Professional Documents
Culture Documents
Elterlein, Ernst Von. Beethoven's Pianoforte Sonatas
Elterlein, Ernst Von. Beethoven's Pianoforte Sonatas
B41zg4
67-09289
KANSAS
CITY., .MO,
PUBLIC LIBRARY
0001 4S3S5
I:
BY
Translated by
EMILY HILL,
BEETHOVEN'S
PIANOFORTE SONATAS
EXPLAINED FOF^THE J^OVEF^S OF THE ^USICAJL
far
BY
EMILY HILL.
WITH PREFACE
BY
ERNST PAUER
FOURTH EDITION.
LONDON:
WILLIAM REEVES,
Publisher of Musical Works
185,
FLEET STREET,
E.C,
Office of
PRINTED BY
WILLIAM REEVES,
185,
FLEET STREET
LONDON,
E,C,
now
universally recognized.
It is
a healthy
appreciation of the excellent in musical art, that various nations now emulate each other's efforts in
issuing correct
works.
We
now
and excellent editions of these great possess good and correct editions
of Beethoven's Sonatas at such cheap and modest prices, that the entire collection of the thirty-eight
Sonatas
is
same
;
a single one
this unrivalled
no small degree to the universal popularity which monument of musical art has now
everywhere obtained.
PREFACE.
To
work
is
always a
task
and
annotate the endeavour to analyse, describe, and No author has works of great musical composers. of busy had to suffer more from the indiscreet zeal
The
small
work, Beethoven's
Clavier-SonaUn fur
ElterFrewnde der Tonkunst erlmtert von Ernst von honourable exception amidst lein, stands forth as an commentaries on the great the host of
insipid
master's works
explain
nothing.
1856.
book appeared
in
Leipsic, in
has,
since
and through many editions, and has obtained great Herr deserved popularity in Germany. Although von Elterlein is a musical amateur, he writes with
the ripe knowledge and thorough understanding of a and as the merits of his book practical musician
;
speak
for themselves,
superfluous.
Herr von
Elterlein's design
not so
much
to
and
PREFACE.
each separate piece,
It
Vll.
was reserved
for
Beethoven
and
human heart.
is
In these unap-
proachable master-pieces, he
human
heart.
To
point out
all
these numberless
;
him
as a competent
An
is,
work
therefore,
most opportune.
It will,
undoubtedly,
ap-
assist
many
preciate
more keenly the beauties of the great master's Sonatas, and will, if possible, enhance his
admiration of what
may
truly be called a
book of
wisdom.
E.
PAUER.
CONTENTS.
first |P art.
THE SONATA
IN
GENERAL.
fart-
BEETHOVEN.
Jfenrflfr
BEETHOVEN'S SONATAS.
Op. z, No. i. Op. 2, No. 2. Op. 2, No. 3. Op. 6. Op. 7. Op. 10, No. i. Op. 10, No. 2. Op. 10, No. 3. Op. 13. Op. Op. 22. Op. 26. Op. 27, No. i. Op. 27, 14, Nos. i and 2. No. 2. Op. 28. Op. 31, No. i. Op. 31, No. s. Op. 31, No. 3. Op. 49, Nos. i and 2. Op. 53. Op. 54. Op. 57. Op. 78. Op. 79. Op. 81. Op. go. Op. 101. Op. 106. Op. 109. Op. no. Op. in.
fiftll
fart-
RETROSPECTIVE.
CONCLUDING REMARKS.
Jfirst
part-
THE SONATA
Sonata
is
IN
GENERAL.
fHE production
its
the ideal of
province of pianoforte music its loftiest aim. Beauty, artistic efforts, ma}^ be expressed by
in the
the simplest music, but perfection can only be perfectly realised in the highest forms.
The Sonata may be considered the most perfect form of pianoforte music. The theoretical reasons for this statement are most successfully propounded
in the third part of "Composition slehre." there explains the development of the different forms of pianoforte rriusic in organic order. He
by Marx,
Marx
begins with the Study, proceeds to the Fantasia, Variation, and Rondo, and then to the Sonata, the keystone and crowning point of all the forms. In another " way, Krtiger, in his Beitragen fur Leben und Wissenschaft der Tonkunst," arrives at the same
"
result.
Like
12
musical forms, of which he makes the song form the central point : treating first of the forms that
viz.,
preludes, toccatas,
itself,
variations,
rondos, fugues
thirdly, the
development of the
song form, that is the union of existing song forms the Sonata and the Symphony. Kriiger
considered the three primary forms to be the prelude, song, and Sonata, and that out of these all the
others have been developed.
of the Sonata form generally
The
great importance
is
a form which
also
symphony,
shows
forming
and fugue.
This was, in
fact, in-
all
According to
this view,
is the organic product of these forms, and Beethoven Sonata pre-eminently proves.
we consider more closely the construction of the Sonata, we shall find it to be divided into several movements two, three, four, five, or even more and the plurality of movements may be generally stated as the formal principle of the composition. The
If
particular character,
THE SONATA
IN
GENERAL.
13
which a work depicts must always be considered " The soul moulds its own its determining basis.
body."
("Die
Seele schafft
sich
ihren
Leib.
')
principles.
Musical science must, therefore, in this respect desist from laying down binding laws and inflexible " Aesthetik and
Marx
(in
")
")
have,
and ingenious manner, propounded and undertaken to prove that the three or four-movement
in a searching
form
the normal principle of construction. Indeed, most Sonatas do contain three or four movements.
is
be
and
to this,
works, (Op.
cxi.), significantly
returns.
Marx
says,
" That the ideas here set forth are in another place, not finding conclusions, (who can bind the mind?);
may have
form, and that in the future the two and the several
movement form
will
be equally justifiable."
This
freedom of form appears also in the design and be arrangement of the different movements. It will
14
decided by the character of the entire work, whether, generally for example, the so-called andante or adagio
the slow
movement
ment,
(in
It is surely
in discussion is unnecessary to specify, that the point not the want of form in the composition, but the
It
must
be steadfastly maintained that the idea is the only This brings us from decisive principle of the form.
the form to the matter of the Sonata.
actual essence of music may be described as " far dark currents of the soul, the fleeting life, the
The
the
which
all
repose are drawn ; as all that rises, in the heart of hovers, and trembles in the air, and all that the soul re-echoes to itself from the
existence and
man,
varied
" may say, with Carriere (Aesthetik), It is music which discovers and explains for us the beautiful in
the world and in the mind, or
us, in
still
phenomena of movement."
(Kriiger.)
Or we
the
amid the external action in which we are engaged, the conditions of mind and soul may express themselves, or
The representation
of the
THE SONATA
ideal in a concrete
IN
GENERAL.
15
form
is
music
is art.
it
play of various
emotions
vidual
life
and of
soul-melodies."
general,
As
this holds
in
of
mind and
is
As
the Sonata
and sub-
a -rich
it
stream of emotional images, or whether shows, in the form of a great tone-picture, one of
full
the emotional
life.
instrument could better adapt itself to the representation of this than the pianoforte ? The
pianoforte, says Kostlin, since
it
What
blends
harmony
with melody, and yet gives the former into the hands of the subject, is the principal organ for the free, full,
and
in this
its
instrument the
sake, and
is
subject
own
itself clearly
and
entirely.
calls
The piano
it
is
an orchestra
in miniature.
Marx
known
brought forward his charge of the emptiness of music. He considers it to be only " sounding forms," and
16
8)
and Carriere
re-
Vischer
Aesthetik," Part
involves himself,
when he
is
afterwards obliged to
and
most powerful impulses of the human mind," are the "substance" of music. But Brendel aptly says, " the of music feelings of the soul are the substance
material which
is
all artists.
Now
mind
as having only a
vague external connection with technical principles, Mind and as a something fleeting and vanishing.
substance are indispensable to music
of sounds
itself,
is
;
the succession
the direct expression of them, the thing and not mere form. Nevertheless, the whole
life
of music rests
on a
and
we have no mere combination of sound to deal Let us now turn to the historical realities
art.
with."
of the
Beethoven,
necessary, for
For commencement perfection by Beethoven. the ground-work of this sketch, as far as the time of
Haydn, we
The
will
make use
by
J, Faisst, in
C HciUci,
a newspaper
now
discontinued.
earliest
by
then in 1683, there appeared twelve Sonatas for violin, violoncello, and piano by the violinist Corelli. But more important as a composer
of Sonatas was Johann Kuhnau, Sebastian Bach's He first wrote a Sonata in " B " in predecessor.
Neuer Glavieriibung anderer TheiL") Taken as a whole the form is the present one, the Sonata consisting of a quick, a slow, and then a quick movement. Tlhe style of writing is polyphonic, but the work fail In inward aesthetic unity. Kuhnau's next work ap** Fresh Fruit i>r peared, in 1696, under the title of
"
New
Pianoforte
Practice
Part
II."
("
Seven Sonatas for the Pianoforte, excellent in design and style, by Johann Kuhnau." {"Johann Kuhnau, frische Clavierfruchte oder siebem
the Piano
;
or,
i8
Clavier zu spielen").
in
form and
in
of energy,
and
also of
deep
feeling.
They
polyphonic treatment
Single
Kuhnau
free
intellectually asso-
by
movements.
this
to be
mentioned
in
department
in 1713,
5 '
Mattheson.
Sonata appeared
it
by him
best,
"
(derjenigen
Person gewidmet,
die
sie
am
It consists of 'one
is
movement
is
We
come
to
Domenico
Scarlatti.
In the
first
decade of the eighteenth century, he wrote '' 30 Sonate per il clavicembalo," and " 6 Sonate per il
cembalo."
parts, the
also a
19
The
two-part
is
form predominates
fitted
more
predecessors
notice.
respect to the matter of the Sonatas, " clever tricks of Scarlatti himself describes them as
With
art/'
They
and often overflow with humour, with touches also of a softer and more earnest feeling; though of
deeper intentions there is no. trace. Scarlatti did not give a new form to the Sonata,
in the sense of
making
it
a combination of several
movements, but he produced, in a style of writing freed from the fetters of polyphony and fitted to the true nature of the instrument, a form regularly
matured from the early kernel of the single movement Sonata. This form, as the standard, if
most important movement of the Sonata, as the most considerable generally among the non-polyphonic forms of an instrumental
not for
all,
developed a degree of excellence corresponding to the lofty aim of the Sonata, before what afterwards happened could have
first
been possible, namely, the giving to the Sonata, as a combination of several movements a regular
must
not
be
2O
omitted
cembalo
between
they are
homo-
written.
Looked
at
with
respect to
sonatas
a
they are
stage
beyond
Kuhnau
while,
as
may
now approach that musical giant, Sebastian Bach, of whom we will give two examples, the Sonatas in C minor, and D minor. The Sonata form
the combination of several
We
movements
he certainly is not either in form or style, equal in freedom to Scarlatti he stands nearer to Kuhnau
;
;
but he
a free
is
far
command
means
in
he shows himself
he combined several movements into a whole, in accordance with the characteristic style of the
Sonata, so that a higher intellectual inner meaning
before. Altogether, Bach the intervening transition step. The twelve Sonatas by Father Martini, " per 'lorgano vel cembalo," are another intermediary
21
work. Judging by the character of their composition, the Sonatas should have been styled "for the piano"
not
' '
medium
and the Sonata proper, being a mixture of polyphony and homophony, and contain plenty of intelligence and life, with very
skilful
From
of a
till
the
death of Emanuel Bach, in 1788, was the beginning new period for the Sonata when it acquired a
its
conception.
Faisst
Pianoforte
literature
all
increased
rapidly.
reckons in
After the
208 Sonatas
or at
for the
true,
least
single
movement
of the
Sonata, the object was to give to the Sonata, as a whole formed of several movements, a systematic
These Sonatas, therefore, regularly contain several movements. But this union of several movements into one whole took
shape corresponding to
its
design.
place in
many
different ways,
and
is
not so
much
to
The
movements
minuett already appears as the second movement. The form of the single movement is still partly like
22
Scarlatti's, partly
more
Move-
more
like a
complement
it
;
to the
first
is
theme
not so
often
than a contrast to
its
substance
is
doubtful
hence the weakness of this period. We observe further an enrichment and extension of the
;
song-form, although only an outward one, for its internal expansion leads it into the rondo and
Sonata-form.
Movements with
variations, in the
dance-forms, the minuett, and polonaise, and more The most rarely the rondo-form, already appear.
important name
of
Emanuel
Bach, while Johann Christian Bach and Leopold Mozart may be briefly mentioned.
The Sonatas
fire,
of
full
of
humour, and fresh grace; they resemble "-to In some extent those of Haydn and Mozart.
Leopold Mozart's Sonatas we seem to be already listening to his great son, so much do their style
and
spirit
remind us of the
Bach's
latter.
Emanuel
and
pleasing nature
is
we
feel
fresh-
ness, strength
and noble
feeling.
He
Haydn's
23
three-movement form
becomes a regular principle of construction with him. His Sonatas generally contain a first movement,
allegro, in
a second
movement,
movement,
writing
is
and a third
His
style of
mostly homophonic. Brendel says of " " Bach him, in his excellent History of Music," by representing, contrary to former composers, the
individual
mind and
individualism
in
its
changing
and
diverse forms
music."
founder of modern His chief works are his " Sonatas for
became
the
("
Sonaten
fur
Ken-
epoch now began the grandest which the Sonata has ever known, that of Haydn, Mozart,
:
A new
and Beethoven.
As
in
the
principal kinds of
instrumental music,
Haydn appears
as an epoch-
maker, a genius breaking through the old boundaries in proof of which we have only to refer to his
symphonies and quartetts so also the simple pianoforte Sonata received from him an important impetus and development, both in form and matter. Although the three-movement form must be spoken
of as
contributions
made
24
by Haydn to the progress of the Sonata were that he repeated the principal theme of the first part of a
he regularly settled the second, so-called fantasia part, and the third, socalled repetition part, into the Sonata form that he
in the third part, that
;
movement
many
at
;
of the earlier
into
all,
an un-
changing principle of construction that by these means he raised, enriched and amplified the single
movement
which means the Sonata generally that he reached a higher unity, and created a
firmer and
There necessarily
followed the development of the substance of the Sonata. The chief thought gained importance by
repetition
;
more
especially as
Haydn had
given
to
it
decided
and
characteristic
expression,
which he firmly maintained throughout the movement. Indeed the principal movements of the
Not only
movement show this unity, but the movements of the Sonata form a much more uniform whole, proceed more from a settled basis, and are much more closely connected together
does the single
collective
say
"
much
2$
rested on a it unity that was absolute, because be found we have psychological basis, is not yet to
;
rather, if
may
together of several
mon
It is
sentiment.
that spirit of naive and child-like .cheerfulness, that teasing play of jest and mirth, that roguish
humour, that caprice and frolicksomeness in short, all Hadyn's music reflects the thoughts and feelings
;
brought
in the
epoch of
golden age
and spring-time of the musical art, that with him music becomes conscious that she is not a mere
a lyric system and science, but a free impulse and master of poem. Brendel calls Hadyn the greatest
jest
and humour.
be,
However
may
however
little
Haydn's
child-like
the soul,
so rich in
nature may show us of the deep secrets of yet he is in his own sphere so original, genius, that a place belongs to him among
of the
the
first
tone
artists
of thoroughly entered into the gigantic conceptions Beethoven may still turn back, now and then, to a
to enjoy, as
it
were, a
own
paradise of
life.
