Classic Audiobook Collection - Beethoven - The Man and the Artist, as Revealed in His Own Words by Ludwig van Beethoven ~ Full Audiobook [biography]

Episode Date: August 3, 2023

Beethoven - The Man and the Artist, as Revealed in His Own Words by Ludwig van Beethoven audiobook. Genre: biography Beethoven - The Man and the Artist, as Revealed in His Own Words invites listeners into Ludwig van Beethoven's inner world through a carefully arranged selection of his own letters, notes, and remarks. Rather than a distant overview of dates and premieres, this book lets Beethoven speak for himself, revealing a mind that burns with artistic purpose while wrestling with practical realities, friendships, patronage, illness, and the daily strain of making a living as a composer. Across candid reflections and sharp observations, you hear his fierce standards for music, his impatience with compromise, and his compassion and humor when the mask drops. Familiar milestones take on new meaning as Beethoven describes what he believes music can accomplish, what he demands from performers, and what he fears may silence him. The result is an intimate portrait of genius in motion: proud and vulnerable, stubborn and tender, endlessly driven to transform personal struggle into sound. For anyone who loves Beethoven's works, or wants to understand how a great artist thinks and suffers and persists, these pages offer a direct, human encounter with the man behind the music. For ad-free listening try our premium subscription Chapters (Approximate) (00:00:00) Chapter 01 (00:10:58) Chapter 02 (00:23:53) Chapter 03 (00:44:37) Chapter 04 (01:10:49) Chapter 05 (01:38:54) Chapter 06 (02:15:26) Chapter 07 Learn more about your ad choices. Visit megaphone.fm/adchoices

Beethoven, the man and the artist, as revealed in his own words by Ludwig von Beethoven, translated by Henry Edward Craibiel and Friedrich Kerst. Brief biographical sketch. Ludwig von Beethoven, 1770 to 1827, is widely considered to be one of the preeminent classical music figures of the Western world. This German musical genius created numerous works that are are firmly entrenched in the repertoire, except for a weakness in composing vocal and operatic music, to which he himself admitted, notwithstanding a few vocal works like the opera of Fidelio and the

song Adelaide, Beethoven had complete mastery of the art form. He left his stamp in nine symphonies, five piano concertos, ten violin sonatas, 32 piano sonatas, numerous string quartets, and dozens of other key works. Many of his works are ingeniously imaginative and innovative, such as his third symphony, the Eroica, his ninth violin sonata, the Kreutzer, his Waldstein piano sonata, his fourth and fifth piano concertos, or his grosufuga for string quartet. Of course, each of Beethoven's works adds its own unique detail to Beethoven's grand musical paradigm. It is difficult to sum up briefly what his musical works represent or symbolize, since taken together they encompass a vast system of thought. Generally, however, those who apprehend his music sense that it reflects their own personal

yearnings and sufferings. It egotistically and always intelligently discusses with its listener his or her feelings in the wake of personal failure and personal triumph, from the lowest depths of despair to the highest heights of happy or triumphant fulfillment. In his music, he represents the feelings felt by those attempting to achieve their goals within their societies. Whether they are competing for love, status, money, power, mates, and or any other things, individuals feel naturally inclined to attempt to acquire. In the thematic sense, Beethoven does not promote anarchist ideas. The listener cannot, in listening to Beethoven's music, apprehend ideas which, if applied, would compromise the welfare of his sense.

society. The music is thus civically responsible, as is the music of Bach or Mozart. For Beethoven, the society exists as a bulwark with which the individual must function in harmony, or at least not function such as to harm or destroy it.

And should the society marginalize or hurt the individual, as it often does, the individual must, according to Beethoven, humbly accept this, never considering the alternative act of attempting to harm or destroy. the society in the wake of his or her personal frustrations. But thanks to Beethoven,

such an individual is provided with the means to soothe his or her misery in the wake of feeling hurt at the hands of society. The means is this music and the euphoric pleasure that it can provide to minds possessing the psycho-intellectual wiring needed to apprehend it. Some post-World War II composers, such as the late LSD using John Cage, reject the music of Beethoven, because of its predominant reliance on beauty as a way of communicating idealized concepts. Also, since the music intimately reflects the cravings and thought processes of the natural human mind, which in numerous ways is emotionally and intellectually irrational, the music may itself be consequently irrational. The following book consists of brief biographical

commentaries about Beethoven, each followed by sections of quotations attributed to the muse. In these quotes, Beethoven demonstrates his intense preoccupation or obsession with thinking artistically and intelligently, and with helping to alleviate man's suffering by providing man with musical artworks that could enlighten him so as to become educated enough to pull himself out of his misery. He felt immediate, strong disdain at any artistic state. statement that was not truly intelligent and artistic, such as, in his view, the music of Rossini. Although not prudish, he had high standards when it came to marriage and was morally against reproductive pleasure for its own sake or any form of adultery. He never married. Interestingly,

experimental psychologists have discovered the people who have an intense love of humanity or are preoccupied with working to serve humanity tend to have difficulty forming intimate bonds with people on a personal level. Preface. This little book came into existence as if it were by chance. The author had devoted himself for a long time to the study of Beethoven and carefully scrutinized all manner of books, publications, manuscripts, etc., in order to derive the greatest possible information about the hero. He can say confidently that he conned every existing publication of value. His notes made during his readings grew voluminous, and also his amazement at the wealth of Beethoven's observations, comparatively unknown to his admirers, because hidden away,

like concealed pilots, in books which have been long out of print and for whose reproduction there is no urgent call. These observations are of the utmost importance for the understanding of Beethoven, in whom man and artist are inseparably united. Within the pages of this little book, are included all of them which seem to possess value, either as expressions of universal truths or as evidence of the character of Beethoven or his compositions. Beethoven is brought more directly before our knowledge by these, his own words, than by the diffuse books which have been written about him. For this reason, the compiler has added only the necessary explanatory notes, and, on the advice of professional friends, the remarks introductory

to the various subdivisions of the book. He dispensed with a biographical introduction. There are plenty of succinct biographies which set forth the circumstances of the master's life easily to be had. Those who wish to penetrate farther into the subject would do well to read the great work by Thayer, the foundation of all Beethoven biography

in the new revision, now making by Dieters, or the critical biography by Marx, as revised by Benke, In sifting the material, it was found that it fell naturally into 13 subdivisions. In arranging the succession of utterances, care was had to group related subjects. By this means unnecessary interruptions in the train of thought were avoided and interesting comparisons made possible. To this end, it was important that time, place, and circumstances of every word should be conscientiously set down. concerning the selection of material, let it be said that in all cases of doubt, the authenticity

of every utterance was proved. Beethoven is easily recognizable in the form and contents of his sayings. Attention must be directed to two matters in particular. After considerable reflection, the compiler decided to include in the collection a few quotations, which Beethoven copied from books which he read, from the fact that he took the trouble to write them down, We may assume that they had a fascination for him, and were greeted with lively emotion as being an admirable expressions of thoughts which had moved him. They are very few, and the fact that they are quotations is plainly indicated. By copying them into his notebooks, Beethoven as much as stored them away in the the thesaurus of his thoughts, and so they may well have a place here. A word touching the use of the three famous letters to Bettina von Arnhem, the peculiarity

of which differentiate them from the entire mass of Beethoven's correspondence, and compel an inquiry into their genuineness. As a correspondent, Bettina von Arnhem has a poor reputation since the discovery of her pretty forgery, Gertes' Brief Vexo, mid-Inam Kinda, Gertes' correspondence with a child. In this alleged correspondence, she made use of fragmentary material, which was genuine, pieced it out with her own inventions, and even when she, so far as to turn into letters poems written by Gerta to her and other women. The genuineness of a poem by Beethoven to Bettina is indubitable. It will be found in the chapter entitled Concerning Text. Doubt was thrown on the letters immediately on their appearance in 1839. Bettina could have

dissipated all suspicion had she produced the originals and remained silent. One letter, however, the dated February 10th, 1811, afterward came to light. Bettina had given it to Philippe von Natusius. It had always been thought the most likely one of the set to be authentic. The compiler has therefore used it without hesitation. From the other letters, in which a mixture of the genuine and the fictitious must be assumed so long as the originals are not produced, passages have been taken, which might have been thus constructed by Beethoven.

On the contrary, the voluminous communications of Bettina to Gerta, in which she relates her conversations with Beethoven, were scarcely used. It is significant, so far as these are concerned, that according to Bettina's own statement, when she read the letter to him before sending it off, Beethoven cried out, Did I really say that? If so, I must have had a raptus. In conclusion, the compiler directs attention to the fact that, in a few, few cases utterances which have been transmitted to us only in an indirect form have been altered

to present them in a direct form inasmuch as their contents seem too valuable to admit simply because their production involved a trifling change in form. Everfeld, October 1904, Frank K. End of Section 1. Section 2 of Beethoven, the man and the artist, as revealed, in his own words by Ludwig von Beethoven, translated by Henry Edward Krebbeu and Friedrich Kerst. This Libravox recording is in the public domain. Concerning art, Beethoven's relation to art might almost be described as personal. Art was his goddess, to whom he made petition, to whom he rendered thanks, whom he defended.

He praised her as his savior in times of despair. By his own confession, it was only the prospect of her comforts that prevented him from laying violent hands on himself. Read his words, and you shall find that it was his art that was his companion in his wanderings through field and forest, the sharer of the solitude to which his deafness condemned him. The concepts nature and art were intimately bound up in his mind. His lofty and idealistic conception of art led him to proclaim. the purity of his goddess with the hot zeal of a priestly fanatic. Every form of pseudo or bastard art stirred him with hatred to the bottom of his soul.

Hence his furious onslaughts, unmarer virtuosity in all efforts from influential sources to utilize art for other than purely artistic purposes, and his art rewarded his devotion richly. She made his sorrowful life worth living with gifts of purest joy. To Beethoven, music was not only a manifestation of the beautiful, an art, it was akin to a religion. He felt himself to be a prophet, a seer. All the misanthropy, engendered by his unhappy relations with mankind, could not shake his devotion to this ideal, which had sprung into Beethoven from truest artistic apprehension and been nurtured by enforced introspection and philosophic reflection. Music and manners. Page 237, H.E.K. 1. Tis said that art is long and life but fleeting. Nay, life is long, and briefed the span of art. If air her breath, bow shaves with gods a meeting, and moments favor, tis of which we've had a part. Conversation book March 1820, probably a quotation. Two, the world is a king, and like a king,

desires flattery in return for favor. But true art is selfish and perverse. It will not submit to the mold of flattery. Conversation book March 1820. When Baron von Braun expressed the opinion that the opera Fidelio would eventually win the enthusiasm of the upper tiers, Beethoven said, I do not write for the galleries. He never permitted himself to be persuaded to make concessions to the taste of the masses. 3. Continue to translate yourself to the heaven of art. There is no more undisturbed, unmixed, pure happiness than may thus be attained.

August 19, 1817, to Xavier Schneider, who vainly sought instruction from Beethoven in 1811, though he was pleasantly received. 4. Go on. Do not practice art alone, but penetrate to her heart. She deserves it, for art and science only can raise man to Godhood. Teplett's July 17, 1812, to his 10-year-old admirer, Emily M. N. H. 5. True art is imperishable, and the two artists finds profound delight in grand productions of genius.

March 15, 1823, to Carabini, to whom he also wrote, I prize your works more than all others written for the stage. The letter asked Karabini to interest himself in obtaining a subscription from King Louis, the 18th for the solemn mass in D. Carabini declared that he had never received the letter, that it was not only the hope of obtaining a favor, which prompted Beethoven to express so high an admiration for Karabini, is plain from a remark made by the English musician Cypriani Potter,

to A.W. Thayer in 1861, I found it in Thayer's notebooks, which were placed in my hands for examination after his death. One day Potter asked, who is the greatest living composer? Yourself accepted. Beethoven seemed puzzled for a moment and then exclaimed, Carabini, H.E.K. Six. Truth exists for the wise. Beauty for the susceptible heart. They belong together. Are complimentary. written in the autographed book of his friend Lentz von Brinane in 1797. 7. When I open my eyes, a sigh involuntarily escapes me, for all that I see runs counter to my religion.

Perforce, I despise the world which does not intuitively feel that music is a higher revelation than all wisdom and philosophy. Remark made to Bettina von Arnhem in 1810 concerning Viennese society. Report in the letter by Bettina to Gerta on May 28, 1810. 8. Art! Who comprehends her? With whom can one consult concerning this great goddess? August 11th, 1810, to Bettina von Arnhem. 9. In the country, I know no lovelier delight than quartet music. to Archduke Rudolph in a letter addressed to Baden on July 24, 1813.

10. Nothing but art, cut to form like old-fashioned hoop skirts. I never feel entirely well, except when I am among scenes of unspoiled nature. September 24, 1826 to Brining, while promenading with Brining's family in the Schoenbriner Garden, after calling attention to the alleys, of trees trimmed like walls in the French manner. 11. Nature knows quiescence. And true art walks with her hand in hand, her sister, from whom heaven for Fendas, is called artificiality. From notes in the lesson book of Archduke Rudolph,

following some remarks on the expansion of the expressive capacity of music. Love of Nature Beethoven was the true son, the Rhine. in his love for nature. As a boy, he had taken extended trips, sometimes occupying days with his father through the Rhenish localities everlastingly dear to me. In his days of physical health, nature was as instructress in art. I may not come without my banner, he used to say when he set out upon his wanderings, even in his latest years, and never without his notebooks. In the scenes of nature, he found his marvelous motifs and themes, brook, birds, and trees sang to him.

In a few special cases, he has himself recorded the fact. But when he was excluded more and more from communion with his fellow men because of his increasing deafness until, finally, he could communicate only by writing with others, hence the conversation books, which will be cited often in this little volume, he fled for refuge to nature. Out in the woods, he again became naively happy. To him, the woods were a holy of holies, a home of the mysteries. Forest and mountain vale heard his sighs. There he unburdened his heavy-laden heart. When his friends need comfort, he recommends a retreat to nature. Nearly every summer, he leaves hot and dusty Vienna and seeks a quiet spot in the beautiful neighborhood. To call a retired

and reposeful little spot his own is his burning desire. 12. On the Collenberg 1812, end of September, Almighty one, in the woods, I am blessed, happy everyone in the woods, every tree speaks through thee, O God, what glory in the woodland. On the heights is peace, peace to serve him. This poetic exclamation, accompanied by a few notes, is on a page of music paper owned by Joseph. Joseph, you'll welcome.

