Music: An Art and a Language Part 11

[Footnote 123: We recommend especially the refreshing essay by Philip Hale in _Famous Composers and Their Works_; the chapter on Mozart in _Beethoven and His Forerunners_ by D.G. Mason; and, as throwing light on aspects of his personality which are little known, "_Mozart Revealed in his Own Words_" by Kerst-Krehbiel (see especially the chapter on Mozart's religious nature, p. 142 and pa.s.sim); the fascinating _Reminiscences of Michael Kelly_, a personal friend of the composer; and, above all, the monumental life of Mozart, unhappily as yet incomplete, by Wyzewa and St. Foix. The third chapter of Vol. II of _The Art of Music_ is also well worth reading; and in _Mozart's Operas, a Critical Study_ by E.J. Dent are found valuable comments on his dramatic style, so prominent a feature in many of his instrumental works.]

As ill.u.s.trations[124] for comment we select the _F major Sonata for Pianoforte_, the _G minor Symphony_, the _Magic Flute Overture for Orchestra_ and the little known but most characteristic _Adagio in B minor for Pianoforte_. Here again, as in the case of Haydn, we must regret that it is impracticable to give examples from the chamber music: the String Quartets, the Quintet in G minor or from the entrancing Clarinet Quintet. Any familiarity with Mozart's genius is very incomplete which does not comprise the C major Quartet, especially its heavenly Andante Cantabile; likewise the E-flat major Quartet in the slow movement of which are the following poignant dissonances--a striking antic.i.p.ation of _Tristan and Isolde_.

[Music]

[Footnote 124: The first three compositions are not given in the Supplement, because readily available in several standard editions.

The same recommendations, as given in connection with Haydn, apply to the performance of the _G minor Symphony_.]

The F major Sonata is selected to ill.u.s.trate Mozart's pianoforte style because it bubbles over with typical Mozartian melody and because the Sonata-form is the basis of all three movements; in the first and last strictly employed and in the slow movement somewhat modified. The structure, while just as clear and easy to follow as that of Haydn, represents an advance in the sustained interest of the transitional pa.s.sages and in the organic treatment of the Development--this being particularly true of the Finale--the middle portion of the first movement being not so significant. The Sonata, without prelude, begins with a soaring, lyric melody in which the customary eight measure formation is expanded to twelve measures. This expansion is brought about by an imitative treatment of the fifth measure and is a convincing example of the flexible phraseology so prominent a feature in Mozart's style. A balancing sentence of eight measures, with an extended cadence, brings us to the transition which is to introduce the second theme. Observe the increasing animation of the rhythm and how the fresh entry of the second theme (in C major) is enhanced by the insistence on the contrasting tonality of C minor. In measure 41 there begins the second theme, a graceful melody that is repeated with heightened fervour and then expanded by means of various modulatory and rhythmic devices--the interest, for a number of measures, being in the ba.s.s. In measure 71 we have a piquant closing theme which ends in the "good old way" with some rather formal groups of cadential chords.

The Development is short and, save for the dynamic contrasts in the middle part, not of particular import. But though a bit nave it is neither labored nor dull. The Recapitulation with the necessary adjustments of key (both themes appearing in F major) corresponds exactly to the Exposition. In the opening melody of the Slow movement--a dreamy, sustained Adagio--we see the beautiful use Mozart made of the "turn," _e.g._,

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employing it not as meaningless embroidery or to cover up deficiencies in the instrument but as an integral factor in the melodic line, thus antic.i.p.ating Chopin and Wagner with his "essential turn." The movement is in abridged[125] Sonata-form, _i.e._, there is a regular Exposition with two themes in the tonic and dominant and a corresponding Recapitulation, but the Development is entirely omitted and in its place we find merely two modulatory measures which take us back to the third part. Such a form arose from the feeling that the Slow Movement should be one of direct melodic and emotional appeal and should not concern itself with protracted discussion of the material. The two closing measures are of a wondrous serenity, peculiar to Mozart. The Finale, Allegro a.s.sai, in complete and elaborate Sonata-form, is one of superb vigor and dash, the happiest example possible of Mozart's "joie de vivre." It begins with a brilliant running theme in free phraseology, and then, after a cadence in measure 14, is at once followed by an out and out Waltz tune of a very seductive swing.[126]

This is developed to a brilliant climax and then closes _pp_ in a delicate, wistful manner. The transition, with some canonic imitations and stimulating sequences, leads us to the second theme at measure 50.

