Beethoven

Beethoven:



Sonata. Op. 49, No. 2, in G Major.
Rondo. In C Major, Op. 51, No. 2.
Andante and Variations from Sonata.

Op. 26.

Sonata Pathetique, Opus 13.
Six Variations in G. "Nel Cor Piu."
Menuet in E Flat. From Op. 31,

No. 1.
Allegretto from "Moonlight" Sonata.

Op. 27, No. 2.

Adagio from Moonlight Sonata.
Andante from "Kreutzer Sonata."

Piano and Violin.
Largo Appassionato. From Op. 2,

No. 2.
Andante Cantabile. From the Trio,

Op. 97.

Largo E Mesto. From Op. JO, No 3.
Scherzo in C Major. From Op. 2,

No. 3.



R^aff :



Cavatina. Violin and Piano.
Impromptu Valse. Op. 94.
Gavotte. Op. 125, No. J.
In a "Wherry 1 Reverie Barcarolle.

Op. 93.
La Fileuse.




-113-



V. BEETHOVEN AND RAFF.



BEETHOVEN AND HIS MUSIC.

Born at Bonn, Germany, Dec., 16, 1770.
Died at Vienna, March 26, 1827.

Supplementary Reading: History pp. 305 to 315.

Ludwig von Beethoven, the reformer of instrumental
music, was born at Bonn, Germany, the i6th of Decem-
ber, 1770. This date is usually accepted as authentic,
though several biographers differ on that point. Like
Mozart, he showed eminent musical predisposition at a
very early age, excelled on the piano, and published a
number of works in 1783. The year 1786 finds him at
Vienna, where his talent gained the recognition of
Mozart.

Seven years, later, in 1793, Beethoven settled in
Vienna, and gave to that city, which already included
Maydn, Mozart and Schubert, additional lustre. His
own serious studies were done with Haydn, Albrechts-
berger and Salieri, and he was enabled to do so to ad-
vantage and without that battle for the daily bread
which hinders so many aspirants for fame, by the mu-
nificence of the art-loving Prince Lichnowsky, who, in
recognition of his rare genius, gave him a liberal an-
nuity. Later on the Archduke Rudolph joined in en-
abling the master to live in Austria comparatively free
question of how far the musician consciously followed
from pecuniary care.

-114-




BEETHOVEN AT THE AGE OF 42.



-115



116 THE GREAT IN MUSIC: FIRST YEAR.

Beethoven's life is singularly free from incident. He
traveled but little, lived in rather primitive bachelor
style, enjoyed the intimacy of a few trusty friends, and
only had one authentic pupil, Ferdinand Ries, who also
gained considerable fame on his own merits, and whose
C sharp minor concerto deserves an occasional resur-
rection even now.

Many of the great master's peculiarities were created
and induced by a deafness, which served to more or less
isolate him from his surroundings during the last twenty
years of his life. Like all other reformers and pioneers,
he had to encounter much opposition, criticism and
jealousy, and even his contemporaries often failed to
follow the flights of his transcendent genius.

Unlike Bach, who closed an .entire historical epoch,
Beethoven became the creator of another by his many
innovations ; he expanded existing and created new
forms, enlarged the possibilities of music as a means of
expression, and originated the modern symphonic
school of orchestral writing. Making the piano his
starting point, he also broadened the sphere and limita-
tions of this instrument to an unequaled degree. His
three trios, opus i, dedicated to Prince Lichnowsky, at
once attracted much attention and were followed by
three sonatas, opus 2, inscribed to Haydn. Even these
earliest works show a tremendous advance over those of
his predecessors, both as regard the character of the
themes and their development ; without entering here
into the technical definition of the sonata form, which
can be read up to much advantage in Mr. Mathews'
"Primer on Musical Form," we will here only state that
a Beethoven sonata, like a Bach fugue, is the best of
its species, on account of its fine musical contents, lucid



BEETHOVEN. 117

and logical development, and unity of thought. The
latter quality in particular is inestimable, as it excludes
incongruous matter, and gives definiteness of purpose
and effect to the work at hand. In listening to a com-
position one very speedily notices the absence of dif-
fuseness, and can the more appreciate and enjoy a con-
crete and perfectly modeled musical selection.

