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Beethoven's Pianoforte * Sonatas * * Explained *
BEETHOVEN.
lieethoDen'is Pianofurte Sonatas Uxjjlained.—LoJfooH, W. RtEVtS.
BEETHOVEN'S PIANOEORTE SONATAS
EXPLAINED FOR THE LOVERS OF THE MUSICAL ART
BY
ERNST VON ELTERLEIN
WITH A PREFACE BY E. PAUER
Translated from the German by EMILY HILL
REVISED TRANSLATION [Seventh Edition]
LONDON WILLIAM REEVES, 83 CHARING CROSS ROAD, W.C.
u^'J. U6-
1^9^
ILLUSTRATIONS.
The Poutkait of Beethoven as fronting the title is, on the authority of Mr. C. Czerny (Beethoven's most intimate friend), the only correct likeness published of this great man.
Beethoven's House xx Bonn facing page 1.
rrinted by The New Temple Press, Norbnry Crescent, S.W.
CONTENTS.
PAQE
First Part . . . . . .11
THE SONATA IN GENERAL.
Second Part i
THE SONATA BEFORE BEETHOVEN.
Third Part
BEETHOVEN.
Fourth Part
BEETHOVEN'S SONATAS.
30
3;
Op. 2, No. 1. Op. 2, No. 2. Op. 2, No. 3. Op. 6. Op. 7. Op. 10, No. 1. Op. 10, No. 2. Op. 10, No. 3. Op. 13. Op. 14, Nos. 1 and 2. Op. 22. Op. 20. Op. 27, No. 1. Op. 27, No. 2. Op. 28. Op. 31, No. 1. Op. 31, No. 2. Op. 31, No. 3. Op. 49, Nos. 1 and 2. Op. 53. Op. 54. Op. 57. Op. 78. Op. 79. Op. 81. Op. 90. Op. 101. Op. 106. Op. 109. Op. 110. Op. 111.
Fifth Part
126
RETROSPECTIVE.
CONCLUDING REMARKS.
BEETHOVEN'S HOUSE AT BONN.
Heethotfit'x Viunolnrtc Si.iiotiu Hxiilnntfil . hy KUcilfiri.
PREFACE TO THE FIRST EDITION OF THE TRANSLATION.
The transcendent beauty and the exceeding im- portance of Beethoven's pianoforte sonatas are facts now universally recognised. It is a healthy sign of musical progress and an undeniable proof of the spread of an improved taste and of a genuine ap- preciation of the excellent in musical art, that vari- ous nations now emulate each other's efforts in issuing correct and excellent editions of these great works. We now possess good and correct editions of Beet- hoven's sonatas at such cheap and modest prices, that the entire collection of the thirty -eight sonatas is to be had for the same price which our grand- fathers paid for a single one; and this remarkable reduction of price has undoubtedly contributed in no small degree to the universal popularity which this unrivalled monument of musical art has now everywhere obtained.
2 PREFACE TO THE FIRST EDITION
To describe the contents of a musical work is always a difficult task ; and it cannot be denied that a great deal of nonsense has been written, in the endeavour to analyse, describe and annotate the works of great musical composers. No author has had to suffer more from the indiscreet zeal of busy shallow annotators than Ludwig van Beethoven; no other composer's works have been so unwarrant- ably and unnecessarily overladen with weak descrip- tion. The small work, " Beethoven's Clavier-Son- aten fiir Freunde der Tonkunst erlautert von Ernst von Elterlein," stands forth as an honourable ex- ception amidst the host of insipid commentaries on the great master's works — the multitudinous explan- ations that explain nothing. Elterlein's book ap- peared in Leipzig in 1856. It has, since that year, gone through many editions, and has obtained great and deserved popularity in Germany. Although Herr von Elterlein is a musical amateur, he writes with the ripe knowledge and thorough understand- ing of a practical musician; and as the merits of his book speak for themselves, any further praise would be superfluous.
Herr von Elterlein's design is not so much to describe the beauties of Beethoven's sonatas, as to
OF THE TRANSLATION. 3
direct the performer's attention to these beauties, and to point out the leading and characteristic fea- tures of each separate piece. It was reserved for Beethoven to give expression, in his sonatas, to the highest and loftiest feelings of the human heart. In these unapproachable masterpieces, he is not only pathetic, but also sincere, humorous, tender, graceful, simple — in short, he expresses in them every varying shade of feeling that can agitate the human heart. To point out all these varying shades, to indicate to the earnest student of Beethoven all these number- less beauties, is the object of Herr von Elterlein's book; and every musical student or amateur can safely trust him as a competent and agreeable guide. An English translation of this valuable little work is, therefore, most opportune. It will, un- doubtedly, assist many a lover of Beethoven's music to appreciate more keenly the beauties of the great master's sonatas, and will, if possible, enhance his admiration of what may truly be called a book of wisdom.
E. PAUER.
TRANSLATOR'S NOTE.
In preparing a fresh English edition of Herr von Elterlein's book on Beethoven's pianoforte sonatas, the translation has been carefully revised with the original, and the author's prefaces to the first and third German editions have been translated for the first time. The four decades which have elapsed since the book first appeared in Leipzig have added largely to the literature on Beethoven's music which has appeared in Germany. In England, however, the aesthetics of music have been tardy in becoming a branch of literature, and Herr von Elterlein's eluci- dation of the meaning and character of Beethoven's sonatas is of a nature which the master's English admirers have not undertaken. Their appreciation of it has been shown by the demand for a further edition of the English translation.
[/uly, i8py.]
AUTHOR'S PREFACE TO THE FIRST EDITION*
The following pages claim indulgence as the first attempt— so far as I am aware — at considering Beet- hoven's sonatas from an aesthetic point of view. The writer's main object has been to furnish amateurs with a guide and commentary to the study of these the greatest creations in the sphere of pianoforte music. Experienced artists and lovers of art will probably find in the book little that is new. Should it fall to my lot to add hereby a few stones towards the edifice that has yet to be raised — a complete biography of Beethoven, such as that of Mozart by Ulibischeff — my desire and aim would be more than attained. Ultra Beethovenites may take exception to my criticisms on some of the sonatas, and to my views on the determining influence of the opus num- bering, but it is my intention to state my sentiments
* Of the original. 7
8 PREFACE TO THE FIRST EDITION.
candidly, and to comment on blemishes without re- serve. The recourse I have had to various sources of information will not expose me to the accusation of posing in borrowed plumes, for my object in this book has not been my own glorification but to do honour to Eeethoven, while to many readers this col- lecting together of scattered information may prove welcome. My special thanks are due to my friend Riihlmann (state musician at Dresden), to whom I am indebted for much help and advice and many valuable suggestions. With these words I com- mend the book to the lovers of Beethoven.
■ AUTHOR'S PREFACE TO THE THIRD EDITION.*
This book now appears in a third edition. It has been partly rewritten, and additions have been made. Since its original publication in 1856 the author's views have, in many respects, changed con- siderably, and his opinions on certain sonatas have been modified accordingly. During this period the literature about Beethoven has been much increased. First and foremost we have had Marx's biography — an epoch-making work, though it cannot but be regretted that this great authority on Beethoven should have passed over some works in silence and referred much too briefly to others. What was said in the preface to the first edition about glean- ing information from various sources applies no less to the ample use now made of Marx's bio- graphy. Far from this in any way rendering the study of that work superfluous, the present writer
Of the original.
lO PREFACE TO THE THIRD EDITION.
would strongly recommend it to all who wish to go deeply into the subject. The last part of this volume may perhaps be found a welcome addition by not a few readers. The dates of publication and of probable composition have been taken from Thayer's latest work. In conclusion the author has only to express his grateful thanks for the kind reception given to the former editions by the critics, especially by Dr. Laurencin, of Vienna, in the " Neue Zeitschrift fiir Musik"; and also by the music- loving public, as is shown by the demand for a third edition.
[August II, i86^?[
BEETHOVEN'S PIANOFORTE SONATAS
FIRST PART.
THE SONATA IN GENERAL.
[HE sonata is the greatest and most ori- ginal production in the province of pianoforte music— its highest exercise and its loftiest aim. Beauty, the ideal of all artistic efforts, may be expressed in the sim- plest music, but its complete realisation can only be attained in the highest forms.
The sonata may be considered the most perfect form of pianoforte music. The theoretical reasons for this statement are most successfully propounded by Marx, in the third part of his " Compositions- lehre." Marx there explains the development of the different forms of pianoforte music in organic order.
12 BEETHOVEN'S SONATAS EXPLAINED.
He begins with the study, proceeds to the fantasia, variation and rondo, and then to the sonata, the key-stone and crowning point of all the forms. In another way, Kriiger, in his " Beitragen f iir Leben und Wissenschaft der Tonkunst," arrives at the same result. Like Marx, he establishes a system of musical forms, of which he makes the song form the central point : treating first of the forms that preceded the song form, viz., preludes, toccatas, fantasias; secondly, the song form itself, variations, rondos, fugues; and thirdly, the development of the song form, that is, the union of existing song forms — the sonata and the symphony. Kriiger con- sidered the three primary forms to be the prelude, song and sonata, and that out of these all the others have been developed. The supreme importance of the sonata form — a form which is also the founda- tion of the symphony, string quartet, etc. — is shown by its capability of forming a higher union of the other forms, namely, the song, variation, rondo and fugue. This was, in fact, indicated by Kriiger in the expression, " composition of existing song forms." Indeed, in the sonata, all these forms re- cur, and are, so to speak, fused into a concrete and actual unity. According to this view, the son-
THE SONATA IN GENERAL. 1 3
ata is the organic product of these forms, and this the Beethoven sonata pre-eminently proves.
If we consider more closely the construction of the sonata, we shall find it to be divided into several movements — two, three, four, five, or even more — and the plurality of movements may be generally stated as the former principle of composition. The particular character, however, of the life-picture which a work depicts must always be considered its determining basis. " The soul moulds its own body." (" Die Seele schafft sich ihren Leib.") Musical science must, therefore, in this respect desist from laying down binding laws and immutable principles. Kost- lin (in Vischer's "^sthetik") and Marx (in Beet- hoven's Leben und Schaffen") have, ably and ex- haustively, propounded and undertaken to prove that the three or four-movement form is the normal principle of construction. Indeed, most sonatas do contain three or four movements. But, on the other hand, it may be urged that, as will presently be shown, in many of Beethoven's sonatas, even in some of his most important ones, the two-movement principle strikingly predominates, and to this, from the three and four-movement form, the great master of the sonata, in the last of these works (Op. in),
14 BEETHOVEN'S SONATAS EXPLAINED.
significantly returns. Marx says, in another place : " That these are only suggestions as to what may - have been the determining causes of form, not fixed conclusions (who can bind the mind ?) for it is per- fectly clear that the three is as practicable as the four-part form, and that in the future the two and the several movement form will be equally justifi- able." This freedom of form appears also in the design and arrangement of the different movements. It will be decided by the character of the entire work, whether, for example, the so-called andante or adagio — generally the slow movement — forms the second or third movement (in the four-movement form), or whether it should stand at the commence- ment. It is surely unnecessary to specify, that the point in discussion is not the want of form in the composition, but the model on which that form has been framed. Equally indisputable is it that the idea is the only determining principle of the form. This brings us from the form to the matter of the sonata.
The actual essence of music may be described as the " far dark currents of the soul, the fleeting life, the constant whirl of the world into which all ex- istence and all repose are drawn; as all that rises,
THE SONATA IN GENERAL. 1 5
hovers, and trembles in the air, and in the heart of man, all that the soul re-echoes to itself from the varied phenomena of movement " (Kriiger). Or we may say, with Carriere (" ^Esthetik ") : " It is music which discovers and explains for us the beautiful in the world and in the mind, or still more which shows us, in the movements of the world and of the mind, that inner life which a spiritual nature reveals, so that, amid the external action in which we are en- gaged, the conditions of mind and soul may express themselves, or through sound make us acquainted with the things of their life. The representation of the ideal in a concrete form is the aim of music because music is art. The tone-art shows the play of various emotions — it is an ideal representation of the individual life and of its soul-melodies." As this holds good of music in general, the substance of the sonata may be briefly described as the sub- jective life of mind and soul. As Kostlin says, the object of the sonata is to display a rich, expressive and subjective state of feeling, whether this flows forth in a rich full stream of emotional images, or whether, in the form of a great tone-picture, one of the different phases of the prevailing sentiment of the emotional life is depicted.
1 6 BEETHOVEN'S SONATAS EXPLAINED.
What instrument could be better adapted to such a purpose than the pianoforte? The pianoforte, says Kostlin, since it blends harmony with melody, and yet gives the former into the hands of the sub- ject, is the principal organ for the free, full and safe conduct of the latter; in this instrument the subject is introduced purely for its own sake, and is thus in a position to express itself clearly and completely. The piano is an orchestra in miniature. Marx calls it the ideal instrument.
As is well known, Hanslick has recently* again brought forward his charge of the emptiness of music. He considers it to be only " sounding forms," and compares music with arabesque; but Brendel ("Neue Zeitschrift fiir Musik," Vol. 42, No. 8) and Carriere (" ./Esthetik," Vol. II, page 322) have thoroughly refuted this opinion. Vischer also, ("^sthetik," Part III, page 790) shows the contra- diction in which Hanslick involves himself, when he is afterwards obliged to admit that " thought and feeling, the warmest and strongest impulses of the human mind," are the "substance" of music. Bren- del aptly says "the feelings of the soul are the substance of music — material which is equally avail-
• Written about 1865. [Translator's note.]
THE SONATA IN GENERAL. 1/
able for all artists. Now this does not represent mind as having only a vague external connection with technical principles, as a something fleeting and vanishing. Mind and substance are indispens- able to music; the succession of sounds is the direct expression of them, the thing itself, and not mere form. Nevertheless, the whole life of music rests on a real psychological basis, and we have no mere combination of sound to deal with."
Let us now turn to the historical realities of the art. Before occupying ourselves exclusively with Beethoven, it is necessary, for many reasons, to give a brief chronological account of the sonata, from its commencement to its perfection by Beethoven. For the ground-work of this sketch, as far as the time of Haydn, we will make use of the excellent contributions to the history of the sonata, by J. Faisst, in " Cacilia," a newspaper now discontinued.
SECOND PART.
THE SONATA BEFORE BEETHOVEN.
)HE earliest beginnings of the sonata are found towards the close of the seven- teenth century. The first sonatas ap- peared in 1 68 1, for violin solo, by Henry Biber; then in 1683 there appeared twelve sonatas for violin, violoncello and piano, by the violinist, Corelli. But of more importance as a composer of sonatas was Johann Kuhnau, Sebas- tian Bach's predecessor. He first wrote a sonata in "B" in "New Pianoforte Practice," Part II ("Neuer Clavieriibung anderer Theil "). Taken as a whole, the form is the present one, the sonata consisting of a quick, a slow, and then a quick movement. The style of writing is polyphonic, but the work fails in inward aesthetic unity. Kuhnau's' next work appeared in 1696, under the title of "Fresh Fruit for the Piano; or Seven
18
THE SONATA BEFORE BEETHOVEN. 1 9
Sonatas for the Pianoforte, Excellent in Design and Style, by Johann Kuhnau." ("Johann Kuh- nau, frische Clavierfriichte, oder sieben Sonaten von guter Invention und Manier auf dem Clavier zu spielen.") These sonatas show an advance in form and in matter; they are full of energy, viva- city, fresh grace, and also of deep feeling. They contain sometimes four, sometimes five movements, which contrast well with one another in alternations of repose and agitation. The polyphonic treatment is predominant, though the homophonic sometimes breaks through, launching forth into free melodies. Single movements show still greater artistic merit. Kuhnau is intellectually associated with Handel, by his free polyphony and energetic or clear treatment of melody. In some of the movements an inward aesthetic connection is discernible. The next com- poser to be mentioned in this category is Mattheson. A sonata appeared by him, in 17 13, "dedicated to whoever will play it best" ("derjenigen Person gewidmet, die sie am besten spielen wird"). It con- sists of one movement only ; the treatment of its different parts is richer than with former composers, nor is the theme without merit; but its development shows more external brilliancy than internal wealth.
20 BEETHOVEN'S SONATAS EXPLAINED.
We come to Domenico Scarlatti. In the first decade of the eighteenth century, he wrote " 30 Sonate per il clavicembalo" and "6 Senate per il cembalo." Every sonata contains two parts : the present so-called fantasia (Durchfiihrungstheil) and the third part being blended into one; there is also a similarity to the two-part fcrm-song. The two- part form predominates ; the style of writing is more fitted to the instrument than was that of Scar- latti's predecessors; and the crossing of the hands claims notice. With respect to the matter of the sonatas, Scarlatti himself describes them as "clever tricks of art." They are bright, fresh, lively and intelligent, and often overflow with humour, with touches also of a softer and more earnest feeling; though of a deeper meaning there is no trace.
Scarlatti did not give a new form to the scnata, in the sense of making it a combination of several movements, but he produced in a style of writing freed from the fetters of polyphony and fitted to the true nature of the instrument, a form regularly matured from the early kernel of the single move- ment scnata. This form as the standard, if not for all, at least for the most important movement of the sonata, and as the most considerable gener-
THE SONATA BEFORE BEETHOVEN. 21
ally among the non-polyphonic forms of an in- strumental movement, must have first developed a degree of excellence corresponding to the lofty aim of the sonata, before what afterwards happened could have been possible, namely, the giving to the sonata, as a combination of several movements, a systematic and logical shaj)e.
Francesco Durante, the Italian, must be men- tioned : he produced a unique work — " Sonate per cembalo divise in studiei divertimenti." In formal construction, these sonatas are a transition between the song-form and the sonata form ; they are homo- phonically written. Considered in the light of historical development, they are deeper than Scar- latti's sonatas; in a free, natural style of writing, they are a stage beyond Kuhnau ; while, as re- gards matter they may be called valuable and ingenious.
We now approach that musical giant, Sebastian Bach, of whom we will give two examples, the son- atas in C minor and D minor. The sonata form — the combination of several movements into one whole— reappears with him. In the sonatas men- tioned he certainly is not, either in form or style, equal in freedom to Scarlatti; he stands nearer to
22 Beethoven's sonatas explained.
Kuhnau; but he is far superior to the latter in rich- ness and a free command of means; and on the other hand, he shows himself in advance of Scar- latti, in that he combined several movements into a whole, in accordance with the characteristic style of the sonata, so that a higher intellectual inner mean- ing was more apparent than before. Altogether, Bach is the intervening transition step.
The twelve sonatas by Father Martini, "per I'or- gano vel cembalo," are another intermediary work. Judging by the character of their composition the sonatas should have been styled "for the piano" — not " for the organ." In form, they are a medium between the so-called suite and the sonata proper, being a mixture of polyphony and homophony, and contain plenty of intelligence and life, with very skilful workmanship.
From the middle of the eighteenth century till the death of Emanuel Bach, in 1788, was the beginning of a new period for the sonata when it acquired a regular form, and one adequate to its conception. Pianoforte literature increased rapidly. Faisst reckons in all two hundred and eight sonatas and thirty-fi.ve composers. After the true, or at least the predominant, form had been found for the single
THE SONATA BEFORE BEETHOVEN. 23
movement of the sonata, the object was to give to the sonata — as a whole formed of several movements — a systematic shape corresponding to its design. These sonatas, therefore, regularly contain several move- ments. But this union of several movements into one whole took place in many different ways, and is not so much to be considered as an expression of greater freedom as of indecision, of a striving after a suit- able form. The three-movement form predominates, two and four movements are the exception; in the latter, the minuet already appears as the second movement. The form of the single movement is still partly like Scarlatti's, partly more perfect than his was. Movements with a second theme already ap- pear, but the latter is more like a complement to the first theme than a contrast to it ; its substance is not so characteristically different, its existence even is often doubtful ; hence the weakness of this period. We observe further an enrichment and extension of the song-form, although only an outward one, for its internal expansion leads it into the rondo and sonata-form. Movements with variations, the dance- forms of the minuet and polonaise, and more rarely the rondo-form, already appear. The most promin- ent name in this period is that of Emanuel Bach,
24 • BEETHOVEN'S SONATAS EXPLAINED.
while Johann Christian Bach and Leopold Mozart may be briefly mentioned.