This--one of Mozart's loveliest melodies--is rather exceptionally in the dominant minor (_i.e._, C minor) and with its mood of pathetic revery affords a wonderful contrast to the headlong dash of the first theme. This melody alone would prove that Mozart had his moments of deep emotion. In measure 65 begins a long closing portion which resumes the exuberant mood characteristic of the Exposition as a whole. The Development at first is based upon modulatory changes in the first theme; and then, towards the middle, occurs a pa.s.sage which seems to be a counterpart of the second theme, save that it is in the major mode. We are now carried onward through a series of pa.s.sages, with pungent dissonances and imitative phrases, to a fortissimo dominant chord; thence through a descending cadenza-like pa.s.sage we are whirled back to the Recapitulation. In material and treatment this corresponds exactly to the Exposition and has the same pianissimo ending. Such an effect was a touch of genuine originality and was a delightful contrast to the conventional flourish of trumpets with which the Finale of the period was expected to end. Music is often most impressive when most subdued.

[Footnote 125: This modification became a favorite with Beethoven, notable examples being the Slow movement of the Fifth Sonata, where the Development is represented by a single chord; the Slow movement of the D minor Sonata, op. 31; and, above all, the Allegretto Scherzando of the Eighth Symphony, where a series of contrasted accents keeps the interest alive and leads most deftly to the Recapitulation.]

[Footnote 126: In measures 20 and 21 may be found some striking syncopations--an antic.i.p.ation of what now-a-days is known as "rag-time."]

The G minor Symphony is universally acknowledged to be the highest achievement of 18th century instrumental music and is also premonitory of that subjective spirit peculiar to the 19th century. It will remain immortal so long as human beings are capable of being touched by a sincere revelation of emotion combined with a perfection of utterance which seems fairly Divine. This delicate treatment and this exquisite finish are two prominent characteristics of Mozart's style. Truly the Symphony is the quintessence of Mozart in terms of sound and rhythm, and we need but to listen to his message and receive it with grateful appreciation. The work contains the four customary movements, all of them (save the three-part Minuet and Trio) in complete Sonata-form.

The first movement begins at once with a gracefully poised theme sung by the violins, a theme which may be likened in its outlines to the purity of a Greek statue. The entrancing effect of this melody cannot be realized except on the orchestra, for it seems to float on the gently pulsating chords of the violas like a beautiful flower.

Everyone who hears the work is at once arrested by this highly original treatment, _e.g._

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The transition is short but leads us in a happy state of expectancy through a change of rhythm from the graceful outlines of the first theme to the vigorous phrase

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and by a bold run, thrice repeated, to the entrance of the second theme in measure 43. This theme, in the customary relative major (B-flat), ill.u.s.trates Mozart's fondness for the chromatic element which gives to many of his melodies such a haunting appeal. The closing portion, beginning at measure 71, is an example of Mozart's spontaneous skill in polyphonic writing. It is based entirely on the motive of the main theme in delightful imitations tossed about by different sections of the orchestra. The second part is a genuine Development, since the musical life never flags in its contrapuntal vitality; the theme appears in all parts of the texture--upper, inner and lower voices--and we are carried vigorously onward by the daring modulations. Just at the close of the Development we see Mozart's constructive skill in the fusion of this part with the subsequent Recapitulation. A series of drifting chromatic chords in the flutes and oboes, like light fleecy clouds, keeps us in a state of suspended wonder when quietly there emerges the first theme and the return home has begun. It is one of the truly poetic touches in musical literature and has been often imitated--especially by Tchaikowsky in his _Fifth_ and _Sixth Symphonies_.[127] The Recapitulation corresponds exactly with the Exposition, but an added pathos is given to the second theme by its appearance in the tonic key of G minor. Observe the impa.s.sioned intensity of the climax in measures 13-19 (counting back from the end). The mood of dreamy contemplation with which the Slow Movement begins cannot be translated into words; why attempt it? We have the music which, coming from the divinely gifted imagination of the composer, reveals in its own language a message of pathetic longing and ideal aspiration. The movement is very concise but in complete Sonata-form, and with an orchestration felicitous in the treatment of the horns and the wood-wind instruments. The Minuet, noteworthy for the three-measure rhythm of the opening phrase,

