Part 13 (1/2)

Yet, strangely enough, the emotion aroused in his hearers seemed to find no response in Beethoven himself. Frequently when he discovered how deeply he had moved his audience he would burst into roars of laughter; at other times the sight of their emotion stirred him up to angry resentment, and he would shout, 'We artists don't want tears, we want applause!' That a player should open his soul in his music and then abuse his audience for their inability to suppress the feelings which he had aroused appears strange indeed. But the caprice and wilfulness which marked his public playing are shown equally in his relations with people in everyday life. What may have been his true feelings is concealed--it is only the mask which is seen; and the mask was so constantly worn that it no doubt deceived many. Every now and again, however, we get a glimpse of his true nature in his intercourse with those who knew him best. Irritable to a degree, and occasionally outrageous as his conduct appears to have been, it needed but the touch of another's grief to draw from him the golden thread of sympathy. On one occasion he offended the susceptibilities of the company a.s.sembled in one of the most fas.h.i.+onable drawing-rooms of Vienna by using his hostess's snuffers as a toothpick! Yet, later on, when that household was plunged into mourning by the loss of a beloved child, and visitors were denied, it was Beethoven to whom the bereaved mother opened her doors, and to whom she turned for sympathy.

It is much to be regretted that the n.o.bility of nature which was really and truly Beethoven's attribute should have been so constantly overshadowed and dominated by something else which, without being a superior force, seemed by a strange perversity to be always to the fore. Whilst, however, we would wish to give to every instance of his goodness of heart its fullest weight, it would be useless, as well as wrong, to endeavour to hide the fact that his conduct, even towards those who desired to be his friends, and to whom he owed obligations for acts of sympathy and kindness, frequently admitted of no excuse.

His anger, though sharp, was short, and left no sting behind; but his unjust suspicions and scornful treatment of men whose confidence he had won by his genius and force of character, were the cause of sorrow and suffering to those whom he attacked, as well as of remorse to himself, whereby his whole life was embittered, and his better nature warped to ign.o.ble ends.

The good people of Vienna must, indeed, have been somewhat at a loss how to take the genius who had thus burst into their midst and laid them under captivity. Attempts at conciliation were more often than not frustrated by his variable temperament; for though none was apter than Beethoven to take offence, there was no one quicker to resent any effort at mediation by a third party, on whose unfortunate head it was only too likely that the irate composer would empty the vials of his wrath. Nevertheless, his erratic behaviour did not sensibly lessen the circle of his admirers or diminish the popularity which his fame had brought him. Many of the fas.h.i.+onable ladies of Vienna came to him for lessons instead of requiring his attendance at their houses; but such condescension made no difference to the man who held that mind and character alone were the qualifications by which men and women were to be weighed in the social balance. If, therefore, the young ladies talked or showed inattention during their lessons, he became furious, and would tear up the music and scatter it over the floor. His rage, indeed, seems to have been quite ungovernable at times. On one occasion he was playing a duet with his pupil Ries when his ear caught some fragments of a conversation which a young n.o.bleman was carrying on with a lady at the further end of the room. Instantly he jumped up from the piano in a rage, and, taking Ries's hands off the keyboard, he bellowed, 'I play no longer for such hogs!' nor could either apologies or entreaties induce him to resume the performance.

It was often a matter of some difficulty to get him to play, especially when he was not in the humour. On such occasions he would preface the performance by striking the keys with the palm of his hand, or draw his finger along the keyboard from end to end, roaring with laughter, and in other ways behave like a spoiled child. He would not bear being pressed beyond a certain point. Once, it is related, he was asked to play before strangers at the country-house of one of his rich patrons, and flatly refused to comply; whereupon the host jokingly threatened that, if he would not play, he should be confined as a prisoner in the house. Beethoven on this jumped up and ran out of the mansion, and though it was night, he walked three miles to the next town, and thence posted to Vienna. The next day a bust of this patron which stood on Beethoven's bookcase fell to the ground, and was shattered to pieces![18]