Among
26
Haydn's many Sonatas, two only need here be referred to as prominent works, the one in E flat
major, and a smaller one in
minor,
Mozart was Haydn's real successor in the department of the Sonata. He gave it a further develop-
ment
in
many respects.
principle, received from Haydn, of starting with a definite and expressive theme, and making it the
basis of the
movement.
But
him
more
something was the cantabile, or the second subject, which Mozart introduced
and
this
into the
first
movement
of the Sonata.
On
the
whole he composed longer and richer phrases of melody, larger and broader, periods, established a
more
shade,
divided
precise
both
in
larger
divisions
of time,
and
distinction
parts,
and thus produced a definite between the tender and the vigorous a greater clearness and decision in the
periods,
Another
the utmost
shows
itself alike
in
small and
great,
This is the natural result of a perfect and harmonious nature. As Brendel and others have strikingly
27
from
the beginning throughout, the purest harmony of mind and soul, a quiet self-contained balance of the inner life in which the powers, a condition of moral struggles are hushed, or at most form but the This primary adjustment imfar dark back-ground. of mind, which is another parted that gracefulness characteristic feature of his music. This is such an
essential quality with him, that
when he
depicts
violent passion, he holds himself far aloof from everything is so closely wrapt in a
roughness;
pleasant
stifled.
passion
is,
so to speak,
Mozart, the
Mozart, the man, came out conqueror long ago. In in this respect, Mozart's symphony and quintett As regards G minor are especially characteristic.
the Sonatas,
it
must be acknowledged
far
at once that
Mozart stands
instrumental music.
the fantasia before unquestionably the C minor with A minor, the it; beside this rank the F major, Sonata for two performers in F major, and a few
others.
On
Haydn and
edifice,
Mozart Sonata, Beethoven reared his gigantic to the consideration of which we now turn.*
~*~From this historical sketch dementi may with propriety be omitted, for his forte was the technique of pianoforte playing, in which Beethoven even scarcely excelled him.
Krirtr
i
fart.
BEETHOVEN.
S Beethoven,
in his
took his starting point from Haydn and Mozart, so in his Sonatas he first trod in the footsteps of these
composers.
rity
But when he had reached greater matuand independence, Beethoven left these paths,
struck out a
new way and took a fresh aim, raised both the form and matter of the Sonata, breathed
it
into
a spirit, such as
;
known
in a
word, gave to
yet unreached,
awaken
lover of music. Unlike Haydn and Mozart, Beethoven was so entirely absorbed in this kind of music, and displayed in it so much of the essential character
of his genius, that Hand, in his " ^Esthetics of Musical Art," comes to the conclusion that Beet-
hoven's originality is pre-eminently recognizable in his Sonatas. This is asserting too much, for the strong
BEETHOVEN.
2g
is
us one of the best opportunities for a complete comprehension of this composer. It is precisely fn
the Sonatas that the stages of Beethoven's artistic
growth may be traced with the greatest certainty, for even Beethoven was not all at once what
gradual growth and ripening of his mind surely one of the most interesting psychological periods in the course of a great artist's development is more clearly
illustrated in his
he
became
in
his
prime.
The
Nowhere
else
are
gradual changes,
On
the other
exists
between the
The
form the intermediary stages, build the bridge over the chasm, and solve the problem. If the question,
be now asked
Sonatas
?
it
answered by the
Mean-
while
we must
set
forth
some general
arises
points of
in other
3o
artistic individwords, the nature of Beethoven's his instrumental music generally uality, and of order in its universal features, in
must
'be
shown
apprehension of
in
the particular and the special. The simple characteristic of his genius
opinion, the
richest
is,
my
fancy,
closely
allied
with a
lofty
In Beethoven,
and character are and significance, and in developed with equal power From this with each other. perfect harmony the finest passages are basis, it seems to me, as on it they are unmistakenaturally developed,
ably to be traced.
Nor can
this close
connection
realised
and character be
wrapt-up
not one-sided or except by a strong subject iveness, in itself, but in unison with objective
In contrast to Mozart and other composers, Beet* Kullak says, in his excellent work on the Beautiful in Music *' No one has ever felt more devoutly than Bach, more with more gigantic power than happily than Mozart, or Beethoven." der Zukunft ") with f Richard Wagner says, (" Kunstwerk " Beethoven raised the regard to the C minor symphony, expression of his music almost to a moral determination."
:
BEETHOVEN.
hoven has been
artist,
3*
with
whom
is
to subjective
matter.
There
some truth
in this statement,
for,
but
we must guard
all
against misunderstanding,
with
his self-absorption,
objectiveness than
many
composers.
Such
strung sub-
without deep stirring excitement could come into being, and in contact with other
existences.
Do we
not find
it
especially so with
Beethoven?
Beethoven
his con-
and
and repulsion of the subjective through the and all pervading ego. objective into the innermost
appear prominently in Beethoven's instrumental music; and it has long been
All these peculiarities
lies
in
this,
and not
in
instru-
mental music, Brendel, with admirable conciseness, " " " Musical The chief thus writes, in his History characteristic of Beethoven's instrumental music is
the increased power of the subject-matter resulting in the heightening and extending of all the means of
expression.
32
the matter,
we
ness of expression, by which music alone, not united to words, is made capable of representing definite
states of mind.
Haydn and
Beet-
Mozart,
thecommon character
of instrumental music
was a
free play of
and pourtrayed clearly recognizable states of mind. Closely allied with this was his endeavour to set
a poetical
of his compositions
was
Mozart's
intelligent
and
logical
working out
But with
Beethoven the formal treatment ceases to be a leading consideration, and the tone-poet, followinghis
poetical object, brings before us a soul-picture, rich
in various
moods and
feelings.
its
Finally, the
humor
of
Beethoven's Sonatas,
the reflection
the
conspicuous for increased dimensions, for the representation of definite frames of mind, and for their
poetic tendency.
so
is
it
in
is
no way
in
comprehensive
for
example,
the
symphony.
is
prepon-
deratingly objective
in the light
BEETHOVEN.
ot
33
In the Sonatas a Beethoven subjectiveness. Beethoven refers only to his innermost self. Buried
own
own inmost
soul.
These works we
so
of
will
now review
we must
Beethoven's creations.
first
X It
intimated that at
Beethoven trod
of his predecessors,
Haydn and Mozart, works belonging to that time his individuality continually becomes more conspicuous. This is the first period. Then Beethoven has emancipated himyet in
paths the
stands alone, has reached maturity and independence, has become a man in the fullest sense of
self,
is
In the course
his soul's
life,
appears an isolated being, and only the most individual feelings are represented. This
which the
artist
is
To
the
first
period the
first twenty [or thirty works are, on an average, a hundred ; assigned to the second, those up to
;
To draw
is
in
34
composition;
afford
therefore
opus
numbers can
no
criterion.
Then, again,
in single
works
Marx,
in
when he
In
its
profoundest
;
is
but one
that
something
which
riot
distinguishes
him
from
other
masters does
later
appear
time in his
works.
appear
raison d'etre.
BEETHOVEN'S SONATAS.
Sonatas
may be
divided into
fEETHOVEN'S
several groups
sent,
OP.
2,
No.
i,
F MINOR.
to
Appeared in 1796.
Dedicated
Joseph Haydn.
This sonata
is
Marx puts
it,
36
not finding it ; to see which we need only look at the characteristic form of the first and second
subjects,
and
at
(compare Marx, "Beethoven," vol. i, p, 122). What then remains but quietly to submit ? Does not the third subject, shortly before the end of the
first
part,
movement, the passage marked con express, indicate There is all through the movement a breath this ?
of really passionate yearning, but only a breath ; it does not come to a real struggle, and to sharp
contrasts
;
about
it.
The second movement, adagio, F major, f time, Marx calls a child's prayer. "It comforts if it
does not find a hearing, yet the anxiety depicted in the first movement has not disappeared, but in the
tributary subject quietly
itself felt."
only in passing that anything painful arises to darken the picture ; and then the cloudlet
strains
;
it is
it is
Few
The
third
In the
time,.
movement, wenuetto
F minor, f
BEETHOVEN'S SONATAS.
the mind
of the tone-poet
falls
37
move-
ment.
"No
rest
keine Ruh) is the impression produced by the minuet and by the trio in F major, and the climax of this sentiment in the second part of the minuet is
very
fine.
But now,
in the fourth
movement,
prestissimo,
;
minor, J time, a storm rises in the soul as Marx finely says, when fortune fails we behold the courage
if
by the sweeping trills and the well marked chief theme. Only for a
which
is
excellently expressed
a quieter sentiment perceptible, then, at the beginning of the second part, a soothing melody predominates for a time, and the
moment,
sweep onward again, ever stronger and more irrepressible, the storm and rushing begin afresh and
retain the
mastery
until
the
end.
The finale
is
it
beautifully rounded,
is
and shade
excellent.
38
trois
"
it,
Un
morceau
le
si
franc,
si
dramatique,
temps qui
put
the
lui
tre
is
compare."
The
Sonata
decidedly Mozartish, whether we consider form or the matter, especially the principal
subject,
though there
is
both generally and in detail, the later Beethoven already appears the elevation and energy of the
;
last
OP.
2,
No.
2,
A MAJOR.
to
Appeared in 1796.
Dedicated
Joseph Haydn.
distinguished by an almost equally uniform and consecutive, if not quite so close and
This Sonata
is
clear a
preceding work, which while partly surpassing in originality, it is throughout inferior to in elevation of
style.
In the
at
first
movement,
allegro vivace,
f time,
Beethoven
How
is
theme
announced, how boldly and cleverly it is carried out, how striking are the scales and modulations to which A youthful and even wanton humour is we listen the leading thought* Marx sees, in fancy, a restless boy, who does not know how to give vent to his
!
BEETHOVEN'S SONATAS.
overflowing
vitality.
39
if this
This
is
minor,
A
is
minor
in the
second part.
The
of
and
is full
a fresh and uniformly harmonious expression of feelAlready, the original genius of Beethoven ing.
distinctly appears, the first
Beethoven humour are perceptible. The movement contains passages, such as the one which, at the
entrance of the second part, is first worked up in C, and then comes to rest in the same key, the passage further on in E major, just before the return of the
first subject,
and others
also,
whose
origin
would be
In the second movement, largo appassionato, D major, f time, feeling, thought, humour, and fancy
gather
themselves
together
and
something sublime in the procession of those quiet, measured melodies and harmonies. Lenz remarks that the
piece reminds one of Handel's style. Profound but restrained agitation pervades the movement. Very
There
impressive
is
minor
into B
in the
second half of the piece, the diversion major, and then the return into D major with the repetition
40
of the
by
this,
and
by the conclusion which immediately follows, a quiet touch of glory is added to the picture, and the
whole
Marx well says : is rounded off in beauty. " the song is quiet and solemn, like the thoughts of a noble mind alone under the starry firmament ;"
and the entrance of the minor, he says, produces a thrilling emotion, as if words like death and eternity had
fallen
on the heart.
allegretto,
The
scherzo
major,
is
J time, which
a lively bright
recalling, as
movement,
composition, "charmingly
alluring,"
the
minor
in
(trio),
the
Haydn-Mozart
form, and
melodies generally.
The
time,
fourth
major,
is
J
in
is
there
no
trace of Beethoven
humour, such as
;
we found
the
the
first
movement
there
is
this
movement,
chief
theme
especially, is decidedly
;
Mozartish
in con-
an agreeable play of sounds, but a ception deeper meaning is wanting. The formal musical structure is, however, interesting, the rondo-form
being originally treated. On this point I would refer the reader to the third part of Marx's "Com-
BEETHOVEN'S SONATAS.
positionslehre,"
in
41
which he speaks of the movement as the best specimen of the Rondo-form Beethoven
has given us.
The
the last two two not quite equally good parts movements do not fully correspond throughout in
style
and expression
not in
Marx
also
ment
is
first
movements.
OP.
No.
3,
C MAJOR.
to
Appeared in 1796.
Dedicated
Joseph Haydn.
with the exception, perhaps, particular passages, and, of the second movement,
it
at its
basis.
A bright, active
life,
first
is
movement,
in
major, f time.
Nor
marked
dolce,
major, respectively, in the first and second parts, abundantly prove. On the other hand, the picture is not without its humorous side
major, and
(motive at bar
part).
conclusion of the
first
Storm and hurry are well depicted by the The so-called rolling up and down of the octaves. fantasia part contains some excellent passages, and
42
shows more freedom than in the works of earlier to me composers, but the most original part seems
to be the point d'orgue on the chord of
flat
major,
followed by an interesting cadence, leading back to the first theme, and bringing in a powerful and
magnificent conclusion.
sonata-form for
deep devoutness pervades the first theme of the second movement, adagio, E major, f time, a feeling
happiness breathes through its tones. Soon, however, with the appearance of the E minor, a yearning impulse, not without
of inward
contentment
and
is
manifested.
(Entrance of the
Further on, the
and
minor
in fortissimo.)
first
theme returns soothingly, and in C major, fortissimo, it even becomes the expression of courageous confidence.
It is
is
but
it
dulled,
and the
theme
is
octave higher
height
and, in
sounding as
were from a
glorified
a calm, beatified
mood
the move-
ment ends.
even
The
modu-
lation, everything
it
fresh,
is
new, original,
sometimes
certainly tone-poetry, soul magical; Beethoven alone. painting, such as was peculiar to the third movement After this movement what can
BEETHOVEN'S SONATAS,
the allegro scherzo, character
is
43
major,
time
mean
?