Beethoven covered the entire sphere of music, writ-
ing, with equal success and earnestness of purpose, com-
positions for piano solo, chamber music in all its forms,
concertos for various instruments, overtures and sym-
phonies for grand orchestra, masses, oratorios, songs,
and one opera, "Fidelio." The selection of the libretto
is vastly significant of the man, whom the lighter sub-
jects, which attracted the more easy-going and impres-
sionable Mozart ("Don Juan," "Magic Flute," "Figa-
ro," etc.) could never have inspired to musical action.

Mozart, Haydn and Schubert were typical representa-
tives of the pleasure-loving, genial Viennese of the day.
Perhaps Papa Haydn, somewhat more serious than
the other two, may have been of the Skimpole type,
whereas Beethoven's character was introspective, shy,
reserved, abrupt and to a degree domineering. Fully
aware of his powers, and disdainful of all charlatanism,
he brooked no opposition in matters musical, and was
a law unto himself as well as others.

If we consider Haydn as the founder of modern mvisic
in its combination of the vocal and instrumental, Mozart
undoubtedly emphasizes the former, and Beethoven the
latter field; with Mozart the old opera form finds its
finish and highest development, Beethoven opens new
paths, Haydn's genius was prolific and instinctive ; Mo-
zart, equally gifted, combined great knowledge with



118 THE GREAT IN MUSIC: FIRST YEAR.

natural endowments; Beethoven's faculty was more
subjective, enabled him to think deeper, and give to the
world master works of great meaning and profundity;
to many definite forms he gave endless variety, thus the
old menuet or scherzo finds new treatment in the
march-like movement of the sonata, opus 101, the scher-
zo of the sonata, opus 106, and the allegro molto of the
sonata, opus no.

The variation form, as developed by Beethoven, be-
/ came the precursor of the later works by modern mas-
ters in the same field, and the monumental composi-
tions of Brahms and Tschaikowsky would hardly have
been possible but for the creation of such works as the
variations and fugue, opus 35, and the variation on the
Diabelli waltz, in which Beethoven exhibits unlimited
resource of inventiveness. Limitations of space forbid
further detail; the master died at Vienna the 26th of
March, 1827, the last representative of that glorious
school which made the Austrian* capital so famous.

RUBINSTEIN'S CHARACTERIZATION OF
BEETHOVEN.

(From "Conversations on Music.")

Mankind thirsts for a storm it feels that it may be-
come dry and parched in the eternal Haydn-Mozart
sunshine; it wishes to express itself earnestly, it longs
for action, it becomes dramatic, the French revolution
breaks forth Beethoven appears. Not the guillotine,
of course, but at all events of that great drama ; in no
wise history set to music, but tragedy echoing in music,
which is called "Liberty, Equality, Fraternity!" He is,
however, the positive continuation of the Haydn and



BEETHOVEN. 119

Mozart period, at least in the works of his first period.
The forms of his first period are the forms then reign-
ing, but the line of thought is, even in the works of his
youth, a wholly different one. The last movement in
his first Pianoforte Sonata (F minor), more especially
in the second theme, is already a new world of emotion,
expression, pianoforte effect, and even pianoforte tech-
nic. So, too, Adagio, in the second sonata (A major),
the Adagio in the first string-quartet (F major), and
so on. And already the treatment of the instruments in
his first three trios is entirely different from that used
until then. In the works of his first period altogether,
as I have said, we recognize only the formula of the ear-
lier composers ; for, although the garb still remains the
same for a time, we hear, even in these works, that
natural hair will soon take the place of powdered per-
ruque and cue ; that boots, instead of buckled shoes,
will change the gait of the man (in music, too) ; that the
coat instead of the broad frock with the steel buttons,
will give him another bearing, and even these works
resound with the loving tone (as in Haydn and Mo-
zart) the soulful tone (not apparent in the former) and
very soon after the aesthetic (as in them), the ethic (in
them wanting), and we become aware that he supplants
the menuet with the scherzo, and so stamps his works
with a more virile and earnest character; that through
him instrumental music will be capable of expressing
the dramatic even to the tragic, that humor may rise to
irony, that music in general has acquired an entirely
new art of expression. His greatness in the Adagio is
astounding, from the innermost lyric to the metaphy-
sical ; thus, he attains to the mystical in this art of ex-
pression. But he is entirely unapproached in his scher-