13. How happy I am to be able to wander among bushes and herbs, under trees and over rocks. No man can love the country as I love it. Woods, trees and rocks, send back the echo that man desires. To Baroness von Drostick. 14. O God, send your glance into beautiful nature and comfort your moody thoughts, touching that which must be, to the immortal beloved.

July 6th in the morning. Thayer has spoiled the story so long believed and still spooking in the books of careless writers that the immortal beloved was a Countess Julieta Giacardi to whom the Seashot minor sonata is dedicated. The real person to whom the love letters were addressed was the Countess Brunswick to whom Beethoven was engaged to be married when he composed the 4th Symphony, H.E.K. 15. My miserable hearing does not trouble me here. In the country it seems as if every tree said to me, holy, holy, who can give complete expression to the ecstasy of the woods? Oh, the sweet stillness of the woods. July 1814, he had gone to Baden after the benefit performance of Fidelio.

16. My fatherland, the beautiful locality in which I saw the light of the world, appears before me vividly and just as beautiful as when I left you. I shall count it the happiest experience of my life when I shall again be able to see you and greet our father, Rye. Vienna, June 29th to Vigler in Bonn. In 1825, Beethoven said to his pupil, Reese, farewell in the Rhine country, which is ever dear to me. And in 1826, wrote to Shot, the publisher, in my ens about the Rhine country which I so long to see again. 17. Brul at the Lamb.

How lovely to see my native country again. Diary, 1812 to 1818. 18. A little house here, so small as to yield oneself a little room, only a few days in this divine bureau, longing or desire, emancipation or fulfillment. written in 1816 in Brule near Modling among the sketches for the scherzo of the pianoforte sonata obest 10. Like many another ejaculatory remark of Beethoven's, it is difficult to understand.

See Appendix H.E.K. 19. When you reach the old ruins, think that Beethoven often paused there. If you wander through the mysterious fir forests, think that Beethoven often poeticized or as is said composed there in the fall of eighteen seventeen madame striker who was at a cure in bond twenty nature is a glorious school for the heart it is well i shall be a scholar in this school and bring an eager heart to her instruction Here I shall learn wisdom, the only wisdom that is free from disgust. Here I shall learn to know God and find a foretaste of heaven in his knowledge. Among these occupations, my earthly days shall flow peacefully along until I am accepted into that world, where I shall no longer be a student but a knower of wisdom. Copied into his diary in 1818 from Sturm's Betrak Tuggen Uber di Verkesgatis Gerdes Indert

Natur. 21. Soon autumn will be here. Then I wish to be like unto a fruitful tree which pours rich stores of fruit into our laps. But in the winter of existence, when I shall be gray and sated with life, I desire for myself the good fortune that my repose be as honorable and beneficent as the repose of nature in the wintertime, copied from the same work of storms. End of Section 2. Section 3 of Beethoven, The Man and the Artist, as revealed in his own words by Ludwig von Beethoven,

translated by Henry Edward Craibier and Friedrich Kerst. This Liebervox recording is in the public domain. Concerning texts. Not even a Beethoven was spared the tormenting question of texts for composition. It is fortunate for posterity that he did not exhaust his energies in setting inefficient libretti, that he did not believe that good music would suffice to command success in spite of bad texts. The majority of his works belonged to the field of purely instrumental music. Beethoven often gave expression to the belief that words were a less capable medium of proclamation for feelings than music.

Nevertheless, it may be observed that he looked upon an opera or lyric drama as the crowning work of his life. He was in communication with the best poets of his time concerning opera texts. A letter of his on the subject was found at the blood-spotted pocketbook of Theodore Comber. The conclusion of his creative labors was to be a setting of Gertes Faust, except Fidelio, however, he gave us no opera. His songs are not many, although he sought carefully for appropriate texts. Unhappily, the gift of poetry was not how sheafed him. 22. Always the same old story.

The Germans cannot put together a good libretto. To C.M. von Weber, concerning the book of Uriante at Baton in October 1823. Mozart said, Verses are the most indispensable thing for music, but rhymes, for the sake of rhymes, the most injurious. Those who go to work so pedantically will assuredly come to grief, along with the music. 23. It is difficult to find a good poem. Real Pardzer has promised to write one for me. Indeed, he has already written one, but we cannot understand each other. I want something entirely different than he. In the spring of 1825, to Ludwig Relshtab, who was intending to write an opera

book for Beethoven. It may not be amiss to recall the fact that Mozart examined over 100 librettos, according to his own statement, before he decided to compose the marriage of Figaro. 24. It is the duty of every composer to be familiar with all poets, old and new, and himself choose the best and most fitting for his purposes in a recommendation of Condler's anthology. Twenty-five, the genre would give me little concern. provided the subject were attractive to me. It must be such that I can go to work on it with love and ardor. I could not compose operas like Don Juan and Figaro, toward them I feel too great a repugnance. I could never have chosen such subjects. They are too frivolous. In the spring of 1825 to Ludwig Relshtub.

26, I need a text which stimulates me. It must be something moral, uplifting. Text such as notes are composed, I should never have been able to set to music. I could never have got myself into a mood for licentious texts. I have received many librettos, but as I have said, none that met my wishes to young Gerhard von Breinen. 27. I know the text is extremely bad, but after one has conceived an entity out of even a bad text, it is difficult to make changes and details without disturbing the unity. If it is a single word on which occasionally great weight is laid, it must be permitted to stand. He is a bad author who cannot or will not try to make something as good as possible. If this is not the case, petty changes will certainly not improve the whole. Teplets,

August 23, 1811, to Hartel, the publisher, who wanted some changes made in the hook of the Mount of Olives. Good heavens, do they think in Saxony that the words make good music? If an inappropriate word can spoil the music, which is true, then we ought to be glad when we find that words and music are one and not try to improve matters, even if the verbal expression is commonplace, Dixie. January 28th, to Gottfried Hartel, who had undertaken to make changes in the Book of the Mount of Olives, despite the prohibition of Beethoven. 29. Gertes' poems exert a great power over me, not only because of their contents, but also because of their rhythms. I am stimulated to compose by this language, which builds itself up to higher orders,

as if through spiritual agencies and bears in itself the secret of harmonies, reported as an expression of Beethoven's by Bettina von Arnhem to Goethe. 30. Schiller's poems are difficult to set to music. The composer must be able to rise far above the poet. Who can do that in the case of Schiller? In this respect, Gerta is much easier. 1809, after Beethoven had made his experiences with the hymn to Joy and Egmont. On Composing Why Zakers not infrequently accused Beethoven of want of regularity in his compositions? In various ways and at diverse times he gave vigorous utterance to his opinions of such pedantry.

He was not the most tractable of pupils, especially in Vienna, where, although he was highly praised as a player, he took lessons in counterpoint from Ubrexberger. He did not endure long with Papa Heiden. He detested this study of fugue in particular. The fugue was to him a symbol of narrow coercion, which choked all emotion. Mere formal beauty, moreover, was nothing to him. Over and over again, he emphasized a soul, feeling, direct and immediate life as the first necessity of an artwork.

It is therefore not strange that under certain circumstances he ignored conventional forms in sonata and symphony. An irrepressible impulse toward freedom is the most prominent peculiarity of the man and artist Beethoven. Nearly all of his observations, no matter what their subject, radiate the word liberty. In his remarks about composing, there is a complete exposition, of his method of work. 31. As regards me, great heavens,

my dominion is in the air, the tones whirl like the wind, and often there is a like whirl in my soul. February 13, 1814, to Count Brunswick in Buddha. 32. Then the loveliest themes

slipped out of your eyes into my heart, themes which shall only then delight the world when Beethoven conducts no longer. August 15th, 1812 to Bettina von Arnhem 33. I always have a picture in my mind when composing and follow its lines. In 1815 to Neaetay, while promenading with him in Baden and talking about the pastoral symphony. Reese relates, while composing, Beethoven frequently thought of an object, although he often laughed at musical delineation and scolded about petty things of the sort. In this respect, the creation and the seasons were many times a butt, though without depreciation of Haydn's loftier merits.

Haydn's choruses and other works were loudly praised by Beethoven. 34. The texts which you sent me are least of all fitted for song. The description of a picture belongs to the field of painting. In this, the poet can count himself more fortunate than my muse for his territory is not so restricted is mine in this respect, though mine, on the other hand, extends into other regions, and my dominion is not easily reached. Nussdorf, July 15, 1817, to Wilhelm Gerhard, who had sent him some anachryantic songs for

composition. 35. Carried too far, all delineation in instrumental music loses in efficiency. Remark in the sketches for the pastoral symphony, preserved in the Royal Library in Berlin. Mozart said, even in the most terrifying moments of music, must never offend the ear. 36. Yes, yes. Then they are amazed and put their heads together because they never found it in any book on thorough base. To Reese, when the critics accused him of making grammatical blunders in music. 37. No devil can compel me to write only

cadences of such a kind. From notes written in his years of study, Beethoven called the composition of fugues, the art of making musical skeletons. 38. Good singing was my guide. I strove to write as flowingly as possible, entrusted in my ability to justify myself before the judgment seat of sound reason and pure taste. From notes in the instruction book of Archduke Rudolph. 39. Does he believe that I think of a wretched fiddle when the spirit speaks to me, to his friend, the admirable wildinist Schipensig, when the latter complained of the difficulty of a passage in one of his works. Beethoven here addresses his friend in the third person, which is the customary style of

address for the German nobility and others towards inferior's in rank, H.E.K. 40, the Scotch songs show how unconstrainedly irregular melodies can be treated. with the help of harmony. Diary, 1812, 1818. Since 1809, Beethoven had arranged folk songs for Thompson of Edinburgh. 41. To write true church music,

look through the old monkish corals, etc., also the most correct translations of the periods, and perfect prosody in the Catholic Psalms and hymns generally. Diary, 1818. 42. Many assert that every minor piece must end in the minor, nay go. On the contrary, I find that in the soft scales, the major third at the close has a glorious and uncommonly quieting effect. Joy follows sorrow, sunshine, rain. It affects me as if I were looking up to the silvery glistering of the evening star. From Archduke Rudolph's book of instruction. 43, rigorous and devotees of antiquity relegate the perfect fourth to the list of dissonances. Tastes differ. To my ear, it gives not the least offense combined with other tones.

From Archduke Rudolph's book of instruction, compiled in 1809. 44. When the gentleman can think of nothing new and can go no further, they quickly call in a diminished seventh chord to help him out of the predicament. a remark made to Schindler. 45. My dear boy, the startling effects, which many credit to the natural genius of the composer, are often achieved with the greatest ease by the use and resolution of the diminished seventh chords.

Reported by Carl Friedrich Hirsch, a pupil of Beethoven in the winter of 1816. He was a grandson of Albrecht's Berger who had given lessons to Beethoven. 46. In order to become a capable of, composer, one must have already learned harmony and counterpoint at the age of from seven to 11 years, so that when the fancy and emotions awake, one shall know what to do according to the rules. Reporting by Schindler as having been put into the mouth of Beethoven by a newspaper of Vienna.

Schindler says when Beethoven came to Vienna, he knew no counterpoint and little harmony. 47. So far as mistakes are concerned, it was never necessary for me to learn thorough base. My feelings were so sensitive from childhood that I practiced counterpoint without knowing that it must be so or could be otherwise. Note on a sheet containing directions for the use of fourths and suspensions, probably intended for the instruction of Archduke Rudolph. 48. Continue, Your Royal Highness, to write down briefly your occasional ideas while at the Piano Forte. For this, a little table alongside the Piano Forte is necessary. By this means, not only is the fancy strengthened, but one learns to hold fast in a moment the most remote conceptions.

It is also necessary to compose without the piano forte, say often a simple chord melody with simple harmonies, then figure eight according to the rules of counterpoint and beyond them. This will give Y.R.H. no headache, but on the contrary, feeling yourself thus in the midst of art a great pleasure. 1823 to his pupil, Archduke Rudolph. 49. The bad habit, which has clung to me from childhood, of always writing down a musical thought, which occurs to me, good or bad,

has often been harmful to me. July 23, 1815, to Archduke Rudolph, while excusing himself for not having visited H.R.H. on the ground that he had been occupied in noting a musical idea which had occurred to him. 50, as is my habit, the piano forte part of the concerto, opus 19, was not written out in the score. I have just written it, wherefore, in order to expedite matters, you receive it in my not-too-legible handwriting. April 22, 1801, to the publisher Hofmeister in Leipzig.

51. Correspondence, as you know, was never my forte. Some of my best friends have not had a letter from me. in years. I live only in my notes, compositions, and one is scarcely finished when another is begun. As I am working now, I often compose three, even four pieces simultaneously. Vienna, June 29, 1800 to Vegler in Bonn. 52. I never write a work continuously without interruption. I am always working on several at the same time, taking up one, then another. June 1st, 18, to medical inspector Dr. Carl Vembersi, when the latter asked about an opera, the book by Berga, sent to Beethoven by Amanda, which was never written.

53. I must accustom myself to think out at once the whole as soon as it shows itself with all the voices in my head. Note in a sketchbook of 1810 containing studies for the music to Egmont and the great trio in B-flat, Opus 97, H-E-K. 54. I carry my thoughts about me for a long time, often a very long time, before I write them down. Meanwhile, my memory is so faithful that I am sure never to forget, not even in years, a theme that has once occurred to me. I change many things, discard, and try again until I am satisfied. Then, however, there begins in my head the development in every direction and in as much as I know exactly what I want, the fundamental idea never deserts me. It arises before me, grows. I see and hear the picture, in all its extent and dimensions, stand before my mind like a

cast, and there remains for me nothing but the labor of writing it down, which is quickly accomplished when I have the time, for I sometimes take up other work, but never to the confusion of one with the other. You will ask me where I get my ideas. that I cannot tell you with certainty. They come unsummoned directly, indirectly. I could seize them with my hands out in the open air, in the woods, while walking, in the silence of the nights, early in the morning, incited by moods, which are translated by the poet into words, by me into tones that sound, and roar and storm about me till I have set them down in notes. said to Louis Schlosser, a young musician whom Beethoven honored with his friendship in 1822, 23.