His views as to the superiority of mind and character over everything else were certainly borne out by his actions. One day, when he was walking with the poet Goethe near Uplitz, the Imperial family were observed to be approaching. Goethe at once stood aside and removed his hat, at the same time plucking his friend by the sleeve, to remind him that they were in the presence of royalty. Beethoven, however, seemed to regard this as a fitting opportunity for ill.u.s.trating his views on the independence of art, for, shaking off the hand that detained him, he b.u.t.toned up his coat in a determined manner, planted his hat firmly on his head, and, folding his arms behind him, marched straight into the ranks of the Imperial party! If Goethe felt dismayed at his friend's lack of respect, he must have been astonished to note the result; for the Archduke Rodolph not only made way for Beethoven to pa.s.s, but removed his hat, whilst the Empress was the first to bow to him.

In appearance Beethoven was short, broad, and strong-looking. His face was not prepossessing. 'He was meanly dressed, and very ugly to look at,' wrote a lady who knew and admired him, 'but full of n.o.bility and fine feeling, and highly cultivated.' It must have been difficult to describe a face which was subject to such frequent changes of expression, but its forcefulness must have been apparent to every beholder. The eyes were black and bright, and they had a way of dilating when the composer was buried in thought so as to impart to his face an expression of being inspired. Gloomily abstracted as he would be at times, when possessed by some absorbing train of ideas, nothing could have been more cordial or more winning than the smile which lighted up his face at the sight of a friend. With a ma.s.s of dark hair surmounting a high and broad forehead, and the quick, penetrative glance which shot from beneath the large overhanging eyebrows, Beethoven's face must have struck the observer with a sense of its strong individuality. Nevertheless, only a few of the portraits have succeeded in conveying a true likeness of the man who was so unlike every one else. His hands were hairy, and the fingers 'strong and short, and pressed out with long practising.' He was very particular about the position of his hands when playing, and as a rule he kept his body quite still. When conducting, however, his movements were constant and curious. At a _pianissimo_ pa.s.sage 'he would crouch down so as to be hidden by the desk, and then, as the _crescendo_ increased, would gradually rise, beating all the time, until at the _fortissimo_ he would spring into the air with his arms extended, as if wis.h.i.+ng to float on the clouds.'[19]

It was one of the most striking of Beethoven's characteristics that he dearly loved a joke. Ever since the time when he played off the rather unkind joke on the singer h.e.l.ler the pa.s.sion for joking had grown upon him to such an extent that evidence of its ruling force appears in every chapter of his life. He occasionally introduced a joke into his compositions. Thus, in the 'Pastoral Symphony,' we come across a trio between a nightingale, a quail, and a cuckoo. Again, in other works, such as the No. 8 Symphony, the ba.s.soons are brought in unexpectedly, in such a manner as to produce a humorous effect. He never missed an opportunity of playing off a joke upon any of his friends, both in season and out of season, and he always showed his appreciation of the victim's discomfiture by roars of laughter. His letters are full of puns, and he bestows uncomplimentary nicknames upon his intimates. One day his brother Johann, who had acquired a small property in the neighbourhood of Vienna, called upon him in his absence, and left his card, bearing the inscription, 'Johann van Beethoven, Gutsbesitzer'

(Land proprietor). Beethoven was so tickled with the conceit of this designation that he could not resist returning the card to his brother with the following inscription scrawled upon the back: 'L. van Beethoven, Hirnbesitzer' (Brain proprietor). Some of his jokes, however, were in extremely bad taste. On one occasion a lady admirer preferred a request for a lock of his hair as a keepsake, and he sent her instead a wisp cut from the beard of a goat! With his inordinate love of joking, however, he was a poor hand at bearing a joke that told against himself. It is related that, having once been rude enough to interrupt a player named Himmel in the midst of the latter's improvisation by asking when he was going to begin, Himmel afterwards wrote to him that 'the latest invention in Berlin was a lantern for the blind'--a joke which Beethoven not only failed to see, but 'when it was pointed out to him he was furious, and would have nothing more to do with his correspondent.'

