Life of Beethoven Part 18

The Sonata in c sharp minor, Op. 27, (called the Moonlight Sonata), is metronomed as follows in the edition lately published by T. Haslinger, of Vienna:--

I. Adagio, [Ill.u.s.tration: minim note symbol] = 60.

II. Allegretto, [Ill.u.s.tration: minim note symbol] = 84.

III. Presto agitato, [Ill.u.s.tration: minim note symbol] = 92.

In the London edition of Beethoven's piano-forte works, edited by J.

Moscheles, the same Sonata has affixed to it the following metronomic directions:--

I. Adagio, [Ill.u.s.tration: crotchet note symbol] = 60.

II. Allegretto, [Ill.u.s.tration: minim note symbol] = 76.

III. Presto agitato, [Ill.u.s.tration: minim note symbol] = 92.

In the Vienna edition of the Sonata in E flat major, the metronomic directions are as follow:--

I. Andante, [Ill.u.s.tration: crotchet note symbol] = 72.

II. Allegro, 6/8 [Ill.u.s.tration: dotted crotchet symbol] = 116.

III. Allegro molto vivace, 3/4 [Ill.u.s.tration: dotted minim symbol] = 138.

IV. Adagio, [Ill.u.s.tration: quaver symbol] = 69.

V. Finale, allegro vivace, [Ill.u.s.tration: crotchet symbol] = 160.

In the London edition the different movements of the same Sonata are thus marked:--

I. Andante, [Ill.u.s.tration: crotchet symbol] = 69.

II. Allegro, 6/8 [Ill.u.s.tration: dotted crotchet symbol] = 104.

III. Allegro molto vivace, 3/4 [Ill.u.s.tration: dotted minim symbol] = 126.

IV. Adagio, [Ill.u.s.tration: quaver symbol] = 76.

V. Finale, allegro vivace, [Ill.u.s.tration: crotchet symbol] = 132.

What a Babel of confusion as to the right feeling, and what confusion also in regard to the conception of Beethoven's sacred legacy to posterity is thus exhibited![126] and similar inconsistencies are apparent throughout all his works in these new editions.[127] Who does not with deep regret feel that such gross neglect amounts almost to profanation of the works of the great master? Are, then, these divine compositions to be converted into show pieces for the performance of professional piano-forte players? Nevertheless, I am bound to admit that some of the _tempi_, as marked in the new London edition, approximate more nearly to the composer's original intention.

The fashion of the day tends to preclude any one from attempting to play one of Beethoven's Sonatas who has not for a year together practised the hand and finger-spraining exercises of modern performers. What is now-a-days thought of a simple _Allegro_, as written by Mozart or Beethoven? It is converted into a _Presto_; and so other movements are accelerated in gradation. And, truly, this is the method whereby the works of these great masters, already become antiquated, are accommodated to modern taste!

It is not yet very long since an a.s.siduous practice of the Studies of Aloys Schmidt and of John Cramer used to smooth the way of the intelligent pianist to the most difficult works of Beethoven; and if greater mechanical dexterity of fingering was required to make the path more secure, the Studies of Hummel, Moscheles, or Kalkbrenner were found sufficient. But what would the practice of these exercises now avail?[128] They would not enable the student to play the first three Sonatas of Beethoven according to the newest fashion. What, then, it may be asked, becomes of feeling and expression which ought to have room to develop themselves, so that in certain pa.s.sages the tone may seem, as it were, to sing and reverberate? Where now is feeling--where expression, and, indeed, where opportunity for the manifestation of any sensibility?

Let Beethoven's piano-forte works be played according to the new metronomic directions, and it will soon be perceived that no more opportunity is left for feeling and expression than the most rapid fingering affords; and that this rule extends even to the execution of the _Adagio_.

In this state of things the best advice that can be given to the piano-forte pract.i.tioner is--Shun all metronomic directions, be they given by whom they may[129]--turn from them as you would from the misleading lights of ignes-fatui--set to work with the right spirit and the preliminary knowledge for the task, and apply to all the works of Beethoven the composer's words--"No metronome, &c."[130] Thus you will with certainty attain the wished-for object, and be spared the mortification of renouncing your own feelings to subst.i.tute those of another in their stead.