120 THE GREAT IN MUSIC: FIRST YEAR.

zos (some Of them I would compare with the jester in
"King Lear"). Smiling, laughing, merry-making, not
seldom bitterness, irony, effervescence, in short, a world
of psychological expression is heard in them. Emanat-
ing not from a human being, but as from an invisible
Titan, who now rejoices over humanity, now is offend-
ed ; now makes himself merry over them and again
weeps enough, wholly incommensurable !

And yet I entertain some difference of opinion in
regard to him which I cannot refrain from expressing.
Thus, for example, I consider "Fidelio" the greatest
opera in existence today, because it is the true music
drama in every particular ; because, with all the reality
of the musical characteristic, there is always the most
beautiful melody ; because, notwithstanding all inter-
est in the orchestra, the latter does not speak for them-
selves ; because, every tone of it comes from the deepest
and truest of the soul and must reach the soul of the
hearer and still it is the generally accepted opinion
that Beethoven could not be an opera composer. I
do not regard his "Missa solemnis" as one of his great-
est creations, and it is generally regarded as such.

Because, aside from the purely musical in it, with
which in many ways I do not sympathize, I hear in the
whole composition a being who speaks with God, dis-
putes with Him, but does not pray to Him nor adore
Him as he has done so beautifully in his "Geistliche
Lieder" (spiritual songs). I do not either share the
opinion that the use of the vocal in the last movement
of the Ninth Symphony was a desire on his part for a
culmination of the musical expression in a technical
sense for the symphony in general, but on the con-
movements he intended to have something utterable,



BEETHOVEN. 121

hence the last movement, with the addition of the vocal
(with words). I do not believe that this last move-
ment is intended as the "Ode to Joy," but the "Ode to
Freedom." It is said that Schiller was moved by the
censure he received to write Freude instead of Freiheit
(joy instead of freedom), and that Beethoven knew this.
I believe it, most decidedly. Joy is not acquired, it
comes, and it is there ; but freedom must be won
hence the theme begins pianissimo in the bassi, goes
through many variations, to ring out finally in a tri-
umphant fortissimo and Freedom too is a very serious
thing, hence also the earnest character of the theme.
"Seid umschlungen millionen" ("Be embraced ye mil-
lions") is also not reconcilable with joy, since joy is of a
more individual character and cannot embrace all man-
kind and in the same way, many other things.

Q. So you do not share the opinion that Beethoven
would have written many things differently and others
not at all if he had not become deaf?

Not in the slightest degree. That which we call his
third period was the period of his deafness and what
would music be without his third period ? The last piano-
forte sonatas, the last string quartets, the Ninth Sym-
phony and others were possible only because of his
deafness.

This absolute concentration, this being transported
into another world, this tone-full soul, this lament never
heard before, this Prometheus, this soaring above every-
thing earthly, this tragic not even approximately pres-
ent in any other opera; all that could only find means
to express itself because of his deafness. He had in-
deed written the most beautiful, yes, unrivaled, works
before his deafness ; for example, what is the "Hollen-



122 THE GREAT IN MUSIC: FIRST YEAR.

scene" of Gluck's "Orpheus" in comparison with the sec-
ond movement of his G major piano concerto? What
any tragedy (Hamlet and King Lear possibly excepted)
in comparison with the second movement of his D
major Trio? What is the whole drama in comparison
with the "Coriolanus Overture?"

But yet the most exalted, the most wondrous, the
most inconceivable, was not written until after his deaf-
ness. As the seer may be imagined blind, that is, blind
to all his surroundings, and seeing with the eyes of the
soul, so the hearer may be imagined deaf, deaf to all
surroundings and hearing with the soul. O deafness
of Beethoven, what unspeakable sorrow for himself, and
what unspeakable joy for art and for humanity! From
Rubinstein's "Conversations on Music."

THE BEETHOVEN SELECTIONS PRAC-
TICALLY DISCUSSED.