The sonatas of Johann Christian Bach are full of fire, humour and fresh grace ; they resemble to some extent those of Haydn and Mozart. In Leopold Mozart's sonatas we seem to be already listening to his great son, so much do their style and spirit remind us of the latter.
Emanuel Bach's works display a refined, intelli- gent, exceedingly intellectual and pleasing nature : we feel with him that everything is the expression of an, enthusiastic and noble-minded man. He is Haydn's forerunner both in the form and matter of his works. The complete and perfect three-move- ment form becomes a regular principle of construc- tion with him. His sonatas contain, as a rule, a first movement, allegro, in the short sonata-form; a second movement, andante, in the song- form; and a third movement, presto, in the rondo-form. His style of writing is generally homophonic. Brendel says of him, in his excellent " History of Music " : "Bach, by representing, contrary to former com- posers, the individual mind and feeling of the writer, directly brought in the new instrumental music, and by setting forth individualism in its
THE SONATA BEFORE BEETHOVEN. 2$
changing and diverse forms became the founder of modern music." His chief works are his " Sonatas for Connoisseurs and Amateurs." (" Sonaten f iir Kenner and Liebhaber ").
A new epoch now began : the grandest which the sonata has ever known, that of Haydn, Mozart and Beethoven. As in the principal departments of in- strumental music, Haydn appears as an epoch- maker, a genius breaking through the old bound- aries— in proof of which we have only to refer to his symphonies and quartets — so also did he give to the pianoforte sonata an important impetus and, de- velopment, both in form and matter. Although the three-movement form is mainly to be attributed to Emanuel Bach, the contributions made by Haydn to the progress of the sonata were : that he repeated the principal theme of the first part of a move- ment in the third part, that he regularly settled the second, so-called fantasia part, and the third, so- called repetition part, into the sonata form; that he reduced what had before been the mere humour and caprice of the composer, and in many of the earlier works had not even been found at all, into an un- changing principle of construction; that by these means he raised, enriched and amplified the single
26- BEETHOVEN'S SONATAS EXPLAINED.
movement — which means the sonata generally, that he reached a higher unity, and created a stronger and more uniform whole. There necessarily fol- lowed the development of the substance of the son- ata. The chief thought gained importance by repetition; more especially as Haydn had given to it a decided and characteristic expression, which he firmly maintained throughout the movement. In- deed the principal movements of the Haydn sonata have a uniform fundamental thought firmly and decidedly stamped on them. Not only does the single movement show this unity, but the collec- tive . movements of the sonata form a much more uniform whole, proceed more from a settled basis, and are much more closely connected together than in the works of previous writers. I say "much more," for the unity that we find in Beethoven, a unity that was absolute, because it rested on a psychological basis, is not yet apparent ; we have rather, if I may use the expression, the stringing together of several movements united by one com- mon sentiment. But what is the ruling sentiment ? It is that spirit of naive and childlike cheerful- ness, that teasing play of jest and. mirth, that roguish humour, that caprice and f rolicsomeness ;
THE SONATA BEFORE BEETHOVEN. 2/
in short, all Haydn's music reflects the thoughts and feelings of his artistic nature. Kostlin well says that Haydn brought in the epoch of free style, the golden age and spring-time of the musical art, that with him music becomes conscious that she is not a mere system and science, but a free impulse and a lyric poem. Brendel calls Haydn the great- est master of jest and humour. However limited Haydn's world may be, compared to the boundless vistas which Beethoven has revealed to us, however little Haydn's childlike nature may show us of the deep secrets of the soul, yet he is in his own sphere so inventive, so rich in genius, that a place belongs to him among the first of the tone artists; and he who has thoroughly entered into the gigantic con- ceptions of Beethoven may still turn back, now and then, to a sonata of " Father Haydn," to enjoy, as it were, a picture of his own past childhood, and to pass once again through the first paradise of life. Among Haydn's numerous sonatas, two only need here be specified : the one in E flat major and a smaller one in B minor.
Mozart was Haydn's real successor in the depart- ment of the sonata. He gave it a further develop- ment in many directions. Mozart adhered also to
28 * Beethoven's sonatas explained.
the principle, received from Haydn, of starting with a definite and expressive theme, and making it the basis of the movement. But this did not satisfy nim; he wanted a something by which a greater diversity, together with a more intellectual unity, should be attained, and this something was the can- tabile, or the second subject, which Mozart intro- duced into the first movement of the sonata. He composed longer and richer phrases of melody, larger and broader periods, established a more de- fined difference between light and shade, divided both into larger divisions of time, and precise periods, and thus produced a definite distinction between the tender and the vigorous parts, a greater clearness and decision in the form and in the se- quence of thought. Another characteristic feature of his sonatas is the perfect beauty of form, which, in system, symmetry and regularity, shows itself alike in small and great. This is the natural result of a perfect and harmonious nature. As Brendel and others have well shown, Mozart's artistic indi- viduality revealed, from tlie very beginning and throughout, the purest harmony of mind and soul, a quiet, self-contained balance of powers, a condi- tion of the inner life in which the moral struggles
THE SONATA BEFORE BEETHOVEN. 29
are hushed, or at most form but the far dark back- ground. This primary adjustment imparted that gracefulness of thought, which is another character- istic feature of his music. This is such an essential quality with him, that when he depicts violent pas- sion, he holds himself far aloof from roughness ; everything is so closely enfolded in a beautiful garb, that the passion is, so to speak, stifled. It is only Mozart, the artist, who struggles ; Mozart, the man, came out conqueror long ago. In this respect, Mozart's Symphony and Quintet in G minor are especially characteristic. As regards the sonatas, it must be frankly admitted that Mozart stands far higher in other departments of instrumental music. The most important sonata is unquestionably the C minor with the fantasia before it ; beside this rank the F major, A minor, the sonata for two performers in F major, and a few others. On the foundation laid by the Haydn and Mozart sonata, Beethoven reared his gigantic edifice, to the consideration of which we now turn.*
* From this historical sketch Clementi may with pro- priety be omitted, for his forte was the technique of piano- forte playing in which eAen Beethoven scarcely excelled him.
THIRD PART.
BEETHOVEN.
S Beethoven, in his instrumental music generally, took his starting point from Haydn and Mozart, so in his sonatas he first trod in the footsteps of these com- posers. But when he had reached greater maturity and independence, Beethoven left these paths, struck out a new way and took a fresh aim. He improved both the form and matter of the sonata, breathed into it a spirit such as Haydn and Mozart had never known; in a word, gave to it that peculiar, and as yet unreached, depth and grandeur, which ever awaken afresh the unqualified admiration of the true lover of music. Unlike Haydn and Mozart, ^Beethoven became so absorbed in this species of composition, and displayed in it so much of the essential character of his genius, that Hand, in his
BEETHOVEN. 3 1
"Esthetics of Musical Art," comes to the conclu- sion that Beethoven's originality is pre-eminently displayed in his sonatas. This is overstating the case, for Beethoven is at his greatest in the sym- phonies and quartets, though it is true that the son- atas give us one of the best opportunities for fully understanding him. It is in these pre-eminently that the stages of Beethoven's artistic development may be traced with the greatest certainty, for even Beethoven was not all at once what he became in his prime. The gradual growth and ripening of his mind — surely one of the most interesting psycho- logical periods in the course of a great artist's evo- lution—is more clearly illustrated in his sonatas than in his ether works. Nowhere else are those fine gradual changes, that progress towards an ever in- creasing independence, so noticeable and so trace- able. For what an unbridged chasm exists between the second and third symphonies, between the Quar- tets, Op. 1 8, and those three Constellations, Op. 59. The sonatas surrounding and connecting these works form the intermediary stages, build the bridge over the chasm, and solve the problem. If the question be now asked : what are the contents of the Beethoven sonatas? the answer will be found in the
32 BEETHOVEN S SONATAS EXPLAINED.
following analyses of each separate work. Mean- while we must set forth some leading considerations and the general point of view from which the ex- amination of details must proceed; in other words, we must depict the nature of Beethoven's artistic individuality and the general features of his instru- mental music in order to get a sound basis for the apprehension of the particular and the special.
The essential characteristic of his genius is, in my opinion, wealth of imagination, united with a nature full of foreboding and unfathomable depths,* but irradiated by a lofty intellect, and sustained by strong moral determination.! In Beethoven, ima- gination, feeling, intellect and character are de- veloped with equal potency and import, and in perfect harmony with each other. It is to these fun- damentals that the finest works are unmistakably to be traced,' indeed, they seem to me to be their in- evitable outcome. Nor can this close connection of
* Kullak says, in his excellent work on " The Beautiful in Music": ''No one has ever felt more devoutly than Bach, more happily than Mozart, or with more gigantic power than Beethoven."
t Richard AVagner says (''Kunstwerk der Zukunft") with regard to the C minor symphony, " Beethoven raised the expression of his music almost to a moral determina- tion."
BEETHOVEN. 33
fancy, feeling, intellect and character be realised except by a strong subjectiveness, not one-sided or wrapped up in itself, but in unison with objective qualities equally potent.
In contrast to Mozart and other composers, Beet- hoven has been called a pre-eminently subjective artist, with whom form was subservient to subjective contents. There is some truth in this assertion, but we must guard against misunderstanding, for, with all his self-absorption, Beethoven had more true ob- jectiveness than many of the soi-disant objective composers. Such fully developed, tensely strung subjectiveness can rarely exist without a struggle, at least not without violent agitation and emotion could it come into being, and into contact with other existences. Do we not find this to be the case with Beethoven ? Kostlin says, that with Beethoven music, being a reflection of himself and his relation to the objective world, is alike the attraction and re- pulsion of the subjective through the objective info the innermost and all-pervading ego. All these peculiarities appear prominently in Beethoven's in- strumental music; and it has long been recognised that his forte lies in this, and not in vocal music. Concerning the idiosyncrasy of Beethoven's in-
4
34 BEETHOVEN'S SONATAS EXPLAINED.
strumental music, Brendel, with admirable concise- ness, writes thus, in his " Musical History " : " The chief characteristic of Beethoven's instrumental music is the increased power of the subject-matter, which results in the heightening and extending of all the means of expression. Following this increased sig- nificance of the matter, we see a striving after the utmost clearness of expression by which music alone, not united to words, is made capable of representing definite states of mind. In earlier times, with Haydn and Mozart, the common character of instrumental music was a free play of vague, general expression. Beethoven, on the contrary, expressed definite situa- tions and portrayed clearly recognisable states of mind. Closely allied with this was his endeavour to set a poetical image before the mind of the hearer, while the dramatic life of his compositions was evolved by development of the matter. Mozart's aim had been an intelligent and logical working-out of the form which a piece of music took. But with Beethoven the formal treatment ceases to be a lead- ing consideration, and the tone-poet, following his poetical object, brings before us a grand soul-picture, portraying every variety of emotion. Finally, the humorous element also plays its part in his works."
BEETHOVEN. 35
Beethoven's sonatas, reflecting as they do the ar- tistic personality of their composer, are distinguished by the increased importance of their contents, the representation of definite states of mind, and their poetic tendency. The range is indeed in no way so comprehensive as, for example, it is in the sym- phony. In the latter the sentiment is preponder- atingly objective and general in character, pervaded though by a Beethoven subjectiveness. In the son- atas Beethoven refers only to his innermost self. Buried in the secrets of his own heart, to the piano alone does he confide the concerns of his inmost soul. These works we will now review; but before doing so we must say a few words on the style and periods of Beethoven's creations. It has been already intimated that at first Beethoven trod in the paths of his predecessors, Haydn and Mozart ; yet in the works belonging to that time his individu- ality continually becomes more conspicuous. This is the first period. Then Beethoven has emancipated himself, stands alone, has reached maturity and in- dependence, has become a man in the fullest sense of the word. This is the second period. In the course of his artistic life, partly in consequence of outward, partly of inward circumstances, Beethoven
36 BEETHOVEN'S SONATAS EXPLAINED.
continually retreats into himself ;he. so to speak.
^^ isolates his soul's life, raises his subjectiveness to
a ^oint at which the artist appearsan_2Solated
being, and only the most individual feelings are
represented. This is called the third period. To the first period the first twenty or thirty works are, on an average, assigned; to the second, those up to a hundred ; and to the third period, the works beyond that number. To draw a definite boundary line is in the nature of things impossible; since at the time of publication as now, the numbers prefixed to the works did not, in a great measure, at all correspond to the time of their composition; therefore, the so- called opus numbers can afford no criterion. Then, again, everything in Beethoven's works flows in such a living stream that abstract divisions cannot be set up between single works; the transitions are too fine. Marx, in his excellent book on Beethoven, goes too far when he rejects these periods as lifeless limitations. In its essence, indeed, Beethoven's style certainly is but one and the same; that something which distinguishes him from other masters is ap- parent from the very beginning. Yet such charac- teristic differences arise in this unity, that each period surely has its raison d'etre.
FOURTH PART.
BEETHOVEN'S SONATAS.
jEETHOVEN'S sonatas may be divided into groups; but deferring this for the present, we will, without further pre- face, closely examine them according to
their opus numbers, and reserve other considerations
for the last part.
OP. 2, No. I, F MINOR.
Appeared in ijg6. Dedicated to Joseph Haydn.
This sonata is distinguished throughout by the consistent development of a fundamental thought, by which, with much diversity of detail, a uniform character is given to the whole, or, as Marx puts it, a series of moods and feelings is psychologically developed as a subjective whole.
A certain discontentedness runs through the first
37
38 BEETHOVEN'S SONATAS EXPLAINED.
movement, allegro, F minor, | time; a mild rest- lessness, a half -shy seeking for something and not finding it. This we see if we do but look at the characteristic form of the first and second subjects, and at the opposite treatment which each receives. {Compare Marx, "Beethoven," Vol. I, page 122.) What then remains but quietly to submit ? Does not the third subject, shortly before the close of the first part, and also before the end of the whole move- ment, the passage marked con expressione, suggest this ? There is all through the movement a breath of really passionate yearning, but only a breath; it does not come to a real struggle, and to sharp con- trasts; the piece has a sort of bitter-sweetness about it.
Marx calls the second movement, adagio, F major, f time, a child's prayer. " It comforts if it does not find a hearing, yet the anxiety depicted in the first movement has not disappeared, but in the tribu- tary subject quietly, though unobtrusively, makes itself felt." Perfect peace breathes through these strains ; it is only in passing that anything painful arises to darken the picture; and then the cloudlet soon disappears, and it is clear sunshine again. Few of Beethoven's movements bear such an impress of
BEETHOVEN'S SONATAS. 39
placidity. This gentleness is also to some extent ex- pressed in the other movements.
The repose of the adagio was but passing. In the third movement, menuetto allegretto, F minor, f time, the mind of the tone-poet falls back into the discontent and restless yearning of the first move- ment. "No rest and no peace" ("keine Rast und keine Ruh ") is the impression produced by the minuet and by the trio in F major, and the climax of this sentiment in the second part of the minuet is very fine.
But now, in the fourth movement, prestissimo, F minor, | time, a storm rises in the soul : as Marx finely says, when fortune fails we behold the cour- age of suffering and the indignation of a noble mind, struggling with unworthy troubles, and if not crowned with conquest, possessed of the victory. In this movement, the dominant and basic sentiment rises to real passion, which is effectively expressed by the sweeping trills and the well-marked chief theme. Only for a moment in the first part is a quieter sentiment perceptible; then, at the beginning of the second part, a soothing melody predominates for a time, and the expression becomes deeply fer- vent. But this image of bliss gradually disappears,
40 BEETHOVEN'S SONATAS EXPLAINED.
for the waves of passion sweep onward again, ever stronger and more irrepressible, the storm and rush- ing begin afresh and retain the mastery until the end. The finale is indisputably the finest move- ment of the sonata : it is beautifully finished, and the distribution of light and shade is excellent. Lenz, in " Beethoven et ses Trois Styles," says of it : "Un morceau si franc si dramatique, qu'il n'en exis- tait pas dans le temps qui put lui etre compare." The radical principle of the sonata is decidedly Mozartish, whether as regards the form or the mat- ter, especially the principal subject, though there is no doubt that in the finale, both as a whole and in detail, the later Beethoven already appears ; the elevation and energy of the last movement, and the transition from the second to the third part of it exhibit the true Beethoven.
OP. 2, No. 2, A MAJOR. Appeared in ijg6. Dedicated to Joseph Haydn.
This sonata is distinguished by an almost equally uniform and consecutive, if not quite so compact and clear a development of the primary thought, as the preceding work, to which it is throughout in- ferior in elevation of style, while to a certain extent
BEETHOVEN'S SONATAS. 4 1
superior in originality. In the first movement, alle- gro vivace, | time, Beethoven at once strikes quite a new chord. How courageously and self-reliantly the first theme is announced, how boldly and cleverly it is carried out, how striking are the scales and modulations ! A youthful and even wanton humour is the leading idea. Marx sees in fancy, a restless boy who does not know how to give vent to his overflowing vitality. However, a deep, yearning feeling arises, just as if this wanton play of humour could not possibly ensure true and last- ing satisfaction. This is the tributary subject in E minor, which appears in A minor in the second part. The whole movement is cast in one mould, and is full of a fresh and uniformly harmonious ex- pression of feeling. Already, the original genius of Beethoven distinctly appears, and the first dawn- ings of the later Beethoven humour are perceptible. The movement contains passages — such as the one which, at the entrance of the second part, is first worked up in C, and then comes to rest in the same 'key, the passage further on in E major, just before the return of the first subject, and others also^ which contain nothing akin to Mozart.
In the second movement, largo appassionato, D
42 BEETHOVEN'S SONATAS EXPLAINED.
major, f time, feeling, humour and fancy make way for a more exalted sentiment. There is something sublime in the procession of those quiet, measured melodies and harmonies. Lenz- remarks that the style of the piece reminds one of Handel. Pro- found but restrained agitation pervades the move- ment. Very impressive is the entrance of the D minor in the second half of the piece, the diver- sion into B major, and then the return into D major with the repetition of the first subject in a higher octave; by this, and by the conclusion which imme- diately follows, a quiet touch of glory is added to the picture, and the whole is rounded off in beauty, Marx well says: "The song is quiet and solemn, like the thoughts of a noble mind alone under the starry firmament " ; and the entrance of the minor, he adds, produces a thrilling emotion as if words like death and eternity had fallen on the heart.
The scherzo allegretto, A major, f time, which follows as the third movement, is a lively, bright composition, "charmingly alluring," reminiscent, as is also the minor (trio), of the Haydn-Mozart minuet form, and in no way attaining to the originality of the first two movements. Lenz finds in the trio the character of Russian and Slavonic melodies.
BEETHOVEN'S SONATAS. 43
The fourth movement, rondo grazioso, A major, f time, is a picture of easy, cheerful life; with no touch of the Beethoven in the first movement; this movement, the chief theme especially, is decidedly Mozartish in conception; there is an agreeable play of sounds, but a deeper meaning is wanting. The formal musical structure is, however, interesting; the rondo-form being originally treated. On this point I would refer the reader to the third part of Marx's " Compositionslehre," in which he speaks of the movement as the best specimen of the rondo-form Beethoven has given us. The sonata, as a whole, consists of two unequal parts ; the last two move- ments not fully corresponding in style and expres- sion to the two first. Marx also thinks that the psychological unity of the last movement is not in harmony with the first movements.
OP. 2, No. 3, C MAJOR.
Appeared in ijg6. Dedicated to Joseph Haydn.
This sonata also, though resting as a whole on Mozart's principles, reveals the later Beethoven in particular passages, and, with the exception, per- haps, of the second movement, it has a steadily de- veloped uniform idea lying at its basis. A bright.