Moreover, while examining the metronomic signs affixed to his works by their different editors, Beethoven discovered that the metronomes themselves vary one from another; an inconvenience which has been greatly increased since Beethoven's time, by numerous counterfeits. He perceived, for example, that the fourth movement of the Symphony in C minor was deprived of all dignity when performed in the accelerated time indicated thus [Ill.u.s.tration: musical note] = 84.; and that, in the fourth movement of the Symphony in B flat major, the metronomic sign was a decided contradiction to the Italian words "Allegro ma non tanto;"

whilst the movement, if performed in accordance with the metronomic direction, would be a mere ma.s.s of confusion, such rapid time being incompatible with a sufficiently clear and distinct execution of the semiquaver pa.s.sages by the bow instruments. He now saw the necessity of directing his attention to a more careful adaptation of the metronomic signs, so as to give a slower time to most of the _allegro_ movements.

But excessive occupation, added to the different strokes of adverse fortune which have been detailed in the biographical portion of the present work, prevented him from entering upon this important task.

Besides, he called the metronoming a mere "business" matter, and this view of the labour tended to increase his distaste for it. The publishers of his latter works must be aware how dilatory he was in determining the metronomic signs which were frequently obtained from him only after repeated correspondence. An example of this is proved by his letters of the 16th and 30th of April, 1819, addressed to M. Ries in London.[131] Moreover, when it happened that Beethoven metronomed the same work twice over, he marked the _tempi_ differently each time. A striking example of this occurred with respect to the ninth Symphony, which he first metronomised for the publisher, and then several months afterwards for the Philharmonic Society of London.[132] In the latter instance he made the signs for every movement differ from those which he had adopted in the former case; making the _tempi_ sometimes quicker and sometimes slower; and when I accidentally found the copy of the first metronomising which he had marked for the Messrs. Schott, he answered impatiently, "Better no metronome![133] He who has correct feeling has no need of it; and to him who does not possess that feeling it is equally useless, for he runs astray, and the whole orchestra with him."

This truth is confirmed by frequent experience. If it were recognised by every orchestral director, together with old Matheson's maxim, the works of Beethoven and other great masters would never be brought down from their lofty elevation, and we should secure their purity and imperishability, which is the common duty of us all.[134]

I was much gratified to observe M. Habeneck's judicious regulations of time in the performance, under his direction, of Beethoven's works at the Conservatory in Paris. An impression of the very contrary was conceived by Beethoven himself; for, during his lifetime it used to be said, that in Parisian orchestras the over-rapid performance of his quick movements made them resemble quadrilles and gallopades. It is however possible, that in France, as in Germany, this error may be traced to the incorrect metronomising which was held to be unquestionable authority, until M. Habeneck discovered the root of the evil, and proved that the Rossinian "effetto! effetto!" was no longer to be held identical with the dignity and grandeur of Beethoven's poetic music.

Let us hope that among the musicians of France there will speedily arise some few who, unfettered by the bonds of fashion, and devoid of egotism, will turn with a pure and deeply poetic spirit to the piano-forte works of Beethoven, and draw freely from the ever-living waters of that sacred well which the Muses have consecrated. Much has already been done in France by Franz Liszt, who so thoroughly comprehends the spirit of Beethoven. But the efforts of one individual are insufficient for the wide diffusion of important principles. The advantage which may be derived from Beethoven's piano-forte compositions is yet almost wholly unknown to French pianists, as I have had frequent opportunities to observe, and nothing has so greatly contributed to create this unfortunate ignorance as the absurdly refined mechanism of piano-forte playing, which, years ago, Beethoven justly feared would banish all truth of feeling from music. In a letter which he addressed to Ries, dated July 26th, 1823, he alludes to certain "Allegri di Bravura, which demand too much mechanism of fingering, and therefore he does not admire them." Indeed, the only piano-forte compositions of Beethoven which have hitherto obtained attention from the French, and I may add, from most of the German pianists, are such as afford scope for the display of mechanical dexterity. Compositions of this cla.s.s being precisely those which are characterised by an exuberant freedom of fancy, are inferior in poetic spirit to his other piano-forte works. These latter are, however, far more difficult to comprehend and to perform than those which merely demand a greater degree of digital dexterity. That cheval de bataille for fleet-fingered pianists, the Sonata, Op. 57, is, of all Beethoven's Sonatas, (without accompaniments) after Op. 30, the only one on which they take their full revenge; and I affirm, with a thorough conviction of being correct, that, out of a hundred pianists whose talent is swayed by the dominion of fashion, it would be difficult to find two who know anything of these Sonatas, with the exception of Op.