Beethoven's compositions are often distinguished by
periods. This imaginary and arbitrary division as-
sumes that his earlier works still reflect to a degree
the influence of Mozart and Haydn; the second period
presents the master at his best, and in his happiest
moods and is supposed to begin with the sonata Pathe-
tique, opus 13, including the sonatas, opus 26, 27, 31,
53 and 57, the third, fourth and fifth concertos, the two,
trios, opus 70, and the great violin sonata, opus 47,
dedicated to Kreutzer. The last and somewhat abstruse
epoch brings the trio, opus 97, the last five sonatas,
the ninth symphony and last string quartets, which are
likely to remain a terra incognita for some time to
come.



BEETHOVEN. 123

SONATA IN G. OP. 49- NO. 2.
(4th Grade.)

This charming little composition might fitly be called
a sonatina and can be utilized to great advantage in
teaching. P. consists of two well contrasted move-
ments and affords considerable opportunity for elemen-
tary study, being thoroughly practical and easily ac-
cessible throughout. The construction of the first
movement adheres to the established sonata form and
brings the different themes according to rule in the
tonic and dominant, later on returning to the original
key.. The finale is in menuet time and the opening mel-
ody recurs a number of times, thus affording a good
example of the Rondo form.

RONDO IN C MAJOR. OP. 51, NO. 2.
C3d Grade.)

This Rondo is somewhat more difficult than the pre-
ceding works, but will amply repay study ; it involves
many difficult rhythmical problems in the proper execu-
tion of mordents, trills and turns of all kinds ; the modu-
lation covers quite a wide range and the student will
find opportunity for cultivating the task of playing two
notes in one hand against three in the other ; altogether
an important composition musically and technically.

THEME AND VARIATIONS IN A FLAT. OP. 26.
(5th Grade.)

The greater number of the sonatas have no particu-
lar connection between the various parts and the differ-
ent movements could often be transposed into other
sonatas without particular damage, as long as the tone
relationship is preserved, and yet even in this regard one
is staggered to find an adagio in E major in his C minor



124 THE GREAT IN MUSIC: FIRST YEAR.

concerto ; perhaps this radical departure encouraged
Grieg to intersperse a slow movement in D flat in his A
minor concerto Many sonatas like the present partake
more of the character of a suite, in others again the
difficulty of one part is out of proportion to the rest and
makes it advisable to use single movements only for
teaching purposes ; a case in point is the sonata, opus
10, No. i, in which many students, who can master the
first movement will find the adagio utterly beyond them.
The andante and variations under discussion foi m the
beginning of the sonata, opus 26, and are very beautiful ;
the melody is extended and very elevated, and is fol-
lowed by a very lyric variation ; the second variation
brings the theme in octaves in the bass, and is supple-
mented by a more somber treatment in the third, which
is in A flat minor. Buelow very properly prints the
text in four flats instead of the original seven, and adds
the other! three incidentally when they occur, thus
much facilitating the reading. The fourth variation is
in scherzo form, and well contrasted in No. 5, which
again presents the original melody in slow tempo, richly
paraphrased ; the coda is especially beautiful.

This sonata likewise includes the famous funeral
march, which here immediately follows.

SONATA PATHETIQUE. OP. 13.
(6th Grade.)

The best preparation for works of this caliber will be
found in the Clementi and Cramer etudes, which con-
tain the leading technical problems in which the sonatas
abound ; the pathetic part of the work (outside of the
manner in which it is usually performed) is contained in
the short introduction which leads into the first move-



BEETHOVEN. 125

ment proper. This part introduces many decided inno-
vations and is full of life and brilliant contrast.

A most charming lyric adagio in A flat fitly follows ;
it is brief and definite, but full of song and melody. The
finale is a lively Rondo with some interesting contra-
puntal playfulness in the A flat episode.

There are two collections of piano works which fur-
nish an inexhaustible study Bach's Clavichord and the
Beethoven sonatas. When these are mastered the heavy
work is done, the foundation is laid, and one is ready
for more general and comprehensive developments.

SIX VARIATIONS: "NEL COR PIU."
C3d Grade.)