;
Its
the
form
is still
that of .the
Beethoven scherzo has not appeared. The trio in A minor is not without originality, with its almost
wilful
former
The tone
colouring of
the whole
is
original,
assai,
major f
a
little
full
of the
most sparkling
life,
an episode
in a
motive in
The period of storm and rushing. major (dolce) in the middle of the
contrast,
and serves
This
sentiment
the end
;
rises to a
and
like the
powerful
conclusion, which
Beethoven
trait.
now and
as
it
were, cast in
it
Bacchanalian revelry, to
44
foreshadow, though as yet quite faintly, the A major symphony. Lenz says, that the movement is a sort " Halali " of rondo a Id chasse, and he perceives the
quite distinctly.
will
the
law of working up the sentiment to a climax is fulfilled in this Sonata by this finale. But, I ask again,
to
do with the
or-
ganism of the whole ? An inner connection between it belongs it and the other movements is wanting
;
Lenz seems
also to
be of this opinion.
He somewhat
;
fancifully says
Venus
D MAJOR.
Date of composition
Appeared in
uncertain.
This
is
in
is
certainly a
work of
and
way be compared
which
is
surpassed even by Mozart's charming There is nothing little pianoforte duet Sonatas. more to say about the work. It is decidedly doubtfar
ful
its
BEETHOVEN'S SONATAS.
publication, as op. 6
;
45
it is
far
more
work
likely that
some
uncalled for
at
here.
OP.
7,
E FLAT MAJOR.
Dedicated to the Countess Babettt von Keglevics.
first
Appeared in 1797.
As regards the
is
two movements
this
Sonata
allegro
an important one.
The
first
movement,
is
flat
major, f time,
a tone-picture
and character,
is
romantic feeling
shed
tone-images;
and enhance each other's glory. At the same time, this many coloured play of sounds is filled with "life
and soul
light,
shadow may not be wanting to the a few earnest touches are interspersed here and
;
so that
there, the
humourous
This
enough to show the richness of the picture the reverent player and hearer will easily feel it all,
is
and the special beauties of the musical expression will soon reveal themselves.
The second movement, largo con gran expressione, E major, f time, strikes higher chords. The substance of the movement may be described in a single
46
holy and
a exalted tone pervades these strains, which give master of the soul. The glimpse into the depths
seems to have been caught up into higher spheres I only than those in which he had just lingered. he soon he seems to have been caught up, for
say
feels that a yet
higher world
lies
it moves his soul (the motive strong yearning after Stronger and stronger in A flat major, bar 25). shatter becomes the pressure ; blows resound that
it
is
as if fate
were knocking
of existence, pain of living by the rough reality The yearnWhat a powerful, dramatic passage and touching plaintive tones ing becomes duller, itself into quiet fall on the ear, the mind collects
!
with the return of the first theme resignation, and sinks into its former deep reflection and holy
meditation.
seized with
;
but
of the feeling of what he has been soaring after, has won, now takes what, in 'spite of all things, he
rises into
happy
trance.
it
In this
mood
the
movement
closes.
We find in
what
it
is
adagii) for in
we
In
BEETHOVEN'S SONATAS.
the following
47
unfortunately,
movement Beethoven,
had attained.
The
latter,
third
movement,
allegro,
E flat
is,
and minore,
with
E
its
flat
minor, certainly
persistent restless
trills, its
harmony
original stamp,
like
"a
old
that of an
German Ballad (Ulibischeff), inclining itself, as Marx says, to an inward unquiet ruminating and successor to brooding, being in no way an unworthy
the
first
two
especially
flat
allegro,
and
allegretto,
and form major, f time, are as regards substance of a strikingly Haydn- Mozartish character, without
any prominent
originality.
vague, general play of sounds, the finale, especially is overloaded with unattractive figures and passages.
The
is
a want of
climax
shows what a strong hold Beethoven's him. He has only predecessors still had over
it
ioi
No.
i,
C MINOR.
is
In the sequence of the movements this Sonata characterised by one very steadily developed funda-
48
mental thought
perhaps
of
it is,
the
last
Mozart manner.
The
movement
allegro motto,
to whom one over-hearing his great fore-runner, so unhesitatingly ascribe the movement,
might
are the chief themes and entirely in Mozart's spirit Everthing recalls Mozart's their working out.
great
C minor
sonata.
the
movement may be
passion.
Through the second movement flat major, f time, there breathes fervour (Innigkeit) which was not mental struggle, and which has no
ground,
adagio molto,
that
Mozartish
the result of a
mind
at rest
with
itself.
whole
style
in melody, harmony, and very special originality of modulation, is a reproduction of Mozart, though,
an
intelligent one.
The
be
will
this movement with appreciated by comparing the largo of the previous Sonata, or by flaying the The conclusion after each other. two
immediately
of the
prestissimo,
BEETHOVEN'S SONATAS.
49
minor, ^ time,
original.
on the other hand, the most The two chief subjects and their developis,
ment are
something of the true Beethoven spirit pervades the whole. The master departs from his model and seeks original paths.
quite peculiar,
is
There
at the
It
no more reticence or
restraint,
lively
;
emotion
fills
entirely wanting.
the aim of the struggle were to shake off the melancholy character of the minor, the C
seems as
One
OP.
10,
No.
2,
F MAJOR.
to the
In the
first
and
last
movements
of this Sonata
with the spirit of Haydn. The of the merry, roguish jocose, cheerful, easy nature the first movement, allegro, F Haydn runs through
Beethoven
is filled
major, f time.
strikingly.
The
It is
changes, and of
the
marks
calls
of originality.
the
it
movement
allegro,
F minor,
50
Here f time, transports us into Beethoven's world. are the germs of the Beethoven scherzo; the master
stretches out far beyond the forms of the
Haydnoriginal
produces a most
is
so fantastic, so setherial,
that
it
effect,
awakens
in
me
" Faust." a feeling like that of Goethe's words, in "Wolkenzug und Nebelflor
Erhellen sich von oben,
Wind im Rohr
Und
Alles
1st
zerstoben."
Lenz says that it brings before us a Brocken" Faust," while Marx calls mountain scene from
attention to the reposeful harmonies in
D flat
major,
"
Is
it,
to be found
"
F major, f time,
Beethoven relapses into the style of Haydn. It is constructed on one motive, and pervaded by a Puckish spirit; as Marx observes a mischievous
is
carried on
the
former seeming to resemble an old man with a child To this apt observation we have pulling his beard.
nothing to add but that it is useless to seek in this movement for a trace of the Beethoven, whose
idiosyncracy has already frequently been revealed.
BEETHOVEN'S SONATAS.
51
OP.
10,
No.
3,
D MAJOR.
the
In
this,
which Marx
galls
first
great Sonata,
we
in the first
two movements.
What
there
is
in the first
movement,/>mfo,
is
D major,
first
time
How
characteristic
notes in
above,
to
the
fifth
and then the broken octaves to the tenth above, F sharp, which by the combination of a descending
passage to the fourth A, are rendered
expressive.
still
more
and
The
resistless
depicted in the
there
is
scarcely a
moment
of rest
first
the reposeful
is
motive in
to
still
major, in the
part,
powerless
ment
is
the masterly power with^ which the motive of the first four notes, D, C sharp,
Particularly noticeable
B, A,
istic
is
worked
out, the
it
forms in which
is
and
still
more
in
remarkable
the
iron
energy displayed
the
fantasia part,
and
the
pacing bass notes and stormily descending octaves, interwoven with which a passage which is the humorous motive at bar 32
first
52
is
not
dramatic
heroism
yet in the
pervaded by youthful vigour and and in fancy, we Gan see, though only as " Eroica " of the
it
is
dim
symphony.
largo,
minor, f time
is
worthy associate of the first. Marx aptly characterizes its meaning as one of dismal fretting and
It bespeaks deep manly depressing melancholy. sorrow born with fortitude in the A major motive
;
overwhelmed with a deep impassioned sorrow, which And now for slowly subsides, and gently dies away.
the musical representation of such a subject
it ?
!
Does
Not in remind us of Beethoven's predecessors the least. Here, as in fact in the first movement,
the whole greatness of the later Beethoven is already so new and original is the composition.
again the dramatic feeling makes itself felt, is heard in the low especially where the chief subject
^apparent,
And
passage
And how
sharp, shortly before the close, depict the keen, This largo surpasses any of cutting inward woe
!
BEETHOVEN'S SONATAS.
the slow
53
movements
hitherto mentioned,
and
also
many
of the
Unfortunately,
two movements.
movement, minuetio, D major, f time, G major trio sunnily bright as it and the teasing
The
third
both are, does not accord well with the unfathomMarx, however, able depths of sorrow of the largo.
thinks differently, and considers the
correct and necessary
movement
as a
member in the organisiH of " the piece (compare his Compositionslehre," part 3), Supposing that in the inward, as in the outward world,
there
is
all
the
that psychological mysteries of darkness, and granting correctness requires that brightness and light should
follow the night which
still it
seems to
me
that the
movement
in question
has too
much
of that light
little
and
and
necessary connection with the previous movements. I always have the impression that Beethoven lost his
cue here
Nor
miss the working up of the ruling thought. does the fourth movement, rondo allegro,
;
major f time, supply this want. It certainly is more characteristic than the third movement : the
54
first
original
most diverse forms, in a masterly manner, while the whole is exceedingly lively and not without
humour.
cessors,
But the influence of Beethoven's predewhich in the largo, was slightly perceptible,
the
first
and
in
movement
scarcely seen at
all,
is
apparent at intervals.
of the two
first
and
fleeting,
give an impression of any striking internal unity, or to form an adequate conclusion of the whole work.
OP.
Appeared 1799.
13,
C MINOR.
to
Dedicated
Prince Lichnowsky.
movement.
The work
tanti.
has always enjoyed a special preference among diletIt may be described as one of the master's
most popular compositions, and is the ne plus ultra with those who have not arrived at an understanding of the later works, such as Op. 57. name " Pathfctique " may have contributed to
as has also the fact that the Sonata
is
The
this,
easy to play,
more easy
named
composition.
But the
BEETHOVEN'S SONATAS.
55
work, the plastic soul-pictures, explain the preference the Sonata comes very near to the emotional " Pathetique" is understanding, and the title
:
striking
and not
easily
if
pathos is deep, earnest passion, which, however, does not over-step a certain measure of gravity, and
dignified deportment.
The
brio,
first
movement,
grave,
is
minor, J time
the
most
primary character, a
life-like
passion.
seems restrained
breaks out,' in
fire
already
a marked rhythm, but only to be immediately quenched. But at the entrance of the and rushes allegro, the lava stream bursts its bounds,
forth.
then more keenly and intensely pleading, soothing voice is heard restraining the storm. But in vain is the stream damned. A
moment's
grave
;
passage marked then the storm began anew and with increased
rest is perceptible in the
power
in vain
it
in
minor.
And again
minor and
minor.
But
length
subsides in a diminished
56
outburst, followed
the repeated appearance of the grave as particularly " It does not stand there as Says he : significant.
an empty clang of sounds or chords, but has its own and especial purpose in the mind of the composer, is in accordance with the character and intention of
the whole; three times before the end
points back to the heavy
it
solemnly
The nature
it
of this grave gives the impression that could be the product only of some strong deteris sharp struggle, the master's mind second with the deepest, soul-felt peace ; in the
mination.
After the
filled
movement, adagio
a chord
is
cantabile,
flat
major, f time
singing
feeling
struck, of
which a sustained
theme
is
The
becomes more and more deep and holy, the end, to real rapture. Once only, when the
and rises, in
theme
is
heard
but
in
flat
escapes:
this
produces
exaltation (transition to
major); a
moment, and
around
us.
allegro,
C minor,f time,
which swept through the soul in the first movement, has subsided, the tone-poet has saved and ensured
BEETHOVEN'S SONATAS.
his
57
purified itself.
most
direct expression.
is
the result
was
but a happy, courageous submission, for fresh exertions, and renewed full of power There runs also through this movement activity.
inevitable,
an active, though not unquiet life-current in many changing forms, "bewegt und doch massvoll Alles,"
a satisfactory conclusion.
that the last
It is
not to be denied
movement, both
and
more
so than
OP.
14,
Nos.
and
2,
E MAJOR
and
G MAJOR,
Dedicated
Appeared 1799
to the
After the
these Sonatas
The whole
of the second
Sonata, particularly,
might be unhesitatingly ascribed to Haydn, while the first is a little more independent, but so little
that, although
it
it
Through
Schindler, these
58
Sonatas have received what one might almost call an undeserved celebrity; at any rate, one which
anticipate.
Schindler makes
with him, in the year 1823, in which Beethoven described the contents of the Sonatas
as a dialogue
wife, or
between
lover
conflict of
two
principles,
work on Beethoven, takes much trouble Marx, to place the purport and importance of this remark
in a right light
;
that
is,
to reduce
it
to proper pro-
portions.
expression had no special reference to the works in question. Indeed, all instrumental music contains
contrasts, like tfre
much, for Beethoven has, in other works, composed more clever dialogues. Supposing that these Sonatas do
contain a conversation between
man and
wife,
it
does not place them in a more important light. Besides, Marx fully shows that they really have not
the least trace of dialogue.
Like Marx,
we may
find
Their meaning
is
so
BEETHOVEN'S SONATAS.
and
clear that a further explanation
59
would be super-
fluous.
OP.
Composed 1800.
In the
first
22,
B FLAT MAJOR.
to the
Dedicated
movement,
is
;
Allegro
for
flat
major, | time,
remarkable
a fresh pulse of
Very characteristic
passages
is
the
first
theme
it
which
is
depicted
brilliant
is
ranging
interrupted only by the firm courageous entry of the second subject in Towards the end of the first part, thirds and sixths.
there
is
and
and suggesting the appearance of an earnest, manly form in the midst of a gay youthful crowd. The second part introduces a new and
falling,
characteristic
feature.
It
appears, at
first,
like
some
precipitate retreat
the surrounding elements ; but the scattered forms gradually re-unite, the treble
among
performing passages of rapidly rolling semi-quavers, while the bass moves to and fro in crotchets and
quavers; after which comes a momentary pause.
60
movement recommences
an
In
as if
more before
for
instant.
still
some
of the
movement we
in
are
reminded of
originality
Mozart, but,
general, Beethoven's
decidedly appears.
for the
second movement,
through the
move-
ment
what weak
might be said that the melody was of Italian tinged with the lusciousness of the best kind music, and was thus foreign to the Beethoven of our
it
imagination.
Although
this
movement
is
no im-
the provement on the first, it is not inferior to it, as two last movements unfortunately are. In point of and Lenz agrees in this Beethoven decidedly fact
relapses into the
in the third
Haydn-Mozart
minuett,
style of writing
both
movement,
B flat
major, f time,
and
flat
major,
time.
A cheerful, ordinary
;
in individual expression,
movements
originality.
BEETHOVEN'S SONATAS.
61
OP.
26,
A FLAT MAJOR.
Dedicated
to
Composed, 1801.