55. On the whole, the carrying out of several voices in strict relationship mutually hinders their progress. Fall of 1812 in the diary of 1812 to 1818. 56. Few as are the claims which I make upon such things, I shall still accept a dedication of your beautiful work with pleasure. You ask, however, that I also play the part of a critic, without thinking that I must myself submit to criticism.

With Voltaire, I believe that a few flybites cannot stop a spirited horse. In this respect, I beg of you to follow my example, in order not to approach you surreptitiously, but hoping, as always, I say that in future, works of the character you might give more heed to the individualization of the voices. Vienna, May 10, 1826, to whom the letter was sent is not known, though from the manner of address

is plain that he was of the nobility. 57. Your variations show talent, but I must fault you for having changed the theme. Why? What man loves must not be taken away from him. Moreover, to do this is to make changes before variations. Baden, July 6, 1804. to Biedabine, a teacher of music in Brunswick.

58. I am not in the habit of rewriting my compositions. I never did it because I am profoundly convinced that every change of detail changes the character of the whole. February 19, 1813, to George Thompson, who had requested some changes in composition submitted to him for publication. 59. One must not hold oneself so divine as to be unwilling to. occasionally to make improvements in one's creations. March 4th, 1809 to Brightcalfe and Hartel,

when indicating a few changes which he wished to have made in the symphonies, Opus 67 and Opus 68. 60. The unnatural rage for transcribing piano forte pieces for string instruments, instruments that are in every respect so different from each other ought to end. I stoutly maintain that only Mozart, could have transcribed his own works and heightened. And without putting myself on a level with these great men, I assert the same thing about my pianoforte's sonatas. Not only must entire passages be elated and changed, but additions must be made.

And right here lies the rock of offense to overcome which one must be the master of himself or be possessed of the same skill and inventiveness. I transcribed but a single sonata for string quartet, and I am sure that no one will easily do it after me. July 13, 1809, in an announcement of several compositions, among them, the Quintet, Opus 29. 61. Were it not, my income brings in nothing, I should compose nothing but grand symphonies,

church music, or at the outside, quartets, in addition. December 20, 1822, to Peter's publisher in Leipzig. his income had been reduced from 4,800 to 800 florence by the depreciation of Austrian currency. Here in the original is one of the puns which Beethoven was fond of making. Was mine gullat, not ganslich, una gehaled. H.E.K. End of Section 3. Section 4 of Beethoven, the man and the artist, as revealed in his own words by Ludwig von Beethoven.

translated by Henry, Edward Crabeil, and Friedrich Kirst. This Lieber Vox recording is in the public domain. On Performing Music While reading Beethoven's views on the subject of how music ought to be performed, it is but natural to inquire about his own manner of playing. On this point, Reese, his best pupil, reports. In general, Beethoven played his own compositions very capriciously, yet he adhered, on the whole, strictly to the beat, and only at times, but seldom, accelerated the temple a trifle.

Occasionally, he would retard the temple in a crescendo, which produced a very beautiful and striking effect. While playing, he would give a passage, now in the right hand, now in the left, a beautiful expression, which was simply inimitable, but it was rarely indeed that he added a note or an ornament. of his plane when still a young man, one of his hearers said that it was in the slow movements particularly that it charmed everybody. Almost unanimously, his contemporaries give him the palm for his improvisations. Rees says his extemporizations were the most extraordinary things that one could hear. No artist that I ever heard came at all near the height which Beethoven attained. The wealth of ideas, which forced themselves on him, the caprices to

which he surrendered himself, the variety of treatment, the difficulties were inexhaustible. His plane was not technically perfect. He let many a note fall under the table, but without marring the effect of his plane. Concerning this, we have a remark of his own in number 75, somewhat critical, is Cherley's report. Extraordinary, as his extemporary plane was, it was less successful in the performance of printed compositions. For, since he never took the time or had the patience to practice anything, his success depended mostly on chance and mood. And since, also, his manner of playing as well as composing was ahead of his time,

the weak and imperfect pianofortees of his time could not withstand his gigantic style. It was because of this that Hummel's purling and brilliant manner of play, while adapted to the period was more intelligible and attractive to the great public. But Beethoven's plane, in Adagios and Legato, in a sustained style, made an almost magical impression on every hearer, and, so far as I know, it has never been surpassed. Charny's remark about the pianofortes of Beethoven's day explains Beethoven's judgment on his own pianoforte sonatas. He composed for the sonorous pianoforte of the future. the piano forte building today.

The following anecdote, told by Cherney, will be read with pleasure. Play-El, a famous musician, came to Vienna from Paris in 1805, and had his latest quartets performed in the palace of Prince Lobkowitz. Beethoven was present and was asked to play something. As usual, he submitted to the interminable entreaties and finally was dragged almost by force to the piano forte by the ladies. angrily he tears the second violin part of one of the play-all quartets and the music stand, where it still lay open, throws it upon the rack of the piano forte, and begins to improvise.

We had never heard him extemporized more brilliantly, with more originality or more grandly, than on that evening. But throughout the entire improvisation, there ran in the middle voices like a thread, or contus formus the insignificant notes, wholly insignificant in themselves, which he found on the page of the quartet, which by chance lay open on the music stand. On them, he built up the most daring melodies and harmonies in the most brilliant concert style. Old Playa could only give expression to his amazement by kissing his hands. After such improvisations, Beethoven was wont to break out into a loud and satisfied laugh.

Charny says further of his playing, In rapidity of scale passages, trails, leaps, etc., no one equaled him, not even hummel. His attitude at the piano forte was perfectly quiet and dignified, with no approach to grimace, except to bend down a little towards the keys as his deafness increased. His fingers were very powerful, not long, and broadened tips by much playing, for he told me often that in his youth he had practiced stupendously, mostly till past midnight. In teaching, he laid great stress on a correct position of the fingers, according to the Emanuel Bach method, in which he instructed me. He himself could barely span a tenth.

He made frequent use of the pedal, much more frequently than as indicated in his compositions. His reading of the scores of Handel and Gluck and the fumes of Bach was unique, inasmuch as he put a polyphony and spirit into the former, which gave the works a new form. In his later years, the deaf master could no longer hear his own playing, which therefore came to have a pitifully painful effect. Concerning his manner conducting, Seyfried says, it would no wise do to make our master a model in conducting,

and the orchestra had to take great care lest it be led astray by its mentor, for he had an eye only for his composition, and strove unceasingly by means of both, manifold gesticulations to bring out the expression which he desired. Often, when he reached a forte, he gave a violent downbeat, even if the note were an unaccented one. He was in the habit of marking a diminuendo by crouching down lower and lower, and at a pianissimo, he almost crept under the stand. With a gershendo, he too grew rising as if out of a stage trap, and with the entrance of a fortissimo, he stood on his toes and seemed to take on gigantic proportions while he waved his arms about as if trying to soar upwards to the clouds everything about him was inactivity not a part of his organization remained idle and the whole man seemed like a perpetual mobile concerning expression the little nuances the equable division of light and shade as also an effective tempo rubato he was extremely exact and gladly

discussed them with the individual members of the orchestra without showing vexation or anger. 62. It has always been known that the greatest piano forte players were also the greatest composers, but how did they play? Not like the pianists of today who prance up and down the keyboard with passages in which they have exercised themselves. Pooch, putch, putch, what does that mean? Nothing. When the true Piano Forte virtuosi played it was always something homogeneous an entity. It could be transcribed, and then it appeared as a well-thought-out work. That is piano forte play. The other is nothing. In conversation with Tomichick, October 1814. 63. Candidly, I am not a friend of Allegory de Bravora and such, since they do nothing but promote

mechanism. Hetzendorf, July 16, 1823, to Reese in London. 64. 64. The great pianists have nothing but technique and affectation. Fall of 1817 to Marie Pachler-Coshak, a pianist whom Beethoven regarded very highly, you will play the sonatas in F-major and C minor for me, will you not? 65. As a rule, in the case of these gentlemen, all reason and feeling are generally lost in the nimbleness of their fingers, reported by Schindler as a remark of Beethoven's concerning piano forte virtuosy. 66.

Habit may depreciate the most brilliant talents. In 1812, to his pupil, Archduke Rudolph, whom he warns against too zealous a devotion to music. 67. You will have to play a long time yet before you realize that you cannot play at all. July 1808, reported by Rust, as having been said to a music. young man who played for Beethoven. 68. One must be something if one wishes to put on appearances. August 15, 1812, to Bettina von Arnhem. Sixty-nine. These pianoforte players have their coteries whom they often join. There, they are praised continually, and there is an end of art.

Conversation with Tomicke, October 1814. 70. We Germans have too few dramatic. trained singers for the part of Leonora. They are too cold and unfeeling. The Italians sing and act with body and soul. 1824 in Baden to Freudenberg, an organist from Breslau. 71. If he is a master of his instrument, I rank an organist amongst the first virtuosi. I too played the organ a great deal when I was young, but my nerves would not stand the power of the gigantic instrument to Freudenberg and body. 72. I never wrote noisy music.

From my instrumental works, I need an orchestra of about 60 good musicians. I am convinced that only such a number can bring out the quickly changing graduations and performance, reported by Schindler. 73. A requiem ought to be quiet music. It needs no trump of doom. Memories of the dead require no hubbub. Reported by Holtz, Tufani von Ponsing,

embodied summer of 1858. According to the same authority, Beethoven valued Karabini's requiem more highly than any other. 74. No metronome at all. He who has sound feeling needs none, and he who has not will get no help from the metronome. He'll run away with the orchestra anyway. reported by Schindler. It had been found that Beethoven himself had sent different metronomic indications to the publisher and the Philharmonic Society of London.

75. In reading rapidly, a multitude of misprints may pass unnoticed because you are familiar with the language to Vegler, who had expressed wonder at Beethoven's rapid prima vista plane when it was impossible to see each individual note. 76. The poet writes his monologue or dialogue in a certain continuous ribbon, but the elocutionists in order to ensure an understanding of the sense of the lines must make pauses and interruptions at places where the poet was not permitted to indicate it by punctuation. The same manner of declamation can be applied to music and admits of modification only according to the number of performers, reported by Schindler. Beethoven's faithful Vactotum. 77. With respect who's playing with you, when he has acquired the proper mode of fingering

and plays in time and plays the notes with tolerable correctness, only then direct his attention to the matter of interpretation. And when he has gotten this far, do not stop him for little mistakes, but point them out at the end of the piece. Although I have myself given very little instruction, I have always followed this method. which quickly makes musicians, and that, after all, is one of the first objects of art. DeCherney, who was teaching music to Beethoven's nephew, Carl. 78. Always placed the hands at the keyboard so that the fingers cannot be raised higher than is necessary.

Only in this way is it possible to produce a singing tone. Reported by Schindler, as Beethoven's view on piano forte instruction, He hated a staccato style of playing and dubbed it finger dancing and throwing the hands in the air. PG, editor's note, 79 was skipped in the 1905 edition era, question mark. On his own works, 80. I haven't a single friend. I must live alone. But well, I know that God is nearer to me than to the others of my art.

I associate with him without fear. I have always recognized and understood him, and I have no fear for my music. It can meet no evil fate. Those who understand it must become free from all the miseries that the others drag with them. To Bettina von Arnhem, Bettina's letter to Gerta May 28, 1810. 81.

The variations will prove a little difficult to play, particularly the trills in the Cota. But let that not frighten you. It is so disposed that you need play only the trills, omitting the other notes because they are also in the violin part. I would never have written a thing of this kind had I not often noticed here and there in Vienna, a man who after I had improvised of an evening, would write down some of my peculiarities and make boast of them next day. Foreseen that these things would soon appear in print, I made up my mind to anticipate them. Another purpose which I had was to embarrass the local pianoforte masters.

Many of them are my mortal enemies, and I wanted to have my revenge in this way, for I knew in advance that the variations would be put before them, and that they would make exhibitions of themselves. Vienna, November 2, 1793, to Eleanor von Droynan in dedicating to her the variations in F major Seville Balare, the pianist whom Beethoven accuses of stealing his thunder was Abbe Galenic. 82. The time in which I wrote my sonatas, the first ones of the second period, was more poetical than the present, 1823. Such hints were therefore unnecessary. Everyone at that time felt in the

Largo of the Third Sonata in D, Opus 10, the pictured soul state of a melancholy being, with all the nuances of light and shade which occur in a delineation of melancholy and its phases without requiring a key in the shape of a superscription. And everybody then saw in the two sonatas, opus 14, the picture of a contest between two principles or a dialogue between two persons because it was so obvious. In answer to Schindler's question why he had not indicated the poetical conceits underline his sonatas by superscriptions or titles. 83. This sonata has a clean face, literally has washed itself, my dear brother. January 1801 to Hofmeister, publisher in Leipzig, to whom he offers the sonata,

Opus 22, for 20 Ducats. They are incessantly talking about the C-sharp minor sonata, Opus 27, number two. On my word, I have written better ones. The F-sharp major sonata, Opus 78, is a different thing. A remarked to chair name. The C-sharp minor sonata is that popular lead known as the Moonlight Sonata, a title which is wholly without warrant. Its origin is due to Relshtab, who, in describing the first movement, drew a picture of

a small boat in the moonlight on Lake Lucerne. In Vienna, a tradition that Beethoven had composed it in an arbor gave rise to the title Arbor Sonata. Titles of this character work, much mischief in the amateur mind by giving rise to fantastic conceptions of the contents of the music, H.E.K. 85. The thing which my brother can have from me is, one, a septet per Il-Biolino violoncello, cantrabassos, clarineto, conto, fagotto, tuti obligati, for I cannot write anything

that is not obligato, having come into the world with obligato accompaniment, December 15, 1800 to Hofmeister, publisher, and Leipzig. 86, I am but little satisfied with my works thus far, from today I shall adopt a new course. reported by Carl Charny in his autobiography in 1842 concerning the time at which the remark was made. Charny says it was set about 1803

when B had composed Op.S. 28 to Piano Forte Sonata in D to his friend Crumpholtz, a violinist. Shortly afterward, there appeared the sonatas, now Opus 31, in which a partial fulfillment of his resolution may be observed. 87 Read Shakespeare's Tempest An answer to Schindler's question As to what poetical conceit underlay

The sonatas in F minor Beethoven used playfully To call the little son of Brayneung the friend of his youth A and C Gizzi employed him often as a messenger Schindler relates that when once he asked Beethoven to tell him what the F minor and D minor

Opus 31 number two meant, he received for an answer only the enigmatical remark, read Shakespeare's Tempest. Many a student and commentator has since read The Tempest in the hope of finding the clue to the emotional contents, which Beethoven believed to be in the two works so singularly associated, only to find himself baffled. It is a fancy which rests perhaps too much on outward things, but still one full of suggestion that had Beethoven said, hear my C minor symphony, he would have given a better starting point to the imagination of those who are seeking to know

what the F minor sonata means. Most obviously it means music, but it means music that is an expression of one of those psychological struggles which Beethoven felt called upon more and more to delineate as he was more and more shut out from the companionship of the external world. Such struggles are in the truest sense of the word tempests, the motive which, according to the story, Beethoven himself said, indicates in the symphony the wrappings of fate at the door of human existence, is common to two works which are also related in their spiritual contents.