44 * BEETHOVEN'S SONATAS EXPLAINED.
active life, full of youthful freshness and vigour, pervades the first movement, allegro con brio, C major, | time. Nor is gracefulness wanting,, as the passages marked dolce, in G major and E tmajor, respectively, in the first and second parts, abun- dantly prove. On the other hand, the picture is not without its humorous side (see motive at bar 19, before the conclusion of the first part). Storm and hurry are well depicted by the rolling up and down of the octaves. The so-called fantasia part contains some very fine writing, and shows more freedom than in the works of earlier composers, but the most original part seems to me to be the point d'orgue on the chord of A flat major, followed by an interest- ing cadence, leading back to the first theme, and ending in a powerful and magnificent conclusion. In the whole of the coda, Beethoven boldly discards the strict sonata-form for the free form of the fantasia. A deep devoutness pervades the first theme of the second movement, adagio, E major, f time; a sense of inward contentment and happiness breathes through its tones. Soon, however, with the appear- ance of the E minor, a yearning impulse, not with- out pain and sorrow, is manifested (entrance of the A and B minor in fortissimo). Further on, the
BEETHOVEN'S SONATAS. 45
first theme returns soothingly, and in C major for- tissimo it even rises to an expression of courageous confidence. It is true that the yearning begins again, but it is materially subdued, the pain is dulled, and the first theme is heard for the last time, an octave higher — sounding, as it were, from a glori- fied height — and, in a calm, beatified mood, the movement ends. The colouring, the shading, the modulation, are all fresh, new, original, sometimes even magical ; we have true tone-poetry, soul-paint- ing, such as was peculiar to Beethoven alone.
After this movement what can the third movement — the allegro scherzo, C major, f time — mean? Its character is careless, self-satisfied cheerfulness; the form is still that of the Haydn-Mozart minuet ; the Beethoven scherzo has not appeared. The trio in A minor is not without originality, with its almost wilful sequence of the upper and lower registers; the former restless, fleeting, surging, in contrast to the hopefulness of the latter. The tone colouring of the whole is original, and an excellent prepara- tion for the character of the finale.
This fourth movement, allegro assai, C major, f time, is full of the most sparkling life, a little Bacchanalia, the product of bold youthful petu-
46 BEETHOVEN'S SONATAS EXPLAINED.
lance, an episode in a period of " Sturm und Drang." The motive in F major (dolce) in the middle of the movement forms an agreeable contrast, and serves to enhance the sparkle and dash of the whole. This movement reaches its climax in the shake towards the end; the shake here becomes the most direct and the most striking expression of the Bacchanalian whirl. The A major, which follows without inter- mission, has a striking effect, and like the power- ful conclusion, which immediately ensues, is a true Beethoven trait. Particular passages remind us, now and then, of Mozart, but the whole is, as it were, cast in one mould by some new being, and it seems, sometimes, with its Bacchanalian revelry, to foreshadow, though as yet quite faintly, the A major Symphony. Lenz says that the movement is a sort of rondo a la chasse, and he perceives the "Halali" quite distinctly. Let him have that as he will ; the law of working up the sentiment to a climax is fulfilled in this sonata by this finale. But, I ask again, what has the second movement to do with the organism of the whole? An inner connec- tion between it and the other movements is wanting ; it belongs to a later stage of development. Lenz seems also to be of this opinion. He somewhat fan-
BEETHOVEN'S SONATAS. 47
cifully says that one lingers before the piece as before the Venus of Milo in the Louvre; and adds, one would do well to play the movement apart from the whole sonata.
OP. 6, D MAJOR.
Appeared in the winter of iyg6-y. Date of com- position uncertain.
This is the only sonata for two performers on the pianoforte which Beethoven has written. It is in the small sonata- form, and is certainly a work of Beethoven's earliest youth, a work which can in no way be compared to the preceding sonatas, and which is far surpassed even by Mozart's charming little pianoforte duet sonatas. There is nothing more to say about the work. It is decidedly doubt- ful whether Beethoven had anything to do with its publication, as Op. 6; it is far more likely that this was the work of some uncalled-for hand.
OP. 7, E FLAT MAJOR.
Appeared in lygy. Dedicated to the Countess Babette von Keglevics.
As regards the first two movements this sonata IS an important one. The first movement, allegro molto con brio, E flat major, f time, is a tone-pic- ture rich in colour and character. The aroma of
48 BEETHOVEN'S SONATAS EXPLAINED.
the later romantic feeling is shed over its tone- images ; one has the impression of going into a gar- den, gorgeous with a profusion of the finest and brightest flowers, most skilfully arranged — so splen- didly do the tone-pictures group themselves, and enhance each other's glory. At the same time, this many-coloured play of sounds is full of soul ; that shadow may not be wanting to the light, a few earnest touches are interspersed here and there, the humorous strains not being forgotten. This will suffice to indicate the richness of the picture; the reverent player and hearer will easily understand everything, and the rare beauties of the music will speedily reveal themselves.
The second movement, largo con gran expressione, E major, f time, strikes a higher note. The sub- stance of the movement may be described in a single word, deep thoughtfulness (Tiefsinn). A sacred and exalted tone pervades these strains, which give an insight into the depths of the soul. The master seems to have been caught up into higher spheres than those in which he had just lingered. I only say he seems to have been caught up, for he soon feels that a yet higher world lies before him, and a strong yearning after it moves his soul (see the motive
BEETHOVEN'S SONATAS. 49
in A fiat major, bar 25). Stroriger and stronger becomes the pressure ; blows resound that shatter heart and marrow; it is as if fate were knocking at the door, and the soul were reminded of the pain of living by the rough reality of existence. What a powerful, dramatic passage ! The yearning be- comes less ardent, and touching, plaintive tones fall on the ear, the soul calms itself into quiet resigna- tion, and with the return of the first theme sinks into its former deep reflection and reverent medita- tion. Once again is the tone-poet seized with a painful longing after those lighter spheres; but the feeling of what he has been soaring after, of what in spite of all things, he has won, now takes per- manent possession of him, and he rises into a happy trance. In this mood the movement closes. We find in it what is as yet the most melancholy of adagios, for in it real soul-secrets are unveiled : we have the tone-poet Beethoven again with us. In the following movements, Beethoven, alas, descends from the height to which he had attained.
The third movement, allegro, E flat major, f time, and minore, E flat minor, certainly is, as re- gards the latter, with its pej-sistent restless trills, its harmony and modulations, of a highly original
5
50 BEETHOVEN'S SONATAS EXPLAINED.
stamp, a " fanciful and plaintive melody, like that of an old German ballad" (Ulibischeff), inclining itself, as Marx says, to an inward unquiet rumin- ation and brooding, being in no way an unworthy successor to the first two movements ; but the allegro, and especially the fourth movement, rondo allegretto, E flat major, f time, are, as regards substance and form, of a strikingly Haydn- Mozartish character, without any prominent origin- ality. They merely present a vague, general play of sounds, and the finale is overloaded with un- interesting figures and passages. The defect of the sonata throughout is a want of climax : it shows what a stronghold Beethoven's predecessors still had over him. He has only attained a temporary triumph as yet.
OP. lo. No. I, IN C MINOR.
Appeared in ijgS. Dedicated to the Countess von Browne.
In the sequence of the movements this sonata is characterised by one very steadily developed funda- mental thought ; it is, however, with the exception, perhaps of the last movement, written in the Mozart manner. The first movement, allegro molto, C minor, f time, seems as if the composer had been
BEETHOVEN'S SONATAS. 5 1
overhearing his great forerunner, to whom one might unhesitatingly ascribe the movement, so en- tirely in Mozart's spirit, are the chief themes and their working out. Everything recalls Mozart's great C minor Sonata. The underlying thought of the movement may be called subdued, restrained passion.
Through the second movement, adagio molto, A flat major, f time, there breathes that Mozartish spirit (Innigkeit) which was not the result of a men- tal struggle, and which has no such dark back- ground, but emanates from a mind at rest with itself. In correspondence with this is the whole style of the composition, which, without any very special originality in melody, harmony and modu- lation, is a reproduction of Mozart, though, of course, not a slavish but an intelligent one. The difference between Beethoven and Mozart will be fully appreciated by comparing this movement with the largo of the previous sonata, or by playing the two immediately after each other. The conclusion of the movement is very well-devised.
The third movement of the sonata, prestissimo, C minor, | time, is, on the other hand, the most original. The two chief subjects and their develop- ment are quite unique; something of the true Beet-
52 BEETHOVEN'S SONATAS EXPLAINED.
hoven spirit pervades the whole. The master de- parts from his model and seeks his own path. There is no more reticence or restraint, lively emotion fills the heart, a small battle almost begins. The agita- tion, however, is not profound. It seems as if the aim of the struggle were to shake off the melancholy character of the minor, the C major continually breaks through, and is in the end triumphant. One ' might say " that's the humour of it."
OP. lo. No. 2, F MAJOR.
Appeared in ijgS. Dedicated to the Countess von Browne.
In the first and last movements of this sonata Beethoven is under the influence of Haydn. The jocose, cheerful, easy nature of the merry roguish Haydn runs through the first movement, allegro, F major, | time. The first subject is a striking in- stance of this. It is a delightful ensemble, full of diverse changes, and of surprises, such as an en- trance of the D major, while certain passages bear decided marks of originality. But this is all that can be said for the movement ; even the enthusiastic Lenz calls it meagre.
The second movement, however, allegro, F minor, I time, transports us into Beethoven's world. Here
BEETHOVEN'S SONATAS. 53
are the germs of the Beethoven scherzo; the master stretches out far bsyond the forms of the Haydn- Mozart minuet, and produces a most original crea- tion. The whole is so imaginative, so ethereal, and has such a magical effect, that it awakens in me a feeling like that of Goethe's words in " Faust " :
Wolkenzug und Nebelflor
Erhellen sich von oben, Luft im Laub und Wind im Rohr
Und AUes ist zerstoben.
Lenz says that it brings before us a Brocken- mountain scene from " Faust,'' whilst Marx calls attention to the reposeful harmonies in D flat major, in the middle movements, and justly asks: "Is it then, only in melody, only in movement, that poetry is to be found ?"
In the third movement, prestissimo, F major, | time, Beethoven relapses into the style of Haydn. It is constructed on one motive, and pervaded by a Puckish spirit; as Marx observes, a mischievous game between fugue and sonata is carried on; the former seeming to resemble an old man with a child pulling his beard. To this apt observation we have nothing to add but that it is useless to seek in this movement for a trace of the Beethoven whose idiosyncrasy has already frequently been revealed.
54 BEETHOVEN'S SONATAS EXPLAINED.
OP. lo, No. 3, D MAJOR.
Appeared in 1798. Dedicated to the Countess von Browne.
In this, which Marx calls the first great sonata, ^ we clearly recognise the later Beethoven, especially in the first two movements. WJaat storm and dash there is in the first movement, presto, D major, \ time ! How characteristic is the ascent of the first notes in unison from the bass note D to A the fifth above, and then the broken octaves to the tenth above, F sharp, which by the combination of an opposite descending passage to the A, below the staff, are rendered still more expressive. The resist- less rushing and hurrying, the " Sturm und Drang," depicted in the opening passage are repeated and in- tensified, till there is scarcely a moment of rest; the reposeful motive in A major, in the first part, is powerless to still the raging of the storm. The whole movement is extremely rich in passages of special beauty. Particularly noticeable is the mas- terly power with which the motive of the first four notes, D, C sharp, B, A, is worked out, the numerous and characteristic forms in which it appears, and still more remarkable is the iron energy displayed in the fantasia part, and at bar 38, before the conclu-
BEETHOVEN'S SONATAS. 55
sion of the first part, in the proudly pacing bass notes and stormily descending octaves, interwoven v^ith which is the humorous motive at bar 32 — a pas- sage which reappears in the third part. This move- ment is not only full of lyric power, but is in the highest degree dramatic; it is pervaded by youth- ful vigour and heroism; and in fancy, we can see, though only as yet in the dim distance, the creator of the " Eroica " symphony.
The second movement, largo, D minor, f time, is a worthy associate of the first. Marx aptly characterises its meaning as one of dismal fretting and depressing melancholy. It bespeaks deep, manly sorrow borne with fortitude; in the A major motive the mind finds temporary rest, only to be speedily overwhelmed with a deep, impassioned sorrow, which slowly subsides, and gently dies away. And now for the musical representation of such a subject ! Does it remind us of Beethoven's predecessors ? Not in the least. Here, as in fact, in the first movement, the greatness of the later Beethoven is already apparent, so new and ori- ginal is the composition. And again the dramatic feeling makes itself felt, especially where the chief subject is heard in the low bass, with a restless,
56 BEETHOVEN'S SONATAS EXPLAINED.
stormy accompaniment, first in demisemiquavers, then in semidemisemiquavers in the treble — a powerful and striking passage ! And how well does the thrice-repeated G sharp, shortly before the close, depict the keen, cutting, inward woe ! This largo surpasses any of the slow movements hitherto mentioned, and .also many of those in the later son- atas. Unfortunately, the other parts of the sonata are not up to the level of the first two movements. The third movement, minuetto, D major, f time, sunnily bright as both it and the teasing G major trio are, does not accord well with the unfathom- able depths of sorrow of the largo. Marx, however, thinks differently, and considers the movement as a correct and necessary member in the organism of the piece. (Compare his " Compositionslehre," Part III). Supposing that in the inward, as in the outward world, there is a refreshing sunshine clearing up all the mysteries of darkness, and granting that psycho- logical correctness requires that brightness and light should follow the night which had gathered round the largo, still it seems to me that the movement in question has too much of that light Haydnish cheer- fulness, I might say too little of the ideality of form which was peculiar to Beethoven, when in
BEETHOVEN'S SONATAS. 57
good spirits and quite himself, to be considered as in clear and necessary connection with the previous movements. I always have the impression that Beethoven lost his cue here; I miss the working up of the ruling thought.
Nor does the fourth movement, rondo allegro, D major, | time, supply this want. It certainly is more characteristic than the third movement; the first motive is original and worked out into the most diverse forms, in a masterly manner, while the whole is exceedingly lively and not without humour. But the influence of Beethoven's predecessors, which in the largo, was slightly perceptible, and in the first movement scarcely seen at all, is apparent at intervals. After the depth and grandeur of the first two movements, the tone and keeping of the whole of this movement appears to me too light and fleet- ing, and the humour too shallow, to give an impres- sion of any striking internal unity, or to form an adequate conclusoin to the whole work.
OP. 13, C MINOR. Appeared lygg- Dedicated to Prince Lichnowsky.
In this sonata Beethoven again attains a very close unity between the movements. The work has
58 BEETHOVEN'S SONATAS EXPLAINED.
always enjoyed a special preference among dilet- tanti. It may be described as one of the master's most popular compositions, and is the ne plus ultra with those who have not arrived at an understanding of the later works, such as Op. 57. The name "Pathetique" may have contributed to this, as has also the fact that the sonata is easy to play, more easy to play than, for example, the last-named com- position. But the intellectual contents of the work, the plastic soul-pictures, explain the preference; the sonata comes very near to the emotional under- standing, and the title " Pathetique " is striking and not easily mistaken, although other works are equally, if not more, pathetic. Here the pathos is deep, earnest passion, which, however, does not overstep a certain measure of gravity and dignified deportment. The first movement, grave, then allegro molto con brio, C minor, | time, is the most telling expression of his primary character, a lifelike pic- ture of manly, earnest, painful and passionate emotion. In the stately introduction the ardour seems restrained ; here and there the fire breaks out, in a marked rhythm, but only to be immediately quenched. But at the entrance of the allegro, the lava stream bursts its bounds, and rushes forth. In
BEETHOVEN'S SONATAS. 59
the tributary subject, in E flat minor, and then more intensely in D flat major, a pleading, soothing voice is heard restraining the storm. But in vain is the stream arrested. A moment's pause is perceptible in the passage marked grave; then the storm begins anew and with increased vehemence in E minor. And again arise those beseeching, soothing strains in F minor and C minor. But in vain; the storm must spend itself, till at length it subsides in a dimin- ished chord of the seventh. A^hird time the grave appears, and then a last short outburst, followed by deep repose. Marx points out the repeated ap- pearance of the grave as particularly significant. Says he : " It does not stand there as an empty clang of sounds or chords, but has its own specific purpose in the min.d of the composer, and is in accordance with the character and intention of the whole; three times before the end it portentously points back to the solemn introduction to the work." The nature of this grave gives the impression that it could be the product only of some strong deter- mination.
The sharp struggle being over, in the second movement, adagio cantabile, A flat major, | time, a profound peace takes possession of the master's
6o Beethoven's sonatas explained.
soul, and is well expressed in the sustained singing theme. The feeling becomes more and more deep and reverent, and rises, in the end, to real rapture. Once only, when the theme is heard in A flat minor, a cry of sorrow escapes; but this produces courage- ous, joyful exaltation (transition to E major); a moment, and the untroubled forms of rest and peace again hover round us.
The third movement, rondo allegro, C minor, f time, gives completeness to the whole. The storm which swept through the soul in the first movement has subsided, the tcne-poet has saved and ensured his inward peace; his mind has, in a measure, puri- fied itself.
The finale seems the outcome of this purifying process — its most direct expression. More strictly speaking, the result is a certain submission to some- thing that was inevitable, but a happy, courageous submission, full of power for fresh exertions, and renewed activity. There runs also through this movement an active, though not unquiet life-current in many changing forms, "bewegt und doch mass- vol Alles" — a satisfactory conclusion. It is not to be denied that the last movement, both in its chief subject and in other particulars of its formal con-
BEETHOVEN'S SONATAS. 6 1
struction, reminds one very much of Mozart, far more so does the finale of the previous sonata.
OP. 14, Nos. I AND 2, E MAJOR and G MAJOR.
Appeared in ijgg; when composed, uncertain. Dedi- cated to the Baroness Braun.
After the D major Sonata, Op. 6, these sonatas are the weakest of the w^orks hitherto under con- sideration and are very inferior to Op. 2.
The whole of the second sonata might be unhesi- tatingly ascribed to Haydn, while the first is a little more independent, but so little that, although it would do honour to the pupil, it does none to the master. Through Schindler, these sonatas have re- ceived what one might almost call an undeserved celebrity ; at any rate, one which Beethoven did not anticipate. Schindler makes mention in his bio- graphy of Beethoven, of a conversation with him in the year 1823, in which Beethoven describes the con- tents of the sonata as a dialogue between man and wife, or between lover and mistress, a« the conflict of two principles. Marx in his work on Beethoven, takes much trouble to place the purport and import of this remark in a right light; that is, to reduce it to proper proportions. We quite agree with him that Beethoven's words contained no special refer-
62 BEETHOVEN'S SONATAS EXPLAINED.
ence to the works in question. Indeed, all instru- mental music presents contrast, like the image of the man and woman; conflicting principles, such as are frequently found in Haydn and Mozart; in an aesthetic point of view, therefore, the observation proves nothing or too much, for Beethoven has, in other works, composed more clever dialogues. Sup- posing that these sonatas do represent a conversa- tion between a man and a woman, it does not add to their importance; but Marx demonstrates that they do not display the least trace of dialogue. Like Marx we may find these sonatas attractive and very charming, but for Beethoven we seek in vain. Their meaning is so obvious, the feelings which they de- pict arc so simple and direct that any further ex- planation would be superfluous.
OP. 22, B FLAT MAJOR.
Composed 1800. Dedicated to the Count von Browne.
In the first two movements of this sonata deeper chords are again struck. The first movement, alle- gro con brio, B flat major, \ time, is distinguished by energy and strong, youthful vitality; a fresh pulse of life beats through these tones, a joyful, courage- ous feeling pervades the whole. Very characteristic
BEETHOVEN'S SONATAS. 63
is the first theme ; it gives the signal for brisk action which is depicted in brilliant passages ranging through both registers, and is interrupted only by the firm, courageous entry of the second subject in thirds and sixths. Towards the end of the first part there is a third motive in octaves, majestically rising and falling, and suggesting the appearance of an earnest, manly form in the midst of a gay, youth- ful crowd. The second part introduces a new and characteristic feature. It appears, at first, like some strange apparition, whose entrance causes a precipi- tate retreat among the surrounding elements ; but the scattered forms gradually reunite, the treble performing passages of rapidly-rolling semiquavers, while the bass moves to and fro in crotchets and quavers; after which comes a momentary pause. In the third part, with the return of the chief theme, the former chequered movement recommences, as if the composer wished to be serious once more before he concluded, although only for an instant. In «ome parts of the movement we are still reminded of Mozart, but, in general, Beethoven's originality decidedly appears.