His carelessness in matters of dress was very noticeable. Czerny, his pupil, has described how he found him at home on his first visit, with his shock of black hair and his unshaven chin, and his ears stuffed with cotton-wool, whilst his clothes seemed to be made of so rough a material, and were so ill-fitting that he resembled nothing so much as a Robinson Crusoe. It is related that once, when he was engaging a servant, the man stated as a reason for leaving his last situation that he failed to dress his master's hair to the latter's satisfaction. 'It is no object to me to have my hair dressed,'

remarked Beethoven, as he signified his approval of the engagement. He always described himself as 'a disorderly creature,' and he certainly merited the designation. He was clumsy and awkward in his movements; he could not shave without cutting himself, or handle delicate things without breaking them; and whilst composing he invariably spilt the ink over the pianoforte. His handwriting was so illegible as to call forth objurgations from himself whenever he was called upon to decipher it. 'Yesterday,' he writes to a friend, 'I took a letter myself to the post office, and was asked where it was meant to go to; from which I see that my writing is as often misunderstood as I am myself,' Nevertheless, he was very fond of letter-writing, as the collections which have been preserved abundantly testify.

The letters of great men are often valued for the opinions they contain on persons and subjects of the day, as well as for the insight they afford into the private thoughts and feelings of the writers.

Beethoven's letters contain no word-pictures of scenery or events; nor do they express his views on questions or matters in which the world at large might be supposed to take an interest. But they are none the less valuable on that account; for they reflect the openness and simplicity of his character, and lay bare his wishes, his hopes and his disappointments, his joys and his sorrows--and especially his love of fun--just as one or another of these feelings or aspirations was uppermost at the moment.

As a teacher Beethoven exhibited none of the carelessness or impatience that characterised his personal habits. If the rendering of a pa.s.sage was not in accordance with his own ideas of what it should be, he insisted upon the pupil playing it over and over again until he was satisfied. He was comparatively indifferent to the playing of wrong notes, but failure on the part of a pupil to give the right shade of expression, or to grasp the true character of a piece, never failed to arouse his anger. The one, he would say, might be an accident, but the other showed a want of knowledge, or feeling, or attention.

Beethoven was by nature exceedingly unpunctual, and frequently kept his pupils waiting for their lessons. Even Madame von Breuning, for whom he had a strong affection, and who was one of the few people who could be said to have managed him, often failed in persuading him to be in time. 'Ah! I may not disturb him--he is in his _raptus_,' she would exclaim despairingly, in allusion to his habit of relapsing into gloomy reverie. And not even his dearest friend dared to intrude upon him at such moments. His absent-mindedness was the subject of many a joke. He often forgot to come home to dinner--a fact which, seeing that he was a man, deserves to be recorded; and it is even said that, on one occasion, he insisted on tendering money for a meal which he had not ordered, under the belief that he had dined. At another time he composed a set of variations on a Russian dance for the wife of an officer in the Russian service--a compliment which was acknowledged by the gift of a horse. Straightway Beethoven forgot all about the horse until he was reminded of its existence by a long bill presented for its keep. He persisted in shaving himself at his bedroom window, without a blind, and exposed to the view of pa.s.sers-by; and when he discovered that this habit caused a crowd of jeering idlers to collect in front of the house, he flew into a rage, and exchanged his lodgings for others situated in a more retired spot, rather than discontinue the practice. His explosive temper has furnished many amusing anecdotes. One day his cook, who, in consideration of her master's incurable unpunctuality, must be regarded as an aggrieved personage, served up some eggs which were not to his taste, and he emphasised his displeasure by throwing the entire batch at the head of the unfortunate domestic. On another occasion a waiter who mistook his order was rewarded by having the contents of a dish of stew poured over his head. Even where his temper was not concerned his manners were directly opposed to those prevailing in polite society--though, in a large measure, this may have been due to his perfect simplicity and his ignorance of what was expected of him. Thus, it is told that, returning from one of his long walks in the pouring rain, he would make straight for the sitting-room of the house in which he happened to be staying and calmly proceed to shake the water from his hat over the carpet and chairs, after the fas.h.i.+on of a retriever just emerged from a pond, humming to himself the while some theme which had been occupying his thoughts during his walk. One of his pleasanter habits, to which he was greatly attached, was was.h.i.+ng. He would pour the water backwards and forwards over his hands with childish delight, and if, as frequently happened, a musical idea suggested itself to him during the operation, he became oblivious to everything else, and would continue to send the water to and fro, spilling it in huge quant.i.ties, until the floor resembled a miniature lake.