Singularly enough, too, in both cases, the struggle which has begun in the first movement and continued in the third is interrupted by a period of calm, reassertionably. sharing, soul fortifying aspiration, which in the symphony as well as in the sonata, takes the form of a theme with variations, How to Listen to Music, Page 29, H-E-K. 88. Sinfonia pastorella, he who has ever had a notion of country life can imagine for himself without many superscriptions what the composer is after, even without a description the whole, which is more sentiment than tone painting will be recognized, a note among the sketches for the pastoral symphony preserved in the Royal Library at Berlin. There are other notes of similar import among the sketches referred to,

which can profitably be introduced here. The hearer should be allowed to discover the situations. Symphonia, Characteristica or Recollection of Country Life, Pastoral Symphony, no picture, but something. in which the emotions are expressed, which are roused in men by the pleasure of the country, or in which some feelings of country life are set forth. When finally the work was given to the publisher, Beethoven included in the title and admonitory explanation which should have everlasting validity. Pastoral Symphony, more expression of feeling than painting,

H.E.K. 89. My Fidelio was not understood by the public, but I know that it will yet be appreciated, for though I am well aware of the value of my fidaleo, I know just as well that the symphony is my real element. When sounds ringing me, I always hear the full orchestra. I can ask anything of instrumentalists, but when writing for the voice, I must continually ask myself, can that be sung? A remark made in 1823 or 1824 to Griesinger. indeed. Thus fate knocks at the portals, reported by Schindler as Beethoven's explanation of the opening of the symphony in C minor. Hofroth, Kufner, told him, Cren, that he once lived with Beethoven in Haiginstadt, and that they were in the habit

evenings of going down to Nussdorf to eat a fish supper in the Gosthaus Zoroza. One evening when B was in a good humor, Kufner began, tell me frankly, which is your favorite among your symphonies. B, in good humor, the Eroica, K. I should have guessed the C minor, B, no, the Eroaica. From Thayer's notebook, C music and manners, in the classical period, H.E.K. 91. The solo sonatas, opus 109-11, question mark, are perhaps the best, but also the last music that I compose for the pianoforte. It is and always will be an unsatisfactory instrument. I shall hereafter follow the example of my Grandmaster Handel and every year write only an oratorio and a concerto for some string or wind instrument, provided I shall have finished my 10th symphony,

C minor, and Requiem, reported by Holtz, as to the 10th Symphony, C note to number 95. 92. God knows why it is that my piano forte music always makes the worst impression on me, especially when it is played badly. June 2nd, 1804, a note among the sketches for the Leonor overture. 93. Never did my own music produce such an effect upon me, even now, when I recall this work, it still costs me a tear, reported by Holtz. The reference is to the covet from the quartet in B. flat, Opus 130, which Beethoven thought the crown of all quartet movements and his favorite composition. When alone and undisturbed, he was fond of playing his favorite pianoforte on Dante, that from the sonata, Opus 28. 94. I do not write what I most desire to,

but that which I need to because of money, but this is not saying that I write only for money. When the present period is past, I hope at last to write that, which is the highest thing for me as well as art, Faust. From a conversation book used in 1823 to Bueller, Tudor in the House of a Merchant, who was seeking information about an oratorio, which Beethoven had been commissioned to write by the Handel and Haydn Society of Boston. 95. Ha, Faust. That would be a piece of work. something might come on a bat, but for some time I have been big with three other large works. Much is already sketched out, that is, in my head. I must be rid of them first, two large symphonies differing from each other, and each differing from all the others, and an oratorio.

And this will take a long time, you see. For a considerable time I have had trouble to get myself to write. I sit and think and think I've long had the thing, but it will not on the paper. I dread the beginning of these large works, once into the work, and it goes. In the summer of 1822 to Rocklands at Baden, the symphonies referred to are the ninth and tenth. They existed only in Beethoven's mind and a few sketches. In it, he intended to combine antique and modern views of life. in the text Greek mythology, Contique, Ecclesiastic, in the Allegro-Bakique Festival, sketchbook of 1818.

The oratorio was to have been called the Victory of the Cross. It was not written. Schindler wrote to Mosulis in London about Beethoven in the last weeks of his life. He said much about the plan of the 10th Symphony. As the work had shaped itself in his imagination, it might have become a musical monstrosity compared with which his other symphonies would have been there opuscula.

End of Section 4. Section 5 of Beethoven, the man and the artist, as revealed in his own words by Ludwig von Beethoven, translated by Henry Edward Crabeil and Friedrich Kerst. This Librevox recording is in the public domain. On art and artists, Beethoven is critic on education. On art and artists.

96. How eagerly mankind withdraws from the poor artist what it has once given him. And Zeus, from whom one might ask an invitation to sup on Ambrosia, lives no longer. In the summer of 1814, to Kauka, an advocate who represented him in the lawsuit against the heirs of Kinski. 97. I love straightforwardness and uprightness, and believe that the artist ought not to be belittled, for, alas, brilliant as fame is externally, it is not always the privilege of the artist to be Jupiter's guest on Olympus all the time. Unfortunately, vulgar humanity drags him down only too often and too rudely from the pure upper ether.

June 5, 1852 to CF Peters, music publisher in Leipzig, when treating with him touching a complete edition of his works. 98. The true artist has no pride. Unhappily, he realizes that art has no limitations. He feels darkly how far he is from the goal. And while, perhaps he is admired by others, he grieves that he has not yet reached the point, where the better genius shall shine before him like a distant sun. Tepplets, July 17th, to an admirer, 10 years old. 99. You yourself know what a change is wrought by a few years in the case of an artist who is continually pushing forward.

The greater the progress which one makes in art, the less is one satisfied with one's old works. Vienna, August 4, 1800, to Matheson in the dedication of a setting of Adelaide. My most ardent wish will be fulfilled if you are not displeased with the musical composition of your heavenly Adelaide. 100. Those composers are exemplars who unite nature and art in their works, Baden, in 1824, to Freudenberg, organist from Breslau.

101. What will be the judgment a century hence concerning the lauded works of our favorite composers today. Inasmuch as nearly everything is subject to the changes of time, and more is the pity, the fashions of time, only that which is good and true will endure like a rock, and no wanton hand will ever venture to defile it. Then let every man do that which is right, strive with all his might toward the goal which can never be attained, developed to the last breath, the gifts with which a gracious creator has endowed him and never cease to learn, for life is short, art eternal. From the notes in the instruction book of Archduke, Rudolph. 102.

Famous artists always labor under an embarrassment. Therefore, first works are the best, though they may have sprung out of dark ground. Conversation book of 1840. 103. A musician is also a poet. He also can feel himself transported by a pair of eyes into another and more beautiful world where greater souls make sport of him and set him right difficult tasks. August 15, 1812, to Bettina von Arnhem. 104. I told Gerta my opinion as to how applause affects men like us, and that we want our equals to hear us understandingly. Emotion suits women only. Music ought to strike fire from the soul of a man.

August 15th, 1810 to Bettina von Arnhem. 105. Most people are touched by anything good, but they do not partake of the artist's nature. Artists are ardent. They do not weep. Reported to Gerta by Bettina von Arnhem, May 28, 1810. 106. Larduni to Le Monde, how much more the two artists, March 15th, 1823, to Carabini in Paris.

107. Only the artists, or the free scholar, carries his happiness within him, reported by Carl Bumbersi as part of a conversation in 1816. 108. There ought to be only one large art warehouse in the world, to which the artists, could carry his artworks and from which he could carry away whatever he needed, as it is one must be half a tradesman, January 1801, to Hofmeister and Leipzig. Beethoven as critic, the opinion of artists on artists is a dubious quantity. Recall the startling criticisms of Baclin on his associates in art made public by the memoirs of his friends after his death. Such judgments are often one-sided, not without prejudice, and mostly the expression of impulse. It is a different matter when the artist speaks about the disciples of another art than his own, even if the opinions

which Bachlan and Wagner held of each other are not a favorable example. Where Beethoven speaks of other composers, we must read with clear and open eyes, but even here there will be much with which we can be in accord, especially his judgment on Rassini, whom he hated, so intensely, and whose airy, sense-bublishing arts seduced the Bionese from Beethoven. Interesting and also characteristic of the man is the attitude which he adopted towards the poets of his time. In general, he estimated his contemporaries as highly as they deserved. 109. Do not tear the laurel wreaths from the heads of Handel, Heiden, and Mozart. They belong to them. Not yet to me. Tepplets, July 17,

1852 to his 10-year-old admirer, Emily M, who had given him a portfolio made by herself. 110, Pure church music ought to be performed by voices only, except a Gloria, or some similar text.

For this reason, I prefer Palestrina, but it is folly to imitate him without having his genius and religious views. It would be difficult, if not impossible, too, for the singers of today to sing his long note, in a sustained and pure manner.

To Freudenburg in 1824. 111. Handel is the unattained master of all masters. Go and learn from him how to achieve vast effects with simple means. Reported by Seyfried on his deathbed about the middle of February, 1827, he said to young Gerhard von Brunen on receiving Handel's works, Handel is the greatest and ablest of all composers. From him I can still learn. Bring me the books.

112. Handel is the greatest composer that ever lived. I would uncover my head and kneel on his grave. Fall of 1823 to J.A. Stumpf, heartmaker of London, who acted very nobly toward Beethoven in his last days. It was he who rejoiced the Dine composer by sending him to 40 volumes of Handel's works, C. 111. cypriani potter to a w t february twenty seven eighteen sixty one beethoven used to walk across the fields to vienna very often b would stop look about and express his love for nature one day potter asked who is the greatest living composer yourself accepted

Beethoven seemed puzzled for a moment, and then exclaimed, Carabini, Potter went on, and of dead authors, B, he had always considered Mozart as such, but since he had been made, pointed with Handel, he put him at the head, from A.W. Thayer's notebook reprinted in music and manners in the classical period, page 208, H.E.K. 113. Heaven forbid that I should take a journal in which sport is made of the mains of such a revered one, Conversation book of 1825, in reference to a criticism of Handel. 114. That you are going to publish Sebastian Box works is something which does good to my heart, which beats in love of the great and lofty art of this ancestral father of harmony.

I want to see them soon, January 1801 to Hofmeister and Leipzig. 115 of a manual box, Clubier Works, I have only a few. yet they must be not only a real delight to every two artists, but also serve him for study purposes, and it is for me a great pleasure to play works that I have never seen, or seldom see, for real art lovers. July 26, 1809 to Gottfried Hartel of Leipzig, in ordering all the scores of Heiden, Mozart, and the two box. 116. See, my dear Hummel, the birthplace of Heiden. I received it as a gift to, today, and it gives me great pleasure, a mean peasant hut, in which so great a man was born, remarked on his deathbed to his friend Hummel.

117. I have always reckoned myself among the greatest admirers of Mozart, and shall do so till the day of my death. February 6, 1886, to Abbe Maximilian Stodler, who had sent him his essay on Mozart's Requiem. 118. Crummer, Crummer, we shall never be able to compose anything like that to Crammer, after the two had heard Mozart's concert in C. Minor at a concert in the Ogarten. 119. Ditsabre Flerta will always remain Mozart's greatest work, for in it he for the first time showed himself to be a German musician. Don Juan still has the complete Italian cut.

Besides, our sacred art ought never permit itself to be degraded to the level. of a foil for so scandalous a subject, a remark reported by Safrey. Hosaka says that in 182021, as near as he can recollect, the wife of a major bomb garden took boy boarders in the house, then standing, where the music varan's Sal now is, and that Beethoven's nephew was placed with her. Her sister, Baronin, born, lived with her. One evening, Hosaka, then a young man, called there and found only baronanin born at home. Soon another caller came and stayed to tea.

It was Beethoven. Among other topics, Mozart came on the tapis, and the bourne asked Beethoven, in writing, of course, which of Mozart's operas he thought most of did Zabberflota? Said Beethoven, and suddenly clasping his hands, and throwing up his eyes, exclaimed, Oh, Mozart. From A.W. Thayer's notebooks,

reprinted in music and manners in the classical period. page 198, H.E.K. 120. Say all conceivable, pretty things to Karabini, that there is nothing I so ardently desire as that we should soon get another opera from him, and that of all our contemporaries I of the highest regard for him. May 6, 1823, to Louis Schlosser, afterward Chapel Master and Armstadt, who is about to undertake a journey to Paris, see no to number 112. one twenty one among all the composers alive carabini is the most worthy of respect i am in complete agreement too with his conception of the requiem and if ever i come to write one i shall take note of many things remark reported by seafre c number one twelve

one twenty two whoever studies clementi thoroughly has simultaneously also learned mozart and other authors inversely however this is not the case reported by schindler one twenty three there is much good in spontini he understands theatrical effect and martial noises admirably spore is so rich in dissonances pleasure in his music is marred by his chromatic melody his name ought not to be bach but ocean because of his infinite and exhaustible wealth of tonal combinations and harmonies bach is the ideal of an organist in baden eighteen twenty four to freudenberg one twenty four the little man otherwise so gentle i never would have credited him with such a thing now vaber must write operas in earnest one after the other without caring too much for a refinement caspar the monster looms up like a house wherever the devil sticks in his claw we feel it to rocklets at baden in the summer of eighteen twenty three one twenty five there you are you rascal you're a devil of a fellow god bless you Weber you always were a fine fellow Beethoven's hearty greeting to Karl Maria von Weber in October 1823 126 K.M. Weber began to learn too late art did not have a chance to develop naturally in him, and his single and obvious striving is to appear brilliant, a remark reported by Seyfried.