Prince Lichnowsky.
this
Sonata
is re-
markable as being the first example of Beethoven's use of the variation and march forms. Indeed the
work
it
is
consists of
an
air
The
Sonata
fails in
polation of the
intrinsically a masterly
work of musical
the funeral
if it
worthy predecessor
into
"
this Sonata.
to
march
of the
were "stuck
for
How
weak
does
it
to
after the depth and grandeur of the march, and producing an effect which dispels all the enchantment of the slow movement ? This concluding
is
rondo
But
in
and
The theme beauty of the air with variations. breathes an ardent longing, arising, as Marx says, " In out of a deep, yearning, exalted feeling. the
glorious
variations," writes
Marx, "this
fervent
62
feeling
developed
it
The
first
notes,
E,
flat,
variation
when
worked up higher
from the begin-
and higher,
ning,
it
native regions.
in
The same
impulse, though
following
a more
fretful
tone,
it
influences the
variation,
spirit
whence
of consolation,
now
sinking,
now
soaring,
The
last variation
theme divided alternately between the soprano and alto, in an agitated but still a more confident manner, and finishes with a sweet pleasing
the
hushing."
a totally different manner from Mozart, for example. The latter constructs his variation merely on the formal musical foundation of the theme
:
with him
the variation is more like an ingenious paraphrase of the form of the theme, but with Beethoven the
intellectual side of the
its
sentiment becomes the ruling motive for each variation, so that a greater internal transformation is
BEETHOVEN'S SONATAS.
63
observable but only in the latter works does this The scherzo of this principle appear quite clearly.
trio especially,
;
considerable originality
the latter
as
Marx
says,
" one of those gently-breathing, self-reposeful sort of " trios such as Beethoven alone could write.
OP.
27,
No.
r,
E FLAT MAJOR.
This Sonata
is
entitled,
The
form
almost entirely me like a mixture of song, rondo, fantasia, and Sonata, for all these forms enter into it, and in
is
seems to
Consequently, there
is
a want
slight,
and there
is
a frag-
work as
if it
were an
With
this heterogeneity of
expression is a want of uniformity of sentiment, and an abrupt transition from one phase of feeling to another, as in the free fantasia. There is a visible
striving after
meaning.
The
movement, andante9
flat
64
major
major,
romantic style, after the f time is written in the manner of a song. The constant return of the
theme, good as
certain
it
may
ing to
colourmonotony, which requires orchestral But what shall be said of the give it relief.
jovial interlude?
How
does
it
elegiac tone
It
may be
humour; but to my mind it does not seem in keeping here. Whatever were Beethoven's intentions they were not realised. And fhis
called Beethoven's
is
we have
already noticed.
One
it
Op. 90.
allegro
motto vivace,
C
its its
unsfable,
it
hurrying
character, and,
in
humour,
Beethoven
flat
The
third
movement,
adagio,
major, | time,
warmth
of feeling.
little
The movein-
ment
is
extraordinarily short,
more than an
commajor, f time a bright, lively, agitated almost of elfishness. position, with a dash of fantasy,
flat
BEETHOVEN'S SONATAS.
65
OP.
27,
No.
2,
SHARP MINOR.
This Sonata
most important productions, not only in the circle of the Sonata, but in the whole of Beethoven's instrumental music.
fantasia has been attached, enjoys, in another manner, the same popularity as Op. 13. Disappointed affection
of this Sonata,
which
is
dedicated "Alia Damigella Giulietta Guicciardi." " in his immortal " Beethoven shows," says Marx,
a secret flame
fire
burning
desire
of insatiable
describes
lived
on
Marx
hear
the
first
movement,
adagio,
C sharp
minor, f time,
soft,
We
deep,
and
oppressed heart.
The
trouble
is
but closely blended with this hearta sense of silent submission to the inevit;
key
With melancholy and pain the movement began, and with these it dies away. The musical colouring
66
is
embodied.
"
An
allegretto,
flat
second movement.
nunciation
of
is
Marx says
The song of
'
re-
Oh, think
farewell
'
!
me
think of thee
Farewell,
till
the
of
last
'
for ever/
Who
happy moments gone, or the shadows of a dark future which pass before the spirit of the resigned one in the trio?" This is an ingenious
interpretation of the
movement which
But
I
Liszt, looking
which
it
is
connection in which
like
it
an interloper.
is
it
Is this really
own
style, or
that of the
This
allegretto
seems the
which pervade the rest of the Sonata. I feel a shock to my feelings in being suddenly snatched from the pathetic spell of the adagio, and transported
irom the profoundest soul-depths into a
ing, easy-going sort of world.
I
light, fleet-
may be
mistaken,
BEETHOVEN'S SONATAS.
so I will not seek to spoil
67
any one
else's
it is
enjoyment
of this
allegretto
to me, however,
a mystety in
this place
sharp
gloomy passionate
wrath
breaks boldly into free channels, a frightful storm begins to rage, as if some volcano were rolling out
Could glowing lava from its thundering depths. this be better represented than in tke opening motive,
and
harmonies and
modulations surging like billowy waves of the sea ? The sublime spectacle of the giant's struggle with
these powers of darkness
struggler
is
Will the
No," says the second subject, that strong confident form, which appears first at bar 21, and "No," says also that flash of redeeming
?
succumb
"
humour
major.
in
Such power the demons have not gained, and there are hopeful gleams of light in the chaos. The storm may rage till the end but it has then
;
worn
itself out,
and the
and
the indelible ideal meaning of this incomparably richly coloured night-piece, and we
is
saved.
Such
some
more been
vouchsafed to us.
68
OP.
Composed 1801.
28,
D MAJOR.
to
Dedicated
Joseph Edlen
von Sonnenfels.
The
Sonata.
title
manner, and, pointing to the Pastoral Symphony, thinks that in Beethoven's works, which bear this
name
aright,
there
is
We
cannot sub-
which
is
To me, sense, and must be taken cum gvano salis. at any rate, the Sonata always recalls feelings akin
to those which works like the Pastoral
Symphony
allegro,
awaken.
And
?
breathe through
major, f time
movement,
This
indeed, a sunny-bright
and
expressive picture of
life,
and
full
of charming changes.
full
We
feel
that .this
meaning lies in the whole but the interpretation which Marx (Beethoven, vol. i., page and to the 311, first edition) gives to the movement,
whole Sonata, seems to
me rather a forced
one.
We
agree with him, "that a hidden meaning seems to " run through the first movement. The succession
of harmonies and the
BEETHOVEN'S SONATAS.
wonderful
eflect.
69
part
truly,
first
This
andante,
minor, f time,
that which
comes over us
when
light films
making a
only breaking a
kindly sunbeams.
little
to admit the
The
third
movement,
is full
allegro
vivace,
D
is
major, f time,
of gay, teasing
humour, and
trio
again
is
not without
single
originality in its
obstinate
is is
repetition of a
motive.
The movement
movement.
This
rondo
major,
time.
We
seem
and running away, playing hide and seek, keeping as still as mice, and then bursting out and rushing on
joyfully
and wildly.
Haydn and
in these
too clearly
70
last three
The working up of the primary thought is wanting. work always seems to me like a Janus with two faces
one facing backwards, the other forwards,
OP.
31,
No.
i,
G MAJOR.
Humour,
Sonata.
first
grace,
characteristics
of
Marx
briefly
and aptly
describes
the
movement, allegro vivace, G major, f time, as The short spirited and sparkling with humour.
its incisive
rhythm, and the rhythmical form implied by this motive gives to the Sonata its original character.
A
in
fine
contrast
full
which,
by a third motive of a similar character, which is heard towards the end of the first part in the same key, and afterwards
major,
and
also
in
major.
is
rich in sur-
prising changes,
adagio grazioso,
major,
BEETHOVEN'S SONATAS.
| time,
is
71
;
idealised
In
Beethoven
lavishly displays
sorts of sensuous
himself in
charms; and yet he never loses effeminacy and flabby sentiment; never
is
forgets that he
German
in
This
is
especially
apparent
in the tributary
subject in
fiat pp.,
quiet, magical power, bears from the laughing Hesperides, and leads us* away
move-
ment, into
real
German
heart-depths.
allegretto,
The
third
movement, rondo
major, ^
Nothing could
than the
first
be more characteristic
subject.
in this respect
very long movement, of which Marx says that it is possessed exclusively by a comfortable jog-trot spirit.
The theme
is
presented
in
all
possible
changes,
think the
But
it,
whole.
me
towards
72
in
some measure
pleasant and
is,
refreshing change.
so to speak, something
Altogether
this Sonata,
no
less
than
predecessors,
fails in
OP.
31,
No.
2,
D MINOR.
The
earnest,
first
movement
is
minor, J time,
passionate and violent conflict, accomof panied by inward struggles. In the beginning the movement, the master still betrays indecision ;
he pauses, reflecting whether he shall take the After one essay, however, he decisive step or not.
decides, and the storm bursts forth
;
at bar 21 the
chief
and
full
a gentler
impulse of pain or of supplication; then the feeling becomes more and more restless, and the second
theme has a very agitated character. hard blows resound as if the struggling
Now some
spirit
were
BEETHOVEN'S SONATAS.
bracing
itself for fresh
73
the deep, dis-
effort.
Then
commence.
we hear
again
largo question
sounds solemnly three times," and the response is renewed, but more eager aspirations and passionate
struggles.
is
A moment's
rest
Such
take to be the meaning of the recitative. Then the struggling and striving are renewed, till at last
the storm subsides and
dies
away
flat
in
dull,
deep
mutterings.
major, f time,
theme
of this
movement.
But amid
all
this repose
;
come
unspeak-
an ardent
the agitation
is
yearning begins again, to be, however, quieted at last. The whole is a beautiful and richly coloured
piece of soul-painting.
The
first
third
movement,
allegretto,
movement of
four
74
notes only, A, F, E,
This
to the piece, especially gives a stamp of originality in the second tuneless motive, and something of a
imparted by the almost obstinate What does repetition of the theme in every key. A deep agitation runs this movement mean ?
bixarre tinge is
through
similar
it
we
that
see
in
a striving
first
after
something,
to
;
the
bitter
almost gnawing
aptly calls
spirit
it,
grief.
Marx
breathes a
runs through
even
there
is,
although we
may
and the
first
movement.
And
may
in public.
BEETHOVEN'S SONATAS.
75
OP.
31,
No.
3,
E FLAT MAJOR.
The
first
movement,
allegro
flat
and which we
works.
shall
first
it is
meet
The
humorous
stamp, and, as
facetious character
now in the treble, ning of the second part, where, in a charming elfish now in the bass, it skips about
manner.
The movement
first
is
theme which
flat
appears
in
fiat
major, then in
major.
original,
Although the first motive was very this has a decidedly Mozartish colouring,
itself also
which shows
of the piece.
in the further
development
Beethoven
is
Beethoven leaning towards Mozart. The former meets us again in the second movetime. ment, scherzo allegro vivace, A fiat major, J This is one of the sweetest and most aetherial move-
One
and humorous elfin transported into the fantastic " Midsummer Night's world, into a scene in the
76
Dream," so magical
composition.
The
effect of the alternation of splendid and surprising the ff in F major, afterforte and piano especially
9
wards
in
is
flat
major,
is
indescribable.
This move-
ment
The
E
so
flat
entirely
conceived in his
spirit
the
trio,
This
may
last
movement, presto
which the climax
is
confuoco,
flat
major, f
time, in
spirit of
reached.
racteristic
This finale
motives,
is
formed on
at
beginning of the movement, the other at the twelfth bar, both of which, the latter especially, are carried out in the
one
the
most surprising and diversified manner. The climax is reached in the second part, where, by an enhar-
monic change of the G flat, F sharp major is introduced, and is further modulated into G major, the
humour thus
most
free
itself.
such, in short,
is
BEETHOVEN'S SONATAS.
77
OP.
49,
No.
i,
G MINOR,
No.
2,
G MAJOR.
There
,
is
but
little
to
are properly sonatinas, like Op. 6 ; though are deeper than Op. 14. They are undoubtedly they productions of Beethoven's earliest youth, and for
They
is
least of
answerable.
All that
noticeable
is
that the
motive of the minuett isuthe second Sonata had already appeared In the Septuor, Op. 20. This
circumstance would indicate an earlier origin for the Sonatas, for it is hardly conceivable of Beethoven
that he should afterwards have
worked
out, in such
narrow
limits,
portant works of the first period, The connection existing here is similar to that between the first
theme of the
last
movement
it,
pianoforte variations on
and
in
another sense
between the singing-theme in the Fantasia, Op. 80, and the song of joy in the ninth Symphony that is,
;
is
afforded us.
78
OP.
Composed about 1.803.
53,
C MAJOR.
Dedicated
to
Appeared in 1805.
Count Waldstein.
What
first
a giant
is
Beethoven
in this
Sonata 1
The
movement,
major, f time,
begins with gentle tremblings of the happiest feeling in the tone depths, embodied in a short characteristic
An upward impulse towards the light makes itself felt. For a moment the happy beating
motive.
of the heart finds rest on a close in G.
But
it
im-
mediately begins again more intensely under the firm keeping of the chief motive, and passes through
a short tributary movement to the second theme in the bright E major. This theme, which, in contrast
to the previous trembling feelings, has a firm
self-
contained character, produces a delicious effect. So motive that a host of alluring is the spell of this
it.
The
up to
this
beguiling
this
fascination, absorbed,
as
it
were, into
fairy
world.
Will
it
No.
At the
major, a manly self-reliant power is perceptible which, in F major, rises to a bold shout of triumph, but only to sink back again into
entrance of the
BEETHOVEN'S SONATAS.
the
first
79
to
delicious trembling,
hush the most pleasing emotions till the end of the first part. With the second part that electric spark
of joy in the
first
theme
and
in
is
till,
more potent
spell.
They usher
first
rence of the same train of feelings that we had in the first part. At the entrance of the Coda, the
theme appears in the greatest intensity, the happy feeling rises to a magnificent climax, till the
first
agitation
checks
itself
with the
chord
of
the
dominant seventh.
of the second theme
The
is
light, self-contented
form
motive, followed
silent.
by rolling
thunder and
in
all
If
we now examine
we
be astonished
in a word, at the gigantic rhythmical changes structure which he has reared on those two motives.
Thus in the Coda, especially, all possible harmonic and rhythmical means are applied to intensify the
sentiment to the utmost.