As much cannot be said for the second movement, adagio, E flat major, | time. A deep yearning
64 BEETHOVEN'S SONATAS EXPLAINED.
breathes through the first theme, a pleasant calm and atmosphere of romance pervade the entire move- ment, but, at the same time, the whole seems some- what weak; it might be said that the melody was tinged with the lusciousness of the best kind of Italian music, and was thus foreign to the Beethoven of our imagination. Although this movement is no improveipent on the first, it is not inferior to it, as the last two movements unfortunately are. In point of fact — and Lenz agrees in this — Beethoven de- cidedly relapses into the Haydn-Mozart style of writing, both in the third movement, minuet, B flat major, f time, and also in the fourth, rondo alle- gretto, B flat major, f time. A cheerful, ordinary tone of feeling, wanting in individual expression, characterises both these movements; and they have but little originality.
OP. 26, A FLAT MAJOR. Composed, 1801. Dedicated to Prince Lichnowsky.
Compared with previous works, this sonata is re- markable as being the first example of Beethoven's use of the variation and march forms. Indeed, the work is not written in the true sonata form, for it consists of an air with variations, a minuet, and a
BEETHOVEN'S SONATAS. 65
funeral march, concluding with a rondo. The son- ata fails in organic unity, owing to the interpolation of the funeral march, which although intrinsically a masterly work of musical art, and a worthy prede- cessor to the funeral march of the " Eroica " sym- phony, seems as if it were "stuck into" this sonata. It would be useless to seek for any connection be- tween it and the other movements. What accord is there between it and the third movement which is almost volatile in character, and after the depth and grandeur of the march seems but mere confection- ery ? This concluding rondo — which is the weakest part of the whole work — almost jars upon us after the. slow movement, the magnificent effect of which it serves to dissipate. But in proportion to the in- feriority of the rondo is the superiority and beauty of the air with variations. The theme breathes an ardent longing, arising, as Marx says, out of a deep yearning, exalted feeling. " In the glorious varia- tions," writes Marx, "this fervent feeling finds vent; it creates the variations. The first notes E, A flat inspired with this higher meaning become the motive of the first variation; the feeling intensifies and is diversified at every step, the aspiring motive is worked up higher and higher, till in the thirty-third
66 BEETHOVEN'S SONATAS EXPLAINED.
bar from the beginning it sinks back timidly and reservedly into its native regions. Everything is resolved into motion in the second variation, in which the appearance of the theme in the tenor serves to intensify the conflict of emotions. The same impulse, though in a more fretful tone, influ- ences the following variations, whence it naturally results that a gentle spirit of consolation, now sink- ing, now soaring, hovers over the next variation. The last variation gives the theme, divided alter- nately between the soprano and alto, in an agitated but a still more confident manner, and finishes with a sweet pleasing hushing." Beethoven treats the variation form in a totally different manner from Mozart. The latter constructs his variations merely on the formal musical foundation of the theme; with him the variation is more like an ingenious paraphrase of the form of the theme, but with Beethoven the intellectual side of the theme, and the nature of its sentiment become the ruling motive for each variation, so that a greater internal trans- formation is effected. But only in the later works is this method fully developed. The scherzo of this sonata, and the trio especially, are not devoid of considerable originality; the latter is, as Marx
BEETHOVEN'S SONATAS. 6/
says, "one of those gently-breathing, self-reposeful sort of trios, such as Beethoven alone could write."
OP. 27, No. I, E FLAT MAJOR.
Appeared about j8oi. Dedicated to Princess - Liechtenstein.
This sonata is entitled "Sonata quasi una fan- tasia," and, both in form and matter, it is more like a fantasia than a sonata. The strict and pure son- ata form is almost entirely laid aside, and the whole seems like a mixture of song, rondo, fantasia and sonata, for all these forms enter into it, and in such a manner that each has an equal and none a special prominence. Consequently, there is a want of formal organic unity, the connection between the movements appears but slight, and there is a frag- mentary character about the work, as if it were an experiment in form. With this heterogeneity of expression is a want of uniformity of sentiment, and an abrupt transition from one phase of feeling to another, as in the free fantasia. There is a visi- ble striving after a definite individual character and meaning. The first movement, andante, E flat major, f time, with an interlude, allegro, C major, § time, is written in the romantic style, aft^ the
68 Beethoven's sonatas explained.
manner of a song. The constant return of the theme, good as ife is in itself, gives rise to a certain monotony, which requires orchestral colouring to relieve it. But what shall be said of the jovial in- terlude? How does it accord with the elegiac tone of the principal subject? It may be called Beet- hoven's humour; but to my mind it does not seem in keeping here. Whatever were Beethoven's in- tentions, they were not realised. And this is the case also with the incessant repetition of the chief subject which we have already noticed. One can only compare it to the second movement of Op. 90.
The second movement, allegro molto vivace, C minor, f time, is not devoid of originality, with its rash, unstable, hurrying character and, in its humour it already clearly bears the stamp of the Beethoven scherzo. The third movement, adagio, A flat major, I time, is cast in the true Beethoven mould, and dis- plays depth and warmth of feeling. The move- ment is extraordinarily short, little more than an in- troduction to the last, fourth movement, allegro vivace, E flat major, | time — a bright, lively agi- tated composition, with a dash of fantasy, almost of elfishness.
Beethoven's sonatas. 69
OP. 27, No. 2, C SHARP MINOR.
Composed about 1801. Dedicaled to the Countess Julie Guicciardi.
This sonata is undoubtedly one of the greatest and most important productions, not only in the circle of the sonata, but in the whole of Beethoven's instrumental music. This work, .to which the mark quasi fantasia has been attached, enjoys, in another manner, the same popularity as Op. 13. Disap- pointed affection was the moving cause of this com- position, which is dedicated "Alia Damigella Giulietta, Guicciardi." " Beethoven shows," says Marx, "in his immortal C sharp minor Sonata, that love— a secret flame burning itself out in the con- suming fire of insatiable desire — ^lived en in his true heart." Marx describes the first movement, adagio, C sharp minor, \ time, as the song of renunciation. We hear soft, low, plaintive tones, such as arise from the troubled and oppressed heart. The in- tense pain reaches a climax in the characteristic chords of the ninth in bars 16, 18, 52, 54; but closely blended with this heart trouble is a sense of quiet submission to the inevitable, while occasionally — at the modulation into the major key — a comforting ray of light penetrates the night. With melancholy
;0' BEETHOVEN'S SONATAS EXlPLAlNED.
and pain the movement began, and with these it dies away. The musical colouring is bewitching, a weird, dim twilight is shed over the whole, and yet amid all the darkness and apparent confusion a definite sentiment is embodied.
An allegretto, D flat major, f time, follows as the second movement. Marx says, "the song of renunciation is succeeded by the words of parting, ' O, think of me ! I think of thee ! Farewell, fare- well!' uttered in fleeting, broken sobs till the last ' for ever.' Who shall portray the images of happy moments gone by, or the shadows of a dark future which pass before the spirit of the bereaved one in the trio?" This is an ingenious interpretation of the movement which Liszt, looking at the crashing finale that follows, calls a floweret between two abysses. But I confess, frankly, that this allegretto, with regard to the style in which it is written, the character which pervades it, and the connection in which it stands, always appears to me like an inter- loper. Is this really Beethoven's own style, or is it that of the Haydn-Mozart minuet? This allegretto, always puts me into a mood which seems totally opposed to the sentiment which pervades the rest of
BEETHOVEN'S SONATAS. /I
the sonata. I feel a shock to my feelings in being suddenly snatched from the poetic spell of the adagio, and transported from the profoundest soul depths into a light, fleeting, easy-going sort of world. I may be mistaken so I will not seek to spoil any one else's enjoyment of this allegretto; to me, however, it is a mystery in this place, which even Marx cannot explain away.
In the last movement, presto agitato, C sharp minor, f time, the spirit of the tone-poet bursts forth in gloomy, passionate agitation, the pent-up wrath breaks boldly into free channels, a frightful storm begins to rage, as if some volcano were rolling out glowing lava from its thundering depths. Could this be represented more finely than in the opening motive, and in the succession of wildest harmonies and modulations which surge like tempestuous billows ! The sublime spectacle of the giant's struggle with these powers of darkness is set before us. Will the struggler succumb ? " No," says the second subject, that strong confident form, which appears first at bar 21, and "No" says also that flash of redeeming humour in A major, in bar 33, and afterwards in D major. Such power the demons have not gained, and there are hopeful
;2 Beethoven's sonatas explained.
gleams of light in the chaos. The storm may rage till the end ; but it has then worn itself out, and the soul is purified, released and saved. Such is the ideal meaning of this incomparably richly coloured night piece, and we part from the work with the glad assurance that some of the truest tone-poetry has once more been vouchsafed to us.
OP. 28, D MAJOR.
Composed 1801. Dedicated to Joseph Edlen von Sonnenfels.
The title "Pastorale" has been given to this sonata. Marx expatiates on this in an ironical vein, and pointing to the Pastoral Symphony, thinks that in Beethoven's works, which bear this name aright, there is not a single repetition of a funda- mental thought to be found. I do not concur in this opinion, which appears to me as true only in a certain sense, and to be taken cum grano salis. The sonata always awakens in my mind feelings akin to those which works like the Pastoral Sym- phony call forth. Is there not a gentle, fresh spring breeze breathing through the first movement, allegro, D major, f time? This is surely a sunny, bright and expressive picture of life, pleasing,
BEETHOVEN'S SONATAS. ^3
richly-coloured and full of charming changes. We feel indeed that this does not exhaust the full im- port of the work, and that a deeper meaning lies in the whole; but the interpretation which Marx (" Beet- hoven," Vol. I, page 311, first edition) gives to the movement, and, to the whole sonata, appears to me rather a forced one, though I agree with him, " that a hidden meaning seems to run through" the first movement. The succession of harmonies and the modulations have often a wonderful effect. Take, as one instance only, the point d'orgue on the low F sharp, in the so-called fantasia part; "truly, thou- sands cannot comprehend it." This first movement is purely Beethovenish ; not so those following.
The second movement, andante, D minor, | time, evokes a feeling like that which comes over us when light films of cloud veil the sun, making a beautiful landscape shine in fallow light, the cloud only breaking a little now and then to admit the kindly sunbeams.
The third movement, scherzo allegro vivace, D major, f time, is full of gay, teasing humour, and is characteristic through its succession of octaves, thirds, sixths and triads; the trio again is not with- out originality in its obstinate repetition of a single
74 BEETHOVEN'S- SONATAS EXPLAINED.
motive. Yet the movement is only a play of sounds, and, however good as such, is not a tone-poem like the fkrst movement.
This may be said also of the fourth movement, rondo allegro ma ncn troppo, D major, | time. We seem to see before us a troop of lusty sons of nature boisterously jesting and romping, seizing each other and running away, playing hide and seek, keeping as still as mice, and then bursting out and rushing on more and more joyfully and wildly. Haydn and Mozart appear very clearly (too clearly) in these last three movements, and this is one reason why there is inequality in the style of this sonata, and the working up of the primary thought is want- ing. The work always seems to me like a Janus with two faces — the one turned backwards, the other forwards.
OP. 31, No. I, G MAJOR. Composed about 1802.
Humour, grace and ease are the general charac- teristics of the three movements of this sonata. Marx briefly and aptly describes the first move- ment, allegro vivace, G major, f time, as spirited and sparkling with humour. The short chief sub-
Beethoven's sonatas. 75
ject has a striking effect with its incisive rhythm, and the rhythmical form impKed by this motive gives to the sonata its original character. A fine contrast is afforded by the second theme, which, full of a comfortable enjoyment, enters first in B major, and also by a third motive of a similar character, which is heard towards the end of the first part in the same key, and afterwards in G major. The whole movement is rich in surprising changes, in the bold management of the melody, harmony and modulation, which makes it extremely interesting and animated.
The second movement, adagio grazioso, C major, f time, is a picture of refined, smiling graceful- ness; Marx and Lenz are right in calling it idealised Italian music. In fact, Beethoven lavishly displays all sorts of sensuous charms; and yet he never loses himself in effeminacy and flabby sentimentality; never forgets that he is a German, and breathes German sincerity even into these strains. This is especially apparent in the tributary subject in A flat, pp, in which the master, with a quiet, magical touch, bears us away from the laughing Hesperides, and leads us, as also in the well-devised conclu- sion of the movement, into real German heart-depths.
76 Beethoven's sOnatas explained.
The third movement, rondo allegretto, G major, I time, belongs to the prosaic type. Nothing could be more characteristic in this respect than the first subject. This theme dominates the whole of the very long movement, of which Marx says that it is possessed exclusively by a comfortable jog-trot spirit. The theme is presented with every possible variety, exhibiting inexhaustible ingenuity. But I think the master has overdone it, and has not been able to prevent a certain monotony from pervading the whole. This arises from the motive itself, which does not seem to me capable and worthy of a rich and interesting treatment. I think, too, that the composer felt this himself eventually, for, towards the end, he suddenly brings in an adagio, and then closes as suddenly with a short presto, which is in some measure a pleasant and refreshing change. Moreover, the prosaic element is, so to speak, some- thing quite un-Beethovenish. Examined closely, the chief subject of the third movement, and several motives also of the previous movements, appear rather Mozartish in design. Altogether it conclu- sively appears that this sonata, no less than its pre- decessor, fails in the working up of the primary thought.
BEETHOVEN'S SONATAS. "JJ
OP. 31, No. 2, D MINOR.
Composed about 1802.
The first movement of thi§ sonata, allegro, D minor, \ time, is a dramatic presentation of a manly, earnest, passionate and violent conflict, accom- panied by inward struggles. In the beginning o the movement, the master still betrays indecision; he pauses, reflecting whether he shall take the de- cisive step or not. Then, all at once, he makes up his mind and the storm bursts forth ; at bar 2 1 the chief theme appears, as Marx says, sternly resolute and full of force, but soon joins itself to a gentler impulse of pain or of supplication; then the feeling \ becomes more and more restless, and the second ) theme has a very agitated character. Now some hard blows resound, as if the struggling spirit were bracing itself for fresh effort. Then the deep, angry, tumultuous mutterings and rollings recom- mence. At the beginning of the second part we'^ hear again the largo tones; "the largo question sounds solemnly three times"; and the response is / renewed, but more eager aspiration and passionatq^ struggle. A moment's rest comes again, the largo is heard once more in a recitative full of expression, and of sorrowful submission to the inevitable. Such
yS BEETHOVEN'S SONATAS EXPLAINED.
I take to be the meaning of the recitative. Then the struggling and striving are renewed, till at last the storm subsides and dies away in lew, gloomy mutterings.
The second movement, adagio, B flat major, f
time, depicts the deepest inward peace and serenest
happiness. A religious feeling pervades the chief
theme of this movement. But amid all this repose
^^ icome occasional outbursts of passion; indescribable
vj/ I emotions rise and swell in the heart; an ardent
^yearning after higher happiness takes possession of
the soul ; the agitation is gently soothed, but the
yearnings begin again, to be, however, hushed at
last. The whole is a beautiful and richly coloured
piecg of sQul-|^ainting
The third movement, allegretto, D minor, | time, consists properly of only two principal subjects; the first quite at the beginning of the movement of four notes only. A, F, E, D; the second of six notes at the interval of a second (F, E, F, E, F, E). This gives a stamp of originality to the piece, especially to the second tuneless motive, and some- thing of a bizarre tinge is imparted by the almost obstinate repetition of the theme in every key. What does this movement mean? A deep agitation runs
BEETHOVEN'S SONATAS. ;9
through it; a striving after something, as there was in the first movement, but a less active striving, one might say a more resigned effort, accompanied,! however, by a bitter, almost gnawing grief. Over the whole, which Marx speaks of as " perfumed with longing," there hovers a spirit of phantasy; a humorous feature runs through it, by which the former restless, and even gloomy, character of the movement is essentially modified. After careful consideration, we feel convinced that this rondo is no mere caprice, and that there is, although we may not be able to explain how, a subtle connection between it and the first movement. And the sonata on this account gives the impression of a work uni- formly carried out. It may also be noted that, ac- cording to tradition, Beethoven had a special pre- ference for this sonata, and frequently played it in public.
OP. 31, No. 3, E FLAT MAJOR.
Composed about 1802.
The first movement, allegro, E flat major, f time, begins with a short characteristic motive, such as we have already become familiar ' with, and which we shall find again in succeeding works. The first
8o BEETHOVEN'S SONATAS EXPLAINED.
subject is playful and humorous, and, as it is elab- orated, its facetious character predominates more and more, especially at the beginning of the second part, where, now in the treble, now in the bass, it skips about in a charming, elfish manner. The movement is formed also on a second theme which first appears in B flat major, then in E flat major. Although the first motive was very original, this has a decidedly Mozartish colouring, as its further developments show. In this movement the inde- pendent Beethoven is clearly distinguishable from the Beethoven leaning towards Mozart.
The former meets us again in the second move- ment, scherzo allegro vivace, A flat major, f time. This is one of the sweetest and most ethereal move- ments Beethoven ever wrote. One fancies one's self transported into the fantastic and humorous elfin world, into a scene in the "Midsummer Night's Dream," so magical is the spirit which pervades the composition. The charm of the colouring — the splendid and surprising effect of the alternation of forte and piano, especially the # in F major, after- wards in D flat major — is indescribable. This movement is true fairy work.
The third movement, menuetto moderato e gra-
BEETHOVEN'S SONATAS. ~ 8l
zioso, E flat major, f time, strongly reminds us of Mozart, so entirely is it conceived in his spirit; the trio, however, shows far more Beethovenish origin- ality. This may be said also of the last movement, presto con fuoco, E flat major, f time, in which the climax of the humorous spirit pervading the whole sonata is reached. This finale is formed on two short characteristic motives, one at the beginning of the movement, the other at the twelfth bar, both of which, the latter, especially, are carried out in the most surprising and diversified manner. The climax is reached in the second part, where, by an en- harmonic change of the G flat, F sharp major is in- troduced, and is further modulated into G major, the humour thus boldly and brightly expressing itself. The whole sonata is one of the most cheer- ful and most free from pain which Beethoven has written, f rolicsomeness and a sparkling delight in life are, to put it tersely, the characteristics of the work.
OP. 49, NO. I, G MINOR, No. 2, G MAJOR. Composed about 1802.
There is but little to be said about these sonatas. They are properly sonatinas, like Op. 6; though they are deeper than Op. 14. They are undoubtedly
§2 Beethoven's sonatas explained.
productions of Beethoven's earliest youth, and for their taking rank as Op. 49 the composer is in no way responsible. All that is worthy of notice is that the motive of the minuet in the second sonata had already appeared in the Septet, Op. 20. This circumstance alone indicates an earlier origin for the sonatas, for it is hardly conceivable that Beet- hoven should have worked out on such a small scale, a motive from one of his most important works of the first period. What connection there is re- sembles that between the first theme of the last movement of the " Eroica " and the pianoforte vari- ation on it, and in another manner between the sing- ing-theme in the Fantasia, Op. 80, and the song of joy in the Ninth Symphony; that is, a sort of pre- liminary study is afforded us.
OP. 53, C MAJOR.
Composed about iSoS^ Appeared in iSoj. Dedi^ caied to Count Waldstein.
What a giant is Beethoven in this sonata \ The first movement, allegro con brio, C major, f time, begins with gentle tremblings of the happiest feel- ing in the tone depths, embodied in a short charac- teristic motive. An upward impulse towards the light makes itself felt. For a moment the happy
BEETHOVEN'S SONATAS. 83
beating of the heart finds rest on a close in G. But it immediately begins again more intensely under the firm keeping of the chief motive, and passes through a short tributary movement to the second theme in the bright E major. This theme which, in contrast to the previous trembling feelings, has a firm, self- contained character, produces a delicious effect. So alluring is the spell of this motive that a host of charming forms immediately surrounds it. The tone-poet's soul is filled with the happiest, sweetest self-forgetfulness, quite given up to this beguiling fascination, absorJDed as it were into this fairy world. Will it entirely lose itself? No. At the entrance of the A major, a manly, self-reliant power is perceptible which, in F major, rises to a bold shout of triumph, but only to sink back again mto the first delicious trembling, and then instantly to hush the most pleasing emotions till the end of the first part. With the second part that electric spark of joy in the first theme flashes forth again, and is exclusively employed in the fantasia part, till, in C major, those bright genii reappear, exercising a yet more potent spell. They usher in the third part and the return to the first theme, with the recurrence of the same train of feelings that we had in the first
84 Beethoven's sonatas explained.
part. At the entrance of the coda, the first theme appears in the greatest intensity, the happy feeling rises to a magnificent cHmax, till the agitation checks itself with the chord of the dominant seventh. The bright, self -sustained form of the second theme is heard once again in the quiet depth, then another outburst of the electrical first motive, followed by rolling thunder and — all is silent. If we examine in detail the construction of this movement, we shall be astonished at the wealth of means employed, at the inexhaustible fertility of the master in ever new harmonic and rhythmical changes; in a word, at the gigantic structure which he has reared on those two motives. All possible harmonic and rhythmical means are employed — especially in the coda — to in- tensify the sentiment to the utmost.