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shows clearly the new life which Mozart infused into the old form by his remarkable polyphonic skill. Note at the outset of the second part the vigorous effect of the theme in the ba.s.s and the frequency of biting dissonances. The charming grace and simplicity of the Trio are indescribable; here again we find an eloquent use of the wood-wind group. The Finale, in complete Sonata-form, begins with a perfectly balanced periodic theme, presented in Two-part form, _i.e._, two sentences of eight measures, each repeated. If from our present standpoint we feel that the tone of this movement is a bit light to follow the serious thoughts of the preceding movements, let us remember that it was composed when the Finale was meant merely to "top off" a work; and that, if it radiated a general atmosphere of sunshine and satisfaction, its purpose was fulfilled. For the Finale, which, like the glorious splendor of an autumn day, is the crowning objective towards which the other movements have been striving, we must wait for Beethoven and his modern successors. In fact we may express the general trend of a Haydn or a Mozart Symphony by a decrescendo, thus [decrescendo symbol] _i.e._, the real genius of the composer is shown in the first three movements; whereas, beginning with Beethoven, we find an organic climactic effect[128] from the first movement to the last, thus [crescendo symbol]. But to carry such criticisms too far is ungracious and unjust. Mozart's themes, both the first and the second (beginning in measure 55), with their tripping contredance rhythms, fill our hearts with life and carry us irresistibly onward. And the Development has some surprises in store, for now the dramatic genius of Mozart a.s.serts itself. Note the bold leaps and daring modulations of the opening measures. Nothing trite or formal here! The strong polyphonic treatment of the first theme, beginning in measure 120 and sustained with unflagging energy for seventy measures, makes this one of the most stimulating developments in symphonic literature, not excepting Beethoven himself. The Recapitulation, in subject matter, is an exact duplication of the Exposition and allows us to recover gradually from our excitement and to return to the ordinary world of men and events. The presentation of the second theme, however, shows Mozart's mastery of melodic variation. The substance is the same, but the import of the melody is intensified, _e.g._

[Music: Exposition]

[Music: Recapitulation]

[Footnote 127: See the Waltz movement of the _Fifth Symphony_ and the second movement of the _Sixth_.]

[Footnote 128: This expanding of interest is distinctly felt in Beethoven's Fifth Symphony, in Brahms's First, in Tchaikowsky's Fifth and in that by Cesar Franck.]

The Overtures to Mozart's three operas: The _Marriage of Figaro_, _Don Giovanni_ and the _Magic Flute_ are of particular interest, not only for the beauty of their contents but because they are our earliest examples of the Overture fashioned in complete Sonata form. Originally the Overture had been a prelude to the opening of a play, a prelude of the lightest and most meagre nature. Examples, beginning with Monteverde, abound in all the early Italian opera composers.[129]

Lully of the French school and Alessandro Scarlatti of the Italian were the first to amplify these beginnings and to establish a definite standard of structure. In both schools this standard represented an application of the Three-part form principle; the French arranging their contrasts, slow, fast, slow (the so-called French overture--of which we have an example in Handel's Messiah) and the Italians, fast, slow, fast (the so-called Italian Overture). Although Gluck (1714-1787) did much to establish a more dramatic connection between the overture and the play, even the best of his Overtures, Iphigenia in Aulis, is a rather loosely expanded tripart.i.te structure with a good many meaningless pa.s.sages. But Mozart, coming after Haydn's definite establishment of the Sonata-form and with the growing interest of the public in instrumental music for its own sake as an incentive, could take advantage of these circ.u.mstances to display his genius and to delight his hearers with a piece of genuine music. This he did and his operatic overtures are of such distinct import and self-sufficiency that they are often detached from the opera itself and played as concert numbers. The Magic Flute Overture is also noteworthy because of the polyphonic treatment of the first theme which is a definite fugal presentation in four voices. The second theme, beginning in measure 64, and soon repeated, is light and winning, meant to supplement rather than to contrast strongly with the first theme, which indeed keeps up at the same time, in the inner voices, its rhythmic impetuosity. The Exposition ends with a graceful closing phrase, _e.g._,

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and the usual cadence in the dominant key. It is considered that the Adagio chords for the trombones, interpolated between the Exposition and the Development, are suggestive of the religious element in the play that is to follow. The Development is remarkable for the spirited imitative treatment of the first theme, for the bold way in which the voices cut into each other and for the fusion of its closing measures with the Recapitulation. The chief feature in this brilliant pa.s.sage is a piling up of the theme in stretto form (see measures 148-153).