57. Of the Sonatas, from Op. 2 to Op. 30 inclusive, there are but few that have the honour of being known to the legion of fashionable piano-forte players. The G.o.ds whom this legion worship have no place among the Immortals; and if we estimate their productions by the standard of art, they must be ranked on a level with those musical idols of the day whose chief merit is that they set the feet of the mult.i.tude in motion.

The limited knowledge of Beethoven's Sonatas in Germany may be attributed to the circ.u.mstance of our teachers placing those works at too early a period before their pupils. They forget that, for a due comprehension of the highest style of art, a sum of knowledge and experience, a certain degree of mental maturity, are required, without which all endeavours to force a taste for the most elevated objects will be vain, or possibly productive of disgust. The study of Beethoven's music should be earnestly entered upon, after the mind has been cultivated by a course of education at once philosophic and elegant: without such a preparation, the study will infallibly be hara.s.sing and disagreeable, even to those who possess more than common susceptibility for musical poetry. Music is the offspring of deep feeling, and by deep feeling alone can its genuine beauties be comprehended and enjoyed.

Now, with regard to the Sonatas, I have further to observe that the hints which I received from Beethoven on the subject of their composition, and the proper style of their performance, had direct reference to only a few of those compositions. Still, no doubt, many persons will be gratified by what I have to communicate. To the intelligent lover of music these hints will afford matter for reflection, whereby he may not only more thoroughly comprehend the works in question, but also, by the help of the key thus obtained, open for himself a path to the knowledge of other compositions of the like kind, imbued with the like soul and spirit.

Among the most rich in materials, and, unfortunately, among the least known, are the two Sonatas comprised in Op. 14. The first is in E major, and the second in G major. Both these Sonatas have for their subject a dialogue between a husband and wife, or a lover and his mistress. In the second Sonata, this dialogue, with its signification, is very forcibly expressed, the opposition of the two princ.i.p.al parts being more sensibly marked than in the first Sonata. By these two parts Beethoven intended to represent two _principles_, which he designated the _entreating_ and the _resisting_. Even in the first bars the contrary motion marks the opposition of these principles.

[Ill.u.s.tration: musical notation]

By a softly gliding transition from earnest gravity to tenderness and feeling, the eighth bar introduces the entreating principle alone.

[Ill.u.s.tration: musical notation]

This suing and flattering strain continues until the middle part is taken up in D major, when both principles are again brought into conflict, but not with the same degree of earnestness as at the commencement. The resisting principle is now relaxing, and allows the other to finish without interruption the phrase that has been begun.

In the following phrase--

[Ill.u.s.tration: musical notation]

both approximate, and the mutual understanding is rendered distinctly perceptible by the succeeding cadence on the dominant.

In the second section of the same movement the opposition is again resumed in the minor of the tonic, and the resisting principle is energetically expressed in the phrase in A flat major. To this succeeds a pause on the chord of the dominant, and then in E flat the conflict is again resumed till the tranquil phrase

[Ill.u.s.tration: musical notation]

comes in as it were like a preparation for mutual concord, for both repeat several times the same idea, resembling an interrogation, beginning slowly, and with lingering pauses, then over and over again in rapid succession. The introduction in the tonic of the princ.i.p.al motivo renews the conflict, and the feelings alternate as in the first part; but, at the conclusion of the movement, the expected conciliation is still _in suspenso_. It is not completely brought about until the end of the Sonata, when it is clearly indicated, and as it were expressed, on the final close of the piece, by a distinctly articulated "Yes!" from the resisting principle.