There
follows, as a second
movement, introduzionc
bo
adagio molto,
moderate,
has an aphoristic fragmentary which the exception of eight bars in the middle,
contain a deep, yearning motive,
it
consists, so to
and bold, harmonispeak, of musical interrogations rondo. even changes, which lead to the
ous, mystical,
The
adagio, which
Marx
calls meditative,
forms a
character of the prestriking contrast to the happy and thus enhances ceding and following movements, their vivacity so pale and wan is the colouring that
;
it
the smiling face of heaven were sudand cloud. Then the denly overcast with shadow mists suddenly disperse, the brightest sunshine
seems as
if
comes back
rondo
is
again,
when
the
chief
is
theme of the
heard.
This motive
with the
first
blissful spirit
springs
movement, it is at the same time very homely and simple, and even naively popular. The melody firm is its hold that it repeatedly returns, and so and up ever anew, with fresh harmonic
the same yet rhythmical embellishments, always ever in a fresh dress, like the former theme adorned
Andante favori pour piano," No. 35 of the works which have no opus numbers, was originthe second (middle) movement. ally to have formed
to
* According
Ries, the
"
BEETHOVEN'S SONATAS.
81
with delicate and exquisite figures. Suddenly from a there" arises a passage of rolling wave-like trills current of vigorous manly power, revealing a deep
emotion which
Who
but
minor grows gloomy and stern. can explain what it is that suddenly, almost
in
painfully, agitates
the soul?
Albeit,
the night
,is
Once more a
The
chief
in
in
the
sublimity
away
tenderness and
climax in
flat
supreme This feeling reaches its first and D flat major, from which a
The
chief
and expressive up
This
is
the second climax of joyful ecstasy, the third and shakes of highest being attained in the celebrated which afford the 'clearest, most strikthe
prestissimo
and most effective expression of the fundamental of what was only thought. Here is the fulfilment after in the C major Sonata, Op. 2, for what was
ing,
sought
82
OP.
54,
F MAJOR..
This Sonata
works.
is
Marx
calls
apparently does not very well know what to say about it he considers it as a mere play of sounds,
;
much
these
less of
the
intellect,
which categories
(to
merely bizarre, and sees in it only the weak side of the Third Period without its beauties. I must
confess that the
I
work
is
a mystery to
me
The
also.
first
look upon
it
as a freak of Beethoven's.
tains
first
of the quiet,
cheerful,
common-place type, the second, a series of octaves rushing to and fro, is rather dry and has no
of melody.
charm
alternate
and
run side by side without uniting organically to form a higher whole they seem as if they had nothing to do with each other, so entirely does each pursue
;
its
own way.
is it ?
If there
is
a leading thought at
all,
what
who
can.
The move-
major, J time,
BEETHOVEN'S SONATAS.
appears to
me one
?
it
The movement
seems to
consists of
mere
figure
;
work
me empty
at the most,
falls coldly.
The
hits the
mark
work shows no
signs
of inspiration.
according to
Schindler,
printed in 1806,
47.
OP.
Composed, 1804*
57,
F MINOR.
to
Dedicated
Count Brunswick.
The
its
title,
Appassionato,
this Sonata,
seems nothing
In the
than exhaustive of
rich contents.
is
first
the work
humour
minor,
^ time,
;
we have
already
rise,
soft waitings
heard knocking at
84
the door.
Suddenly a mighty storm bursts forth, then there is a painful trembling, and in the second theme, in A flat major, there arises a wonderful
The storm sympathetic strain of happy consolation. of painful emotion begins again ; there are outbursts
of grim
humour and
of convulsive
startings; the
;
and the
is attained. agitation increases, until another climax Then there is a momentary subsidence into soft
trembling tones, and that lofty spirit of strong, manly, consolation gains the upper hand. But
fate claims its rights, the fight
must be fought
for the third
out,
is
renewed.
heard
Although the
time,
is
the storm only rages the more vehemently ; although a cheering ray of light descends from above an
at
there
is
a restless surging to
and
fro,
We
real,
and the
feelings that
pervade
it
are
heart-felt experiences.
flat
major, f time, comes as a contrast between the beginning and concluding movements, though not
BEETHOVEN'S SONATAS.
outwardly, but deeply and inwardly
fast island
:
85
it is
a steadthe
From
peace;
"a
supplication
seem, standing firmly in the low dark depths, closely compact, full of longing, like a prayer out of the
profouridest darkness" (Marx).
This melody
is
sunbeam
charm.
full
of unending
How
well
is
first
glimpse of heaven, what quiet happy conMost charming is the variation of the fidence
!
theme.
The
different
this determines
first
each variation.
as
The nature
is
of the
variation
is,
Marx puts
it,
is
only repeated
it.
heard in a
as
it
were, sur-
rounded by an accompaniment of harps, rises to pure ecstasy, the soul seems lifted from earth, enveloped
86
to
its
first
it
heard
at last
is
and painful
forbode
the
storm of the
andante as a
finale.
Marx
full
prayer
of
The
third
movement,
allegro
ma
non troppo,
minor, f time, begins with a series of sixths, sounding like a wild outcry from a soul in anguish,
then there
is
a rushing
movement
The
out
of the
whirl,
passion,
accompanied
"),
first
by plaintive
('
the
storm song
storm
till
the
conclusion of the
is
The
renewed
Now there
a distant, restless surging, a mighty rolling in the depths ; then the struggle becomes a little quieter,
in
C major
leads to
some
haust themselves
and
in
characteristic minims,
bring in a momentary dead silence. But only for an instant for, at the beginning of the third part, the
;
storm
is
first
BEETHOVEN'S SONATAS.
part
is
87
humour
dart
At
like
virile
last in the presto, the tone-poet comes forth a warrior in steel harness, and with proud
dignity
seems to
say,
in
the
full
chords,
it
approaches again, but it will not break it." A final storm indeed follows but it is powerless the spirit
;
has freed
itself,
and
We
the powers
manly strength
triumph
at the
the
conflict.
gloria song of
end would correspond to the idea of the work; the conclusion must have an earnest
called
an emotional tragedy.
was conceived during a stormy night, and when Beethoven was asked by Schindler for a
Ries, this finale
key to this work, and to the D minor Sonata, Op. " Read ' 31, he replied Shakespeare's Tempest. We ask, also, with Marx, what has that to do with
9
it?
is
Nothing
is
less
it.
It
true, as
Marx
to
says, that
much
this
of
what
is
called
fantasy
be found in
;
the
first
movement
but
we must add
88
will,
the never-
ending depths
human
heart.
_OP.
78,
F SHARP MAJOR.
The
first
movement, adagio
t
cantabilc,
and
all&gro
non troppo F sharp major, f time and ^ time, is truly begins with a motive full of deep yearning, of the allegro Beethovenish, as is the chief theme
ma
which follows
fulfil
it.
we have
and
movement
Still
loses in substance,
fritters itself
away
in a play of
sounds devoid of any deeper meaning. more decidedly is this the case with the second
allegro vivace,
movement
is
It
needless to waste
still full
many words
impression
when we
are
by the F minor Marx even passes over this Sonata in Sonata. silence, and Lenz says, simply and pertinently,
of the
left
41
it,
genius."
OP.
Appeared 1798.
79,
G MAJOR.
work
is
called.
It is
without
BEETHOVEN'S SONATAS.
doubt a youthful production,
like the
89
The opus number 79 has neither rhyme nor reason. One would rather have supposed Haydn to be the composer, had not Beethoven been named as such. The work must surely have been published afterwards
as a stop-gap.
edification of those
trifle
who
of the great
Beethoven, we
quote Marx,
who
says the
Sonatina presents a "presto alia tedesca," superficial but lively, (if only the second part of the cuckoo-like
concluding movement were not far too tame) a small,
essentially small,
andante,
Viennese-like finale.
OP.
Composed 1809.
81,
E FLAT MAJOR.
to the
Dedicated
The
first
a definite
and only Sonata by Beethoven which has programme to indicate its contents. This
"
Les adieux, F absence, et consists of three words : " Thus the le retour farewell, absence, and return.
Sonata has become one of the most understandable
among
The
first
f time, then allegro, | time, E flat major, begins with the word of parting, "lebewohl," (farewell) enunciated by the first three crotchets, and
movement,
at first
go
it is
an anxious presentiment of parting (Marx,) but with the entrance of the allegro comes the anguish of
the actual parting, though
it is
happy
seems
speak,
to
me
that in this
there are, so to
three
moods and
approaching
separation
from
beloved object,
:
spontaneously appear in wonderful unison the painthe ful sense that after all there must be a parting
;
and the comforting assurance that the separation is not final. The motive at the beginning of the movement seems to me to
worthy of
this pain
correspond to the
first,
marked
expressive,
to
submission to
At the beginning of the second part the first state of feeling has the upper hand for some time, in
a varied
two re-appear
con-
.centrated in the
simple
follows,
most impressive manner into the earnest tone of the farewell; and there
towards the end of the movement, the
BEETHOVEN'S SONATAS.
91
warmest and most painfully-sweet embrace of the beloved object and the parting moment arrives.
The
of
harmony and
and
flat
and G,
flat
and F, to be heard together, but in this case the " Beethoven," says higher law of ideality prevails.
" Marx, tersely and pertinently, was not dealing with chords, but depicting a fond farewell, and as was ever
the case with him the ideal over-ruled the material."
to the ideal
andante expressivo,
C minor,
is left
who
Marx
says,
the
the
treble.
But
this feeling of
desolation is accompanied by an ardent longing for the return of the absent one ; what else does
gs
meeting
these
are
portrayed in
flat
movement,
vivacissime,
The friend is coming go to major, f time. meet him so say the first notes, and so says the
stormy rush of the semi-quavers. At the entrance of the chief motive all the pulses of life beat more
quickly,
is
The
overflowing
delight
now
yields
to
quiet
contained ecstasy (the motive in crochets) which, however, at the entrance of the G flat major, immediately changes into sweet smiles, of exquisite*
delight, into caressing kisses of -supremest joy.
All
these varying expressions of rapture recur, but in every fresh musical dress there is an incessant
repetition of the jubilant song of meeting.
Then
when
had
full
and
for,
as
Marx
well
mingle with the joy of the happy ones. They embrace once more, but with what different feelings than when they parted, for
the
now both
feel
secure in
assurance
of
everlasting
union.
In
this
harmonious
spirit
The theory
of the
BEETHOVEN'S SONATAS.
93
" " two mentioned in reference to Op. 14 principles is applicable in a very different and much greater
In the
first
and third
really
two
distinct intellectual
an actual dialogue.
is
To
find
out
who
quite superfluous,
ideal
meaning of the
goes
;
if
we
know
is
as
without
one person
whether
is
immaterial.
Especially
to
be mentioned
is
the
masterly power with which the different feelings in this Sonata are bound together into a close ideal
unity,
so that as
a psychological
necessity they
OP.
90,
E MINOR.
As
clearly
and
work
appeared in the Sonata just mentioned, equally difficult is it to indicate it even with the least
certainty in the
this
minor Sonata.
it
Marx
also felt
when he
said that
which seem
with speaking questioning glances ; they are going to speak out quite clearly and words fail them ; as if our art had periods
to look at us
94
when
every
is,
as
it
sound and
definite expression,
moment
is
always withheld.
said to have asked Lichnowsky. Beethoven what the idea of the work was, and he amid roars of laughter, that he had intended
replied,
is
dedicated to Count
a public dancer
first
over the
heart
"
;
and
and struggle between head " conversation with the over the second,
movement,
"
it
gives
no
clue to the
Though
racter.
We
Marx says
of the
first
movement,
it
" with
fixed expression throughout," instead of putting any mind and a noble tempo mark) that it reveals
energetic
character,
fears.
eloquence "A
aspiration
is
always
encountering
it
obstacles,
BEETHOVEN'S SONATAS.
95
and drawing back is the character of the whole The aim is not attained, movement." (Marx.)
this
while
it
at
disappear in quiet
movement
masterly, a pro-
major, f time, with the " to be direction played very singingly and not too now flows on quietly and restfullyin its rondofast,"
song-like-form.
full
opens with a rich singing theme, of earnestness, which, in the style of the rondo,
It
constantly returns after short interruptions, between which move the most varied and joyful images,
playing,
as
it
were,
till
dies away.
certainly has no
new heights
But
in the limited
movement
to
restores
this
its
peace.
Such seems
me the meaning of
closes
;
but
96
portrays are far removed from that sense of satisfaction which we previously found.
their justifiableness
Do
they not follow as a sort of psychological necessity from the character of the first [movement ? The
law of raising the sentiment to a climax, in the sense in which we usually take it, is not indeed carried but this is not an absolute out in this Sonata
;
all
occasions
it
other law, exceptions founded on the character of the us is surely particular work, and the Sonata before
such an exception.
OP.
Composed 1813.
10,
No.
2,
F MAJOR.
to the
Dedicated
Baroness Erclmann.
meaning
is
more or
less
lost
in
can only be suggested. Marx ,says, most and most secret stirrings of a tender soul,
to
whom
is
granted, not
its realiza-
aims or
pithy deeds
says,
it."
how
difficult it
it
is
to catch
what
it
and
to bring
first
The
A major,
BEETHOVEN'S SONATAS.
character of fervent yearning,
bold.
97
now
timid and
?
now
Towards what
it ?
is
Who
can explain
feeling of
these strains, and they are, at least, the product of an intense individualism". Marx finds in them
nervous agitation, and even breathlessness. I do not agree with him, for, to my mind, the Sonata is
too
not somewhat too phantastically, conceived for such to be the case nor is it in
ideally,
if
;
accordance with this for Marx immediately afterwards finds in the movement "the reserve and
speechlessness of Ottilie, without the storms through
which
this the
passes."
The
manner of
marda
aptly, of this
F minor, f time. Marx says, very movement in the march form " Actual
9
:
deeds are not represented here, but the imagination of deeds which may happen, dreamed strokes of
bold and lofty heroism/'
setherial,
The movement
and
certain grandezza
is
quite
so light, undulating,
bright, at the
;
we do
side of the
march measure,
made
subservient
to the former,
the
startling
entrance of the long chords, with their wide skips and abrupt intervals regarding the latter, we need
;
only to be reminded of the frequent simultaneous sounding of the highest and lowest register, without
The tributary the interposition of the middle one. in B flat, after the manner of a trio, with movement,
its
quiet,
wave-like tone-lines,
forms a
beautiful
is
a short adagio
ma
minor,
f time.
strains.
it
and
Who
satisfies this
longing
be
satisfied ?
The
feelings
which we experienced
springs up as
And now,
behold, a
Its
new
active
life
it
were by magic.
In this
movement
begins, allegro,
and with decision," says (" quickly, but not too fast, the master), A major, J time. The character of the
be more strikingly happiest determination could not with its represented than by the first subject
distinctive rhythm.
in
BEETHOVEN'S SONATAS.
motive
(dolce)
99
heard, which
is
chord of nature.