There follows, as a second movement, introdu- zione adagio molto, F major, f time, with rondo allegretto moderato, C major, f time.* The slow introduction has an aphoristic fragmentary charac- ter, and, with the exception of eight bars in the middle, which contain a deep, yearning motive, it
• According to Ries, the "Andante favori pour piano," No. 35 of the works which have no opus numbers, was ori- ginally to have formed the second (middle) movement.
BEETHOVEN'S SONATAS. 85
consists, so to speak, of musical interrogations and bold, harmonious, even mystical changes, which lead to the rondo. The adagio, which Marx calls medi- tative, forms a striking contrast to the happy char- acter of the preceding and following movements, and thus enhances their vivacity ; so pale and wan is the colouring that it seems as if the smiling face of heaven were suddenly overcast with shadow and cloud. Then the mists suddenly disperse, and bril- liant sunshine returns, when the chief theme of the rondo is heard. This motive is thoroughly imbued with the blissful spirit of the second theme in the first movement, it is at the same time very homely and simple, and even naively popular. The melody repeatedly returns, and so firm is its hold that it springs up ever anew, with fresh harmonic and rhythmical embellishments, always the same, yet ever in a fresh dress, it is the original theme, but adorned with delicate and exquisite figures. Sud- denly from the rolling wave-like trills there arises a vigorous, manly power, revealing a strong current of emotion which in A minor grows gloomy and stern. Who can tell what it is that suddenly, almost painfully, agitates the soul ? Albeit, the night is but short, for the tender, blissful feeling of the i|rst
86 BEETHOVEN'S SONATAS EXPLAINED.
theme soon comes out victoriously. Once more a violent storm arises in C minor, dark shadows close around the scene, but they also vanish. The chief theme appears again in a shortened form, but in the utmost intensity, the expression almost rising to sub- limity; a moment, and the earnest feeling passes away in enchanting modulations, breathing supreme tenderness and bliss. This feeling reaches its first climax in G flat and D flat major, from which a musing train of feeling leads back to the funda- mental thought. The chief theme grows more and more striking and expressive up till the arrival of the marvellous climax with the jubilant trills. This is the second climax of joyful ecstacy, the third and highest being attained in the celebrated shakes of the prestissimo which afford the clearest, most tell- ing and most effective expression of the funda- mental thought. Here is the fulfilment of what was only sought after in the C major Sonata, Op. 2, for what was only bud there is now developed into the finest blossom.
OP. 54, F MAJOR. Composed about 180^. This sonata is one of Beethoven's most singular WPrks. Marx calls it a strange production, and
BEETHOVEN'S SONATAS. 8/
apparently does not very well know what to say about it; he considers it as a mere play of sounds, not as music of the soul, much less of the mind and spirit, in which categories — (to these we shall return) — he arranges instrumental music. Lenz finds the sonata merely bizarre, and sees in it only the weak side of the third period without its beauties. I must confess that the work is to me something of a riddle. I look upon it as a freak of Beethoven. The first movement, tempo di minuetto, F major, | time, contains two chief themes ; the first is of the quiet, cheerful commonplace type; the second, a series of octaves rushing to and fro, is rather dry and has no charm of melody. The two motives alternate and run side by side without uniting or- ganically to form a higher whole; they seem as if they had nothing to do with each other, so entirely does ea^ch pursue its own way. If there is any lead- ing thought, what is.it? Solve the riddle who can. The movement remains an enigma to me.
The second movement, allegro, F major, f time, appears to me one of the weakest which Beethoven has ever written. Can this be the third period ? The movement consists of mere figure-work, empty and insignificant, at th^ most, valuable as a study.
88 BEETHOVEN'S SONATAS EXPLAINED.
The whole work falls coldly. The saying that " Even Homer nods sometimes " would be particu- larly applicable, for the work shows no signs of inspiration. It must be observed, however, that ac- cording to Schindler, this sonata, which was printed in 1806, was written several years earlier, and before Op. 47.
OP. 57, F MINOR. Composed, 1805. Dedicated to Count Brunswick.
The title, Appassionata, which has been given to this sonata, is the most suitable and comprehensive which could have been chosen. In the first and third movements the work is a night piece, a picture of a violent emotional conflict, illumined, however, by bright interludes; the middle movdment is an ideal flight into happier regions. The first move- ment, allegro assai, F minor, -^ time, begins_with one of those short characteristic themes, such as we have already frequently met with; dismal spectral shadows rise, as it were, out of the lowest depths; softwailings issue from the heart, and fate is heard knocking at the door. Suddenly a mighty storm bursts forth, then there is a painful_trgmb]ing, and in the second theme, in A flat major, ther? arises 9.
BEETHOVEN'S SONATAS. 89
wonderful sympathetic strain of happy consolation. But the storm of painful emotion begins again; there are no more interludes of light, but fits of con- vulsive starting; the nightly shadows assuming a firmer shape; and the agitation increasing until another climax is attained. Then there is a momen- tary subsidence into soft, trembling tones, and that exalted spirit of strong, virile consolation gains the upper hand. But fate claims its rights, the fight must be fought out; the turmoil, therefore, is re- newed. Although the voice of reconciliation is heard for the third time, the storm only rages the more vehemently ; although a cheering ray of light de- scends from above, an almost horrible shrillness re- sounds from below; at the entrance of the broken chord the inward struggle rises to actual frenzy; there is a wild surging to and fro, the consoling motive even takes a gloomy character, and at last the angry thunder rolls. We have here again a thoroughly dramatic psychological picture, and the feelings that pervade it are real, heart-felt ex- periences.
The second movement, andante con moto, D flat major, f time, forms a contrast between the begin- ning and concluding movements, though not in an
go BEETHOVEN'S SONATAS EXPLAINED.
outward, but in a deep and inward sense : it is a steadfast island between two agitated oceans. From the quiet depths there arises a holy song of blessed peace; "a fervent supplication does this theme seem, standing firmly in the low, dark depths, closely compact, full of longing, like a prayer out of the profoundest darkness" (Marx). This melody is a sunbeam full of refreshing warmth, flooding the innermost recesses of the soul, full of unending charm. How well is the soothing, woe-relieving character of the melody expressed in the modula- tion from the sixth to the seventh bars of the first strophe; and then, in the second strophe, what a blissful glimpse of heaven, what quiet, happy con- fidence ! The variations on the theme are exquisite. They are not evolved from its formal musical struc- ture ; but are the outcome of the ideal contents : this determines each variation. The nature of the first variation is, as Marx put it, shy; the theme is only repeated— timidly, the melody is broken, the bass follows slowly but closely after it. In the second— varmtion the song becomes more agitated, and is heard in a higher, brighter octave. In the third variation the expression of the Jheme, which is, as it were, surrounded by an accompaniment of
BEETHOVEN'S SONATAS. 9 1
harps, rises to pure ecstasy, the soul seems to have escaped from earth and to be bathed in the blue boundless ether. But we soon return to earth; the theme in its primal simplicity is heard again in the bass ; at last it is silent, and painful strains forebode the storm of the finale. Marx describes the whole andante as a prayer full of consolation, arising out of the deepest desolation.
The third movement, allegro ma non troppo, F minor^. f time, begins with a succession of sixths, sounding like a wild outcry from a soul in anguish, then there is a rushing movement in the bass, like a wild mountajn torrent,- tearing and foaming down. The roar and ferment continue until a clear, firm form struggles out of the whirl, rushes in with wild passion, accompanied by wailing thirds ("the storm song"), the agitation ever increasing till the con- clusion of the first part. The roar of the storm is renewed at the entrance of the second part, sparks of passion flash forth, and then a short tributary motive reveals poignant anguish. Now there is a distant restless surging, a mighty rolling in the depths; then the struggle becomes a little quieter, a wild whirl of octaves in C major leads to some strange convulsive startings which, at length, exhaust themselves; and
92 BEETHOVEN'S SONATAS EXPLAINED.
in characteristic minims bring in a sudden dead silence. But only for an instant; for, at the begin- ning of the third part, the storm is renewed, the gloomy spectacle of the first part is repeated, and isolated flashes of light dart across the night.
At last, in the presto, the toiie-poet comes forth like a warrior in armour, and with proud, virile dignity seems to say, in the full chords : " Behold ! the storm has not broken the oak; it approaches again, but it will not break it now." A &nal_jloKa- follows, but it is powerless ; the spirit has freed itself, and at last the struggle ceases in solemn minor strains. We have the assurance that the tone-poet has not succumbed to the powers of evil; he has but tried and tempered his vigorous moral strength in the conflict. A gloria song of triumph in the major key at the end would be in harmony with the motive of the whole; the conclusion must be in a strain of ardeivLdramatic -exaltation, since the work itself is an emotional tragedy. Besides, according to Ries, this finale was conceived during a stormy night, and when Beethoven was asked by Schindler
for a key to this work, and to the D minor Sonata,
Op. 31, he replied: " Read Shakespeare's ' Tempest.'" We may ask, with Marx, what h^s that to do with it ?
Beethoven's sonatas. 93
It is veritably a finding of the key. It is true, as Marx says, that much of what is called fantasy is to be found in this work, especially in the first movement ; but we must add that it is a fantasy bounded and governed by reason and force of will, a fantasy in which are repre- sented the unfathomable depths of the human heart.
OP. ;8, F SHARP MAJOR.
Composed, i8og. Dedicated to the Countess Brunswick.
The first movement, adagio cantabile and allegro ma non troppo, F sharp major, | time and | time, begins with a motive full of deep yearning, is truly Beethovenish, as is the chief theme of the allegro which follows it. But the continuation does not fulfil the expectations that we have raised, for the movement loses in substance and fritters itself away in a play of sounds devoid of any deeper meaning. Still more decidedly is this the case with the second movement, allegro vivace, F sharp major, \ time. It is needless to waste many words over this when we are still under the influence of the impression left by the F minor Sonata. Marx even passes over this sonata in silence, and Lenz says, simply and pertinently, " Beethoven's hand has worked at it, but not his genius."
94 BEETHOVEN'S SONATAS EXPLAINED.
OP. 79, G MAJOR. Appeared 1810. Date of composition uncertain.
The last remark is still more emphatically applic- able to this sonatina, as the work is called. It is without doubt a youthful production like the Son- atas, Op. 49. The opus number 79 has neither rhyme nor reason. One would rather have supposed Haydn to be the composer, had not Beethoven been named as such. The work must surely have been published afterwards as a stop-gap. For the use and edifica- tion of those who are interested even in this trifle of the great Beethoven, we will again quote Marx, who says the sonatina presents a "presto alia tedesca," superficial but lively (if only the second part of the cuckoo-like concluding movement were not so very tame), a short and essentially small an- dante, G minor, and a joyful, Viennese-like finale.
OP. 81, E FLAT MAJOR.
Composed, i8og. Dedicated to the Archduke Rudolph.
This is the first and only sonata by Beethoven which has a definite programme to indicate its con- tents. This consists of three words : " Les adieux, I'absence, et le retour" — farewell, absence, and re- turn. Thus the sonata has become one of the most
Beethoven's sonatas. 95
understandable among the later works of the master. The fi.rst movement, adagio, f time, then allegro, I time, E flat major, begins with the word of part- ing, "lebewohl" (farewell), enunciated by the first three crotchets, and painful feelings pass through the loving heart; at first it is an anxious presenti- ment of parting (Marx), but with the entrance of the allegro comes the anguish of the actual separa- tion, though it is not a hopeless grief nor a trouble unaccompanied by a certain happy sense of exalta- tion. It seems to me that in this allegro here are, so to speak, three moods and three phases of feel- ing which, in consequence of the approaching separ- ation from a beloved object, spontaneously appear in wonderful unison; the painful sense that after all there must be a parting; the excited, ardent feeling of parting from an object worthy of such sorrow; and the consolatory assurance that the separation is not final. The motive at the begin- ning of the movement seems to me to correspond to the first, the octave motive which soon follows to the second, and the later motive, marked expressivo, to the third phase of feeling, while again the de- scending motive, at the conclusion of the first part, strikingly expresses quiet submission to the inevit-
96 Beethoven's sonatas explained.
ableness of the parting. At the beginning of the second part the first state of feeUng has the upper hand for some time in a varied and characteristic form ; then the other two reappear ; at last, however, everything is concentrated in the most impressive manner into the simple, earnest expression of fare- well; and there follows, towards the end of the movement, the ardent and bitter-sweet embrace of the beloved object — and the parting moment arrives. Extreme upholders of the abstract laws of harmony and of the requirements for tuneful effect, such as Fetis and Oulibicheff, are, of course, shocked that Beethoven should have suffered the chords, E flat and G, B flat and F, to be heard in succession; but in this case the higher laws of ideality prevails. "Beethoven," says Marx, tersely and pertinently, "was not dealing with chords, but depicting a fond farewell, and as was ever the case with him the ideal over-ruled the material." Beethoven and the mere musician do not always go the same way. " Notes or chords are as little the essence of music as words are of poetry ; the genius of the poet forms and fashions both to his own ends" (Marx). In a word, sound and harmony are here made subservient to ideal representation.
BEETHOVEN'S SONATAS. 0/
The second movement, andante expressivo, C minor, f time, pictures the feelings of the friend who is left in loneliness. Marx says, very justly, that the whole character of the movement shows itself in the first few bars, in the dragging march of the bass, and in the alternate impulses of attrac- tion and repulsion which characterises the treble. But this feeling of desolation is accompanied by an ardent longing for the return of the absent one; what else does that expressive melody say to us, which appears first in D major, then in C major?
And now the return — the meeting— these are por- trayed in the third movement, vivacissime, E flat major, f time. The friend is coming — go to meet him — so says the first notes, and so says the stormy rush of the semiquavers. At the entrance of the chief motive all the pulses of life beat more quickly, and the meeting is celebrated right jubilantly. The overflowing delight now yields to a quiet, contained ecstasy (the motive in crotchets) which, however, at the entrance of the G flat major, im- mediately changes into sweet smiles of exquisite delight, into caressing kisses of supremest joy. All these varying expressions of rapture recur, but in
every fresh musical dress there is an incessant repe-
8
98 BEETHOVEN'S SONATAS EXPLAINED.
tion of the jubilant song of meeting. Then when these feelings have had full and free vent, the senti- ment suddenly becomes more collected (poco an- dante), devout and touchingly expressive; for, as Marx well says, it would be impossible that emotion should not mingle with the joy of the happy ones. They embrace once more, but with what different feelings than when they parted, for now both feel secure in the assurance of everlasting union. In this harmonious spirit the work closes, and this impres- sion rests with the hearer afterwards. The theory of the "two principles" mentioned in reference to Op. 14 is applicable in a very different and much greater degree to this sonata. In the first and third movements there are really two distinct intellectual personalities, there is an actual dialogue. To find out who it is intended to represent is quite super- fluous, and would not enhance the ideal meaning of the work. Enough, if we know — as goes without saying — that Beethoven is one person, whether the other form be that of friend or lady-love is immaterial. Especially to be noted, is the masterly power with which the different feelings in this sonata are welded together into a close ideal unity, so that as by a psycho- logical necessity they develop one out of another.
BEETHOVEN'S SONATAS. 99
OP. 90, E MINOR.
Composed, 1814. Dedicated to Count Maurice Lichnowsky.
Just as clearly and definitely as the idea of the work appeared in the last-named sonata, equally difficult is it to indicate it even with the least ap- proach to certainty in the E minor Sonata. Marx felt this when he said that it was one of these pic- tures which seem to look at us with inquiring, ques- tioning glances; they are going to speak out quite clearly and — words fail them; as if our art had periods, when it is, as it were, suspended between mere sound and definite expression, when one ex- pects every moment to hear the solving word, but it is always withheld. The sonata is dedicated to Count Lichnowsky. The latter is said to have asked Beethoven what the idea of the work was, and that he replied, amid roars of laughter, that he had in- tended to set to music the love story between the Count and his wife — a public dancer — and that he should write over the first movement, "struggle be- tween head and heart " and over the second, " con- versation with the beloved one." Marx was cer- tainly right in regarding this answer of Beethoven's as a joke, for it gives no clue to the meaning of the
lOO BEETHOVEN'S SONATAS EXPLAINED.
composition. Though the intention of this sonata cannot be so clearly expressed in words as it can in other works, yet the tone-language is not wanting in individuality and character. We subscribe entirely to what Marx says of the first movement, E minor, f time— Beethoven has written over it "with life, and with feeling and expression throughout," in- stead of putting any fixed tempo mark — that it re- veals a noble mind and energetic character, and shows what the force of eloquence can do in com- bating distressing doubts and fears. "A restless aspiration — that is always encountering obstacles, but never quite exhausted, though it often timidly retreats in despair — an alternation of resolution and yielding, of pressing forward and drawing back — such is the character of the whole movement" (Marx). The aim is not attained and the soul has a foreboding of this while it struggles; the tone, therefore, often rises to poignancy and painful bit- terness, but at the end the trouble seems to disappear in quiet submission to the inevitable. The formal musical construction of the movement is masterly, a production of the utmost artistic ripeness, ex- quisitely finished even to the smallest details. The second movement, E major, f time, with the
BEETHOVEN'S SONATAS. lOI
direction "to be played very singingly and not too fast," now flows on. quietly and restfully in its rondo-song-like-form. It opens with a rich, melodi- ous theme, full of earnestness which, after the fashion of the rondo, constantly returns after short inter- ruptions, during which the most varied and joyful images hover, as it were, around the chief figure till at last the whole softly and tenderly dies away. The movement gives the impression of a heart-idyll. As Marx says, it certainly has no fresh ideas or aspects. But in the limited sphere which in com- parison to the first this movement affords, the mind feels a sense of happiness and of contentment which restores its peace. Such seems to me the meaning of this movement with which the sonata closes; though the feelings which it portrays do not convey that sense of satisfaction which we previously felt. Yet who would question their justifiableness ? Do they not follow as a sort of psychological necessity from the character of the first movement? The law of raising the sentiment to a climax, in the sense in which we usually take it, is not indeed carried out in this sonata : but this is not an absolute authorita- tive law for all occasions; it has, like very other law, exceptions founded on the character of the par-
102 BEETHOVEN'S SONATAS EXPLAINED.
ticular work, and the sonata before us is surely such an exception.
OP. loi, A MAJOR. Composed^ i8i^. Dedicated to the Baroness Erdmann.
This sonata, also, belongs to those works whose meaning is more or less lost in words, and can only be suggested. Marx says : " The innermost and most secret stirrings of a tender soul, to whom the desire alone is granted, not its realisation, only the flights of fancy, not tangible aims or pithy deeds — how difficult is it to catch what it says, and to bring . it to a light that shall not offend it." The first movement, allegretto ma non troppo ("rather lively and with the warmest feeling," as Beethoven has marked it), A major, § time, bears the character of fervent yearning, new timid and now bold. Towards what is the desire directed ? Who can explain it ? A feeling of mystery runs through these strains, and they are, at least, the product of an intense indi- vidualism. Marx finds in them nervous agitation, and even breathlessness. I do not agree with him, for, to my mind, the sonata is too ideally and ima- ginatively conceived for such to be the case; nor is it in accordance with this, when Marx immediately afterwards finds in the movement "the reserve and
BEETHOVEN'S SONATAS. IO3
speechlessness of Ottilie, without the storms through which this most pleasing of Goethe's creations passes." The fantasia style, though of course not in the confused, sickly manner of later composers, predominates decidedly in the second movement, vivace alia marcia, F minor, | time. Marx remarks very pertinently of this movement in the march form : " Actual deeds are not represented here, but the imagination of deeds which may happen, dreamed-of strokes of bold and lofty heroism." vThe effect is almost ethereal, so light, undulating and bright, though not without a certain grandeur; we do not, so to speak, meet with the tangible, material side of the march measure, which is made subservi- ent to the ideal expression. ) The rhythmical and tonal effects are of the most original kind. As in- stances of the former, Marx brings forward the jerky character of the chords, with their wide skips and abrupt intervals; regarding the latter, we need but refer to the frequent simultaneous sounding of the highest and lowest register without the interposi- tion of the middle one. The tributary movement, in
«
B flat, after the manner of a trio, with its smooth wave-like effects, forms a beautiful rhythmical con- trast to the march.