The Recapitulation is somewhat shortened and the melodic outline of the second theme is slightly changed; otherwise it corresponds with the Exposition. After the closing phrase we have some pungent dissonances, _e.g._

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Rossini, it is said, was never tired of eulogizing this Overture and certainly for spontaneity and vigor it is unrivalled.[130]

[Footnote 129: For a complete account of this development see Grove's Dict. Vol. III under _Overture_ and the Oxford History, Vol. IV, page 286, _seq._]

[Footnote 130: Its companion in modern literature is the Overture to the _Bartered Bride_ (by the Bohemian composer Smetana), which also begins with a brilliant fugal treatment of the theme.]

The last ill.u.s.tration from Mozart is his _Adagio in B minor_ (see Supplement No. 43) an independent piece, far too little known, in complete Sonata-form. The haunting pathos in the theme, the exquisite loveliness in the whole fabric instantly reach the hearer's heart.

a.n.a.lytical comment seems quite unnecessary; a child can "follow" the music, but only he with a ripe knowledge of human life can begin to fathom its deep mystery.[131] When we see such modern pa.s.sages as the following, _e.g._

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[Footnote 131: For some illuminating comments on this subtle character of Mozart's creations see the Stanford-Forsyth History of Music, p.

254.]

Tchaikowsky's love for Mozart's music is readily understood. Indeed, we cannot refrain from urging everyone to cultivate such a love himself; for in the works of Mozart are found a purity, a sanity and a delight in creation which keep them alive and make them in very truth "things of beauty and a joy forever."

CHAPTER XI

BEETHOVEN, THE TONE-POET

As Beethoven was such an intensely subjective composer, a knowledge of his personality and environment is indispensable for a complete appreciation of his works.[132]

[Footnote 132: Hence is given a more extended biographical account than in the case of former composers.]

Beethoven, Ludwig van (1770-1827), born at Bonn on the Rhine, though his active career is a.s.sociated with Vienna, may be called the first thinker in music; for at last the art is brought into correlation with man's other powers and becomes a living reflex of the tendencies and activities of the period. Notwithstanding the prodigious vitality of Bach's work, we feel that his musical sense operated abstractly like a law of Nature and that he was an unconscious embodiment, as it were, of the deep religious sentiment of his time and of the st.u.r.dy independence of his race. At any period and in any place Bach would have been Bach. Beethoven's music, however, in its intense personality and as a vivid expression of the ideals of his fellow men, was different from any the world had heard before. There were three paramount advantages in his equipment: first, Beethoven was a strong character who only happened to find in music his most suitable means of self-expression. The full import of his works cannot be understood unless he is recognized, great creative artist that he was, as first and foremost a unique personality. Had he not written a note of music we should have sufficient historical evidence to a.s.sure ourselves of the vigor of his intellect and the elevation of his ideals. Whereas Haydn and Mozart are to be judged purely as musicians, in Beethoven it is always something underlying the musical symbols which claims our allegiance. Furthermore he had the inestimable advantage of finding the mechanical structure of instrumental music carefully formulated by his predecessors. The stone had been quarried, the rough cutting done and the blocks lay ready for a genius to use in the erection of his own poetically conceived edifice. And these forms were still fresh and vigorous; they had not yet hardened into formalism. In Beethoven's works we rarely find form employed for its own sake, as a mere "tour de force" of skilful workmanship, rather is it made to adapt itself to the individual needs of the composer. Finally Beethoven's career coincided with momentous changes and upheavals in the social, political and artistic world. He is the embodiment of that spirit of individualism, of human freedom and self-respect which found its expression in the French Revolution, in our American War of Independence and in the entire alteration of social standards.