And
when
feeling
the fugue in
makes
itself
As regards
the formal
musical construction, we find, with an exact imitation of the melody, every possible inversion
and the
most surprising combinations. At length on the there is a return to point d'orgue, in the dominant E,
the
first
subject,
resolution,
and the same succession of gladdest child-like, naive joy, and humour, is heard
latter struggles
again.
The
out alone at
last,
and
over
Marx
movement
which
Sonata
" a
rich, refreshing
stream of
brilliant
gleams
occasionally
flash
gaily-
forth."
This
as
we soon
As regards the formal construction, as was pointed out in the second movement, it is and is true more or less of the whole work the which rivets attention. 'peculiar cast of the rhythm
sustained work.
OP.
106,
B FLAT MAJOR.
to the
Arch-Duke Rudolph.
of colossal grandest Sonata ever composed, condimensions, a real giant, quite symphonically
The
The
first
move,
ioo
major, J time, is really constructed on two chief themes the first displaying
ment,
flat
pride, decision,
and judggrace,
womanly
full
gentleness,
The
chord
first
subject
in
marked
showing
rhythm,
its
only the
more
forcibly.
A
is
now heard
it
also
is
noble,
manly
power then bursts forth in full chords, the progress of the movement is carried on with true grandezza, a
majestic descent of octaves from the high C follows, and a corruscation of brilliancy flashes from the
theme again
The
major which
impetuous
part
spirit of
the
first
theme.
Thus the
part, a
first
concludes.
new
BEETHOVEN'S SONATAS.
ior
scene of a very tensive character presents itself, rhapsodical figures produce a highly expectant feeling,
the key changes to
E flat
theme, which appears in the quiet depth, and gradually rises higher and higher to a wonderful
climax, which
is
at last
major; then those strains of deep, mournful yearning are heard again, but the first theme returns, and at
the beginning of the third part, marches boldly forth once more, fully equipped, but accompanied with
still
richer
ornament.
first
The
configuration
and
sentiment of the
original
and
loftier style.
is
flat after
broken octaves, and, after the last outsentiment breathings of that spirit of yearning, the the return gathers itself, as it were, into a focus with
and
fro in
of the
first
subject, which, in a
shortened form,
is
gradually dies
away;
it
its
expression
essentially
modified, so that
themselves in a dramatic struggle, were at the end, reconciled and closely united. might say, with the
We
poet;
es einen
guten Klang." What other first of a Sonata can show such wonderful proportions
102
unstable
major, f character, a
flat
fleeing,
and
minor,
a
conclusion,
is
humour
depicted,
in reminding us of the wonderful, strange colouring that Lena's remark, the B flat minor movement. " "
this
*'
movement
recalls
Goethe's words in
Faust
Was weben
Schweben
auf,
sich.
seems to
is
meet, in the principal movement, with a rhythm of seven bars twice over, then four bars twice, and
so seven and eight alternately.
The
e
third
movement, adagio
sostenuto (appassionato
is
and
joy,
pervaded by
and devotion
What
impulse in the first subject, issuing from the innerAt the entrance of the G major, the most heart
!
BEETHOVEN'S SONATAS.
first
103
joyful
beam
is
Gleams of
joy break through in F sharp major, and now, when the low D is heard, then the low F sharp, and
when
We
repeated in the treble, what comforting, hopeful rest breathes in these sounds " might here again say with the poet, was des
this progression is
!
Mannes Brust
expressed.
light vainly
ernst
und
tief
"
beweget
let
that be
endeavour to pierce, again covers all ; for a long time despair and gloom hold fatal sway.' But those deep unfathomable tones in F sharp major
are heard again, and produce a sense of bliss, which
is
E flat
to
sharp.
With
is
major, that
well of comfort
drawn from
primary feeling then returns. The grief gradually subsides, but the darkness and horror of the night
are not to be banished by the penetrating
beams of
it is
which
from heaven, yet it pours a wonderful, sweet peace into the soul. Clear and simple as are
falls
and simple adagio of pianoforte music, equally clear At the first glance this is its formal construction.
might appear otherwise; but closer consideration
makes
architectural
grouping.
104
Certainly every
broadly
and
massively
for the giant's planned, like the first movement, than those of ordinary limbs have other proportions
men
this
real beauty,
D B, chief subject with variations, F sharp minor, minor. major Trio F sharp minor Coda F sharp We have here a peculiar union of the Sonata and
Rondo
form.
symmetry, movement, the simple form of which Trio, D major subject, F sharp minor
and possess although huge they are shapely, and harmony. So it is with
is
:
A, chief
Fantasia;
Before
we
leave the
movement
it
may
be mentioned, as worthy of note, that, according to bar were written by Ries, the two notes of the first
Beethoven afterwards.
bass notes
came in apparently in the course of the movement, with the closer management of the chief theme,
which begins strictly in the second bar their great and he importance became evident to the master, thus recognised and supplied the want at the begin;
ning of the movement. Lenz says, they seem like two steps towards the grave's gate, and describes the
movement
all
as an
happiness.
fourth
The
movement
As a
is
tion, largo 9
harmonious form.
this highly poetic,
power-
BEETHOVEN'S SONATAS.
fully effective, stirring, as
105
Marx
of the tone-world.
have not before us a mere conglomeration of notes and play of sounds, but that a deeper meaning runs
through
all.
also to that
which
flat
Marx
per-
swaying to and
fro,
A representation
gloomy often
forces,
fiery lightnings
supreme unrest
it
is
is
a storm with
and
rolling thunder,
conjured up by unknown
an unchaining of the dark powers. Isolated gleams of light shone through, now and then, anda humorous
impulse
is
Certain
it is
that
to explain
is
and
whole
ing,
it
is
by no means easy to follow ; properly speakis rather a strange union of the fugue and
;
rondo forms than a pure, strict fugue but the movement does not, on this account, stand any-the-Iess
io6
on an equality with Bach's creations, for contrawith this difference, puntal art and freedom only
;
four
in
my
execution
originality
and boldness.
might be
difficult to
OP.
109,
E MAJOR.
Dedicated
to
Miss Brentano.
The
vivace
first
movement
troppo,
ma
non
with an adagio
expressive,
The
BEETHOVEN'S SONATAS*
107
and the soul appears to lose itself in a fairy dreamSometimes the waves seem to iise higher, orld. but they always subside again, and the stream of
sounds glides on gently and
softly.
heard in the adagio; "a sharp pain/' says Marx, "like a stab at the heart," transfixes the gentle
being,
and
is
ing
this figure of
lovely images
gloom appears twice, but the of the dream always regain the
the more mastery, and only hover around the soul Who can say of what peculiar state of -deliciously.
feeling this is the
fanciful about the
outcome
There
is
something
the movement
despite
depth of
feeling,
it
gives
the impression of a free fantasia rather than of a Marx points out, as strict movement of a Sonata.
succession specially significant, the chorale-like
of
and washy.
The
following second
prestissimo,
E
an
pressing, of
almost gloomy chasing, involuntarily reminding us of the furies hunting Orestes indeed, now and then
;
we
4t
think of Faust's words as he becomes blind : " This latter Was schwebet schattenhaft heran ?
io8
which
is
light,
which
then
first
flit
appear at 51 and following bars, and here and there like an ignis fatuus. Marx
finds in the
of death.
movement the foreboding and the agony The chord struck is an almost nervous
and intensely
sensitive, yet
not
manner;
march
in the
major Sonata,
some portions of the second part, Op. Berlioz and Wagner. The construction, as well as
101, recalls, in
throughout.
The
third
pressivo,
variations.
The
air
comes
in quietly,
but firmly,
;
it
a song of deep
restfulness
feeling,
an emanation of sincere,
true
of soul, a
happy submission to
Marx calls destiny ; such is the feeling it evokes. " one of those melodies full of the theme holy devotion, in
which the
and deeply
in itself, reflects
on the past
with the images of the past reflected in a crystalclear stream, looks back again with many an afterthought, and
many a
BEETHOVEN'S SONATAS.
Marx,
" thus far Beethoven, the poet
;
109
Beethoven,
;
they are
very pretty."
On
them with
with Lenz
57, I agree
theme
certainly do not
appear as the sole spring and centre of the variaactions its character seems more or less effaced
;
cordingly this
The
varia-
among
;
the most
in the last
humour
flash forth.
The theme
in
its
whole.
OP. no, A
FLAT MAJOR.
movement
moderate cant-
Composed 1821.
The opening
of the
first
abile molto expressivo, A flat major, f time, can only be called " freundlich-hold " (amialHy lovely) ; it has a distant assonance with the motive 6f the canon in the of Mozart's " Cosi fan tmtti." After
secondfinale
close, a
;
mences
song of deep even ardent yearning comthen suddenly broken, harp-like chords are
flit
around the
no
souL
Happy forms
song of yearning
heard.
arise in gay multiplicity, that and the first motive, which in the
is
The
picture
is
richly coloured
of flagging
is
Marx finds in the .harp lispings afford a contrast. movement the parting from a beloved instrument that a an Ossian-like sense. Who would dispute sadness pervades these tones ? of
touch
deep
There
character.
second movement, allegro motto, both in form and minor, | time, which is a scherxo We meet again, although in another
follows, as a
and anxious hunting form, the same wild hurrying, Sonatas. and crowding, as in the scherzi of former the resemblance in bar out as
significant points " Ich of the second clause to a wild popular song, 8
Marx
" Did
over the pure singer a disa scorn satisfaction with the life that he was leading, " How fine, of the foolish play which they call life ?
come
movement,
is
the middle
!
movement
fantastic
in
D
!
flat
major, the so-called trio And how interwoven with bright streaks of light how expressive is the Coda with those full powerful
chords, separated by pauses which only
How
and
serial,
make them
BEETHOVEN'S SONATAS.
the more impressive, and the
final,
in
gentle dying-
away The
in the major.
third
movement
is
introduced by an adagio
ma
non troppo, minor, J time, very solemn and grave, interwoven with a recitative full of unspeakflat
tender
arioso,
E flat minor,
Jf time.
In this plaintive
all its
sorrow.
But we leave
flat
major, f time.
The
agitation flags
and
dis-
first
appears with the re-entrance of the arioso, which at expresses a yet deeper mourning and breathes
the stirring figures of the fugue again " weben hin, weben her, fluthen hin fluthen her," with everincreasing energy to the end, where the' sweeping
harp are again heard, a clever imitaan expressive souvenir of the spirit of the first tion,
strains of the
movement, but, at the same time, a finely rounded and harmonious conclusion of the whole. Very individual states of feeling
lie
of
this
Beethoven's
and sometimes mysterious; the explanation in words, which can only be but a hint of the mean-
ii2
in
necessary
if
we would
which
Instrumental
music
riddles,
perhaps
last
never be fully solved, as the next and occasion to of Beethoven's Sonatas gives
will
observe.
3,
C MINOR,
Arch-Duke Rudolph.
maestoso in
!
to the
The
first
minor, f time.
!
What
Titanic power
What
volcanic outburst
full
of the most striking musical expression, how much more full of meaning is this Introduction than that " " The skips of a seventh to the Sonata Path6tique
!
marvellously original
allegro con
is
and drastic
is
the
brw ed appassionato,
C minor,
thunder
coming nearer and nearer, or the howling of the The chief theme then bursts forth, a sombre wind.
image of passionate
agitation,
BEETHOVEN'S SONATAS.
less course, the
113
momentary abatement in the passages marked poco ritenuto only producing a yet more With the appearance of the A violent outburst.
major wild sparks of humour
spirit
flat
the
suddenly soars into a freer, lighter atmosphere, but only for an instant, to brace itself
for a sterner struggle.
anew
Terrible
is
the fury of
the storm in the second part, yet out of the night the soul again struggles forth and once more soars, happily heavenwards, in the clear C major. A last
foaming of the dark billows, then a gradual subsidence of the dashing waves, and " tiefe Stille herrscht im Wasser, ohue Regung rubt das Meer,"
Commensurate with the grandeur of the contents of this movement is the simplicity of its formal construction, which is that of the pure, simple twopart,
Sonata-form;
it
affords
striking
ends
are
attainable with
testimony the
last
C major, ^ time,
by four variations which resolve themselves into a sort of fantasia, to which is coupled a new variation
of the air, connected with which
is
a tributary move-
ment, which, uniting with the first eight bars of the theme, shakes and bass figures, thus brings in a Coda
H4
and conclusion-
the simple
formal process, the skeleton, so to speak, of the movement, but what about the contents ? Kullak
says that the Sonata sinks into insipidity in the
variations.
ideas
that
Marx
Marx then continues: "Variations carry out the suggestions of the arietta; who can say all, and who
" "I have hidden much therein," can explain all ? Goethe once said, in a similar case. Elsewhere
Marx speaks
of the composition as a
theme of deep
feeling, overflowing
plea-
quite inconceivable to
me how
and
Kullak can
feel
any
for the
same reason
seem to
BEETHOVEN'S SONATAS.
other hand, one can agree ing to the kernel. On the " hidden much " in with Marx that Beethoven has
this
movement.
it
which
seems as
and
if
we
loftiest ideal
spiritual
which
is
simply untranslat-
When
thus
the last completely lose myself in this tone-world, scene of the second part of Goethe's "Faust"
always occurs to me. We may find in the second strophe of the arietta " " Zeugen menschlicher Bedurftigkeit," Spuron von
Faust's transfiguration
schroffen
Erdenwegen,"
such
is
the tendency
How
the arietta ever aspire todeep, fervent song of wards the heavenly spheres, just as Faust was ever
lifted
"
higher
steigt
In fancy one sees the hovering forms of the pater and pater ecstaticus, when, profmdus> pater serapUcus, we follow it, foil of the fantasy of the tone-poem,
now
tone-
regions.
feeling take
possession
the lines
n6
**
Nebelnd um Felsenhoh spiir ich so eben Regend sich in der Nah' ein Geisterleben. Die Wolkcben werden klar ich seh' bewegter Schaar, Seliger Knaben, los von der Erde Druck,
:
Im Kreis gesellt die sich erlaben An neuem Lenz und Schmack der obern Welt."
If it
idle
fancies,"
contrary, but
write what
I
will at least
be granted that
is it,
only
truly feel.
And
then, so incredi-
between
of
German
lies
tone-poets
all
more or
a creation
it. Without imaginwork can be understood, least of of Beethoven mere musical know;
ledge,
tion
mere acquaintance with the laws of composido not suffice.* To return once more and
second movement of the Sonata; these are no ordinary variations. They were not written by
finally to the
with
Beethoven,
BEETHOVEN'S SONATAS.