104 BEETHOVEN'S SONATAS EXPLAINED.
Following as a third movement, is a short adagio ma non troppo (" slowly and yearningly "), A minor, f time. A dull sorrow, a gentle complaining, and then again a painful yearning, breathe through these strains. Who satisfies this longing? And how can it be satisfied ? The feelings which we experienced in the first movement takes possession of the soul again. And now behold a new quick spirit springs up, as it were, by magic. Its meaning is confident self-reliance and buoyant resolution.
In this spirit the fourth movement begins, allegro (" quickly, but not too fast, and with decision," says the master), A major, f time. The character of buoyant resolution could not be more strikingly re- presented than by the first subject with its distinc- tive rhythm. The theme enters in harmony, indeed in double counterpoint, and is very brisk and ani- mated. After an earnest, expressive motive (dolce) the second subject is heard, which strikes a child- like, cheerful chord of nature. And when the fugue in A minor begins, a humorous feeling makes itself felt. As regards its formal musical construction we find with an exact imitation of the melody, every possible inversion, and the most surprising combina- tions. At length on the point d'orgue, in the dom-
BEETHOVEN'S SONATAS. I05
inant E, there is a return to the first subject, and the same succession of gladdest resolution, child- like, naive joy, and humour is heard again. The latter struggles out alone at last and asserts itself triumphantly. Marx says of the whole movement : "A rich, refreshing stream of life over which bril- liant gleams occasionally flash gaily, courageously, and impetuously gushes forth." This sonata is, as we soon discover, a very uniformly sustained work. As regards the formal construction, it is, as was pointed out in the second movement, and is true more or less of the whole work— the peculiar cast of the rhythm which rivets attention.
OP. 106, B FLAT MAJOR.
Composed, 18 18. Dedicated to the Archduke Rudolph.
The grandest sonata ever composed, of colossal dimensions, a real giant, symphonically conceived and framed throughout. The first movement, alle- gro, B fiat major, ^ time, is constructed on two themes; the first displaying manly boldness, power, pride, decision and magnanimity : the second, womanly gentleness, grace, tenderness, softness and devotion. The first subject opens the movement with a full chord in marked rhythm, its instant re-
I06 BEETHOVEN'S SONATAS EXPLAINED.
petition a third higher showing the ruling character only the more forcibly. A tributary subject — the very embodiment of gentleness — then appears; it is repeated an octave higher and thus becomes the more effective. A noble, manly power then bursts forth in full chords, the progress of the movement is carried on with true grandeur, a majestic descent of octaves from the high C follows, and a corrusca- tion of brilliancy flashes from the broken notes of the F major chord, on which the figure of the first theme again finds a firm footing. The striking modulation into D brings about the transition to the second subject in G major, which now displays itself in the most charming changes, and assumes the most winning forms. But see, it yields at last to an aspir- ing tone figure (entrance of the C major), from which again there arises an earnest yearning song (the motive, cantabile dolce ed expressivo), but only to yield immediately to the powerful, impetuous spirit of the first theme. Thus the first part con- cludes. With the second part, a new scene of a very tensive character presents itself, rhapsodical figures produce a highly expectant feeling, the key changes to E flat major, the trumpet-call sounds once and again. What does it herald? The first theme,
BEETHOVEN'S SONATAS. 10/
which appears in the quiet depth, and gradually rises higher to a wonderful climax, which is at last reached in the bright D major; then those strains of deep, mournful yearning are heard again, but the first theme returns, and at the beginning of the third part, marches boldly forth once more, fully equipped but accompanied with still richer ornament. The configuration and sentiment of the first part re- appear, but in a new, original and loftier style. Bold beyond measure is the modulation into C flat after the violent surging to and fro in broken oc- taves, and, after the last outbreathings of that spirit of yearning, the sentiment gathers itself, as it were, into a focus with the return of the first subject, which, in a shortened form, gradually dies away; its expression is essentially modified, so that it seems as if vigour and gentleness, power and tenderness, after separately developing themselves in a dramatic struggle, were at the end reconciled and closely united. We might say, with the poet : " Wo Starkes sich mit Mildem paaret, da giebt es einen guten Klang." What other first movement of a sonata can show such wonderful proportions?
The second movement, scherzo, B flat major, f time, displays a restless, unstable character, a
I08 BEETHOVEN'S SONATAS EXPLAINED.
strange hurrying, a peculiar hunting, fleeing, and crowding; in the chief movement, especially, an un- satisfied longing, but in the so-called trio, B minor, in the following presto, and at the conclusion, a pic- ture of bold, fantastic, bizarre humour is depicted, reminding us of the wonderful, strange colouring in the B flat minor movement. Lenz's remark, that this movement recalls Goethe's words in "Faust":
"Was weben die dort um den Rabenstein? Schweben auf, schweben ab, neigen sich, beugen sich. Vorbei ! Vorbei !"
seems to me very pertinent. The formal construc- tion is particularly interesting, inasmuch as in the principal movement, we meet with a rhythm of seven bars twice over, then four bars twice, and so seven and eight alternately. This serves but to heighten the originality.
The third movement, adagio sostenuto (appassion- ato e con molto sentimento), F sharp minor, | time, is a painful, ardent, yearning prayer for light and joy, out of profound sorrow and darkness; a tone- poem pervaded by real religious inspiration and devotion. What could be more expressive than the upward impulse in the first subject, issuing from the
BEETHOVEN'S SONATAS. lOQ
innermost heart ! At the entrance of the G major, the first joyful beam of heavenly light penetrates the night, but all is immediately dark again. Gleams of joy break through in F sharp major, and now, when the low D is heard, then the low F sharp, and when this progression is repeated in the treble, what comforting, hopeful restfulness breathes in these sounds ! We might here again say with the poet, "was des Mannes Brust ernst und tief beweget"; it is that which is expressed. Darkness, which the ex- alted forms of light vainly endeavour to pierce, again covers all ; for a long time despair and gloom hold fatal sway. But those deep, unfathomable strains in F sharp major are heard again, and pro- duce a sense of bliss, which is heightened by a magical modulation from E flat to F sharp. With the change into G major, that well of comfort is drawn from for the last time, the primary feeling then returns. The grief gradually subsides, but the darkness and horror of the night are not to be ban- ished by the penetrating beams of the morning sun ; it is only the glimmer of the stars which falls from heaven, yet it pours a wonderful tranquillity into the soul. Simple and intelligible, with all their gran- deur, as are the lofty ideal contents of this the most
ilO BEETHOVEN'S SONATAS EXPLAINED.
gigantic adagio of pianoforte music, equally clear and simple is its formal construction. At the first glance this might appear otherwise; but closer con- sideration makes visible the lightest architectural grouping. Certainly everything is broadly and mas- sively planned, like the first movement, for the giant's limbs have other proportions than those of ordinary men; but although huge they are shapely, and possess real beauty, symmetry and harmony. So it is with this movement, the simple form of which is : A, chief subject, F sharp minor — ^trio, D major — fantasia; B, chief subject with variations, F sharp minor, D major — trio, F sharp minor — coda, F sharp minor. We have here a peculiar union of the sonata and rondo form. Before we leave the movement it may be mentioned, as worthy of note, that, according to Ries, the two notes of the first bar were written by Beethoven afterwards. The two low bass notes came in apparently in the course of the movement, with the closer management of the chief theme, which begins strictly in the second bar; their great importance became evident to the master, and he thus recognised and supplied the want at the beginning of the movement. Lenz says, they seem like two steps towards the grave's gate.
BEETHOVEN'S SONATAS. Ill
and describes the movement as an unmeasi^red wail over the ruin of all happiness.
The fourth movement is opened by an introduc- tion, largo, B flat major, | time, in a free, rhythmi- cal, harmonious form. As a recitative full of mean- ing, this highly poetic, almost dramatic, prelude, is powerfully effective, stirring, as Marx says, all the regions of the tone world. But who can explain this tone-mystery any further? Enough if we feel the grandeur of the master's imagination, if we recog- nise that we have not before us a mere conglomera- tion of notes and play of sounds, but that a deeper meaning runs through all. These words apply also to that which follows the largo, the great three-part fugue, allegro resoluto, B flat major, f time, in which Marx perceives the expression of a most deeply agitated spirit, restlessly swaying to and fro, col- oured, softened and restrained by certain elegiac tones. A representation of supreme unrest is set before us, so gloomy often that one fancies that it is a storm with fiery lightnings and rolling thunder, conjured up by unknown forces, an unchaining of the dark powers. Isolated gleams of light shine through, now and then, and a humorous impulse is often distinctly heard. Certain it is that highly
112 BEETHOVEN'S SONATAS EXPLAINED.
individualised feelings rest in the background, and are very hard to explain; as, indeed, in respect to form, this fugue is one of the most difficult exer- cises of musical art, for the form, modulation and working out of the themes are so peculiar that the whole is by no means easy to follow ; properly speak- ing, it is rather a strange union of the fugue and rondo forms than a pure strict fugue ; but the move- ment does not, on this account, stand any the less on an equality with Bach's creations, for contrapuntal art and freedom ; only with this difference, that the spirit of the nineteenth century here pervades the form.* In conclusion, a word from Marx on the whole work : " Both in external proportions and in depth of meaning, the tone-poem far ever -passes the boundaries which even Beethoven himself had hitherto reached in pianoforte music." The uni- form bond which unites the four movements of the sonata is, in my opinion, the ideal grandeur of the conception and execution; the work bears through- out the stamp of originality and boldness. It might be difficult to prove that the different movements follow each other as a psychological necessity.
• Lenz calls the fugue: "cauchemar" and " rudis indi- gestaque moles " !
BEETHOVEN'S SONATAS. II3
OP. 109, E MAJOR. Composed about 1S14. Dedicated to Miss Brentano. The first movement of this sonata, in which a vivace ma non troppo, E major, | time, alternates with an adagio expressivo, | time, begins very simply but very significantly. The freest and most natural harmony plays around these fleeting, hovering strains, and the soul appears to lose itself in a fairy dream-world. Sometimes the waves seem to rise higher, but they subside again, and the stream of sounds glides on gently and tranquilly. Grave tones are heard in the adagio; "a sharp pain," says Marx7"like a stab at the heart," transfixes the gentle being, and is followed by a strong ebullition of feeling; this figure of gloom appears twice, but the lovety images of the dream always regain the mas- tery, and only hover around the soul the more de- liciously. Who can say of what peculiar state of feeling this is the outcome? There is something fanciful about the whole plan and construction of the movement; despite its depth of feeling it gives the impression of a free fantasia rather than of a movement in the strict sonata-form. Marx points oiif, as specially significant, the chorale-like succes- sion of chords towards the end. Even Lenz cannot
9
114 BEETHOVEN'S SONATAS EXPLAINED.
understand this movement; he calls it inconceivably weak and attenuated.
The second moverient, prestissimo, E minor, f time, bears the character of intense dissatisfaction, of miserable, restless pressing, of a dark pursuing, irivaTQiitarfly reminding us of the furies chasing Orestes; indeed, now and then we think of Faust's words as he becomes blind : " Was schwebet schat- tenhaft heran?" This latter illusion applies only to the motive in octaves, which is heard at bar 25, and to the gleams of light, which first appear at 51 and following bars, and then flit here and there like an ignis fatuus. Marx finds ill llie'mbvemefltr" Xh& foreboding and the agony ot death/ vl he senti- ment depicted is an almost nervous one, highly agitated and intensely sensitive, yet not morbid. As regards the formal construction, many will be reminded of the later Mendelssohnian manner; just as the march in the A major Sonata, Op. 10 1, recalls, in some portions of the second part, Ber- lioz and Wagner. \The construction as well as the character of the movement is fantasia-like throiagh- out V ' ^
The third movement, andante molto cantabile ed express! vo, "E major, |, f and f time, is a theme with
Beethoven's sonatas. 115
variations. The air comes in quietly, but firmly, decidedly, and at the same time very simply; it is a song of deep feeling, an emanation of sincere, true restfulness of soul, a happy submission to des- tiny; such is the feeling it evokes. Marx calls the theme "one of those melodies full of holy devo- tion, in which the soul, in deep abstraction, re- flects en the past; does not think, but with the images of the past reflected as in a crystal clear stream, falls into a reverie with many an after- thought, and many a sigh, and," continues Marx, " thus far Beethoven, the poet ; Beethoven, the musi- cian, has written the variations; they are very pretty." On a close and thorough examination of these variations, and a comparison of them with others, for example, with Op. 57, I agree with Lenz that the ideal contents of the theme certainly do not appear as the sole spring and centre of the varia- tions; its character seems more or less effaced; this work is, accordingly, to be judged from the point of view of formal musical construction. The varia- tions, however, are of themselves among the most charming which Beethoven has written; in the last variations, especially, enchanting strains are heard, sparks of humour flash forth. The theme
Il6 BEETHOVEN'S SONATAS EXPLAINED.
in its ori,tyinal — foria — hpaiitjfnllv concludes the who]
OP. no, A FLAT MAJOR. Composed, 1821.
The opening of the first movement, moderato can- tabile molto expressivo, A flat major, f time, is only to be described as " f reundlich-hold " (amiably lovely); it has a distant assonance with the motive of the canon in the second finale of Mozart's " Cosi fan tutti." After a close, a song of deep, even ardent yearning commences • then suddenly harp-like strains are heard, and the most laughing images flit around the soul. Happy forms arise in gay multiplicity, that song of yearning and the first motive which in the so-called fantasia part is so conspicuous reap- pear. The picture is richly coloured and the sense of cessation is very finely depicted in bars 6 and 13 before the end to which the immediately preceding and subjoined harp lispings afford an effective con- trast. Marx finds in the movement the parting from a beloved instrument in an Ossian-like sense. Who would dispute that a touch of desp sadness pre- vails throughout ?
There follows as a second movement, allegro molto, F minor, | time, which is a scherzo both in
BEETHOVEN'S SONATAS. I17
form and character. We meet again, although in another form, the same wild hurrying, and anxious hunting and crowding as in the scherzi of some of the last-named sonatas. Marx points out as signi- ficant the resemblance in bar 8 of the second clause to a wild popular song, " Ich bin liiderlich, du bist liiderlich," and asks : " Did there then ever come over the pure singer a dissatisfaction with the life that he was leading, a scorn of the foolish play which they call life?" How fine, in contrast to the wild almost frenzied character of this movement, is the middle movement in D flat major, the so-called trio ! How fantastic and aerial, how interwoven with bright streaks of light ! And how expressive is the coda with those full, powerful chords, separ- ated by pauses which only make them the more im- pressive, and the final gentle dying away in the major !
The third movement is introduced by an adagio ma non troppo, B flat minor, f time, very solemn and grave, interwoven with a recitative full of un- speakable secret woe, which at last finds vent in a tender arioso, E flat minor, \^ time. In this plain- tive song, the soul fully but quietly pours out all its sorrow.
11^ Beethoven's sonatas Explained.
But this repose is abandoned for life and activity in the fourth movement, fuga, allegro ma non troppo, A flat major, | time. The agitation subsides at the re-entrance of the arioso, which at first ex- presses a yet deeper mourning and breathes more profound sighs ; but, after a masterly transition, the stirring figures of the fugue again "weben hin, weben her, fluthen hin, fluthen her," with ever-in- creasing energy to the end, where the sweeping harp- like strains are again heard — a clever imitation, an expressive souvenir of the spirit of the first move- ment, but, at the same time, an artistic conclusion of the whole. Strongly individual states of feeling must have inspired this sonata. In it Beethoven's tone-language becomes more and more subjective, if not obscure, and sometimes mysterious ; any ex- planation in words can give but a suggestion as to the meaning, which grows increasingly difficult. A certain reserve is advisable if we would not lose our- selves in capricious phantasmagoria. Instrumental music often offers riddles, which perhaps will never be fully solved, as the next and last of Beethoven's sonatas gives reason to observe.
BEETHOVEN'S SONATAS. II9
OP. Ill, C MINOR. Composed, 1822. Dedicated to the Archduke Rudolph.
The first movement commences with a maestoso in C minor, | time. What Titanic power ! What a volcanic outburst ! Powerful, solemn, majestic, impressive, how much more full of meaning is this introduction than that to the "Sonata Pathetique"! The skips of a seventh in the first bars show, in a masterly manner, the deep laceration of the heart; the modulations beginning in the sixth bar have a wonderfully relieving, soothing effect; marvel- lously original and drastic is the change to the alle- gro con brio ed appassionato, C minor, \ time, which is like the distant roll of the thunder coming nearer and nearer, or the howling of the wind. The chief theme then bursts forth, a sombre image of passionate agitation and bold defiance. With wild impetuosity the storm pursues its resistless course, the momentary abatement in the passages marked poco ritenuto only producing a yet more violent out- burst. With the appearance of the A flat major wild sparks of humour flash forth, and then the spirit suddenly soars into a freer, lighter sphere, but only for an instant to brace itself anew for a sterner struggle. Terrible is the fury of the storm in the
120 . BEETHOVEN'S SONATAS EXPLAINED.
second part, yet out of the night the soul again struggles forth and once more soars happily heaven- wards, in the clear C major. A last foaming of the dark billows, then a gradual subsidence of the dash- ing waves, and " tief e Stille herrscht im Wasser, ohne Regung ruht das Meer." Just as the matter of this movement is superbly grand, so is its formal con- struction simplicity itself, being nothing but the two- part sonata-form. It affords a striking illustration of how the greatest ends are attainable with the smallest means.
The second and last movement opens with an arietta adagio molto semplice cantabile, C major, Yg time, a song-like theme (Marx says, popular song) followed by four variations which resolve themselves into a sort of fantasia, to which is coupled a new variation of the air, connected with which is a tributary movement, which, uniting shakes and bass figures to the first eight bars of the theme, brings in a coda and conclusion. Such, in bare words, is the simple formal process, the skeleton, so to speak, of the movement, but what about the con- tents ? Kullak says that the sonata sinks into in- sipidity in the variations. Lenz thinks that strange and marvellous ideas had been projected, but that
BEETHOVEN'S SONATAS. 121
the arietta, that divine exhalation, lamentably loses itself in running figure work; finally, Marx says, the arietta with the strangely dissevered melodies, with the deep descending bass, with the change into A minor, with the repetition of the emphasised notes E... E... recalls those elegiac melodies, the funeral songs. Marx then continues : " Variations carry out the suggestions of the arietta; who can say all, and who can explain all ?" " I have hidden much there- in," Goethe once said, in a similar case. Elsewhere Marx speaks of the composition as a theme of deep feeling, overflowing with tender, profound melan- choly, developed with the utmost regularity but with ever increasing richness, now subdued, now pleas- antly stirred, but returning to the elegiac primary tone of feeling, then rousing up with new courage, and afterwards sinking into the deepest despon- dency. It is quite inconceivable to me how Kullak can feel any insipidity in these strains, and for the same reason also I can but pity Lenz's regret, for both seem to me only to have grasped the shell, without penetrating to the kernel. On the other hand, one can agree with Marx that Beethoven has "hidden much" in this movement. I cannot de- scribe the impression which it always makes upon me.
1^2 BEETHOVEN'S SONATAS EXPLAINED.
It seems as if we had an echo from the loftiest ideal and spiritual regions, the language, which is simply untranslatable into words, of the soul soaring to the heavenly regions with fervent and holy rapture. When I thus completely lose myself in this tone- world, the last scene of the second part of Goethe's " Faust " — Faust's transfiguration — always occurs to me. We may find in the second strophe of the ari- etta, "Zeugen menschlicher Bediirftigkeit," "Spuren von schroffen Erden wegen," but only " dass ja das Nichtige Alles verfliichtige " ; such is the tendency of this tone-creation. How wonderfully does the deep, fervent song of the arietta ever aspire towards the heavenly spheres, just as Faust was ever lifted higher — " steigt hinan zu hoherem Kreise." In fancy one sees the hovering forms of the pater profundus, pater seraphicus, and pater ecstaticus, when, full of the phantasy of the tone-poem, we follow it, now into the lowest, then into the highest, tone-regions. Towards the end does not a feeling take possession of us akin to that of the angel's song in the lines :
Nebelnd um Felsenhoh — spiir ich so eben
Regend sich in der Nah — ein Geisterleben.