127. Iriante is an accumulation of diminished seventh chords, all little back doors, remarked to Schindler about Weber's opera. 128, truly a divine spark dwells in Schubert, said to Schindler, when the latter made him acquainted with the songs of Ossian, de Jungen, nona de brugschaft of schubert's grenson de menschite and other songs one twenty nine there is nothing in myr bierrebeer he hasn't the courage to strike at the right time to thomaschek in october eighteen fourteen in a conversation about the battle of victoria at the performance of which in eighteen thirteen myr bier had played the big drum one thirty rossini is a talented and a melodious composer His music suits the frivolous and sensuous spirit of the times, and his productivity is such that he needs only as many weeks as the Germans do years to write an opera. In 1824, Ed Baden to Freudenberg.

131. This rascal Rossini, who is not respected by a single master of his art? Conversation Book, 1825. 132. Rossini would have become a great composer if his teacher, had frequently applied some blows on posteriora reported by schindler. Beethoven had been reading the score of Ibarbriere di Sivilia. 133. The Bohemians are born musicians. The Italians ought to take them as models. What have they to show for their famous conservatories? Behold their idol Racini. If Dame Fortune had not given him a pretty talent and amiable melodies by the bushel, what he learned at school would have

brought him nothing but potatoes for his big belly. In a conversation book at Husslinger's music shop, where Beethoven frequently visited. 1.34. Gerta has killed Klopstadt for me. You wonder? Now you laugh? Uh, because I have read Klopstadt. I carried him about with me for years when I walked.

What besides? Well, I didn't always understand him. He skips about so, and he always begins so far away, above or below, always meistoso. D-flat major, isn't it so? But he's great, nevertheless, and uplifts the soul. When I couldn't understand him, I sort of guessed at him to Rocklitz in 1822. 135. As for me, I prefer to set Homer Klopstadt Schiller to music. If it is difficult to do, these immortal poets at least deserve it. To the Directorate of the Gazelle Schacht

de music friend of Vienna, January 1824, in negotiations for an oratorio, the victory of the cross, which he had been commissioned to write by the Handel and Haydn Society of Boston, H.E.K. 136. Gerta and Schiller are my favorite poets, as also Ossian and Homer, the latter of whom, unfortunately, I can read only in translation. August 8, 1809, to Breitkoff and Hartel. 137. Who can sufficiently thank a great poet, the most valuable jewel of a nation? February 10th, 1811, to Bettina von Arnhem, the reference was to Gerta. 138. When you write to Gerta about me, search out all the words which can express my deepest reverence and admiration. I am myself about to write to him about Egmont, for which I have composed the music, purely out of love for his poems, which make me happy. February 10th, 1811, to Bettina von Arnhem. 139. I would have gone to death, yes, 10 times to death for Gerta.

Then, when I was in the height of my enthusiasm, I thought out my Egmont music. Gerta, he lives and wants us all to live with him. It is for that reason that he can be composed. Nobody is so easily composed as he, but I do not like to compose songs. to Rucklitz in 1822, when Beethoven recalled Gerta's amiability in Teplets. 140. Gerta is too fond of the atmosphere of the court. Fonder than becomes a poet.

There is little room for sport over the absurdities of the virtuosi when poets, who ought to be looked upon as the foremost teachers of the nation, can forget everything else in the enjoyment of court glitter. Francis Brun, August 9, 1812, to Gottfried Hartel of Leipzig. 141. When two persons like Gerta and I meet, these grand folk must be made to see what our sort consider great. August 15, 1812, in a description of how hotly he and how humbly Gerta had behaved in the presence of the imperial court. 142. Since that summer in Carlsbad, I read Gerta every day, when I read it all, remarked to Rocklets.

143. Gerta ought not to write more. He will meet the fate of the singers. Nevertheless, he will remain the foremost poet of Germany. Conversation book 1818. 144. Can you lend me the theory of colors for a few weeks? It is an important work.

His last things are insipid. Conversation book 1820. 145. After all the fellow writes from money only. Reported by Schindler, as having been said by Beethoven, when, on his deathbed, he angrily threw a book of Walter Scott's aside. 146. He too, then, is nothing better than an ordinary man. Now he will trample on all human rights, only to humor his ambition. He will place himself above all others, become a tyrant. With these words, as testified to by Reese, an eyewitness,

Beethoven tore the title page from the score of his heroic a symphony which bore a dedication to Bonaparte, when the news reached him that Napoleon had declared himself emperor. 147. I believe that so long as the Austrian has his brown beer and sausage, he will not revolt. To Simrock publisher in Bonn, August 2, 1794. 148. Why do you sell nothing but music? Why did you not long ago, follow my well-meant advice. Do get wise and find your raison. Instead of a hundred weight of paper, order genuine unwatered Regensberger, float this much-liked article of trade down the Danube, serve it in measures, half-measures and sidles at cheap prices. Throw in at intervals, sausages,

rolls, radishes, butter, and cheese. Invite the hungry and thirsty with letters, an L. Long on a sign, musical beerhouse, and you will have so many guests at all hours of the day that one will hold the door open for the other, and your office will never be empty. To Hussinger, the music publisher, when the latter had complained about the indifference of the Viennese to music. On education, Beethoven's observations on this subject were called out by his experiences in securing an education for his nephew, Carl, son of his liked-named brother. A duty, which devolved on him on the death of his brother in the winter of 1815. He loved his nephew almost to idolatry

and hoped that he would honor the name of Beethoven in the future. But there was a frivolous vein in Carl, inherited probably from his mother, who was on easy footing with morality, both before and after her husband's death. She sought with all her might to rid her son of the guardianship of his uncle. Carl was sent to various educational institutions, and to these Beethoven sent many letters containing advice and instructions.

The nephew grew to be more and more a care, not wholly without fault of the master. His passionate nature led to many quarrels between the two, all of which were followed by periods of extravagant fondness. Carl neglected his studies, led a frivolous life, was fond of billiards, and the coffee houses, which were then generally popular, and finally, in the summer, of 1826 made an attempt at suicide in the Lenington near Baden, which caused his social ostracism. When he was found, he cried out, I went to the bad because my uncle wanted to better me. Beethoven succeeded in persuading Baron von Studeheim, commander of an infantry regiment, a iglau, to accept him as an aspirant for military office. In later life, he became a respected official

and man. So Beethoven himself was now shaped only an ill-regulated education. His dissoluted father treated him now harshly, now gently. His mother, who died early, was a silent sufferer, had thoroughly understood her son, and to her his love was devotion itself. He labored unwearingly at his own intellectual and moral advancement until his death. It seems difficult to reconcile his almost extravagant estimate of the greatest possible liberty in the development of man, with his demands for strict constraint to which he frequently gives expression. But he had recognized that it is necessary to grow out of restraint into liberty. His model as a sensitive and sympathetic educator was his motherly friend,

the wife of Court Counselor von Brunning and Bonn, of whom he once said, she knew how to keep the insects off the blossoms. Beethoven's views on musical education are to be found in the chapters on composition and on performing music. 149. Like the state, each man must have his own constitution, diary, 1815. 150. Recommend virtue to your children. That alone can bring happiness, not wealth. I speak from experience. It was virtue alone that bore me up in my misery. To her and my art, I owe that I did not end my life by self-murder. October 6th, 1802, to his brothers Carl and Johann, the so-called Heleginstadt will. 151. I know no more sacred duty than to rear and educate a child.

January 7, 1820, in a communication to the Court of Appeals in a suit touching the guardianship of his nephew, Carl. 152. Nature's weaknesses are nature's endowments. Reason, the guide. must seek to lead and lessen them. Diary 1817. 153. It is man's habit to hold his fellow man in esteem because he committed no greater errors. May 6.1811 to Breitkoff and Herto in a letter complaining of faulty printing in some of his compositions. 154. There is nothing more efficient in enforcing obedience upon others than the belief on their part that you are wiser than they. without tears fathers cannot inculcate virtue in their children or teachers learning and wisdom in their pupils even the laws by compelling tears from the citizens compel them also to strive for justice diary eighteen fifteen one fifty five it is only becoming in a youth to combine his duties toward education and advancement with those which he owes to his benefactor and supporter this i did toward my parents may 18, 1825, to his nephew, Carl.

156. You cannot honor the memory of your father better than to continue your studies with the greatest zeal and strive to become an honest and excellent man to his nephew 1816-1818. 157. Let your conduct always be amiable. Through art and science, the best and noblest of men are bound together and your future vocation will not exclude you. Baden, July 18, 1825, to his nephew who had decided to become a merchant.

158. It is very true that a drop will hollow a stone. A thousand lovely impressions are obliterated when children are placed in wooden institutions while they might receive from their parents the most soulful impressions which would continue to exert their influence to the latest age. Diary, Spring of 1817, Beethoven was dissatisfied with John Astacio's school in which he had placed his nephew. Carl is a different child after he has been with me a few hours, diary. In 1826, after the attempted suicide, Beethoven said to Brinning, My Carl was in an institute. Educational institutions furnished forth only hot house plants. 159.

Drops of water wear away a stone in time, not by force, but by continual falling. Only through tireless industry are the sciences achieved so that one can truthfully say, no day without its line, no la deise seen Linnea. 1799, in a sketch for a theoretical handbook for Archduke, Rudolph.

End of Section 5. Section 6 of Beethoven. the man and the artist, as revealed in his own words by Ludwig von Beethoven, translated by Henry Edward Crabeil and Friedrich Kirst. This Lieberach's recording is in the public domain. On his own disposition and character. The sufferer. On his own disposition and character.

So open-hearted and straightforward a character as Beethoven could not have pictured himself with less reserve or greater truthfulness than he did during his life. Frankness toward himself, frankness toward others, though sometimes it went to the extreme rudeness and ill-breeding, was his motto.

The joyous nature, which was his as a lad, and which was not at all averse to a merry prank now and then, underwent a change when he began to lose his hearing. The dread of deafness and its consequences

drove him nearly to despair, so that he sometimes contemplated suicide, increasing hardness of hearing gradually made him reserved, morose, and gloomy. With the progress of the malady, his disposition and character underwent a decided change, a fact which may be said to account for the contradictions in his conduct and utterances. It made him suspicious, distrustful. In his later years, he imagined himself cheated and deceived in the most trifling matters by relatives, friends, publishers, servants.

Nevertheless, Beethoven's whole soul was filled with a high idealism, which penetrated through the miseries of his daily life. It was full, too, of a great love toward humanity in general and his unworthy nephew in particular. Towards his publishers, he often appeared covetous and grasping, seeking to rake and scrape together all the money possible. But this was only for the purpose of assuring the future of his nephew. At the same time, in a merry moment, he would load down his table, with all that kitchen and cellar could provide for the reflection of his friends. Thus he oscillated continuously between two extremes, but the power which swung the pendulum was always the oral malady. He grew peepish and capricious towards his best friends, rude, even brutal at times in his treatment of them, only in the next moment to overwhelm them most pathetically with the tensions.

Till the end of his life, he remained a sufferer from his passionate disposition over which he gradually obtained control until, at the end, one could almost speak of a sunny clarification of his nature. He has heedlessly been accused of having led a dissolute life, of having been an intemperate drinker. There would be no necessity of contradicting such a charge, even if there were a scintilla of evidence to support it. A drinker is not necessarily a dishonorable man, least of all a musician who drinks. But the fact of the matter is that it is not true. If once Beethoven wrote a merry note about merrymaking with friends, let us rejoice that occasions did sometimes occur, though but rarely, when the heart of the sufferer was temporarily gladdened.

He was a strict moralist, as is particularly evidenced by the notes in his journal, which have not been made public. In many things which befell him in his daily life, he was as ingenuous as a child. His personality, on the whole, presented itself in such a manner as to invite the intellectual and social Philistine to call him a fool. 160. I shall print a request in all the newspapers that henceforth all artists refrain from painting my picture without my knowledge. I never thought that my own face would bring me embarrassment. about 1803 to Christine Girardi, because without his knowledge, a portrait of him had been made somewhere in a cafe, probably. 161. Pity that I do not understand the art of war, as well as I do the art of music, I should yet conquer Napoleon to Crumpholtz, the violinist, when he informed Beethoven of the victory of Napoleon, Egena.

162. If I were in general and knew as much about strategy as I, a composer, know about counterpoint, I'd give you fellows something to do, called out behind the back of a French officer. His fist doubled on May 12, 1809, when the French had occupied Vienna, reported by witness W. Roost. 163. Camillis, if I am not mistaken, was the name of the Roman who drove the wicked galls from Rome. At such a cost, I would also take the name if I could drive them wherever I found them to where they belong. To Playal, publisher in Paris, April, 1807. 164. I love most the realm of mind, which to me is the highest of all spiritual and temporal monarchies. To advocate Kauka in the summer of 1814, he had been speaking about the monarchs represented in the Congress of Vienna. 165. I shall not come in person, since that would be a sort of farewell, and farewells I have always avoided.

January 24, 1818, to Genestasio del Rio on taking his nephew, Carl, out of the latter institute. 166. I hope still to bring a few large works into the world, and then, like an old child, to end my earthly career somewhere among good people. October 6, 1802, to Wiggler. 167. O ye men, who think or declare me to be hostile, morose, or misanthropical, what injustice ye do me. You know not the secret cause of what thus appears to you. My heart and mind were from childhood disposed for the tender feelings of benevolence. I was always wishing to accomplish great deeds. October 6th, 1802 in the so-called Heilingstadt will. 168 Divinity

Thou lookest into my heart Thou knowest it Thou knowest that love for mankind And a desire to do good Have their abode there O ye men When one day ye read this Think that ye have wronged me

And may the unfortunate console himself With a thought that he has found One of his kind Who, despite all the obstacles Which nature put in his path Yet did all in his power to be accepted in the ranks of worthy artists and men from the Heiligenstadt will.