Beethoven would never allow that his disorderliness was anything more than personal, always contending that he had a love of order and neatness with regard to his surroundings and arrangements. Yet here is a sketch of the condition of his living-room, as seen by one of his friends: 'The most exquisite confusion reigned in his house. Books and music were scattered in all directions; here the residue of a cold luncheon, there some full, some half-emptied, bottles. On the desk the hasty sketch of a new quartet; in another corner the remains of a breakfast. On the pianoforte the scribbled hints for a n.o.ble symphony, yet little more than in embryo; hard by a proof-sheet, waiting to be returned; letters from friends, and on business, spread all over the floor. Between the windows a goodly Stracchino cheese, and on one side of it ample vestiges of a genuine Verona Salami....' If an article were missing Beethoven would declare that he knew just where to put his hand upon it; and then, when two or three days' search failed to discover its whereabouts, he would storm at the servants, a.s.severating that they hid his things away on purpose to annoy him. But the storm would clear as quickly as it had gathered, and peace reign once more, until the next occasion called it forth; and the servants knew their master's heart too well to be angered by his reproaches.

The mention of his rambles in the rain recalls his fondness for the open air. It was a pa.s.sion which clung to him through life. As each summer came round, during these years of unremitting toil, he would hail with delight the moment when he could close the door of his lodgings in the hot, stuffy city, and betake himself to some retired spot where he could ramble about and hold communion with Nature, secure from interruption. 'No man,' he wrote to one of his friends, 'loves the country more. Woods, trees, and rocks give the response which man requires.... Every tree seems to say, ”Holy, holy.”' A forest was to him a paradise. He would penetrate its cool depths, and, selecting a tree which offered a seat in a forking branch close to the ground, he would climb into it and sit there for hours, buried in thought. It was amidst the trees of Schonbrunn that he made the first rough notes for several of his great works. With his back planted against the trunk of a favourite lime-tree, his legs stretched along the big branch, and his gaze fixed upon the network of branchlets and quivering leaves above him, he sketched the framework of the oratorio 'The Mount of Olives,' the opera 'Fidelio' (or 'Leonore,' as it was first called), and that glorious symphony which is known by the t.i.tle of the 'Eroica.'

When not resting amidst the trees Beethoven would set off on long walks through the fields, sketch-book[20] in hand, and humming or roaring to himself as he went along. The rough jottings in the sketch-books were later on developed with the utmost care, being written out again and again, with fresh alterations and additions each time, until every trace of crudeness had disappeared, and the finished work stood out with such clearness and precision as to suggest that it had been but that moment created. Nothing, indeed, has struck those who have followed the gradual development of his work from the first sketches which have been preserved more than the number of attempts which mark the growth of the idea in the composer's mind, until it a.s.sumed its final form. Yet there was no trace in the finished work of the process of refining and elaboration through which it had pa.s.sed.

Very curious was the origin of some of the suggestions which found their way into the sketch-books. It was Beethoven's practice to keep one of these books by his bedside, in case an idea occurred to him during the night, and it is told that he was once aroused by the knocking of a neighbour who had been accidentally locked out of his house in the small hours of the morning. The irate neighbour knocked four raps at a time, with a pause at the end of every fourth rap, and the rhythmic regularity of the sounds not only startled Beethoven out of his sleep, but suggested a musical idea to his mind. Up jumped the composer, and down went the idea in his sketch-book, and the next morning the jotting was included in one of his most striking compositions--the 'Violin Concerto in D,' where the pa.s.sage, given to the drums, is many times repeated.