Beethoven at all costs resolved to be himself. With him music ceases to be a mere "concourse of sweet sounds"; it must always bring some message to the brooding human soul, and be something more than a skilful example of abstract ingenuity. These personal tendencies of Beethoven were fostered by the spirit of the times, and his music became in turn a vital expression of revolt against existing conditions and of pa.s.sionate aspiration towards something better. He was the first musician to free himself from the enervating influence of having to write exclusively for aristocratic patronage. Such was the social emanc.i.p.ation of the period that he could address himself at first hand to a musical public eagerly receptive and constantly growing. His representative works could never have been composed in the time of Haydn and Mozart; for though in formal structure the logical development of preceding methods--Beethoven being no reckless iconoclast--in individual content they reveal a freedom of utterance which took its rise in tendencies. .h.i.therto unknown. Beethoven's mighty personality and far-reaching influence can not be stated in a few formulae. An extensive library covering his life and times is accessible to the interested layman, and a thorough appreciation of his masterpieces is a spiritual possession which everyone must gain individually. Since Beethoven's works compel a man to think for himself, the constructive power of the creator must be met with an a.n.a.logous activity on the part of the receptive hearer. The symphonies, for example, are more than cunningly contrived works of musical art; they are human doc.u.ments of undying power to quicken and exalt the soul which will submit itself to their influence.

Beethoven's great instrumental compositions are few in number in comparison with the voluminous and uneven output of his predecessors.

Thus from Haydn we have 125 symphonies, from Mozart about 40, from Beethoven 9. Of Haydn's symphonies possibly a half dozen have permanent vitality; of Mozart's four; of Beethoven's all, with the possible exception of the experimental first. Condensation of subject matter, conciseness of style, a ceaseless exaltation of quality above quant.i.ty are the prominent features in Beethoven's work. All adipose tissue is relentlessly excised, and the finished creation resembles a human being in perfect physical condition--the outward mechanical organism subservient to the spirit within.

Beethoven's life is of supreme interest and importance, for his music is the direct expression of himself, of his joys and sorrows. His ancestry raises many perplexing questions as to the influence of heredity and the sources of genius. In the first place Beethoven was not a pure-blooded German, but partly Flemish on his father's side.

His paternal grandfather, Ludwig van[133] Beethoven, was a man of strong character and of a certain musical apt.i.tude, who had migrated from the neighborhood of Antwerp to Bonn where he served as court musician to the Elector of Cologne. The paternal grandmother early developed a pa.s.sion for drink and ended her days confined in a convent. The son of this couple, Johann (the father of the composer) was a tenor singer in the court chapel at Bonn and soon became a confirmed drunkard. He seems to be a mere intermediary between grandfather and grandson. In 1767 he married a young widow, Maria Keverich, a woman of warm affections and depth of sentiment, whose life was bound up in the care of her gifted son. The tender love between Beethoven and his mother was a bright spot in his early years, in many ways so sordid and unhappy. Unfortunately she was delicate, of consumptive tendencies, and died when Ludwig was but seventeen. "She has been to me a good and loving mother," he writes, "and my best friend." As we ponder on such facts and then consider for what Beethoven stands, we can only exclaim, "G.o.d works in a mysterious way, his wonders to perform." It was early seen that the young Beethoven had unusual ability, and so the shiftless father, with the example of Mozart's precocity before him, submitted the boy to a deal of enforced drudgery in the way of harpsichord and violin practice. He had one good teacher however, Neefe, who records that the boy of thirteen played the harpsichord with energetic skill and had mastered the Preludes and Fugues of the Well-Tempered Clavichord. Beethoven's general education was sadly neglected, and when he was thirteen practically ceased. These deficiencies were a source of mortification all his life. He spelled atrociously, was never sure of his addition and subtraction and so was often involved in altercations with landlords and washerwomen. By nature Beethoven was of strong, eager intellect. He became an omnivorous reader, and later in life acquired a working facility in Latin, French, Italian and English. The first period of his life ends with his departure in 1792 for Vienna, whither he was sent by the Elector to study with Haydn. In summing up its special incidents we are struck first by the vivid and lasting impression which Beethoven, in spite of his lowly origin and deficiencies in education and cultivation, made upon wealthy and refined people of distinction, simply through his extraordinary personality and unmistakable sincerity. Two of these friends were the von Breuning family, including the charming daughter Eleanore--one of Beethoven's early loves--and the cultivated and influential Count Waldstein, in whose companionship he became acquainted with the German poets and with the dramas of Shakespeare. For a vivid picture of these boyish years the student is recommended to the Romance, _Jean Christophe_ (by Romain Rolland) which, though somewhat idealized, is mainly on a historical basis. Two of Beethoven's most unique characteristics date from this period. First, his constant habit of drawing inspiration directly from Nature, of which he was a pa.s.sionate and persistent lover. He says of himself "No one can love the country as I love it. Here alone can I learn wisdom. Every tree exclaims to me 'Holy, Holy, Holy.'" In long walks through wood and field he would allow his thoughts to germinate, giving himself up utterly to creative emotion. When in this state of mind Madame von Breuning used to say that he was in his "raptus." Consequently, in comparison with the works of previous composers, which often have a note of primness and artificial restraint--they smell a bit of the lamp and the study--those of Beethoven have the elemental power of Nature herself, especially shown in the vigor and variety of the rhythm. Second, he would always carry sketch books in which to jot down ideas as they came to him. These he would polish and improve--sometimes for years--before they took final shape. Many of these sketch books[134]