169. I spent all my mornings with the muses, and they bless me also in my walks. October 12, 1835, to his nephew, Carl. 170. Concerning myself nothing, that is, from nothing, nothing. October 19, 1815, to Countess Erdotti. A possible allusion to the line. nothing can come of nothing. From Shakespeare's King Lear, Act 1, Scene 1. 171. Beethoven can write, thank God, but do nothing else on earth. December 22, 1822 to Ferdinand Reese in London. 172. Mentally, I often frame an answer, but when I come to write it down, I generally throw the pen

aside, since I am not able to write what I feel. October 7, 1826, to his friend Weigler in Koblenz. The better sort of people, I think, know me anyhow. He is excusing his laziness in letter-writing. 173. I have the gift to conceal my sensitiveness touching a multitude of things, but when I am provoked at a moment when I am more sensitive than usual, to anger, I burst out more violently than anybody else. July 24, 1804, to Reese in reporting to him a quarrel with Stefan von Burennan. 174. X is completely changed

since I threw half a dozen books at her head. Perhaps something of their contents accidentally got into her head or her wicked heart. To Madame Stryker, who often had to put Beethoven's house in order. 175.

I can have no intercourse and do not want to have any with persons who are not willing to believe in me because I have not yet made a wide reputation. to Prince Lopkowitz, about 1798, a cavalier had failed to show him proper respect in the Princess Salon. 176. Many a vigorous and unconsidered word drops from my mouth, for which reason I am considered mad. In the summer of 1880 to Dr. Mueller of Bremen, who is paying him a visit. 177. I will grapple with fate. It shall not quite bear me down. Oh, it is lovely to love to

live life a thousand times. November 16, 1800, or 1801 to Vegler. 178. Morality is the strength of men who distinguish themselves over others, and it is mine, in a communication to his friend, Baron Zemska. 179, I too am a king, said to Holtz, when the latter begged him not to sell the ring which King Frederick William III of Prussia had sent to him, of money or an order in return for the dedication of the ninth symphony. Master, keep the ring, Holtz had said. It is from a king. Beethoven made his remark with indescribable dignity and self-consciousness. On his deathbed, he said to little Gerhard von Brunen, know that I am an artist. At the height of the popular infatuation for Rossini, 1822, he said to his friends, well,

they will not be able to rob me in my place in the history of art. 180, Prince, what you are you are by accident of birth, what I am, I am through my own efforts. There have been thousands of princes and will be thousands more. There is only one Beethoven. According to tradition from a letter which he wrote to Prince Lichnalski, when the latter attempted to persuade him to play for some French officers on his estate in Silesia, Beethoven went at night to Tropol, carrying the manuscript of the so-called Apashanata Sonata, which suffered from the rain.

181, My nobility is here and here, pointing to his heart and head. Reported by Schindler, in the lawsuit against his sister-in-law, the mother of nephew Carl, Beethoven had been called on to prove that the van, in his name, was a badge of nobility. 182. You write that somebody has said that I am the natural son of the late king of Prussia. The same thing was said to me long ago, but I have made it a rule never to write anything about myself or answer anything that is said about me. October 7, 1826, to Vegler. I leave it to you to give the world an account of myself and especially my mother. The statement had appeared in Brockhaus's lexicon. 183. To me, the highest thing after God is my honor. July 26, 1822, to the publisher Peters in Leipzig. 184. I have never thought of writing for reputation and honor. What I have in my heart must out, that is the reason why I compose. remarked to Carl Cherney reported in his autobiography. 185, I do not desire that you shall esteem me greater as an artist, but,

better and more perfect as a man. When the condition of our country is somewhat better, then my art shall be devoted to the welfare of the poor. Vienna, June 29, 1800 to Vegler in Bonn, writing of his return to his native land. 186. Perhaps the only thing that looks like genius about me is that my affairs are not always in the best of order, and that in this respect nobody can be of help but myself. April 22nd, 1801, to Hofmeister in Leipzig, excusing himself for Dillatorinus and sending him these compositions. The Piano Forte Sonata Opus 22, the Symphony Opus 21, the Septet Opus 20, and the Concerto Opus 19. 18. 187. I am free from all small vanities. Only in the divine art is the lever which gives me power to sacrifice the best part of

my life to the Celestial Muses. September 9th, 1824 to George Nagelli in Zurich. 188. Inasmuch as the purpose of the undersigned throughout his career has not been selfish, but the promotion of the interests of art, the elevation of popular taste, and the flight of his own genius toward loftier ideals and perfection. It was inevitable that he should frequently sacrifice his own advantages and profit to the Muse, December 1804, to the director of the Court Theatre, applying for an engagement which was never affected. 189. From my earliest childhood, my zeal to serve suffering humanity with my art was never content with any kind of a subterfuge, and no other reward is needed than the internal satisfaction

which always accompanies such a deed, to procurator Verena, who had asked him for compositions to be played at a charity concert in Gratz. 190. There is no greater pleasure for me than to practice and exhibit my art. November 16, 1800, or 1801, de Vegler. 191. I recognize no other accomplishments or advantages than those which place one amongst the better class of men, where I found. find them, there is my home. Teplett's July 17, 1812, to his little admirer, Emily M in H. 192. From childhood, I learned to love virtue and everything beautiful and good. About 1808,

to Farrle Marie Bogle. 193. It is one of my foremost principles never to occupy any other relations than those of friendship with the wife of another man. I should never want to fill my heart with distrust towards those who may chance someday to share my fate with me and thus destroy the loveliest and purest life for myself. About 1808 to Frow Marie Brigal, after she had declined his invitation to drive with him. 194.

In my solitude here, I miss my roommate, at least at evening and noon, when the human animal is obliged to assimilation, that which is necessary to the production of the intellectual and which I prefer to do in company with another. Teplett's September 6, 1811, Dutij. 195. It was not intentional and premeditated malice, which led me to act toward you as I did. It was my unpardonable carelessness to Vegler. 196. I am not bad. Hot blood is my wickedness. My crime is youthfulness.

I am not bad, really not bad. Even though wild surges often accuse my heart, it still is good. To do good wherever we can, to love liberty above all things, and never to deny truth, though it be at the throne itself. Think occasionally of the friend who honors you, written in the autograph album of a hair buck. 1.97. It is a singular sensation to see and hear one's self-praised, and then to be conscious, of one's own imperfections as I am. I always regard such occasions as admonitions to get nearer the unattainable goal set for us by art and nature, hard as it may be, to Mademoiselle de Girardi, who had sung his praises in a poem. One 98, it is my sincere desire that whatever shall be said of me

hereafter shall adhere strictly to the truth in every respect, regardless of who may be hurt thereby, me not accepted. Reported by Schindler, who also relates that when Beethoven handed him documents to be used in the biography a week before his death, he said to him and Brunin, but in all things severely the truth, for that I hold you to a strict accountability. 199. Now you can help me to find a wife. If you find a beautiful woman, an F, who mayhap endows my music with a sigh, but she must be no Elise Berger, make a provisional engagement, but she must be beautiful, for I can love only the beautiful, otherwise I might love myself. In 1809, to Baron von Gleichenstein. As for the personal reference, it seems likely that Beethoven referred to Elise Berger,

second wife of the poet G. August Berger, with whom he had got acquainted after she had been divorced and become an elocutionist. 200. Am I not a true friend? Why do you conceal your necessities from me? No friend of mine must suffer so long as I have anything. To Ferdinand Reese in 1801. Reese's father had been kind to bait. on the death of his mother in 1787. 201. I would rather forget what I owe to myself than what I owe to others, to Fraus Stryker, in the summer of 1817. 202, I never practice revenge. When I must antagonize others, I do more than is necessary to protect

myself against them, or prevent them from doing further evil. To Frouin Striker, in reference to the troubles which his servants gave him. him, many of which, no doubt, were due to faults of his own, excusable in a man in his condition of health. 203. Be convinced that mankind, even in your case, will always be sacred to me. To Shopka, magisterial counselor, August 1826, in the matter of his nephew's attempt at suicide. 204.

H is, and always will be too weak for friendship, and I look upon him and why. as mere instruments upon which I play when I feel like it, but they can never be witnesses of my internal and external activities, and just as little real participants. I value them according as they do me service. Summer of 1800 to the friend of his youth, Pastor Amenda, H was probably the faithful Baron Zemskavon, Domanovitz. 205.

If it amuses them to talk and write about me in that manner, let them go on. Reported by Schindler as referring to critics who had declared him ripe for the madhouse. 206. To your gentleman critics, I recommend a little more foresight and shrewdness, particularly in respect of the products of younger authors, as many a one who might otherwise make progress may be frightened off. So far as I'm concerned, I am far from thinking myself so perfect is not to be able to endure faulty. Yet at the beginning,

the clamor of your critic was so debasing that I could scarcely discuss the matter when I compared myself with others, but had to remain quiet and think. They do not understand. I was more able to remain quiet when I recalled how men were praised who signify little among those who know and who have almost disappeared despite their good points. Well, Pax, Bobiscom, peace to them and me. I would never have mentioned a syllable had you not begun. April 22nd, 1801 to Brightkopf and Hartel, publishers of the Algemina music zaytong. 207. Who was happier than I when I could still pronounce the sweet word, mother, and have it heard? To whom can I speak it now? September 15th, 1787, from Bonn to Dr. Shata of Augsburg, who had aided him in his return journey from Vienna to Bonn. His mother had died on July 17, 1787. 208. I seldom go anywhere, since it was always impossible for me to associate with people where there

was not a certain exchange of ideas. February 15, 1817 to Brantano of Frankfurt. 209, not a word about rest. I know of none except in sleep, and sorry enough am I that I'm obliged to yield up more to it than formally. November 16th, 1801 or 1802, De Beggler, in Homer's Odyssey, Beethoven thickly underscored the words, Too much sleep is injurious. 15.393. 210. Rest assured that you are dealing with two artists

who likes to be paid decently. It is true, but who loves his own reputation and also the fame of his art. Who is never satisfied with himself, and who strives continually, to make even greater progress in his art. November 23, 1809, to George Thompson of Edinburgh, for whom Beethoven arranged the Scotch songs. 211. My motto is always, Nula di Sina Linnea,

and if I permit the muse to go to sleep, it is only that she may awake strengthened. October 7, 1826 to Vegler. 212. There is no treatise likely to be too learned for me. without laying claim to real learning, it is yet true that since my childhood I have striven to learn the minds of the best and wisest of every period of time. It is a disgrace for every artist who does not try to do as much. November 2, 1809 to Breitkopf and Hertel of Leipzig. 2.13. Without wishing in the least to set myself up as an exemplar,

I assure you that I lived in a small and insignificant place and made, out of myself nearly all that I was there and am here. This to your comfort in case you feel the need of making progress in art. Baden, July 6, 1804, to hear of Viedebine of Brunswick, who had asked if it was advisable for a music teacher and student to make his home in Vienna. 2.14. There is much on earth to be done. Do it soon. I must not continue my present everyday life, art asks this sacrifice also. Take rest in diversion in order to work more energetically. Diary, 1814. 215, the daily grind exhausts me. Baden, August 23, 1823, to his nephew, Carl. The Sufferererer, 216. Compelled to be a philosopher as early as my 28th year,

it is not an easy matter, more difficult for the artist than any other man. October 6th, 1802, the Heidelgenstadt will. 217. Compelled to contemplate a lasting malady, born with an ardent and lively temperament, susceptible to the diversions of society, I was obliged at an early date to isolate myself and live a life of solitude from the same. 2.18. It was impossible for me to say to others, Speak louder, shout, for I am deaf.

Ah, was it possible for me to proclaim a deficiency in that one sense which in my case ought to have been more perfect than in all others, which I had once possessed in greatest perfection, to a degree of perfection, indeed, which few of my profession have ever enjoyed. From the same. 2.19. For me, there can be no recreation in human society, refined conversation, mutual exchange of thoughts and feelings, only so far as necessity compels may i give myself to society i must live like an exile from the same two twenty how great was a humiliation when one who stood beside me heard the distant sound of a shepherd's pipe and i heard nothing or heard the shepherd singing and i heard nothing Such experiences brought me to the verge of despair, but little more, and I should have put an end to my life. Art, art alone, deterred me from the same. 221. I may say that I live a wretched existence. For almost two years, I have avoided all social gatherings because it is impossible for me to tell the people I am deaf.

If my vocation were anything else, it might be more endurable, but under the circumstances the condition is terrible. besides, what would my enemies say? They are not few in number. To give you an idea of this singular deafness, let me tell you that in the theater I must lean over close to the orchestra in order to understand the actor. If I am a little remote from them, I do not hear the high tones of instruments and voices. It is remarkable that there are persons who have not observed it, but because I am generally absent-minded, my conduct is ascribed to that. Vienna, June 29, 1800, to Vegler, to you, only do I confide this as a secret,

concerning his deafness, see appendix. 22. My defective hearing appeared everywhere before me like a ghost. I fled from the presence of men, was obliged to appear to be a misanthrope, although I am so little such. November 16, 1801, or 1800, to Vegler, in writing to him about his happy love. Unfortunately, she is not of my station in life.

223. Truly, a hard lot has befallen me. Yet I accept the decree of fate and continually pray to God to grant that as long as I must endure this death in life, I may be preserved from want. March 14, 1827 to Mosulis, after Beethoven had undergone the fourth operation for Dropsey and was confronting the fifth. He died on March 26, 1827. 224. Live alone in your art. Restricted though you be by your defective sense, this is still the only existence for you.

Diary 1816. 225. Disatisfied with many things, more susceptible than any other person and tormented by my deafness, I often find only suffering in the association with others. in 1815 to Browcla, tutor in the house of Countess Edotti. 226. I have emptied a cup of bitter suffering and already won martyrdom in art through the kindness of arts disciples and my art associates. In the summer of 1814 to Advocate Kalka, Socrates and Jesus were my exemplars, he remarks,

in a conversation book of 1819. 227, perfect the ear trumpets as far as possible, and then travel. This you owe to yourself, to mankind, and to the Almighty. Only thus can you develop all that is still locked within you, and a little court, a little chapel, writing the music, and having it performed to the glory of the Almighty, the eternal, the infinite. Diary, 1815, Beethoven was hoping to receive an appointment as chapel master from his former pupil, Archduke Rudolph, Archbishop of Ombuds. 228. God help me. Thou seest me deserted by all mankind. I do not want to do wrong.