A village which formed one of his favourite resorts was Heiligenstadt, situated about seven miles from Vienna. Here he went in the summer of 1802, after a severe illness. For some time past he had been suffering from increasing deafness, and the malady seemed now to have reached an acute stage, so that his country surroundings failed to exercise their accustomed charm, and he fell into a deep melancholy. Indeed, he appeared to have become impressed with the idea that his life-work was ended, and that he had nothing to look forward to but the companions.h.i.+p of an affliction which must sever him from the social intercourse in which he delighted, and render his remaining years solitary and miserable. It would be difficult to imagine a more terrible calamity than that which had befallen Beethoven, or to exaggerate its effects upon an over-sensitive nature such as he possessed. As his deafness increased, his efforts to conceal the results of the malady from those outside his own immediate circle became more and more painfully evident. No one failed to observe how he was affected, yet none dared to commiserate with him; and when he discovered that his mistakes were drawing public attention to what he was so anxious to hide, his mortification was intensified to a degree that for the time destroyed his peace of mind and left him a prey to melancholy. It was whilst in this state of mental and physical depression that he penned from his village retreat the touchingly eloquent letter which has since been called his 'will.' In this epistle, which is addressed to 'My brothers Carl and Johann Beethoven,' and which they are admonished to 'read and execute after my demise,' Beethoven pleads for consideration both on account of his irritability and his apparent lack of affection. To his misfortunes, not to his faults, must be attributed the obstinacy, the hostility, or the misanthropic att.i.tude which he has shown towards those whom he loves, and by whom he is loved in return. 'My heart and my mind,' he says, as if in extenuation of this fancied ill-feeling, 'were from childhood p.r.o.ne to the tender feelings of affection.' It is a pathetic appeal to natures which, unfortunately for the writer, were the least likely to echo its tenderness in their own hearts; for neither of the brothers had ever shown him true affection. They had followed him to Vienna to found a livelihood for themselves, and thenceforward, with selfish zeal for their own interests, they had simply served to clog his progress. Blinded by the n.o.bility of his own character, however, Beethoven now takes upon himself the entire blame for what he imagines to be a lessening of the affection between them, and, sunk in health, and viewing his future through the darkest of gla.s.ses, he reproaches himself for what he could never have helped. Though his brothers are the only persons who are actually named in this remarkable letter, no one who reads it can doubt that Beethoven is addressing the world at large, who will judge both himself and his works.

Towards the end of this year his health had improved, but the deafness remained constant, and he was at length compelled to desist from conducting his works. Shortly after this an incident occurred which must have served to convince him of the sympathy which the public felt for him in his affliction. His great work, the 'Choral Symphony,' was being performed, and the composer was standing on the platform with his back to the audience, intently following the music. As the concluding chords died away the whole house broke out into enthusiastic applause. Again and again the shouts rent the air, but Beethoven stood motionless, unmoved--a pathetic figure amidst the storm. Possibly at this moment those whose ears he had charmed by his music realised to the full the ineffable sadness of his condition, for a reverential hush fell suddenly on the gathering. The next moment, however, the storm of cheers broke out afresh, for a young singer, named Caroline Unger, who had been taking part in the symphony, went up to the unconscious composer, and, taking his hand, turned him round to the audience. As the glance of the deaf man lighted upon the sea of upturned faces, and he witnessed the emotion which his work had aroused, he was deeply moved.

[Ill.u.s.tration: '_Taking his hand, turned him round to the audience._']

The 'Choral Symphony' ranks amongst the greatest of Beethoven's works, but we should like to mention one of his smaller, though not less famous, compositions--that which is known by the t.i.tle of the 'Kreutzer Sonata for Pianoforte and Violin'--because no fitter ill.u.s.tration could be found of the rapidity with which the composer worked under pressure than is afforded by the beautiful work which he dedicated to his friend Rodolphe Kreutzer, a violinist attached to Count Bernadotte's suite of performers. He had undertaken the writing of the sonata at the instance of a violinist, a mulatto named Bridgetower, who was staying in Vienna, and it was to be jointly performed by Bridgetower and himself. The concert was announced to begin at 8 a.m., but when the public were hastening to the theatre in the Augarten at that early hour of the spring morning, the music for the pianoforte part was practically unwritten, with the exception of a few scattered suggestions, whilst the variations, which are justly renowned for their grace and beauty, were hurriedly written in at the last moment, and had to be played by the violinist at sight from the rough ma.n.u.script. The _andante_ is of unsurpa.s.sable beauty, and it was rendered by the composer in such a manner as to excite the audience to enthusiasm. Beethoven's powers of playing were never shown to greater advantage than in his _andante_ movements. His execution of the quicker parts was apt to be confused by his frequent use of the pedal, but nothing occurred to mar or obscure the clearness and depth of expression with which he rendered the slower movements, and it was in these that his playing was most truly inspired.