Die Wolkchen werden klar : ich seh' bewegter Schaar,
Seliger Knaben — los von der Erde Druck,
Im Kreis geselt — die sich erlaben
An neuem Lenz und Schmack — der obern Welt.
Beethoven's sonatas. 123
If it be said to me, "You are writing mere idle fancies," I certainly cannot produce proof to the con- trary, but it will at least be granted that I only write what I truly feel. And is it, then, so incredible that there should be a point of contact between the greatest of German word-poets and the greatest of German tone-poets? Enough if it be but admitted that here, as in all dee^ instrumental music, there lies a mystery, a mystery which always reveals itself more or less according to the nature of the imagina- tion that contemplates it. Without imagination no musical work can be understood, least of all a crea- tion of Beethoven's ; mere musical knowledge, mere acquaintance with the laws of composition, do not suffice.* To return once more and finally to the second movement of the sonata ; these are no ordin- ary variations. They were not written by Beethoven the musician, but by Beethoven the tone-poet ; they are creations such as he alone could produce, such, for example, as he has given us in the Sonata, Op. 57. Kullak says in the work from which we have already quoted that " the variations fail in that lofty intellectual development which cannot endure
* We might say as Beethoven himself did about his music: "Thousands do not understand it."
124 BEETHOVEN'S SONATAS EXPLAINED.
the monotony of repetition except as a brief relaxa- tion from a lyrical strain; the variations have no leading thought, and no vital energy, for which reason they should have been placed in the middle not at the end of a great work." Whatever else of truth these words may contain, they do not apply to the variations in question. Variations such as Op. 1 1 1 are like an ideal emanation of the theme, or, to use a simile, are the pure rays radiating from the theme, enthroned like a sun in a firmament of super- nal peace. These variations are but a deeper and more spiritual expression of the theme. The formal aspect of the variation retreats, and the free, spon- taneous play of imagination creates an ideal de- nouement. Do not these so-called variations form a satisfactory conclusion? Is a concluding movement still wanting? Schindler says, yes; that he asked the master why he did not write a third movement, corresponding to the first two, and Beethoven re- plied that time failed him for a third movement ; he was therefore obliged to expand the second. Believe this who will. Could Beethoven have found time to give this extension to the second movement if it had failed him for a third ? A pretty contradiction. And even if Beethoven did give utterance to this
BEETHOVEN'S SONATAS. 1 25
speech, it is well-known how laconic his answers often were, and how promptly he cut short inquisi- tive, intrusive questioners. Perhaps he thought, too, with Mephistopheles, "Das Beste was du weisst, darfst du den Buben doch nicht sagen." I consider that a third movement was psychologically as im- possible as a tenth symphony.
As Gervinus says, after a discussion of Shake- speare's latest work, so we say, with the C minor Sonata Beethoven finished his course as a sonata- maker, and, like Prospero, broke and buried fathoms deep the magic wand of his tone-poetry. Happy the disciple who recovers this treasure.
No one has yet found it, notwithstanding the great achievements of Franz Schubert and others, and the Beethoven sonata stands, unrivalled in ori- ginal beauty, an inexhaustible well of the purest wonderment, a glittering crown of stars, to all who seek after pure musical forms.
FIFTH PART.
RETROSPECTIVE.— CONCLUDING REMARKS.
iF we now glance over the rich world which the Beethoven sonatas reveal to us, we shall see that these fall naturally into several groups. We meet with works which evidently belong to Beethoven's early youth; with works in which, although riper, the influence of Beethoven's predecessors, Haydn and Mozart, is still dominant; with works in which Beethoven's inde- pendence becomes paramount, and the Haydn- Mozart influence vanishes; and finally with works in which Beethoven appears in his complete indi- viduality, the former foundations having entirely disappeared. The groups will then be as follows : Group I. — Op. 6, 49, 79. Group H. — Op. 2, 7, 10, 13, 14, 22. Group HI.— Op. 26, 27, 28, 31.
126
RETROSPECTIVE. — CONCLUDING REMARKS. 12;
Group IV.— Op. 53, 54, 57, 78, 81, 90, loi, 106, 109, no, III.
But the last five works of Group IV, belonging to Beethoven's so-called third period, are so essen- tially different from the others, that they might lay claim to an independent subdivision and group. There would thus be comprised in
Group V. — Op. loi, 106, 109, no, in.
Before characterising and analysing these groups, we would state emphatically that it is not our inten- tion to set up lifeless limitations, but to seek some landmarks in this rich and vast musical domain. If we keep in mind that it is not necessary to force any work into a barren category, if we recognise that the groups are themselves united together by delicate threads — for the succeeding always rests its basis on the preceding one — a certain systematic arrange- ment will serve to distinguish a particular work and set it in a more characteristic light.
With respect to the different groups. Group I cer- tainly needs no further consideration. As general characteristics of the works of the second group, be- sides the basis of the Haydn-Mozart style of writ- ing, the following may be mentioned; concerning the substance, a leading, poetical, fundamental idea
128 BEETHOVEN'S SONATAS EXPLAINED.
is still more cr less wanting, and this deficiency pervades the character of the works which have least meaning and purpose; concerning the form, it has been prevailingly prompted by mere custom; the relation of the keys is often the only bond between the movements and the only means by which a simi- lar and uniform character is imparted to the whole. The so-called second subject still occupies, as with Mozart, a great deal of space, makes its independ- ence felt, while in the more perfect later works the first subject is the decisive part of the movement, the second theme yielding to it in importance, by which means a much closer unity is attained.
The most important work of this group, in many ways stretching far beyond it, and in parts even surpassing works of the third group, is undoubtedly the D major Sonata, Op. lo. In Group III there appear so many waverings and leanings towards Haydn and Mozart (for example. Op. 26, 28, 31, No. I, 31, No. 3), that single movements might still be ranked in the second group ; but the in- tellectual basis of the works generally is a higher one, a definite poetical meaning comes out more clearly, the short characteristic chief motive of the works of the following gfroup appears. The
RETROSPECTIVE. — CONCLUDING REMARKS. 1 29
most prominent work of the third group is indis- putably the C sharp minor Sonata, which, with the exception of the second movement, might certainly be placed in the next group. The following char- acteristic signs appear in the works of the fourth group : the uniform, definite purport of the sonata ; the short, characteristic chief subject ; the exclusive employment of the latter in the so-called fantasia part; the working-up of the chief theme in the coda, which obtains thereby a certain independence and exclusiveness ; the limitation of the second thought to its place in the first, and repetition in the so-called third part ; the general abandonment of th2 four and even three-movement form, with the predominance of the two-movement form; and the more symphonic character of the sonata, that is as regards the form and working out of the idea, not with respect to its conception and to the polyphonic character of the sym- phony, for the sonatas are of purely homophonic form.
The most valuable work of this group is the Son- ata, Op. 57, while the Sonatas, Op. 54 and Op. 78, properly belong to it only on account of their formal construction; in matter they are far sur- passed by works of earlier groups.
Finally, concerning Group V, the peculiarities of
10
130 BEETHOVEN'S SONATAS EXPLAINED.
the works belonging to it are : the appearance of the polyphonic, contrapuntal element; the return to the three and f our-mov ement form ; the disappearance of the two-movement form (except in Op. iii); the resumption of the small sonatina and march form and the highly individual subjective contents.
The fugue form is more freely and fancifully treated than with Bach ; it may be called a blending of the fugue and rondo forms, in which charming tributary movements ever and anew animate the cold fugue form, although we must also admit that a certain amount of harshness is perceptible. The abandonment of the two-movement form in the first four works, the reappearance of the grand independ- ent adagio in Op. 106 — this fundamental deviation from the style of construction in the former group with its compact precise forms, might lead it to b? supposed that these did not fulfil Beethoven's inten- tions, and that he was conscious of a certain discrep- ancy. But the extension of fixed forms does not lead us to expect their total abandonment. Besides Beethoven returns to the two-movement form in Op. Ill, and the different movements of the last five works, with the exception, perhaps, of Op. 106, show no signs of a uniform plan throughout. One must
RETROSPECTIVE. — CONCLUDING REMARKS. 131
also bear in mind that usages and properties could no longer exercise authority over the now independ- ent Beethoven. He adhered to settled forms in so far only as they served as a means for the ideal ex- pression he had in view. This was most clearly apparent in his last quartets, in which he drew all available artistic forms into his creative circle, re- gardless as to whether he had used them before or not. In his symphonies, with the exception of the last ones, Beethoven never departed from the cus- tomary form, wisely reflecting that the universality for which such works are destined only accustoms itself very slowly to anything new. The sonata and quartet gave him better scope; for works of this class, on account of their limited musical material and the absence of the multiform tone -colouring of the great orchestra, require, for their appreciation, a cjeeper and more cultivated musical sympathy and imagination.
Marx, in his "Music of the Nineteenth Century and Beethoven," has formed another classification of - the sonatas, founded on his views of the nature of music. Music, according to Marx, is threefold; mere tone-play, language of feeling (music of the
132 BEETHOVEN'S SONATAS EXPLAINED.
soul), and music of the mind and spirit (ideal repre- sentation), the latter being found in the highest de- gree and almost exclusively with Beethoven. There is much to be said for this classification, especially if, like Marx, we do not draw a hard and fast line between the sections. Music is, and remains, pre- eminently an art of the emotional fancy; feeling, the music of the soul, is the ideal centre; and it appears as such even in tone-play — otherwise Han- slick would be right in saying that music was only a sounding arabesque. Feeling pervades also music of the mind — the ideal representation — for how else could intellect and ideal representation find any expression in sounds, if feeling were not the con- necting medium ? This classification can only be followed entirely in so far as a particular feature is the leading one in any particular work. Marx classifies thus :
Mere Tone-Play. Op. 2, No. 3; Op. 10, Nos. I and 2; Op. 14; Op. 22; Op. 2;; Op. 31, Nos. I and 3; Op. 53; Op. 54; Op. ;8; Op. 106.
Emotional Life. Op. 2, Nos. I and 2 ; Op. 7 ; Op. 10, No. 3 ; Op. 13 ; Op. 26; Op. 28; Op. 31, No. 2; Op. 90.
retrospective. — concluding remarks. 1 33
Ideal Representation.
Op. 27, No. 2; Op. 57; Op. 81 ; Op. loi ; Op. 109; Op. no; Op. III.
This grouping evinces, as indeed we need not to be told, that Marx had a deep insight into the mean- ing and spirit of the sonatas. On some points, however, there will be a considerable difference of opinion; the place given to the Sonata, Op. 106, will doubtless be especially criticised. Marx begins with the assertion that although none of the sonatas in the sphere of pure tone-play are without a deeper meaning for the soul, yet they require technical capacity, first of all, and with it that "feeling" which comes instinctively to musically gifted and skilful performers. As if Op. 57, Op. loi, etc., did not also require technical capacity, and as if in Op. 106, mere "feeling" would be any more use to us than in any other works. That Op. 106 belongs to the third group appears to me incontrovertible. I think also that in the Sonatas, Op. 10, Nos. i and 2, Op. 22, Op. 27, No. I, considered as a whole, not tone-play, but music of the soul predominates; again, Op. 31, No. 2, rises to ideal representation, which Marx also suggests as " perhaps demon-
134 BEETHOVEN'S SONATAS EXPLAINED.
gtrable." Op. 6, Op. 49 and Op. 79, belong to the first group as a matter of course.
A classification of Beethoven's sonatas according to the keys and the tempi is not without interest. The works, Op. 6, Op. 49, Op. 79, may reasonably be passed over here; on the other hand, the so-called trios, when they are in different keys to the minuet and scherzo, also the important intermediary move- ments, like the arioso in Op. 1 10, may be reckoned separately. Hence the following result :
|
A. Tempi. |
|||
|
25 |
movements are in |
2 4 |
time. |
|
24 |
» j> |
.3 4 |
» |
|
26 |
'> » |
4 4 |
» |
|
3 |
>» » |
3 S |
» |
|
10 |
» >> |
6 8 |
>f |
|
2 |
»» >) |
9 8 |
>j |
|
I |
movement is in |
¥ |
•» |
|
I |
» jj |
9 IK |
» |
|
I |
» M |
12 Te |
»> |
In addition to this ^ and ^f time appear in the Sonata, Op. in, which alone has f^ time, as Op. 57 has ^, and Op. 1 10 has |§ time.
RETROSPECTIVE.— CONCLUDING REMARKS.
B. Keys. 1 1 movements are in C major.
135
|
; |
'» |
C |
minor. |
|
|
2 |
J) |
C |
sharp major. |
|
|
5 |
>) |
D |
flat major. |
|
|
7 |
» |
D |
major. |
|
|
4 |
» |
D |
minor. |
|
|
2 |
'> |
E |
flat major. |
|
|
2 |
?i |
E |
flat minor. |
|
|
6 |
M |
E |
major. |
|
|
3 |
>» |
E |
minor. |
|
|
9 |
'» |
F |
major. |
|
|
; |
J> |
F |
minor. |
|
|
2 |
)> |
F |
sharp major. |
|
|
I move |
ment |
is in |
F |
sharp minor. |
5 movements are in G major. 2 „ „ G minor.
9 „ „ A flat major.
1 movement is in A flat minor. 7 movements are in B flat major.
2 „ „ B flat minor.
The favourite keys of the great masters are some- times spoken of, and C minor has been particularly named as Beethoven's favourite key. The sonatas
136 BEETHOVEN'S SONATAS EXPLAINED.
do not confirm this; for in them C major, E flat major, F major, A flat major stand foremost. Th? idea that every key has something characteristic, and is specially adapted for the expression of certain states of mind and feeling, has been widely opposed, among others, by leading musical connoisseurs, for example, by Hauptmann (" Natur der Harmonik und Metrik"). It is contended that in every k^y there exist the same relations between the interv^als. and the pitch gradually becomes higher with time; C major, the fundamental key, is higher now than it was a hundred years ago; consequently this key theory is pure self-deception, and the transposition of a piece of music into another key cannot alter the character of it. According to Schindler, Beethoven believed in the characteristic qualities^ of the differ- ent keys. Schindler says (Biography ii, 1 56, third edition) : " The opinions put forth by Beethoven were based on a thorough knowledge of every key. The pitch may move a whole tone higher or lower than the ear is accustomed to hear, but this has nothing to do with transposition and cuts away the ground from that argument, for the central point in the musical system must be in an immovable posi- tion ; the^ pitch of the orchestra has imperceptibly
RETROSPECTIVE. — CONCLUDING REMARKS. 1 37
become higher; in like manner, also, our feeling for the 'psyche' of the keys, which must have its place in the scale of every key — a fact which the ancients duly recognised ; but transposition is a sudden vari- ation of at least half a tone, by which the feeling is suddenly removed into another sphere, because the * psyche ' is violently forced out of the first com- bination of sounds into another. If, therefore, there were no difficulty in distinguishing C sharp major from the enharmonic D flat major, the ear would be directed into a second line; there would be the sense of the subtle difference between hard and soft, and then the characteristic signs of both these keys." So far Beethoven briefly and to the point. It may be, then, most confidently stated that he was not gov- erned by mere caprice in the choice of keys, but by the idea of the work and the nature of the particu- lar movement. Can one imagine such characteristic works as the C sharp minor Sonata, the F minor Sonata, Op. 57, the C minor Sonata, Op. in, in other keys ? Would not the traits of character which these works unfold to us become quite obliterated, and the pictures colourless ? But I only wish to throw out a suggestion with regard to other points of view in which the sonatas may still be considered
138 BEETHOVEN'S SONATAS EXPLAINED.
A comparison of Beethoven's sonatas with his quartets and symphonies will lead the impartial observer to this among other conclusions, that as regards the working out of the several works, and the union and arrangement of the different move- ments, Beethoven, if we may use the expression, sometimes took things more easily in his sonatas than in his quartets and symphonies. Kullak says that Beethoven's weakness lies in the inequality of the style of a great number of his works. This is obviously saying too much, and dees not touch the later Beethoven. But it may apply indeed to the Haydn-Mozart period of the master, when, as was shown in the discussion of the sonatas in the former part, Beethoven now and then loses his cue. The heel of Achilles, in a great number of the Beethoven sonatas, is to be found in the minuets, which indeed might just as well have been omitted, without inter- fering with the general configuration of the sonata, for they seem to exist only because the four-move- ment form happened to be in vogue then. This is also directly confirmed by Beethoven himself. To wit, Schindler relates (Part II, page 215) that on the occasion of a proposed collective edition of the sonatas, in which the poetical idea underlying each
RETROSPECTIVE.— CONCLUDING REMARKS. I 39
was to be set forth, Beethoven considered whether it would not tend to the attainment of greater unity, if some of the four-movement sonatas written at an earlier period when the four-movement form was the only one in accepted usage, were to be changed into the three-movement form. The Sonatas, Op. 2, Nos. 2 and 3, Op. 22, Op. 26, Op. 28, Op. 31, No. 3, and according to our ideas, Op. 27, No. 2, could cer- tainly dispense with their minuets without disadvan- tage. To this we might further add that, as it seems to me, in a great number of the minuets or scherzi, the middle movement, the so-called trio, or minor, is in a remarkable manner, the most original or at least most characteristic part of the movement. I refer only to Op. 2, No. 3, Op. 7, Op. 10, No. 3, Op. 22, Op. 26, Op. 27, Op. 31, No. 3.
The study of Beethoven's sonatas is no easy one, whether we consider them on their intellectual or their technical side. As he took his starting point from Haydn and Mozart, it seems quite necessary that we should not begin with him, but with his pre- decessors, for with Beethoven we come to the final point, " the entrance into the ideal " (Marx). Marx has provided a capital help in his appendix to the Biography of Beethoven, and also in his work,
140 BEETHOVEN'S SONATAS EXPLAINED.
"Guide to the Performance of Beethoven's Piano- forte Music." Both cannot be too warmly com- mended to the lovers of Beethoven, although I must content myself with thus referring to them. But it should be mentioned that as regards the tech- nique, Marx gives the following gradation : Op. 6, Op. 49. Op- 79, Op. 14, Op. 13, Op. 2, Op. 10, Op. 22, Op. 26, Op. 28, Op. 7, Op. 54, Op. 31, Op. 90. Op. 27. Op. 81, Op. loi. Op. no, Op. 57, Op. 109, Op. 53, Op. Ill, Op. 106. With respect to the intellectual comprehension, the progress from the simple to the complex, he gives this order : Op. 2, Op. 13, Op. 14, Op. 22, Op. 54, Op. 53, Op. 78 (Op. 26, Op. 10, Op. 7, Op. 28, Op. 31, Op. 27. Op. 57), Op. 81, Op. 90, Op. 106, Op. loi, Op. no. Op. 109, Op. n I . This arrangement, however, takes no heed of the very diversified character of Op. 2, Op. 14, Op. 10, Op. 31, Op. 27. Without subjective com- prehension and power of imagination no great musi- cal work can be comprehended, not to speak of a Beethoven creation.
Beethoven's sonatas have appeared in various editions. Among the best and cheapest is Hall- berger's, of Stuttgart, the edition being uniform with that of Haydn and Mozart's sonatas. Louis Kohler,
RETROSPECTIVE. — CONCLUDING REMARKS. 141
of Konigsberg, has recently* undertaken a duet ar- rangement of the Beethoven sonatas. They are beautifully got up and published at a very moderate price by Henry Litolff (Brunswick). The edition includes also the sonatas for the pianoforte, with accompaniments for the violin, 'cello, etc. Kohler has ably accomplished the task, and so well silenced any objections we might raise against the four-hand arrangement, that we cannot but agree with the reason which he gives in justification of his under- taking : that this duet-edition is especially adapted to the requirements of less technically accomplished players for only by these means can the approach to the profoundest sonatas be facilitated, since these also offer the greatest technical difficulties.