Hear my prayer to be with my Carl in the future, for which there seems to be no possibility now. O harsh fate, cruel destiny. No, my unhappy condition will never end. This I feel and recognize clearly. Life is not the greatest of blessings, but the greatest of evils is given. guilt from Schiller's Brout von Messina. There is no salvation for you except to hasten away from here. Only by this means can you lift yourself again to the heights of your art, whereas you are here sinking to the commonplace. In a symphony, and then away, away, meanwhile fund the salaries which can be done for years. Work during the summer preparatory to travel. Only thus can you do the great work for your poor nephew. Later travel through Italy.

Sicily, with a few other artists. Diary, spring of 1817, the salaries were the annuities paid him for several years by Archduke Rund, Prince Rinski, and Prince Lofkowitz. Summ's Sputzergang-Nak, Syracuse was a favorite book of Beethoven's and inspired him in a desire to make a similar tour, but nothing came of it. 229. You must not be a man like other men, not for yourself, only for others. For you there is no more happiness except in yourself, in your art, oh God, give me strength to overcome myself. Nothing must hold me to this life. Beginning of the diary 1812 1818. 213. Leave operas and all else alone. Write only for your orphan and then a cowl to close this unhappy life. Diary 1816. 21. I have often cursed my existence.

Plutarch taught me resignation. I shall, if possible, defy fate, though there will be hours in my life when I shall be the most miserable of God's creatures. Resignation! What a wretched resort, yet it is the only one left me. Vienna, June 29, 1800 to Vagler. 232. Patience, they tell me, I must now choose for a guide. I have done so. It shall be my resolve, lastingly, I hope, to endure until a pleading. the implacable parke to break the thread. There may be improvement, perhaps not. I am prepared from the Heidelgenstadt will. 2.33. Let all that is called life be offered to the sublime and become a sanctuary of art. Let me live, even through artificial means so they can be found. Diary 1814, when Beethoven was being celebrated extraordinarily by the royalties and dignitaries gathered at the Congress of the 2.34. Ah, it seemed impossible for me to leave the world until I had produced all that I felt called upon to produce, and so I prolonged this wretched existence. From the Heilingstadt will. 2.35, with joy, shall I hasten forward to meet death. If he comes before I shall have had an opportunity to develop all my artistic capabilities, he will come too early in spite of my harsh fate.

and I shall probably wish him to come at a later date. But even then, I shall be content, for will he not release me from endless suffering? Come when you please. I shall meet you bravely from the Heelichstadt will. 236. Apollo and the Muses will not yet permit me to be delivered over to the grim skeleton,

for I owe them so much, and I must, on any departure for the Elysian fields, leave behind me all that the spirit has inspired and commanded, be finished. September 17th, 1824, to Schott, Music Publisher and Mayence. 2.37. Had I not read somewhere that it is not pending man to part voluntarily from his life, so long as there is a good deed which he can perform, I should long since have been no more, and by my own hand, oh, how beautiful life is, but in my case it is poisoned. May 2nd, 1810, to his friend Vuegler, to whom he is a man

over the demon that has set up his habitat in my ears. 238. I must abandon wholly the fond hope which I brought hither to be cured at least in a degree. As the fallen autumn leaves have withered, so are now my hopes blighted. I depart in almost the same condition in which I came. Even the lofty courage, which often animated me in the beautiful days of summer, has disappeared from the will. Beethoven had tried the cure. at Heidelgenstadt. 239. All week long I had to suffer and endure like a saint.

Away with this rabble. What a reproach to our civilization that we need what we despise and must always know it near. In 1825, complaining of the misery caused by his domestics. 240. The best thing to do

not to think of your malady is to keep occupied. Diary, 1812, 1818. 21. 21. it is no comfort for men of the better sort to say to them that others also suffer but alas comparisons must always be made though they only teach that we all suffer that is air only in different ways in eighteen sixteen to countess edotty on the death of her son two forty two the portraits of handel bach gluck mozart and haydn in my room they may help me to make claim untoleration diary eighteen fifteen eighteen 26. 243. God who knows my innermost soul and knows how sacredly I have fulfilled all the duties, but upon me as man by humanity. God and nature will surely someday relieve me from these afflictions.

July 18, 1821, to Archduke Rudolph from Unter Rubli. 244. Friendship and similar sentiments bring only wounds to me. Well, so be it. For you, poor Beethoven, there is no outward happiness. You must create it within you. Only in the world of ideality shall you find friends. About 1808 to Baron von Glykenstein, by whom he thought himself slighted. 2.45. You are living on a quiet sea, or already in the safe harbor. You do not feel the distress of a friend out in the raging storm, or you must not feel it. In 1811 to his friend Glykenstein when Beethoven was in love with the Baron's sister-in-law, Therese Maffati. 246. I must have a confidant at my side, less life become a burden. July 4, 1812, to Count

Brunswick, whom he is urging to make a tour with him, probably to Teplets. 247. Your love makes me at once the happiest and the unhappiest of men. At my age, I need a certain uniformity and equitableness of life can such exist in our relationship. June 7th, 1800, question mark, to the immortal beloved. 248. O providence, thou shafed me one day of pure joy. Long has the echo of perfect felicity been absent from my heart. When, oh, when, O thou divine one, shall I feel it again in nature's temple and man's, never ah, that would be too hard. Conclusion of the Hegelgantzat will End of Section 6

Section 7 of Beethoven, the man and the artist, as revealed in his own words by Ludwig von Beethoven, translated by Henry Edward Crabeil and Friedrich Kerst. This Lieberwax recording is in the public domain. Worldly Wisdom, God, Appendix. Worldly Wisdom 249. Freedom. Progress is purpose in the art world as in universal creation, and if we moderns have not the hardihood of our ancestors, refinement of manners has surely

accomplished something. Middling July 29, 1819, to Archduke Rudolph. To 50. The boundaries are not yet fixed, which shall call out to talent and industry, thus far and no further. reported by Schindler. 251. You know that the sensitive spirit must not be bound to miserable necessities. In the summer of 1814 to Johann Kauke, the advocate who represented him in the prosecution of his claims against the heirs of Prince Kinski. 252, Art, the persecuted one, always finds an asylum, did not deadless shut up in the labyrinth, invent the wings which carried him out into the open air? Oh, I shall find them too, these wings.

February 19, 1812, to Zemskal, when, in 1811, by decree of the treasury, the value of the Austrian currency, was depreciated one-fifth, and the annuity which Beethoven received from Archduke Rudolph, and the Princess Lopkowitz and Kinski, reduced to 800 Florence. 253. Show me the course where at the goal there stands the palm victory. Lend sublimity to my lofty's thoughts. Bring to them truths that shall live forever. Diary 1814 while working on Fidelio. 254. Every day is lost in which we do not learn something useful. Man has no nobler or more valuable possession than time. Therefore, never put off till tomorrow what you can do today. from the notes in Archduke Rudolph's instruction book.

255. This is the mark of distinction of a truly admirable man, steadfastness in times of trouble. Diary 1816. 256. Courage, so it be righteous, will gain all things. April 1815 to Countess Erdote. 257. Force, which is a unit, will always prevail against the majority, which is divided. Conversation book 1819. 258. Kings and princes can create professors and counselors and confer orders and decorations, but they cannot create great men, spirits that rise above the earthly rabble.

These they cannot create, and therefore they are to be respected. August 15, 1812, to Bettina von Arnhem. 259, Man, Help Yourself, written under the words, fine, with the help of God, which Moschalus had written at the end of a piano forte arrangement of a portion of Fidelio. 260, if I could give as definite expression to my thoughts about my illness as to my thoughts in music, I would soon help myself. September 1812 to Emily Sebald, a patient at the cure in Tepplets. 21, followed the advice of others only in the rare cases. Diary 1816. 262. The moral law in us and the starry sky above us, Kant. Conversation

book February 1820. Literally, the passage in Kant's critique of practical reason reads as follows. Two things fill the soul with ever new and increasing wonder and reverence the oftener the mind dwells upon them. The starry sky above me and the moral law in me. 263. Blessed is he who has overcome all passions and then proceeds energetically to perform his duties under all circumstances, careless of success. Let the motive lie in the deed, not in the outcome. Be not one of those whose spring of action is the hope of reward. Do not let your life pass in inactivity. Be industrious. Do your duty. Banish all thoughts as to the results. Be they good or evil, for such equanimity is attention to intellectual things. Seek an asylum only in wisdom,

for he who is wretched and unhappy is so only in consequence of things. The truly wise man does not concern himself with the good and evil of this world. Therefore, endeavor diligently to preserve this use of your reason, for in the affairs of this world, such a use is a precious art. Diary, though essentially in the language of Beethoven, there is evidence that the passage was inspired by something that he had read. 264. The just man must be able also to suffer injustice without deviating in the least from the right course, to the Viennese magistrate in the matter of Carl's education. 265. Man's humility towards man pains me, and yet when I consider myself in connection with the

universe, what am I and what is he who we call the greatest? And yet here, again, lies the divine element in man. To the immortal beloved, July 6th, 1800, question mark. 266. Only the praise of one who has enjoyed praise can give pleasure. Conversation book 1825. 267. Nothing is more intolerable than to be compelled to accuse oneself of one's own errors. Tepplitz, September 6th, 1811, to Tejj. Beethoven regrets that through his own fault, he had not made Teage's acquaintance on an earlier opportunity. 268. What greater gift can man receive than fame, praise, and immortality?

Diary, 1816, 17, after Pliny Epist III. 269. Frequently, it seems as if I should almost go mad over my undeserved fame. Fortune seeks me out, and I almost fear new misfortune on that account. July 1810, to his friend Zemskall, every day there come new inquiries from strangers, new acquaintances, new relationships. 270. The world must give one recognition. It is not always unjust. I care nothing for it, because I have a higher goal. August 15th, 1812, to Bettina von Arnhem. 271.

I have the more turned my gaze upwards, but for our own sakes and for others, we are obliged to turn our attention sometimes to lower things. This, too, is a part of human destiny. February 8, 1823, to Zeltter, with whom he is negotiating the sale of a copy of the Mass and D. 272. Why so many dishes? Man is certainly very little higher than the other animals if his chief delights are those of the table. Reported by J.A. Stumpf in the Harmonicun of 1824, he dined with

Beethoven in Baden. 273. Whoever tells a lie is not pure of heart, and such a person cannot cook clean soup. To Madame Stryker in 1817 or 1818, after having dismissed an otherwise good housekeeper because she had told a falsehood to spare his feelings. 274. VICE walks through paths full of present lusts and persuades many to follow it. Virtue pursues a steep path and is less seductive to mankind, especially if at another place there are persons who call them to a gently declining road. Diary 1815 275. Sensual enjoyment without a union of soul is beastial and will always remain bestial.

Diary 1812, 1818. 276, men are not only together when they are with each other, even the distant and the dead live with us. To Trey's Malfati, later Baroness von Drostick, to whom in the country he sent Gertes, Wilhelmmeister and Schlegel's translation of Shakespeare. 277. There is no goodness except the possession of a good soul, which may be seen in all things from which one need not seek to hide. August 15, 1812, to Bettina von Arnhem. 278. The foundation of friendship demands the greatest likeness of human souls and hearts. Baden, July 24, 1804, to Reese, describing his quarrel with brining.

279. True friendship can rest only on the union of like natures. Diary 1812, 1818. 280. The people say nothing. They are merely people. As a rule, they only see themselves in others, and what they see is nothing, away with them. The good and the beautiful needs no people. It exists without outward help, and this seems to be the reason of our enduring friendship. September 16, 1812 to Amelais Sebald and Teplets, who had playfully called him a tyrant. 281. Look, my dear Reese, these are the great connoisseurs who affect to be able to judge of any piece of music so correctly and keenly. Give them but the name of their favorite. They need no more. To his pupil Reese, who had, as a joke, played a mediocre march at a gathering at Count Browns, and announced it to be a composition by Beethoven.

When the march was praised beyond measure, Beethoven broke out into a grim laugh. 282. Do not let all men see the attempt which they deserve. We do not know when we may need them. Note in the diary of 1814, after having had an unpleasant experience with his friend Bertolini, henceforth, never step inside his house. Shame on you to ask anything from such a wife. 283. Our time stands in need of powerful minds who will scourge these petty, malicious, and miserable scoundrels, much as my heart resents doing injury to a fellow man.

In 1825, to his nephew, in reference to the publication of a satirical canon on the Viennese publisher Haslinger by shot of Mayans. 284. Today is Sunday. Shall I read something for you from the Gospels? love ye one another to frau striker two eighty five hate reacts on those who nourish it diary eighteen twelve eighteen eighteen two eighty six when friends get into a quarrel it is always best not to call in an intermediary but to have friend turn to friend direct vienna november second seventeen ninety three to eleanor von bryne of bonn two eighty seven there are reasons for the conduct of men which one is not always willing to explain but which nevertheless are based on ineradicable necessity in eighteen fifteen to brakla two eighty eight i was formerly inconsiderate and hasty in the expression of my opinions and thereby i made enemies now i pass judgment on no one and indeed for the reason that i do not wish to do any one harm moreover in the last instance i always think if it is something decent it will maintain itself in spite of all attack and envy if there is nothing good and sound at the bottom of it it will fall to pieces of itself bolster it up as one may in a conversation with thomashek in october eighteen fourteen two eighty nine even the most sacred friendship may harbor secrets but you ought not to misinterpret the secret of a friend because you cannot guess that about 1808 to Froum Marie Bigo.

290. You are happy. It is my wish that you remain so, for every man is best placed in his sphere. Von July 13, 1825, to his brother, Johann, landowner, and Gnizendorf. 2.91. One must not measure the cost of the useful to his nephew, Carl, in a discussion touching the purchase of an expensive book. 292. It is not my custom to prattle away my purposes, since every intention, once betrayed, is no longer one's own. To Frou Striker. 293. How stupidity and wretchedness always go in pairs.