These variations are upon an air from Paisiello's
opera, "La Molinara," which was played in Vienna in
1795. In Wegeler's "Notices 55 is told that Beethoven
upon this occasion was in a box with a lady, who upon
hearing the duet said to Beethoven: "I formerly had
some variations upon this piece, but I have lost them."
Beethoven being wakeful in the night remembered this
saying of his companion and wrote the variations out in
full, sending them to the lady the following morning.
As they were written for an amateur player, the range
of difficulty is purposely kept low, but the variations
are delightfully fresh and naive. The theme is pleas-
ing and simple. The first variation is in sixteenths for
the right hand, figuring the original melody treat-
ing the melody in figuration. (If this term requires
lucidation, let the first two measures of the air be played
and the first two measures of the variation immediately
following when it will be seen that the accented notes
of the variation are those of the melody.)



126 THE GREAT IN MUSIC: FIRST YEAR.

The second variation has running work of sixteenths
in the bass, and the treatment of the melody is changed
just enough for variety without destroying its identity.
In the third variation the design is rhythmic, the arpeg-
gio figure being carried quite through the variation.
In the fourth the tonality is changed to the minor and
other harmonic modifications occur, designed, when
taken at a slower rate than the preceding variations, to
give the character of an adagio. In the fifth variation
the melody is placed in the bass, with running work in
triplets for the right hand. The effect is sprightly and
pleasing. The sixth variation has the character of a
rather rapid finale and it is interesting to see how clev-
erly Beethoven manages to awaken the illusion of dif-
ficulty without overstepping the moderate limits proper
to his original design.

CHARACTERISTIC MOODS OF BEETHOVEN.

By mood we mean a state of mind, such as quiet,
tender, playful, sad, grieving, joyful, very deep and
grave (as when one looks death in the face, yet without
fear) ; hope, courage or the reverse, despair, passionate
surging to and fro, as when some trouble too deep for
quiet bearing has overtaken us. Music covers all such
ranges of feeling and makes all sorts of nice gradations
in every direction. And we shall find as we go on
that just here is where Beethoven appears the greatest
composer, because he covers a wider range of these
moods, and covers them, as said above, more directly
and in a shorter compass.

In order to take a fair start, let us commence with a
few pieces of a quiet, serene, contented style.



BEETHOVEN. 127

THE CONTENTED AND SERENE.

MENUET IN E FLAT. OP. 31, NO. 3.
(4th Grade.)

The first strain of this menuet is characterized by a
delightful repose ; everything seems serene, satisfied,
happy. The melody sings along steadily without excit-
ed interruptions, and now and then holds out a tone
long enough to afford a sense of repose. The accom-
paniment lies in a very few simple chords, and the
rhythm of the accompaniment is a steady motion of
eighth notes. The quiet of the piece depends in part
upon the rate of speed, which should be little if any
faster than the tempo assigned by Czerny, of 88 for
quarter notes.

The mood changes somewhat in the second period.
The repose of the first melody is distinctly broken into ;
first by the melody beginning upon the chord of the
dominant, and second by its having its first accent upon
a very strong and appealing dissonance, at the C flat,
lying upon a chord of B flat. The second measure re-
solves the dissonance and restores the repose ; the third
measure renews the distress, and the fourth resolves it
again. With the fifth measure of this period the origi-
nal idea returns and the original repose.

The trio, again, shows a different mood, but one
nearly related. In the first two measures we have
strong chords, which to some extent resolve in the next
two measures. In the fifth and sixth measures our fig-
ure of strong chords comes back again, but in mare
marked dissonances, and the period ends in a very dig-
nified and strong unison. The second period begins
upon the dominant and with a very strong dissonance,



128 THE GREAT IN MUSIC: FIRST YEAR.

which is prolonged or reasserted through six measures,
whereupon the first subject of the trio is brought back
again. Upon completion of the trio the minuet is
played again as at first, and after it there is a beautiful
Coda, which recalls some of the appealing dissonances
of the work, and finally subsides into repose.