have been preserved and edited, and they ill.u.s.trate, most vividly, Beethoven's method of composing: slow, cautious, but invincible in its final effect; an idea frequently being altered as many as twenty times. At the age of twenty-two he was chiefly known as a pianist with wonderful facility in improvisation; his compositions had been insignificant. The next eight years--up to 1800, when Beethoven was thirty--were spent in acquainting himself with the Viennese aristocracy and in building up a public clientele. Then follows the marvellous period until 1815 in which his power of inspiration was at its height, and which gave to the world a body of work for magnitude and variety never surpa.s.sed: all the symphonies except the Ninth, the first twenty-seven pianoforte Sonatas, five concertos for pianoforte and orchestra, the opera of Fidelio, several Overtures, numerous string quartets and ensemble chamber music. We realize even more vividly the heroic and sublime character of Beethoven when we learn that, as early as 1798, there began the signs of that deafness which altered his whole life. By nature he was hypersensitive, proud and high-strung, and these qualities were so aggravated by his malady that he became suspicious, at times morose, and his subsequent career was checkered with the violent altercations, and equally spasmodic renewals of friendship, which took place between him and his best friends. His courage was extraordinary. Thus we find him writing: "Though at times I shall be the most miserable of G.o.d's creatures, I will grapple with Fate, it shall never pull me down." On the artistic side this affliction had its compensations in that it isolated the composer from outer distractions, and allowed him to lay entire stress on the spiritual inner side of his art; certainly this is one of the strongest notes in his music--the pure fancy manifested therein. As a deaf musician he is comparable to the blind seer who penetrates more deeply into the mysteries of life than those whose physical eyesight is perfect. Beethoven's closing years form a period of manifold complications, caused by the care of his scapegrace nephew, by his settled deafness and precarious financial position. Yet he grimly continued to compose, his last works being of t.i.tanic dimensions such as the Choral symphony, the Ma.s.s in D and the last Quartets and Pianoforte Sonatas. Beethoven died on March 26, 1827; nature most appropriately giving a dramatic setting to the event by a terrific storm of hail and snow, lightning and thunder. It would take too long to dwell on the many characteristics of the man Beethoven. Power, individuality and sincerity were stamped upon him, and his music is just what we should expect from his nature. He embodied all the longings, the joys and sorrows of humanity, and gave them such burning utterance that the world has listened ever since.

[Footnote 133: The prefix van is not a symbol of n.o.bility.]

[Footnote 134: See the two _Beethoveniana_ by Nottebohm.]

To touch now upon a few of the formal aspects of Beethoven's work, as far as verbal a.n.a.lysis can help, it may be a.s.serted that he is the acknowledged master of the Sonata Form as Bach was of the Fugue, and in his hands this form, and also the Air with Variations, were raised to a potency the influence of which is felt even to-day. From beginning to end every portion of the Sonata Form was made over and vitalized. Instead of the perfunctory "flourish of trumpets" which served previous composers for an introduction, this portion with Beethoven deftly leads on the hearer to a contemplation of the main work, and is as carefully planned as the porch of a great Cathedral.

For examples, witness the continually growing excitement generated in the introductions to the Second and Seventh Symphonies, the breathless suspense of the introduction to the Fourth, and the primeval, mysterious beginning of the Ninth. And then what a difference in the character and emotional suggestiveness of the themes, that with Beethoven are actual human voices, dramatic characters, which once met can never be forgotten. As Lavoix says of the Fifth Symphony, "Is not this a drama in its purity, where pa.s.sion is no longer the attribute of a theatrical work, but the expression of our own individual feelings?" No longer are the transitions mere mechanical connections, but a portion of the structure which, though subsidiary, is yet organically developed from that which precedes and inevitably related to that which follows. In the development section we find the real Beethoven. Here his marvellous freshness of invention found full play.