Diary, 1817. Beethoven was greatly vexed by his servants. 294. Hope nourishes me. It nourishes half the world. and has been my neighbor all my life, else what had become of me. August 11th, 1810, to Bettina von Arnhem. 2.95, fortune is round like a globe, hence, naturally, does not always fall on the noblest and best. Vienna, July 29, 1800, DeVegler. 2.96. Show your power, fate. We are not our own masters. What is decided must be, and so be it. 1818. 297. Eternal Providence omnisciently directs the good and evil fortunes of mortal men. Diary 1818. 298. With tranquility, O God, will I submit myself to changes and place all my trust in thy unalterable mercy and goodness?

Diary 1818. 299. All misfortune is mysterious and greatest when viewed alone. others, it seems more endurable because one becomes entirely familiar with the things one dreads and feels as if one had overcome it. Diary 1816. 300. One must not flee for protection to poverty against the loss of riches, nor to a lack of friendship against the loss of friends, nor by abstention from procreation against the death of children, but to reason against everything. Diary 1816 301 I share deeply with you the righteous sorrow over the death of your wife

It seems to me that such a parting Which confronts nearly every married man Ought to keep one in the ranks of the unmarried May 20th, 1811 to Gottfried Heartle of Leipzig 302 He who is afflicted with a malady Which he cannot alter But which gradually brings him nearer and nearer to death

without which he would have lived longer ought to reflect that murder or another cause might have killed him even more quickly. Diary 1812, 1818. 303. We finite ones with infinite souls are born only for sorrows and joy, and it might almost be said that the best of us receive joy through sorrow. October 19, 1815, to Countess Erdodi. 304. He is a very much. He is a very much of us. a bass man who does not know how to die. I knew it as a boy of 15. In the spring of 1816 to Miss Fanny Gennatacio del Rio when Beethoven felt ill and spoke of dying. It is not known that he was ever near death in his youth. 305. A second and third generation recompenses me three and forefold for the ill will, which I had to endure from my former contemporaries, copied into his diary

from Gerta's Vest Ostliker Devon. 306, My hour at last has come, yet not ingloriously or passively, I die, but first will do some valiant deed of which mankind shall hear in after time, Homer. The Iliad, Bryant's translation, book 22, 375, 378, copied into his diary, 1815. 307. Fate gave man the courage of endurance, diary 1814. 308, Portia. How far that little candle throws his beams, so shines a good deed in a naughty world, marked in his copy of Shakespeare's Merchant of Venice. 309, and on the day that one becomes a slave, The thunderer, Jove, takes half his worth away, Homer, the Odyssey. Bryant's translation, book 17, 392, 393, marked by Beethoven.

310, short is the life of man, and whoso bears a cruel heart, devising cruel things. On him men call down evil from the gods, while living and pursue him when he dies with scoffs. but whoso is of generous heart and harbors generous aims. His guests proclaim, his praise is far and wide to all mankind, and numberless are they who call him good. Homer, the Odyssey, Bryant's translation, book 19408-415, copied into his diary, 1818. God Beethoven was through and through a religious man, though not in the confession. sense. Reared in the Catholic faith he early attained to an independent opinion on religious things. It must be borne in mind that his youth fell in the period of enlightenment and rationalism, when at a later date he composed the Grand Mass in honor of his esteemed pupil Archduke Rudolf, he hoped to obtain from him a chapel mastership when the Archduke became Archbishop

of Olmwoods, but in vain. He gave it forms and dimensions which deviated from the ritual. In all things, liberty was the fundamental principle of Beethoven's life. His favorite book which storms observations concerning God's works in nature, betrachtun uber di Verka-Gottest in their nature, which he recommended to the priests for wide distribution among the people. He saw the hand of God in even the most insignificant natural phenomenon. God was to him the supreme being whom he had jubilanted intubilantly hymned in the choral portion of the Ninth Symphony, in the words of Schiller. Brothers, beyond you starry canopy, there must dwell a loving father.

Beethoven's relationship to God was that of a child toward his loving father, to whom he confides all his joys as well as sorrows. It is said that once he narrowly escaped excommunication, for having said that Jesus was only a poor human being and a Jew, Haydn, ingenuously, pious, is reported to have called Beethoven an atheist. He consented to the calling in of a priest on his deathbed. Eyewitnesses testify that the customary function was performed most impressively and edifyingly, and that Beethoven expressed his thanks to the officiating priest with hardiness. After he had left the room, Beethoven said to his friends,

flautti amici, comedia finitiest. the phrase with which antique dramas were concluded. From this fact, the statement has been made that Beethoven wished to characterize the sacrament of extreme unction as a comedy. This is contradicted, however, by his conduct during its administration. It is more probable that he wished to designate his life as a drama. In this sense, at any rate, the words were accepted by his friends. Schindler says emphatically, The Last Days, were in all-respective. remarkable, and he looked forward to death with truly Socratic wisdom and peace of mind. I append the description of the death scene as I found it in the notebooks of A. W. Thayer,

which were placed in my hands for examination after the death of Beethoven's greatest biographer in 1897. June 5, 1860, I was in Grotz and saw Hutenbrenner, Anselm, who gave me the following particulars. In the winter of 1826, June 5th, 1860, I was in Grotz, and saw Huttainbrunner, them, who gave me the following particulars. In the winter of 1826-27, his friends wrote him from Vienna that if he wished to see Beethoven again alive, he must hurry thither from Gratz. He hastened to Vienna, arriving a few days before Beethoven's death. Early in the afternoon of March 26, Hutt and Brenner went into the dying man's room. He mentioned as persons whom he saw there. Stefan von Burenen and Gerhard Schindler, Telshir, and Carl's mother. This seems to be a mistake, i.e. if Mrs. Van

Beethoven is right. Beethoven had then long been senseless. Telscher began drawing the dying face of Beethoven. This grated on Brunin's feelings, and he remonstrated with him, and he put up his papers and left, question mark. Then Brunin and Schindler left to go out to Worring to select a grave. Just after the five, I got this from Brunin himself, when it dark with a sudden storm Gerhard, who had been standing at the window, ran home to his teacher. Afterward, Gerhard von B. went home, and there remained in the room only Hutt and Mrs. Van B. Tovinner and Mrs. Van Beethoven. The storm passed over, covering the glassies with snow and sweet. As it passed away, a flash of lightning lighted up everything. This was

followed by an awful clap of thunder. Hutt and Brenner had been sitting on the side of the bed, sustaining Beethoven's head, holding it up with his right arm. His breathing was already very much impeded, and he had been for hours dying. At this startling, awful peal of thunder, the dying man suddenly raised his head from Huttendbrunner's arm, stretched out his own right arm majestically, like a general giving orders to an army. This was but for an instant. The arm sunk back. He fell back. Beethoven was dead. Another talk with Huttmbranner. It seems that Beethoven was at his last gasp, one eye already closed. At the stroke of lightning and the thunder peel, he raised his arm with a doubled-up fist.

The expression of his eyes and face was that of one defying death, a look of defiance and power of resistance. He must have had his arm under the pillow. I must ask him. I did ask him. He had his arm around B's neck, 8.5. E.K. 311. I am that which is. I am all that was. That is and that shall be. No mortal man has ever lifted the veil of me. He is solely of himself, and to this only one all things owe their existence. Beethoven's Creed. He had found it in Champolians, the paintings of Egypt, where it is set down as an inscription on a temple to the goddess Neith. Beethoven had his copy framed and kept it

constantly before him on his writing desk. The relic was a great treasure in his eyes. Schindler. 312. Wrapped in the shadows of eternal solitude in the impenetrable darkness of the thicket, impenetrable, immeasurable, unapproachable, formlessly extended. Before spirit was breathed into things, his spirit was and his only. As mortal eyes, to compare finite and infinite things look into a shining mirror, copied evidently from an unidentified work by Beethoven, though possibly original with him. 313. It was not the fortuitous meeting of the cordial atoms that made the world.

If order and beauty are reflected in the constitution of the universe, then there is a god. Diary 1816. 314, He who is above, oh, he is and without him, there is nothing. Diary. 3.15. Go to the devil with your gracious, sir. There is only one who can be called gracious, and that is God. About 1824 or 1825 to Rampel, a copyist who apparently had been a little too obsequious in his address to Beethoven, as is customary among the Viennese to this day, H.E.K.

316. What is all this compared with the great tone master? above, above, above, and righteously the most high, whereas here below all his mockery, dwarfs, and yet most high. To Shutt, publisher in Mayance, in 1822, the same year in which Beethoven copied the Egyptian inscription. 317, there is no loftier mission than to approach the divinity nearer than other men, and to disseminate the divine rays among mankind, August 1823, to Archduke Rudolph. 318. Heaven rules over the destiny of men and monsters, literally human and inhuman beings, and so it will guide me too to the better things of life. September 11, 1811, to the poem Elsie Bondareka. 319, is the same with humanity,

here too, in suffering. He must show his strength, i.e. endure without knowing or feeling his and reach his perfection again for which the most high wishes to make us worthy. May 13, 1816, to Countess Erdote, who was suffering from incurable lameness. 320. Religion and thorough base are settled things concerning which there should be no disputing, reported by Schindler. 321. All things flow clear and pure out of God, though often darkly led to evil by passion. I returned through penance and purification to the pure fountain, to God, and to your art. In this, I was never impelled by selfishness. May it always be so. The trees bend low under the weight of fruit. The clouds descend when they are filled with salutary rains, and the benefactors of humanity are not puffed up by their wealth.

Diary 1815. The first portion seems to be a quotation, but Beethoven continues after the dash most characteristically in his own words and a change of person. 32. God is immaterial, and for this reason transcends every conception. Since he is invisible, he can have no form, but from what we observe in his work, we may conclude that he is eternal, omnipotent, omniscient, and omnipresent, copied with the remark from Indian literature, from an unidentified work into the diary of 1816. three twenty three in praise of thy goodness i must confess that thou didst try with all thy means to draw me to thee sometimes it pleased thee to let me feel the heavy hand of thy displeasure and to humiliate my proud heart by manifold castigations sickness and misfortune didst thou send upon me to turn my thoughts to my errand-trees one thing only o father do i ask cease not to labour for my betterment and what

whatsoever manner and be, let me turn to thee and become fruitful in good works, copied into the diary from Storm's book Observations concerning the works of God in Nature. Appendix. Some observations may finally be acceptable touching Beethoven's general culture to which the thoughts of the reader must naturally have been directed by the excerpts from his writings set forth in the preceding pages. His own words betrayed, the fact that he was not privileged to enjoy a thorough school training and was thus compelled to the end of his days to make good the deficiencies in his learning. As a lad at Bonn, he had attended the so-called tyrosenium, a sort of preparatory school for the gymnasium, and acquired

a small knowledge of Latin. Later, he made great efforts to acquire French, a language essential to intercourse in the upper circles of society. He never established intimate relations with the rules of German. He used small initials for substantives or capitalized verbs and adjectives according as they appeared important to him. His punctuation was arbitrary. Generally, he drew a perpendicular line between his words, letting it suffice for a comma or period, as the case might be,

a proceeding which adds not a little to the embarrassments him who seeks to translate his sometimes mystical utterances. It is said that a man's bookcase bears evidence of his education and intellectual interests. Beethoven also had books, not many, but a characteristic collection. From his faithful friend and voluntary servant, Schindler, we have a report on this subject. Of the books of which he was possessed at the time of his death, there have been preserved four volumes of translations of Shakespeare's work. Homer's Odyssey in the translation of J. H. Voss, Storm's observations, several times referred to in the preceding pages, and Gertes Vest Ostliher Devan. These books are frequently marked and annotated

and lead pencil, thus bearing witness to the subjects which interested Beethoven. From them and volumes which he had borrowed, many passages were copied by him into his daily journal. Besides these books, Schindler mentions Homer's Iliad, Gertes's poems, Wilhelm Meister and Faust, Schiller's dramas and poems, Tejeges, Irania, volumes of poems by Matheson and Suma, and Nina Dauviny's letters to Natalia on singing, a book to which Beethoven attached great value. These books have disappeared, as well as others which Beethoven valued. We do not know what became of the volumes of Plato, Ariston.

Stoddle, Plutarch, and Xenophon, or the writings of Pliny, Euripides, Quintilian, Ovid, Horace, Ossian, Milton, and Thompson, traces of which are found in Beethoven's utterances. The catalogue made for the auction sale of those posthumous effects on September 7, 1827, included 44 works of which the censorship sees five as prohibited writings, namely Summa's foot journey to Syracuse, the Apocryphus, Kotsubuys on the nobility, W. E. Mueller's Paris in its zenith, 1816, and views on religion ecclesiasticism. Bernie's general history of music was also in his library, the gift probably of an English admirer. In his later years, Beethoven was obliged to use the oft-quoted

conversation books in his intercourse with friends and strangers alike who wrote down their questions. Of these little books, Schindler preserved no less than 134, which are now in the Royal Library in Berlin. Naturally, Beethoven answered the written questions orally as a rule. An idea of Beethoven's opinions can occasionally be gathered from the context of the questions, but frequently we are left in the dark. Beethoven's own characterization of his deafness as singular is significant. Often, even in his later years, he was able to hear a little and for a time. One might almost speak of a periodical visitation of the demon. In his biography, Marx gives the following description of the malady. As early as 1816, it is found that he is incapable of conducting

his own works. In 1824, he could not hear the storm of applause from a great audience, but in 1820, he still improvises marvelously in social circles. In 1826, he studies their parts in the Ninth Symphony in solemn mass with Sontag and Unger, and in 1825 he listens critically to a performance of the quartet in A minor, Opus 132. It is to be assumed that in such urgent cases, his willpower temporarily gave new attention to the gradually atrophine oral nerves. It is said, that he was still able to hear single or a few voices with his left ear but could not apprehend masses. But this was not the case in less important moments, as the conversation books prove. In these books, a few answers are also written down, naturally enough in cases not intended

for the ears of strangers. At various times, Beethoven kept a diary in which he entered his most intimate thoughts, especially those designed for his own encouragement. Many of these appear in the preceding pages. In these instances, more than in any others, his expressions are obscure, detached, and through indifference faulty in construction. For the greater part, they are remarks thrown upon the paper in great haste. End of this edition. End of Section 7. End of Beethoven, the man on the artist, as revealed in his own words by Ludwig van Beethoven.