These comments have been prolonged more than
will be practicable in later selections in order to call
attention to the change of mood all along, and to the
influence of dissonance upon mood. Dissonances al-
ways have to do with unhappiness, distress, and the
like.
ALLEGRETTO FROM MOONLIGHT SONATA. OP. 27,

NO. 2.
(5th Grade.}

The design of this movement in the sonata where it
occurs is to afford repose and rest between the very
sad first movement and the violently "torn up" mood
of the finale which follows it. Care must be taken to
reproduce all the indications of the notes with scru-
pulous fidelity. The first phrase very legato; the stac-
catos of the third and fourth measures, like pizzicatti
of violins. In the eighth measure a suspension occurs,
resolved at the second beat of the ninth ; here another
resolved in the tenth, etc. The resolutions must be
made carefully, but no interruption in the rhythm is
allowable. The range of feeling is small in this move-
ment, but the effect is very charming.

THE TENDER AND APPEALING.
ADAGIO FROM SONATA PATHETIQUE. OP. 13.

(Advanced 4th Grade.)

This Adagio is not altogether an illustration of a
single mood, but of what we might call a succession or



BEETHOVEN. 129

cycle of moods, nearly related and all lying near the
type with which we are now concerned. It consists of
73 measures. The main idea, which is like a beautiful
song, is given out in the first eight measures. It is
immediately repeated, measures 9 to 16. (This part
should now be played quite through once or twice until
all realize the tender and rather deep spirit of the mel-
ody. Let the movement be as nearly as possible 60 for
quarter notes'.)

With the last note of measure 16 a new idea begins,
a less sustained idea, broken up, as if there were an ex-
citement not yet settled enough for sustained singing.
This ends in measure 25, and there are three more
measures of chromatic settling down, preparatory to the
resumption of the main idea in measures 20 to 36.

With the last note of measure 36 a new idea begins,
a sort of dialogue between a soprano and baritone voice.
In measure 42 the soprano monopolizes the whole dis-
cussion. In measure 45 both voices take up the thread
again, but presently the discussion breaks off and after
a kind of interlude, or transition, the main melody re-
turns in measure 51. In measure 58 the melody rises
into the higher octave and the accompaniment is en-
riched. The increased animation of this part is due to
the triplets in the accompaniment as compared with the
twos in the first part. The melody ends in measure 66,
and then a short coda follows, designed to bring around
to a grateful and well-earned repose. Note the three
repetitions of the little closing motive in measures 70,
71 and 72.

A story might be written about this piece, and it is
permissible for each hearer to think up a story which
to his mind corresponds with the rnusic. It would not



130 THE GREAT IN MUSIC: FIRST YEAR.

be a bad pastime to spend an entire lesson upon this
one piece, hearing the different parts over and over
again and then trying to find out what sort of story
would best correspond to the changes which here
take place. This exercise is not only useful and in-
structive, but advisable, since it affords practice in hear-
ing music from a story standpoint.

One caution, however, must on no account be disre-
garded. No fanciful person has the right to impose
his account upon other persons unless they choose to
adopt it. Nobody knows what the story was, or if there
was a story. What Beethoven said we have in the notes ;
and what he meant we find in playing them with correct
expression. But what sort of story these notes will
awaken in the mind of hearers will depend upon their
susceptibility and quickness of musical imagination. To
enjoy the music is legitimate ; to think of a story is per-
missible ; to print a story and say that this is what Beet-
hoven meant, is wholly wrong. We do not know.
But the moods we do know. They are there in the music
itself and a careful hearer cannot escape them.

ADAGIO FROM "MOONLIGHT SONATA." OP. 27,

NO. 2.
(5th Grade.)

This piece consists of a very sad melody, which is
carried through a variety of keys. It is generally inter-
preted as a tone-poem to express grief at losing the
woman he loved, Giulia Guicciardi (gwitchiardy ac-
cent syllable ar).

ANDANTE. FROM KREUTZER SONATA FOR PIANO

AND VIOLIN. OP. 47. BEETHOVEN.

(Advanced 5th Grade.)

This beautiful melody (54 measures only, without the



BEETHOVEN. 131

variations) illustrates a quieter phase of the Beethoven
spirit. It is tender, contented, without grief, and is of
most lovely melody. In case the violin is not available
let it be played upon the piano, as best the teacher can,
explaining where the violin comes in.

THE DEEP AND SERIOUS TYPE.

LARGO APPASSIONATO. OP. 2, NO. 2.
(4th Grade.)

