flat, opus 130, completes the three for Prince Galitzin. Of the Cavatina of this quartet, Holz is authority for saying that Beethoven composed it with tears, and confessed that never before had his own music made such an impression on him; that even the repetition of it always cost him tears. In this movement Beethoven used the word Beklemmt (Beklommen) (oppressed, anxious) at a point where it modulates into another key. His loneliness, superinduced by his life of celibacy, by his deafness, his disappointment in his nephew, all had the effect of separating him from the world. The spiritual side of his nature, always active, had been brought into new life during his work on the Mass, as we have seen. It was never thenceforth allowed to fall into abeyance, but was developed in direct ratio with his withdrawal from the world. An atavism from some remote Aryan ancestry inclined him, as in the case of so many Germans, to mysticism and the occult. It was a condition which had its compensations. That there were periods when he saw visions may be conjectured by the character of the last quartets. When they were written, Beethoven was in the shadow of death, on the border-land of the other world, and from that proximity he relates his experience. These works receive the reverence of all musicians for their spirituality, their mysticism, their psychological qualities. They are the revelations of the seer, awe-inspiring mementos of states and conditions of mind which transcend the experiences of ordinary life. In these last impassioned utterances of the master, we find a strain holier, more profound, different from anything which the art of music has yet produced.

The Cavatina on its first performance, on March 21, 1826, was received with indifference, and the finale, which was an exceedingly long and difficult fugue, fared even worse. Self-sufficient as Beethoven was on all matters connected with the working out of his musical thoughts, he coincided for once with his friends and the publisher on the matter of the fugue. He wrote a new finale for the quartet, and published the fugue separately as opus 133. Joseph Boehm, the noted violinist, then in his twenty-eighth year, rehearsed this fugue under Beethoven's direction, and often played the violin part subsequently.

The great C sharp minor Quartet opus 131, is the next one to claim our attention. Beethoven characterized it as a piece of work worthy of him. This colossal work was one which Wagner continually held up for the commendation of mankind. It occupies among quartets a position analogous to that of the Ninth Symphony in its own class. The summer of 1826 in which it was composed, was a period fraught with momentous occurrences to the master, chief of which was the attempted suicide of his nephew. The circumstances which led up to this catastrophe can be briefly narrated. Beethoven had been disappointed in any and every plan formed for the future of the young man. He at first looked for great things from him; by gradual stages his expectations were so modified that at last he began to fear that he would never be able to provide for his own maintenance.

The musical education of the young man had first engaged the master's attention, in the hope that some of the family talent might have been transmitted to him. When it became plain that nothing could be achieved by him in a musical career, he was entered at the university of Vienna with a view of making a scholar of him. Here he was unable to keep up with his studies, owing to inattention. He failed to pass his examination and left the school in consequence. Literature being closed to him, he entered the Polytechnic school, intending to fit himself for business life, but failed here also. That Karl's conduct caused the master much anxiety appears in his letters to him. In some of them he entreats him to do better, in others he upbraids him. Both lines of reasoning seem to have been equally obnoxious to this careless, indifferent young man, who objected to being taken to task for his misdeeds, and hated "rows" and "scenes" with his uncle. When he failed the second time he was at his wits' end in dread of his uncle's reproaches. Many a stormy scene had occurred between them during the two preceding years. So violent had these become, that the master was on one occasion requested to find another apartment on account of the complaints that came from other occupants of the house. It may very well be that Beethoven expected too much from this carelessly reared youth, whose mother lost no opportunity of embittering him against the master. The young man probably never seriously contemplated suicide, but wanted to give his uncle a scare. By working on his fears he reasoned that he would be able to have his own way for a long while to come. He threatened suicide, and the day following this threat actually went so far as to shoot himself. He was not severely injured, but the attempt on his life rendered him amenable to the laws of his country, and a short confinement in the government hospital followed.

Beethoven was greatly agitated on learning of the rash act. He had some difficulty in finding him, as the young man had left his quarters and went to another part of the city before carrying out his threat. With the aid of friends he was finally located and an affecting scene followed in which the master loaded him with kindness, treating him very much as that other prodigal son was treated by his father.

Beethoven's personal intervention with the magistrate eased the situation for the nephew. Two