Thus will the Beethoven music extend into an ever-widening circle, the number of Beethoven's friends will increase from year to year, and the temple of true musical beauty will be more widely opened and become a greater blessing to mankind.
1866. [Translator.]
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BERLIOZ AND THE ROMANTIC CENTURY. By J.
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CHOPIN'S GREATER WORKS (Preludes, Ballads, Noc- turnes, Polonaises, Mazurkas). How they should be Understood. By J. Kleczynski. Including Chopin's Notes for a " Method of Methods." Translated with additions by N. Janotha and Edited by Sutherland Edwards. Second Edition. With three Portraits and a Facsimile. Crown 8vo, cloth, 8s. 6d. net.
BOOKS ABOUT MUSICIANS AND THEIB WORKS. 11
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In the above notes Chopin alludes to many of his compositions as well ai relating the conditions under which they were written.
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12 BOOKS ABOUT MUSICIANS AND THEIB WOBES.
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BOOKS ABOUT MUSICIANS AND THEIB WOBKS. 13
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14 BOOKS ABOUT MUSICIANS AND THEIR WOBKS.
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BOOKS ABOUT MUSICIANS AND THEIE WOBKS. 15
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HISTORY OF MUSIC, AND OF MUSICAL INSTRUMENTS.
STRINGED INSTRUMENTS OF THE MIDDLE AGES.
Their Evolution and Development. By Hortensb Panum. English edition, revised and edited by Jeffrey PuLVER. A detailed and comprehensive history, with illustrations, of the evolution of the mediaeval stringed musical instruments from their first appearance in the records of the earliest civilisations, through their gradual development in the Greek, Roman and Chris- tian eras down to more recent times. 400 illustrations, 8vo, cloth, pp. ix, 511, 35s.
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EISTOBY. 17
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18 HISTOBY.
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CATECHISM OF MUSICAL HISTORY AND BIOGRAPHY
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HISTOBY. 19
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HANDBOOK ON THE TECHNIQUE OF CONDUCTING.
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1
OBCHESTEAL. 21
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ON CONDUCTING. By Richard Wagner. Translated by E. Dannreuther. Fourth Edition. Crown 8vo. cloth, 7s. 6d. net.
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NOTES ON CONDUCTING AND CONDUCTORS. By T. R
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See page 25 for list of about sixty works in this series, including works by Wagner, Tchaikovsky, Beethoven, Motart, Handel. Berlioz, Glinka, Schnbert, Goun id, Harold, Mendelssohn, Meyerbeer, Balfe, Auber, Ros- sini, Weber, Wallace, Supp6, Adam, Thomas, Nioolai, Sterndale-Bennett, Cornelias and Flotow, chiefly arranged by Edwin Evans.
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24 OBGAN.
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THE TEMPLE EDITION OF ORGAN OVERTURES. (3 Staves).
Arranged from Full Score by Edwin Evans. Senr. (except where othei wise stated).
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sky). FIGARO (Moiart). FINALE (Rubinstein's Sonata, 0|.
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tingham. ISABELLA (Supp^). ITALIANA (Rossini). KING LEAR (Berlioi). KING STEPHEN (Beethoven). P. J.
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PIANOFORTE.
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HOW TO PLAY BACH'S 48 PRELUDES AND FUGUES. A
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PIANOFORTE. 27
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28 PIANOFOBTE.
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Contents of the First Series :— Sindino, Rustle of Spring. Scaeiaiti, Pastorale le Capricoio. Padeeewski, Minuet in G. Hakdel, Harmonious Blacksmith. Rubinstein, Melody in F. Schahwenka, Polish Dance. Schumann, Nacbtstucke. Godaed, Macurka. Delibes, Piiricatl from Sylvia. Geieo, Wedding Day at Troldhangen. Eloae, Salut d'Amour. Padeeewski, Melodic. KArr, La Fileuse. Tchaikovski, Troika. Godabd, Berger et Bergires. Chaminade, Pierrette. Moszkowski, Etincellee Padeeewski, Minuet in A major. Geieo, Norwei^ian Bridal Procession. Liszt, Regata Teneciana. Chaminade, Automne. Moszkowski, Serenata. Lack, Valse Arabesque. Schumann, Arabeske. Chopin, Etude in G flat. Dueand, First Valse.
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PIANOFOBTB. 29
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TECHNICAL AND TEEOBETICAL. 31
STUDIES IN HISTOKICAL FACTS AND MUSICAL FORM.
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32 TECHNICAL AND THEOBETIGAL.
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TECHNICAL AND THEOBETICAL. 33
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HARMONY, EASILY AND PROGRESSIVELY ARRANGED.
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34 TECHNICAL AND THEOBETICAL.
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The practice of transposing upon the lines here laid down deTelops the " mental ear," quickens the musical perception and gives ease in sight reading ; as it is evident that, if the student can trangpose at sight, he will noc have much difficulty in merely playing at sight. Free use is made of the tonic sol-fa as well as the standard notation in many musical examples.
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THE STUDENT'S HELMHOLTZ. Musical Acoustics, or the Phenomena of Sound as Connected with Music. By John Broadhousb. With more than 100 Illustrations. Fifth Impression. Crown 8vo, cloth, 12s. 6d. fiet.
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VIOLIN AND STRINGED INSTRUMENTS:
VIOLINIST'S MANUAL. A Treatise on Construction,
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VIOLINIST'S ENCYCLOP.^DIC DICTIONARY. Containing the Explanation of about 4,000 Words, Phrases, Signs, References, etc., Foreign, as well as English, used in the Study of the Violin, and also by String Players gen- erally, by F. B. Emery, M.A. New and enlarged edition, doubled in size. 246 pp., crown 8vo. Cloth IDs. net, or printed on India paper and bound in red pegamoid rounded corners, suitable for student or travel, 12s. 6d net.
70 PREPARATORY VIOLIN EXERCISES for Beginners in the First Position, carefully Graduated, Supplementary to the First Instruction Book. By Wilson Manhirb, L.R.A.M., A.R.C.M., etc. 2s. 6d. net.
BOW INSTRUMENTS, their Form and Construction. Prac- tical and Detailed Investigation and Experiments re-
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86 VIOLIN AND STRINGED INSTRUMENTS.
OLD VIOLINS AND VIOLIN LORE, Famous Makers of Cre- mona and Brescia, and of England, France and Ger- many (with Biographical Dictionary), Famous Players, and Chapters on Varnish, Strings and Bows, with 13 full-page plates. By H. R. Hawbis. Thick crown 8vo, cloth, 21s. net.
YOUNG VIOLINIST'S SCALE AND ARPEGGIO MANUAL.
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NOTABLE VIOLIN SOLOS: How to Play Them. Three Series (consisting of 43 descriptive Articles in all). By E, VAN DER Straeten. 2s. 6d. net each series. Also complete in cloth, with Portraits, 10s. net.
VIOLIN MANUFACTURE IN ITALY and its German Origin. By Dr. E. Schebbk. Translated by W. E. Lawbon. Second Edition. Square 12mo, cloth, 6s. net; paper, 3s. 6d. net.
CHATS WITH VIOLINISTS. By Wallace Ritchib. With four Photographic Illustrations. Crown 8vo, cloth, 8s. 6d. net.
CsAPTERS : On the Importance of bein^ Accurate ; On Various Details ; On the Violin and its Fitting's ; On Reading from Sight and Playing from • Memory ; A Few Violin Secrets ; Some yaluable Teohnioal Exercises ; Hand Defelopment for Violinists, including Eighteen Excellent Finger Gym- nastics ; Sundry Useful Hints.
I here lay before the public that information and adTice which I have hitherto been content to reserve for the sole use of my own pupils. During a considerable experience, both as a student and as a teacher of the violin, 1 have naturally pieced together quite a variety of smRll hints and items of information which, tnough modest enough individu- ally, have boon found on the whole to be of no inconsiderable value, not only with regard to my own playing, but aiao— and which is of far more importance — m enabling me to impart a knowledge of the art to others.
ADVICE TO VIOLIN STUDENTS. Containing Informa- tion of the Utmost Value to every Violinist. By Wallace Ritchie. Crown 8vo, cloth, 8s. 6d. net (paper, Ss. net).
CoNTiNTS: Selecting and Adjusting — Choice of a Teacher — Course of Study— The Sovoik Method— Practising— Style— Tone Production— Pronun- ciation of Terms, Na.-nes, et-s. — Graded List of Studies, Pieces, etc. To- gether with Hints on Common Faults — Shifting — Reading Musio— Stopping — Harmonics — Vibrato — Tempo — Intonation, Pitch, etc.
THE VALUE OF OLD VIOLTNS. By E. Polonaski. Being a List of the Principal Violin Make a, British, Italian, French and German. With Approximate Valuations of their Instruments and Occasional Notes on their Var- nish. Facsimiles of Labels and Violins. Crown 8vo, cloth, 10s. net.
VIOLIN AND STRINGED INSTRUMENTS. 37
INFORMATION FOR PLAYERS, Owners, Dealers and Makers of Bow Instruments, also for String Manufac- turers. Taken from Personal Experiences, Studies and Observations. By William Hepworth. With Illus- trations of Stainer and Guarnerius Violins and Gauge of Miiiimetres and Centimetres, etc. Crown 8vo, clotn, 8s. 6d. net. ■ Contents : The Pegs — Neok — Finget-board — Bridge — Tail-piece — Saddle — Violin Holder — Tail-pin — Bar — Sound-post — On the Stringing of Bow In- •traments in General Use — Strings — Rosin — Cleaning of the Instrument and the Bridge — Bow — Violin Case — Repairs— PreseiTation — Conclusion.
SKETCHES OF GREAT VIOLINISTS AND GREAT PIAN- ISTS. Biographical and Anecdotal^ with Account of the Violin and Early Violinists. Viotti, Spohr, Paga- nini, De Beriot, Ole Bull, Cleraenti, Moscheles, Schu- mann (Robert and Clara), Chopin, Thalberg, Gottschalk, Liszt. By G. T. Ferris. Third Edition. Crown 8vo, cloth, 8s. 6d. net.
TREATISE ON THE STRUCTURE AND PRESERVATION OF THE VIOLIN and all other Bow Instruments. To- gether with an Account of the most Celebrated Makers and of the Genuine Characteristics of their Instruments. By J. A. Otto, with Additions by J. Bishop. With Diagrams and Plates. Fourth Edition, further En- larged. Crown 8vo, cloth, 12s. 6d. net. Contains instructions for the repair, preservation and bringing oat the
tone of instruments : tracing model for yiolin, mutes and fiddle holders ;
list of olassioal works for stringed instruments. This work is especially
valuable for makers of yiolins.
HOW TO PLAY THE FIDDLE. For Beginners on the Violin. By H. W. and G. Gresswell. Eighth Edi- tion. Crown 8vo, cloth, 6s. net; or in 2 vols., paper, 3s. net. Joachim says : " Contains many useful hints about yiolin playing."
BIOGRAPHICAL DICTIONARY OF FIDDLERS. Including Performers on the Violoncello and Double Bass, Past and Present. Containing a Sketch of their Artistic Career, together with Notes of their Compositions. By A. Mason Clarke. 9 Portraits. Post 8vo, cloth, 10s. net.
" We may here take the opportunity of recommending a useful book to all loTers of violins and violinists. Fiddlers, Ancient and Modern, it practically a little Biographical Dictionary, well arranged with some «x- «ellent portraits."— iVortft«rn Whig.
ART OF HOLDING THE VIOLIN AND BOW AS EXEM- PLIFIED BY OLE BULL. His Pose and Method proved to be based on true Anatomical Principles. By A. B. Crosby, M.D., Professor of Anatomy. Portrait, Diagrams and Illustrations. 8vo, cloth, 5s. net
Included in the above are some interesting recollections and anecdotes of Ola Bull.
38 VIOLIN AND STEJNGETf INSTBUMENT8.
THE VIOLIN AND OLD VIOLIN MAKERS. Beine a His- torical and Biographical Account of the Violin. By A. Mason Clarke. With Facsimile of Labels used by Old Masters and illustrations of a copy of Gasparo da
Salo. Crown 8vo, cloth, 10s. net.
THE VIOLIN, ITS HISTORY AND CONSTRUCTION. Il- lustrated and Described from many Sources. Together with a List of Italian and Tyrolese Makers. With 28 Illustrations and folding Examples of the First Music issued for the Lute, Fiddle and Voice. From the Ger- man of Abelb and Nibderhbitmann. By J. Broad- house. Fresh issue printed in larger size. Crown 8vo, cloth, 10s. net. " The learned and instructive treatise of Abele, skilfully rendered by J. Broadhouse and supplemented by a version of Niederheitmann's list of Italian and Tyrolese violin makers, a compilation invaluable to collectors and connoisseurs of rare fiddles .... a work which forms a noteworthy addition to the small number of English books upon this interesting sub- ject."— Scotsman.
HOW TO MAKE A VIOLIN, Practically Treated. By J. Broadhouse. New and Revised Edition. With 47 Il- lustrations and Folding Plates and many Diagrams, Figures, etc. Crown Svo, cloth, 10s. 6d. net.
OotfTKNTS : Introduction — The Parts of the Violin— On the Selection of Wood— The Tools required— The Models— The Mould— The Side-pieces and Side Linings— The Back— Of the Belly— The Thickness of the Back and Belly— The Bass Bar— The Purfling— The Neck— The Finger-board— The Nut and String Guard — Varnishing and Polishing — Varnishes and Colour- ing Matter— The Varnish— A Mathematical Method of Constructing the Outline — The Remaining Accessories of the Violin.
This new edition had the advantage of being revised throughout by a celebrated violin maker.
A MUSICAL ZOO. Twenty-four Illustrations displaying the Ornamental Application of Animal Forms to Musical Instruments (Violins, Viol da Gambas, Guitars, Pochette, Serpent, etc.). Drawn from the Carved Ex- amples by Henry Saint-George. Cloth, 6s. net (paper, 3s. 6d. net).
THE HISTORY OF THE VIOLIN and other Instruments Played on with the Bow from the Remotest Times to the Present. Also an Account of the Principal Makers. Coloured Frontispiece and numerous Illustrations and Cuts. By W. Sandts, F.S.A., and S. A. Forstbr. Thick Svo, cloth 27s. 6d. net.
THE VIOLIN AND BOW. A Treatise (in Three Languages, English, French and German), with numerous Copies of Photographs taken from Life, supplemented by various Examples and Original Studies by I. B, Poz- NANSKi. 5s. net.
VIOLIN AND STBINGED INSTBUMENTS. 39
AN IMPORTANT LESSON TO PERFORMERS ON THE VIOLIN. By the Celebrated TARTINI. Portrait. Being the Translation by Dr. Buuney. issued origin- ally in 1779, together with the original Italian. 8vo, cloth, 6s. net (paper, 3s. net).
VIOLONCELLO EXERCISES, SCALES AND ARPEGGIOS.
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WELL-KNOWN VIOLONCELLO SOLOS. How to Play
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VOCAL. 41
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ELEMENTARY LESSONS ON SIGHT SINGING. Combining the Staff and Tonic Sol-fa Notations. With Music Ex- amples throughout. By J. W. Rossington, L.R.A.M. Cloth, 3s. 6d. net (paper, 2s. net). For many singers there is only one method of becoming good sight- readers, Ti«., combining the tonio sol-fa with the stail notation.
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42 VOCAL.
THE THROAT IN ITS RELATION TO SINGING. A Series of Popular Papers. By Whitfield Ward, A.M., M.D. Illustrations. Second Edition. Crown 8vo, cloth, 5s. net;
CoNTKNis : Anatomical Strnctare of the Throat ; What we See with the Laryngoscope ; How we Sing ; How we Breathe ; How to take Care of the Voice ; Hints to Voice Builders ; How the Voice is Destroyed ; Common Throat Affections of Singers, togeher with their Treatment, etc.
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TWENTY LESSONS ON THE DEVELOPMENT OF THE VOICE. For Singers, Speakers and Teachers. By G. E. Thorp. Fourth Edition. Crown 8vo, limp cloth, 2s. 6d. net.
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TREATISE ON THE TRAINING OF BOYS' VOICES. With Examples and Exercises and Chapters on Choir-Organ- ization. Compiled for the Use of Choirmasters. By George T. Fleming. Second Edition. Crown 8vo, cloth, 5s. net; paper, 2s. 6d. net.
GRADUATED COURSE OF EXERCISES FOR BOY CHOR- ISTERS. With Piano Accompaniment. For Use in Conjunction with Above. By G. T. Fleming. 4to album, paper, 2s. net.
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SIX SPIRITUAL SONGS FOR UNACCOMPANIED CHORUS,
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VOCAL EXERCISES FOR CHOIRS AND SCHOOLS. By
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BAGPIPE. By W. H. Grattan Flood. Its History, Origin of Reed Pipes, the Pipes of ancient Celtic Ireland and Wales, the Scottish scene and Scottish melodies, changes from 16th to 19th centuries. 26 illustrations, glossary, bibliography, list of players, index. Pp. xx, 237, 21s. net
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46 MISCELLANEOUS.
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PARTHENIA. 21 Compositions by Three Famous Sixteenth and Seventeenth Century Masters, William Byrd, Dr. John Bull and Orlando Gibbons, being Parthenia, or the First Musick ever printed for the Virginals. Ar- ranged for the Piano and freed from the errors of Dr. Rimbault's edition by accurate comparison with the original text by Margaret H. Glyn (author of " Eliza- bethan Virginal Musio and Composers"). Folio, 12s. 6d. net.
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DEPPE FINGER EXERCISES. By Amy Fay. (See Piano- forte Section of this Catalogue.)
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CZERNY'S 101 EXERCISES for the Pianoforte. Complete, 4s. net; or in 2 books, 2s. net each.
GRADUATED SCALE AND ARPEGGIO MANUAL. By
Henry Saint-Gborgb. (See Pianoforte Section of this Catalogue.) ^
ROYSTON'S PROGRESSIVE VIOLIN TUTOR (with Illus- trations giving Correct Position for Hand, Wrist and Fingers.) Folio, 3s. net.
VIOLONCELLO EXERCISES, SCALES AND ARPEGGIOS.
By E. GiLLET. Complete in one vol., 4s. net; or Part I, Exercises, Is. 6d. net, Part II, Scales, Is. 6d. net, and Part III, Arpeggios, Is. 6d. net.
ART OF VIOLONCELLO PLAYING, TUTOR. By E. van
DEa Straeten. Text in French and English. Part I, 3s. 6d. net. Part II, 4s. net.
YOUNG VIOLINIST'S SCALE AND ARPEGGIO MANUAL,
with Directions. By Wilson Manhire. Text and Music Folio, 2s. net.
70 PREPARATORY VIOLIN EXERCISES for Beginners in the First Position. Carefully Graduated. Supplemen- tary to the First Instruction Book. By Wilson Man- hire. 2s. 6d. net.
SCALES AND ARPEGGIOS. Indispensable Studies for the Violin. Edited by Albert Graff. Is. 6d. net.
ARPEGGIOS FOR THE VIOLIN. By Basil Althaus. Folio, 3s. net.
48 WTOBS.
Advanced Modern Violin Technics.
TONAL SCALES AND ARPEGGIOS FOR VIOLIN. Intro- ductory to the Unusual Intonation and Finger-group- ing of Advanced Modern Music. By Sydnet Twinn. 4to, 3s. net.
GUITAR TUTOR. By H. Jouenet. A Simple and Easy Method to Attain Proficiency Rapidly without a Master. Folio, 3s. net.
Also GUITAR SCALE. By H. Journbt. Two-page music size, Is. net.
THE VIOLIN AND BOW. A Treatise (in English, French and German), with numerous Photographic Illustra- tions, supplemented by various Examples and Original Studies, by I. B. Poznanski. 5s. net.
REEVES' CATALOGUE OF MUSIC AND MUSICAL LITER- ATURE. Ancient and Modern, Second-hand and New ; containing the Contents of Libraries recently pur- chased, often with a large quantity of Curious, Scarce and Useful Music, such as Full Scores, Organ Music, Duets, Trios, Quartets, Quintets, etc. ; Tutors, Histori- cal, Theoretical and Biographical Works in various languages ; including rare and out-of-print works. This Catalogue sent post free on request.
Printed in Great Britain by Lowe & Brydone (Printers) Ltd., London, N.W.IO
4 R A /.
DEC 2 1992
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