[Ill.u.s.tration: musical notation]

Then was not Beethoven justified in saying, that the poetic idea which had stimulated his imagination in the composition of this work was quite obvious? In fact, is not the explanation of every individual phrase perfectly natural? Of this let any one convince himself, by comparing the above indication of the design with the Sonata itself.

But the reality and certainty of the composer's intention is fully obtained only on the performance of the piece, the difficulty of which, be it observed, is much greater than it is generally believed to be. For example, words directing the quickening or r.e.t.a.r.ding of the time, such as _accelerando_, _ritardando_, &c., do not, in their ordinary acceptation, convey an adequate idea of the wonderfully delicate shading which characterized Beethoven's performance; and on this account he would have experienced great impediments had he proceeded with his intended revisal of many other works in the like style. This obstacle he clearly foresaw.

M. Ries, alluding to the _Sonate Pathetique_, p. 106 of his _Notizen_, makes the following remarks on the performance of Beethoven:--"In general, he played his own compositions in a very capricious manner; he nevertheless kept strictly accurate time, occasionally, but very seldom, accelerating the _tempi_. On the other hand, in the performance of a _crescendo_ pa.s.sage, he would make the time _ritardando_, which produced a beautiful and highly striking effect. Sometimes in the performance of particular pa.s.sages, whether with the right hand or the left, he would infuse into them an exquisite, but altogether inimitable expression. He seldom introduced notes or ornaments not set down in the composition."

Yes, it may truly be said that the expression was inimitable! What the _Sonate Pathetique_ became under the hands of Beethoven--though he left much to be desired on the score of pure execution--can only be conceived by those who have had the good fortune to hear it played by him. Yet it required to be heard over and over again before one could be convinced that it was a work, by name at least, already well known. In short, all music performed by his hands appeared to undergo a new creation. These wonderful effects were in a great degree produced by his uniform _legato_ style, which was one of the most remarkable peculiarities of his playing.[135]

All the pieces which I have heard Beethoven himself play were, with few exceptions, given without any constraint as to the rate of the time. He adopted a _tempo-rubato_ in the proper sense of the term, according as subject and situation might demand, without the slightest approach to caricature. Beethoven's playing was the most distinct and intelligible declamation, such, perhaps, as in the same high degree can only be studied in his works. His old friends, who attentively watched the development of his genius in every direction, declare that he adopted this mode of playing in the first years of the third period of his life, and that it was quite a departure from his earlier method, which was less marked by shading and colouring; thence it appears that his perceptive sagacity had then discovered a sure method of throwing open, to the unlearned as well as the initiated, a door to the mysterious workings of his imagination. In the performance of his quartett music he wished the same rules to be observed as in playing his Sonatas; for the Quartetts paint pa.s.sions and feelings no less than the Sonatas. Among the latter, however, there are several in which a strict observance of time is indispensable; scarcely permitting, much less demanding, any deviation from regularity. Those compositions require to be played in what is termed the _bravura_ style; they are Op. 106, 111, 57, and some others.

I will now, as far as verbal description may permit, endeavour to convey an idea of the manner in which Beethoven himself used to play the two Sonatas contained in Op. 14. His wonderful performance of these compositions was a sort of musical declamation, in which the two principles were as distinctly separated as the two parts of a dialogue when recited by the flexible voice of a good speaker.

He commenced the opening _Allegro_ with vigour and spirit, relaxing these qualities at the sixth bar, and in the following pa.s.sage:--

[Ill.u.s.tration: musical notation]

Here a slight _ritardando_ made preparation for gently introducing the entreating principle. The performance of the phrase--

[Ill.u.s.tration: musical notation]

was exquisitely shaded, and to the following bars:--

[Ill.u.s.tration: musical notation]