117
Sonata, Op. 57. Kullak says in the work from which we have already quoted that " the variations
fall
in that
lofty
intellectual
development which
cannot endure the monotony of repetition except as a brief relaxation from a lyrical strain ; the
variations have
energy, for
no leading thought and no living which reason they should have been
work."
they do not apply to the variations, in question. Variations such as Op. in are like an ideal
emanation of the theme, or to use a simile, are the pure rays radiating from the theme, enthroned
like a
These
spiritual
and
more
The formal
side of the
and an
ideal denouement is
spontaneously accomplished Do not these so-called variations form a satisfactory conclusion ? Is a concluding movement still wanting ?
Schindler says, yes
;
why
he did not write a third movement, corresponding O the two first, and Beethoven replied that time failed
him
for a third
movement; he was
therefore obliged
will.
Could
this extension to
n8
the second
movement
.
if it
had
failed
him
for a third ?
A nice contradiction
utterance
his answers
And even if Beethoven did give laconic to this speech, it is well-known how
often were,
short
" Das Beste he thought too, with Mephistopheles, was du weisst, darfst du den Buben doch nicht
sagen."
I
inquisitive,
intrusive
Perhaps
movement was
as a tenth symphony. psychologically as impossible As Gervinus says, after a discussion of Shakesso we say. "with the C minor peare's latest work, a SonataSonata, Beethoven finished his course as
maker, and,
like Prospero,
Happy
the
who recovers
it,
this treasure/'
No
one has
yet found
stands,
in
reality,
an inexhaustible well of
who
we
shall see
We
meet with works which evidently belonged to Beethoven's early youth with works in which,
;
although riper, the influence of Beethoven's predecessors, Haydn and Mozart, is still dominant ; with
vanishes
and
finally
hoven disappears
former
in his
foundations
will
The groups
then be as follows
*oi *6, in. 109, no, But the last five works of group IV., belonging
>
GROUP I. Op. 6, 49, 97.' GROUP IL Op. 2, 7, 10, 13, 14, 22. GROUP III. Op. 26, 27, 28, 31. GBOUP IV. Op. 53, 54, 57 7 8 8l 9*
120
to Beethoven's so-called
tially different
Op.
no, in.
Before characterizing and analysing these works, we must emphatically state that it is not our intention to set
up
lifeless limitations,
but to seek
some landmarks
domain.
If
in
this
rich
we keep
work
in
mind that
not necessary
to force any
we
united recognise that the groups are themselves together by delicate threads for the succeeding one always rests its basis on the preceding one a certain systematic arrangement will serve to distinguish a particular
characteristic light.
work and
set
it
in a
more
With
certainly needs
no further consideration.
As general
style of
characteristics of the
Haydn-Mozart
may be mentioned ;
concerning
more
or less wanting,
pervades the character of the works which have least meaning and purpose ; concerning the form, it has
RETROSPECTIVE
CONCLUDING REMARKS.
;
121
been prevailingly prompted by mere custom the relation of the keys is often the only bond between
the movements by which a similar and uniform tone The so-called second is as far as possible produced.
of occupies, as with Mozart, a great deal while in the more space, makes its independance felt, is the decisive perfect later works the first subject to part of the movement, the second theme yielding much stricter unity is it in importance, by which a
subject
still
attained.
in
of this group,
many ways
and
in parts
even surpassing works of the third group, is undoubtedly the D major Sonata, Op. 10. In group
III. there
appear so
s
leanings
movements might
in general,
different,
a definite poetical
group appears.
third group
is
of the
the
sharp minor
'Sonata, which, with the exception of the second movement, might certainly be placed in the next
group.
The
The
the
122
short, characteristic
the
exclusive
employment of the
part
;
the working-up of the chief theme in the Coda, which obtains thereby a certain independence and
exclusiveness
:
four and even three-movement form, with the predominance of the two-movement form and the
;
more symphonic character of the Sonata, that is as of the idea, not regards the form and working out with respect to its conception, and to the polyphonic
character of the symphony, for the Sonata
is
purely
this
group
is
the
Sonata, Op. 57, while the Sonatas, Op. 54, on account of their 78, properly belong to it only
special formal construction
;
and Op.
in
surpassed by works of earlier groups. Finally, concerning group V.*, the peculiarities of
the works belonging to
it
are
movement form
the disappearance
in)
the
;
resumption of the small sonatina and march form and the highly individual subjective contents.
The
fugue form
is
more
freely
and
fancifully
RETROSPECTIVE
treated than with
CONCLUDING REMARKS.
;
123
Bach
it
may be
called a blending
of the fugue ..and rondo form, in which charming and anew animate the cold tributary movements ever
we must
at the
re-appearance of the grand this fundamental 106 independent adagio in Op. in the deviation from the style of construction
four works, the
;
former
group
it
with
its
compact
precise
forms,
might lead
satisfy
Beethoven's intentions,
and that he
had
But the extension perceived a certain discrepancy. their of fixed forms does not lead us to expect returns Besides Beethoven total abandonment.
to the
two-movement form
in
different
movements of the
last five
of the exception perhaps of Op* 106, show no signs a uniform plan throughout. One must also bear in mind that usages and proprieties could not uncondinow independent Beethoven. tionally influence the
He
in so far only as
they
served as a
means
for the
This was most clearly apparent in his last quartetts, into his in which he drew all available artistic forms had used creative circle, regardless as to whether he
them before
or not.
124
exception of the
accustoms
itself
which such works are destined only very slowly to anything new. The
Sonata and quartett gave him better scope ; for works of this class on account of their limited
musical material, and the absence of the multiform
tone-colouring of the great orchestra, require for
their appreciation
a deeper and
more cultivated
Marx, in
has
his
" Music
of
the igth
of
Century,"
Sonatas,
of music.
formed
on
another
his
division
the
founded
views of
is
the nature
threefold:
mere tone-
being found in the highest degree and almost exA great truth lies at the, clusively with Beethoven.
basis of this division, especially
if,
like
Marx,
we do
is,
where they
vitally join
each other.
Music
and
remains, pre-eminently, an art of the emotional fancy; feeling, the music of the soul, is the ideal centre, and
it
for otherwise
Hanslick
was only a sounding arabesque. Feeling pervades also music of the mind
saying that music
were right
RETROSPECTIVE
the ideal representation
CONCLUDING REMARKS.
for
135
how else
could intellect
in
and
ideal
representation
find
any expression
sounds,
were not the connecting medium ? This division can only lay claim to full force and
if feeling
is
the leading
Marx
classifies
thus
MERE TONE-PLAY.
Op. 2, No. 3 op, 10, Nos. i and 2 ; op. 14 ; op. 22 ; op. 27 op. 31, Nos. i and 3 ; op. 53 ; op. 54 ; op. 78 ; op, 106.
;
EMOTIONAL LIFE.
Op.
op. 28
2,
;
Nos.
op. 31,
and 2 No. 2
op. 7
op. 10,
No. 3
op. 13
op. 26
op. 90.
IDEAL REPRESENTATION.
Op.
op.
27,
No. 2
op. 57
op. 81
op. 101
op. 109
op.
no
in.
This grouping evinces, as indeed we need not be told, that Marx had a deep insight into the meaning
and
spirit of the
Sonatas.
ever,
many would be
of another opinion
the place
given to the Sonata, Op. 106, especially, would doubtMarx begins with the statement less be disputed,
that although none of the Sonatas, in the sphere of
to musically gifted
and
skilful
performers.
As
if Op.
ity,
57, Op. 101, &c., did not also require technical capac" " and as if in would
feeling
be
126
That
appears to
me
and
Op.
22,
Op.
27,
No.
i,
con-
sidered as a whole, not tone-play, but music of the soul predominates; again, Op. 31, No. 2, rises to ideal representation, which Marx also suggests as
and Op. 79, perhaps demonstrable." Op. 6, Op. 49, as a matter of course. belong to the first group
"
classification of
Op. 49, Op. 79, may be justly other hand, the so-called passed over here; on the
6,
example,
in different keys to
the minuett and scherzo, also the important intermearioso in Op. no, maybe diary movements, like the reckoned separately. Hence the following result :
A.
25
TEMPI.
in
I
movements are
time.
24 36
3
10
2
i
i
It addition to this
&
Sonata, Op.
has
^, and Op. no %$
RETROSPECTIVE
CONCLUDING REMARKS.
B. KEYS,
127
11
movements are
,,
in
7 2
5
,,
C major. C minor.
C
sharp major.
,,
4
12 2
,,
,,
,,
6
3 9 7
,i
D flat major. D major. D minor. E flat major. E flat minor. E major. E minor.
F major. F minor. F sharp major. F sharp minor.
2
1
,,
,,
2 g
1
7 2
minor.
major. minor.
flat
flat
The
times spoken of, and C minor has been particularly named as Beethoven's favourite key. The Sonatas do
not confirm this ; for in them
C major, E flat major, F A flat major stand foremost. The idea that every major,
key has something characteristic, and
adapted
of
is
specially
has been widely opposed, among others, by che most important connoisseurs of music ; for example, by Hauptmann (" Natur der Harmonik
mind and
und MetrikJ*)
But
in every
128
same
between
intervals,
major, the
it
fundamental key,
is
higher
now than
was
piece
consequently this theory is and the transposition of a only a self-deception, of music into another key cannot alter the
character of
it.
maintained the
ferent keys.
nature of the
dif-
Schindler says
"
:
(Biography
ii.,
156,
3rd edition)
The
by Beethoven
were based on a thorough knowledge of every key; or lower the pitch may move a whole tone higher than the ear is accustomed to hear, but transposition
is
quite
must be in an immovepoint in the musical system able position the pitch of the orchestra has imper;
ceptibly
become higher
'
'
in like
manner,
also,
our
psyche
which indeed the ancients duly recognized; but of at least half transposition is a sudden variation a tone, by which the feeling is suddenly removed
into another sphere, because the 'psyche
'
is
violently
first
another
if,
therefore, there
were no
difficulty in
distinguishing
flat
sharp major from the enharmonic a second major, the ear would be directed into
RETROSPECTIVE
line
;
CONCLUDING REMARKS.
129
characteristic
briefly
Beethoven
and to the point. It may be, then, most confidently stated that he was not governed by mere caprice in
the choice of keys, but
the nature of
by the idea of the work and the particular movement. Can one
imagine such characteristic works as the C Sharp minor Sonata, the F minor Sonata, Op. 57, the C
minor Sonata, Op. in, in other keys? Would not the pictures of character which these works unfold
to us
become
quite obliterated,
and colourless
But
wish to throw out a suggestion with regard to other points of view in which the sonatas may still be considered. A comparison of Beethoven's sonatas with his
I only
quartetts
and symphonies
will
observer to this
among
Beethoven,
if
we may
took things more easily than in his quartetts and symphonies. Kullak says that Beethoven's .weakness lies in the inequality of the style of a great
number of
But
his
works.
This
is
evidently saying
130
of the master,
when
as
was shown
in
the discussion
of the different Sonatas in the former part, Beethoven now and then loses his cue. The heel of
Achilles,
in
is
a
to
great
number
of
the
Beethoven
Sonatas
be
without interfering with the general configuration of the Sonata, and which seem to exist only because
the four-movement form happened to be in vogue
then.
also directly confirmed
wit,
This
is
by Beethoven
II,
himself.
To
page
which the poetical idea them was to be stated, lying at the foundation of Beethoven considered whether it would not tend
edition of the Sonatas,
in
if
some
of the
four-movement sonatas, written at an earlier period when the four-movement form was the only one
accepted usage, were to be changed into the three movement form. The Sonatas, Op. 2, Nos. 2
in
and
3,
Op.
22,
28,
according to our ideas, Op. 27, dispense with their minuetts without disadvantage.
To
this
in a
we might further add that, as it seems to me, great number of the minuetts or scherzi, the
trio,
or minor,
is,
RETROSPECTIVE
least the
I refer
CONCLUDING REMARKS.
131
most characteristic part of the movement. only to Op. 2, No. 3, Op. 7, Op. 10, No. 3,
Op. 22, Op. 26, Op. 27, Op. 3*> No. 3. The study of Beethoven's Sonatas is no easy one,
whether we consider the intellectual or the technical As he took his starting point from Haydn and
Mozart,
it
part.
begin with him, but with his predecessors, for with Beethoven we come to the final point, "the entrance
into the ideal" (Marx).
a capital
help in his
"Appendix"
" Guide to the Performhoven, and also in his work, ance of Beethoven's Pianoforte^Music." Both cannot
be too warmly recommended to the lovers of Beethoven, although I must content myself with thus
referring to
them.
But
it
must be
especially
mentioned that as
Marx
Op.
Op.
6,
Op.
49,
22,
Op.
Op.
14,
Op.
7,
13,
Op.
2,
Op.
57,
10,
Op.
Op.
27,
28,
Op.
101,
53,
Op. in, Op. 106, while, with respect to the intellectual comprehension, the progress from the
understandable to the profound, he gives this order
:
Op.
Op.
2,
Op.
13,
Op.
14,
54,
Op.
53,
Op.
Op.
Op.
go,
Op. 28, Op. 31, Op. 27, Op. 106, Op. 101, Op. no,
132
Op. in, in which certainly no regard was taken in paid to the very diversified point of view Without Op. 2, Op, 14, Op, 10, Op. 31, Op. 27. subjective comprehension, and spontaneous fancy,no
Op,
of a Beethoven creation.
Beethoven's Sonatas have appeared in various editions. Among the best and cheapest is Hallberger's,
or Stutgart,
the edition
being
Sonatas.
uniform
JLouis.
with that of
They
very
moderate
price
by Henry
also
Litolff
(Brunswick).
for the
The
edition includes
the
Sonatas
for
pianoforte, with
'cello,
accompaniments
the violin,
&c.
tions
we
Kohler has well confuted any objecmight raise against the four-hand arrange-
ment, and we cannot but agree with the reasons which he gives in justification of his undertaking; that this duet-edition
to
is
especially adapted
the
requirements
approach to
Thus
will
RETROSPECTIVE
ever-widening
friends
will
circle,
CONCLUDING REMARKS.
133
increase
from
year
to
year,
musical beauty will and become a greater blessing to widely opened mankind.
the temple of true
and be more
FINIS.
W. REEVES,
185,
B.C.
MUSICAL
PUBLICATIONS
PUBLISHED BY
WILLIAM REEVES,
185, Fleet Street London, E.G.
Transposition at Sight, for Students of the Organ and Pianoforte. By H. Ernest Nichol, Mus. Bac. Oxon,
Second Edition,
is.
Richard Wagner's Beethoven. With a Supplement from the Philosophical Works of Arthur Schopenhauer Translated by Edward Dannreuther, 2nd edition, 6s.