This very serious piece is a good example of that
deeper tone which is peculiar to Beethoven. In order
to secure this tone it is necessary first of all to decide
upon the speed, which Czerny places at 80 for eighth
notes. This rate is too slow for modern ears, and a rate
of from 90 or 96 to 104 for eighths will be more agree-
able to most hearers. Things move more rapidly in
these days of railways, electricity, bicycles and automo-
biles than in Czerny's days.

Next after getting a suitable speed it is necessary to
sustain the melody (the entire chords their full value)
with a full deep and round tone. The moving six-
teenths in the low bass are to be played staccato and
quite audibly, like the pizziccati of the double bass.

When thus played this slow movement has a very
deep, strong and impassioned expression. The main
idea extends through nineteen measures, but the sec-
ond part of it, beginning in measure 8, last three notes,
always seems to me less significant than the other parts.
With the last three notes of measure 19 a second subject
comes in of a more appealing character. This part can
be played a very little faster, but not much. In measure
26 still another idea comes forward, but in measure 32



132 THE GREAT IN MUSIC: FIRST YEAR.

the first melody returns. A very pleasing third idea
begins in measure 50 (with the second eighth note), and
goes up to and including measure 57. In measure 58
the first subject is brought back with very strong treat-
ment in minor, and in different keys; this leads, meas-
ure 68, to a very charming resumption of the original
melody, with some delightful motion of i6ths in the
middle voices. In measure .72 the melody comes down
an octave and so presently the close. All that part from
measure 50 is of the nature of a coda, or a close, but
the novelty and unexpected nature of the treatment
makes it seem like an important part of the original
conception.

This movement is of a type peculiar to Beethoven.
Nothing so deep, reposeful and at the same time so sug-
gestive, willJbe found in any other composer. A mod-
ern writer wishing to produce the same impression
would have resorted to more violent contrasts and a
less settled movement. It is a tone-poem of noble

beauty.

ANDANTE CANTABILE. OP. 97.

(5th Grade.)

A still more impressive illustration of Beethoven in
this mood can be found in the slow movement of the
great Trio, opus 97. If it is not convenient to give the
entire movement, take the first twenty-eight measures.
The remainder of the movement consists of variations
upon them. The theme is not difficult; the remainder
is difficult.

THE GRAVE, DEEPLY SERIOUS.
LARGO E MESTO. OP. 10, NO. 3.

Descending yet another degree to the very grave and
deeply serious a good illustration is found in this slow



BEETHOVEN. 133

movement of Beethoven's. This very serious piece (to
be played not faster than 72 for eighths) is one of the
most impressive in the entire collection of sonatas. If
carried out according to the plain intention of the com-
poser, it will be found very serious, very dramatic and
full of mysterious suggestions.

INTRODUCTION TO SONATA PATHETIQUE. OP. 13

(5th Grade.)

Another example of like mood is found in the intro-
duction to Sonata Pathetique, the part preceding the
first allegro.

THE PASSIONATELY MOVED.
ALLEGRO FROM SONATA PATHETIQUE.
(5th Grade.)

The allegro of this sonata illustrates a mood which
at the same time when Beethoven wrote this work
(1799) was very rare in piano music. In later music it is
quite common. It represents those moments of life
when trouble invades and the soul is "torn up," half
angry, half surprised, and with elements of grief, dis-
couragement and protest.

FINALE TO "MOONLIGHT SONATA."
(6th Grade.)

A like mood is found splendidly portrayed in the fi-
nale of the universally favorite "moonlight" sonata.

THE PLAYFUL.

SCHERZO IN C MAJOR. OP. 2, NO. 3.
(4th Grade.)

In this little piece the spirit of fun prevails. A bit
of melody is given out by one voice and is straightway



184 THE GREAT IN MUSIC: FIRST YEAR.

taken up by a second, and so on, quite in fugue style.
Later some playful caprices occur where we seem always
upon the point of going on with the idea, but refrain.
Then a middle piece occurs of contrasting style, but still
quick and sparkling. Then the first part back again,
and a short coda with the first idea popping up in frag-
ments out of the bass, quite irrepressibly.

Many other examples of this spirit occur in the scher-
zo movements of Beethoven.