Beethoven's Symphonies in their Ideal Significance, Ex plained by Ernst Von Elterlein, translated by Francis Weber, post 8vo., cloth, 35. 6d.
How to
Understand Wagner's " The Ring of the Nibeand a Descriptive Analysis of The Rhinegold," The " Valkyr/. "Siegfried," and the "Dusk of the Gods." By Gustave Kobbe. Sixth edition, tamo, cloth, 35 6d
lung," being the Story
1
Illustrations.
By
J.
Exercises, for rapidly developing an in Pianoforte Playing. Carefully Arranged, Classified and Explained (English Finger-
By Amy
Fay,
33.
(i.e.
Technical Study in the Art of Pianoforte Playing. (Deppe's Method) by C A. Ehrenfechter, Setond Edition,
cr. 8vo., cloth, ss. 6d.
Catechism of Part Singing and the Choral Service. is. John Hiles. Third Edition. Post 8vo, sewed,
By
MUSICAL PUBLICATIONS.
Catechism of the Harmonium.
8vo, sewed, is
By John
Hiles
Post
Musical History as shown in the International Exhibition of Music and the Drama, Vienna, 1892. By R, A. Marr, Cr. 8vo,, cloth, 55 English Hymn Tunes, from the i6th Century to the Present Time. By Rev, A. W. Malim, Svo., sewed is A Short History of the Organ, Organists, and Services, of the Dulwich College Chapel. By W. H. Stocks.
Cr Svo, sewed,
is
Management
of Breath,
play from Score. A Treatise on Accompaniment from Score on the Organ or Pianoforte, by F. J. Fetis translated by A. Whittingham, with 40 pages of Musical Examples. Cloth, 33. 6d. On Conducting A Treatise on the Style in the Execution of Classical Music by Richard Wagner translated with Notes and Appendixes by E. Dannreuther, portrait,
Classification of Male voices, Management of the voice, The Service, with 20 specially written Exercises, By George F. Grover, is.
How to
cr.,
Music and Musicians. By Essays and Criticisms. Edited by F. R. Ritter. FIRST Robert Schumann.
SERIES, fourth Edition, 8s; 6d.
Music and Musicians. Essays and Criticisms. By SECOND Robert Schumann, edited by F. R. Ritter.
SERIES, 540 pp., thick cr. Svo., IDS. 6d. Student's Helmholtz. Musical Acoustics. By J. Broadhouse. Over 100 illustrations. Third Edition. Thick cr. Svo., 73. 6d.
Esthetics of Musical Art. By Dr. Hand. Translated by W. E. Lawson. Second edition, 55. Cr. Svo., 55 Ditto, Second series (just ready). of Music, from the Christian Era to the Present History Time. By Dr. Ritter. Third edition, 73. 6d.
Frederick Chopin. His Life, Letters, and Works. M. KarasDwski, 2 vols, 125. 6d.
By
185,
E.C.
MUSICAL PUBLICATIONS.
Beethoven, Life
edges, 35. 6d.
at Home. By Professor Third Edition, 8s 6d. Robert Schumann's Life and Letters. By Wasielewski. A. Barrett. 8s. 6d. Preface by Letters on Music to a Lady, By Louis Ehlert,4S. Gilt edges, 4S. 6d. Life of Chopin. By Franz Liszt," 6s. Treatise on Harmony. By Dr. H. Hiles (a third edition
of.
By
L. Nohl.
Second
edition,
Gilt
of "
Ttuck cr vol
Forming Vol.
Music in America. Forming Vol. 2. ys 6d The Throat and its Relation to Singing, a series of Popular Papers, By Whitfield Ward (Physician to the Metropolitan Throat Hospital, New York), with enCravings, post 8vo, boards, as 6d, cloth, 33 6d
Balfe His Life and Works. By (pub 75 6d) National Music of the World.
Dedicated by permission to HERR JOACHIM. to play the Fiddle, for Beginners on the Violin, By H. W. Gr ess well and G. Gresswell. Fourth edition, 100 pages, is (or cloth 2s) Purity in Music. By A. F. Thibaut. Translated from the German. B^ J. Broad house. Post 8vo, cloth, 2S. 6d.
How
W. A.
Barrett, 35 6d
By H. F. Chorley. Second edition, 6s. (pub. 8s. 6d.) CHOIR LISTS FOR SUNDAY SERVICES 1 Morning, and Evening, Printed in Red, is 4d per 100, post free is 6d 2 Morning, Afternoon, and Evening* Printed in Red, is 6d per 100, rxDst free is 8d 3 Morning and Evening, Printed in Red and Black,
is
4
5
postage, 4d.
185,
MUSICAL PUBLICATIONS
Musical Shorthand for Composers, Students of Harmony, Counterpoint, etc., Easily acquired can be written very rapidly is more legible than printed music. With Specimens from Bach, Handel, Chopin By Wagner, Mendelssohn, Spohr, Mozart, etc. Francis Taylor. Sewed, 6d Musical History and Biography, in the form of Question and Answer. By F. Crowest, Author of " Great Tone Poets," 168 pages, is (cloth 2?). Special attention givtn
to
English Musicians.
:
Preservation. By W. Shepherdson, rs 6d Beethoven's Pianoforte Sonatas. Explained by Elterlein. Preface by E, Pauer. Third Translated by E, Hill
Edition, 33 6d Beethoven's Symphonies. Critically Discussed by A. T, Teegen. Second Edition. 33 6d Facts about Fiddles Violins Old and New. By J. Broadhouse Third Edition, 6d Violin Manufacture in Iialty, and its German Origin, By Dr. E, Schebek, Second edition, is Letters of S. Wesley, Relating to the Introduction into this Country of the Works of Bach. Cloth 2s 6d Berlioz, Life aud Letters, from the French, by H. M. Dunstan. 2 vols, cr Svo, 73 6d (pub 155) Louis Spohr's Autobiography. 2 vols in i, 73 6d (pub. 143) Rules and Maxims for Young Musicians. By Robert Schumann. 4d Technics of Violin Playing. By Karl Courvoisier. Edited and translated by H. E. Krehbiel. Numerous Illustrations. Post Svo, boards, 23 6d Temple Organ, a Few Notes on, by Macrory, and edition, illustrated, post Svo, 2s 6d Musical Directory of Great Britain and Ireland. Published annually, containing the Trades, Professors* and others connected with Music Choral Societies Staff of Cathedrals, Colleges, and Abbey Churches Musical Newspapers, &c. With Calendar. Crown 8vo, sewd ss cloth, 33 6d Choir Attendance Register
;
; ;
The Organ
Hints on
its
Construction
Purchase and
1.
2,
Ruled Ruled
WILLIAM REEVES
185,
E.C.
MUSICAL PUBLICATIONS,
David Garrick, Sketch of his Life. By J. Smith. Price i* Pianoforte Teachers' Guide, by L. Plaidy, post 8vo. Great Violinists and Great Pianists, Biographical and Anecdotal, with account of the Violin and Early Violinists. By G, T. Ferris, cr. 8vo cloth, 33 6d Gilt edges, 43 6d a Organs and Organists in Parish Churches, with Chapter on the Three Years System. By W.C.A, Blew, 2S. 6d. By M. L. Art of Pianoforte Playing and Teaching. Grimaldi. is. Woman as a Musician. An Art-Historic Study. By
7
8vo. is.
Art-Historical Sketch.
By F.
to Sing an English Ballad. By Elizabeth Philip, seventh edition, 6d. Church Music in the Metropolis, its past and present C. condition, with notes Critical and Explanatory, by Box. I2ino, Cloth, 33. Practice Register, for Musical Professors to fill up for Pieces, pupils under the heads Technical Studies, Marks " to Paper work, with "Time given" and each. Price is. 6d. per 100. Exercises on Harmony and Counterpoint, by J. P. Morgan and O. B, Boise. No. i, 2, 3, and 5, 6d. eacH How to play Chopin. The Works of Frederick Chopin and their proper Interpretation, by Jean Kleczynsk. "trans, by A.Whittingham. Boards, Third Edition, 23 6d Cloth 33 6d A Barrett, 2/6 English Glee and Madrigal Writers, by W. Francois Liszt. Recollections of a Compatriot, by Janka. od Wohl, trans, by B. Peyton Ward, Cr. 8vo, 3* (pub. ys. 6d ) Henry Smart's Compositions for the Organ, analysed by Post 8vo, cloth, zs 6d T. Broadhouse. Reform in Organ Building, by Thomas Casson. Cr Svo.
4
'
How
its Compass, Tablature and Short and I^comOctaves, roy Svo, paper, 35 6d Boards, 43 6d plete The Influence of the Organ in History. By Dudley
sewed 6d
The Organ
Buck.
Cr
8vo, is
185,
E.G.
MUSICAL PUBLICATIONS.
Franz Liszt, by T. C. Martin, with JList of his chie Compositions and Literary Works, ismo, is
?nce
id. each.
MODERN COMPOSITIONS TUNES, CANTICLES CHANTS, &c., for Use in " Choirs and
i.
2.
CONFESSION: -Story OF THE CHOIR PRAYERS, with ANTIPHON. s .__FIVE TUNES to the Hymn " ROCK OF AGES/'
FERIAL
CROSS''
SIX
4 '
Places where they Sing ; to the Hymn "ABIDE " Orchestra" Prize Tunes. including the Three
TEN TUNES
WITH
ME,"
4.
QUADRUPLE CHANTS for the Te Deum " including the Three " Orchestra Prize Tunes. -TEN TUNES to the Hymn SUN OF MY SOUL," 5. "
'
Orchestra
Prize Tunes.
6.
TEN TUNHS to the Hymn" JERUSALEM THE GOLDEN, including the Three " Orchestra " Prize
*
Tunes.
SIX TUNES to the Hymn" NEARER MY GOD TO THEE, "including the Three "Orchestra Prize Tunes. 8. ELEVEN TUNES to the Hymn " HARK HARK "
7
'
!
MY SOUL,"
SIX
Orchestra
Prize
Tunes.
9.
TUNES
LIGHT,'*
Tunes.
" KINDIA' to the Hymn " Orchestra" Prize including the Three
to the Hymn. "JESU, LOVER including the Three "Orchestra
!
LEAD
IO.-FOUR TUNES
OF MY SOUL
ft
'
Prize Tunes,
FIVE TUNES to the Hymn " LO HE COMES WITH CLOUDS DESCENDING," including the Orchesra 'Prize Tunes. Three FIVE TUNES to the Hymn " I HEARD THE 12,
ii.
including
the
Three
Orchestra
Prize Tunes.
WILLIAT/TEEE VE s,
185,
E.C.
MUSICAL PUBLICATIONS.
13.
SIX
TUNES
to
the
Hymn,
FOR
14.
FOUR TUNES to the Hymn - O LOVE WHO FORMEDST ME TO WEAR," including the Three Orchestra" Prize Tunes. SIX TUNES to the Hymn " KING OF LOVE 15. "
<f
Orchestra Prize
unes.
Dudley Buck's New and Complete Dictionary of Musical Terms, 6d. (or cloth is.) Elementary Music (is), cloth, is 6d. ... Dr. Westbrook. Exercises on General Elementary Music. A Book for K. Paige. Beginners. Part I., 9d
Ditto,
Part
II.,
...*.C.
Zoellr.
and Works of Mozart (is) cloth, is 6d Life and Works of Handel (is) cloth, is. 6d
Whittinham,
Reeves' Musical Almanac for 1893, with dates of Birth and Death of Celebrated Musicians to Modern Times, id. Franz Liszt, Artist and Man, 1811-1840. By L. Ramann, trans, by E. Cowdery. 2 vols, cr 8vo, 73 6d (pub 245.) Manual of Musical History from the Epoch of Ancient Greece to our present time, by Dr. F. L. Ritter. Second
edition, Cr. 8vo, 2s 6d America and the Americans, by Jacques Offenbach. Post Svo, paper, is, cloth, 2s 6d School Board Singing Tutor with Exercises and Songs for Schools and Classes, by Dr. Arthur S. Holloway,
ad.
J.
Westbrook 2d
WILLIAM BEEVES,
185,
E.G.
The Oldest,
Largest,
3d.
A Weekly Newspaper
This old-established weekly musical journal numbers on its staft some of the most prominent musical men in the three kingdoms, and its columns are from week to week enriched by
original contributions especially in the several departments.
commissioned by experts
7/6,
post free.
ASerletof
"ORGANS
as
of
GR.EAT BRITAIH,"of
which
London,
Published Monthly.
(Yearly
75.
post free.}
"THE
AND
-:o:-
ARTIST,"
OF
-:o:-
JOURNAL
-:o:-
HOME
-:o;-
CULTURE,
News
Abroad
&c.
Art:
Art Trades,
Architecture,
Decoration, Art
Drama Exhibitions, Music, Photographic Notes, &c., The Best Medium for Advertising Matters relating to
Advertisement Offices,
185,
NOW
READY.
CROWN
8vo,
How
Understand WAGNER'S
to
BEING
A DESCRIPTIVE ANALYSIS
OF
The
"RHINEGOLD,"
And The
"VALKYR,"
SIEGFRIED
GUSTA
WILLIAM REEVES,
V KOBBE.
SIXTH EDITION.
LONDON
185,
FLEET STREET,
E.G.
5O MUSICAL HINTS
TO CLERGYMEN.
MANAGEMENT OF BREATH CLASSIFICATION OF MALE VOICESMANAGEMENT OF THE VOICE THE SERVICE.
GROVER.
Old Broad Street, E.G.)
&
Choirmaster
St. Peter-le-poor,
TEACHER OF SINGING.
PPF.PPF
WILLIAM REEVES,
185.
<
FLEET STREET,
B.C.
HISTORIES OF MUSIC. .*
Third Edition , Crown Svo. 476 pages,
7s. Qd.
STUDENTS' HISTORY
Christian
OF
MUSIC, From
the
Era
to
the
From
the
Epoch of Ancient Greece to our Present Time. By FREDERIC Louis RITTER, MUS. DOC.
MUSIC
IN
ENGLAND,
Crown
By
FREDERIC
Louis
MUSIC IN AMERICA, By
MUS. DOC.
168 pages
CATECHISM OF BIOGRAPHY,
Answer.
the
form
of
Question
and
E.G.
By
F.
CROWEST.
WILLIAM REEVES,
185,
in
Red,
is. 4d.
per
2.
3.
Morning, Afternoon, and Evening, Printed in Red, is. 6d. per 100, post free is. 8d. Morning, and Evening, Printed in Red and Black,
is. 8d.
is. lod,
2.
Ruled for choir of 20, for one year, kuled for choir of 40, for one year,
185,
is.
is. 6d.
WILLIAM REEVE,
E.G.
112457