The year 1804 is a memorable one in the life of Beethoven, for it witnessed the completion of his grand symphony, the 'Eroica,' the rough idea of which had been sketched amidst the woods of Schonbrunn two years before. The suggestion of the work is said to have come from Count Bernadotte, the French Amba.s.sador at Vienna, with whom Beethoven was on terms of intimacy; but the man whom it was intended to honour by its dedication was the General whose exploits had shaken the whole of Europe--Napoleon Buonaparte. Beethoven had been greatly attracted by Napoleon's character. He believed in him as the one man who was capable of making his adopted country a pattern for the world, by establis.h.i.+ng a Republic on the principles laid down by Plato. But his confidence in the unselfishness of Napoleon's aims was soon to receive a rude shock. The fair copy of the symphony, with its dedicatory inscription, had been completed, and was on the point of being dispatched to Paris, when suddenly the news reached Vienna that the hero's glorious entry into the French capital had culminated in his allowing himself to be proclaimed Emperor. In a moment Beethoven's wors.h.i.+p was turned into hatred and contempt. He seized the ma.n.u.script, tore the t.i.tle-page to shreds, and flung the work itself to the other end of the room. 'He designs to become a tyrant, like the rest,' he exclaimed, with scornful bitterness; and it was a long time before he could even be induced to look at the music again, or to consider the question of its publication. Eventually, however, he consented to its appearing under a new t.i.tle, the 'Sinfonia Eroica,' by which it has since been known to the world.

It is impossible within the limits of a short story-life to give even a brief description of the composer's chief works, or to convey more than an idea of how much work, despite his irregular habits, Beethoven accomplished. His untiring industry in developing the rough jottings which formed the foundations of his compositions has been mentioned; but without following his life from year to year we can have only a very imperfect conception of the actual amount of labour which was involved in bringing to perfection the long list of works that we see appended to the biographies of the composer. When we follow the story of his life in detail, we are struck by the fact of his unceasing toil. Nothing seems to have checked the constant flow of composition; yet many causes were at work to hinder it, such as ill-health, poverty, an ill-balanced temperament, and an oversensitiveness with regard to the petty troubles arising out of his injudicious mode of life. 'I live only in my music,' he writes, 'and no sooner is one thing done than the next is begun. As I am now writing, I often work at three or four things at once.' And think what such work meant! It has been said that it is difficult to find in Beethoven's life anything corresponding to the extraordinary beauty and grandeur of his creations--in other words, there seems to exist no parallel in his life, as he lived it, to the outpourings of his musical soul. There is, indeed, little doubt that Beethoven had but one channel through which to express his deepest thoughts and feelings--the language of music. Through his music he reaches our hearts; by his music we are brought into contact with his innermost soul; and by his music alone can we know the man Beethoven as he really was.

Yet his life was by no means devoid of n.o.ble qualities. It was in every sense a great life, full of energy, full of power, full of a determination which carried him through every obstacle, and enabled him to hold his own against the attacks of his enemies. Apart, however, from the genius that enn.o.bled it, it was not a life which could altogether compel admiration. The down-right simplicity and directness of purpose which shone forth as Beethoven's chief characteristics, and in themselves were undoubted virtues, were, unhappily, overshadowed by faults and shortcomings of such magnitude as to shut out much of the friends.h.i.+p and sympathy that he might otherwise have enjoyed; and no one reading his life can doubt that he stood greatly in need of such a.s.sistance.

Nevertheless, Beethoven's faults were of the head, not of the heart.

At heart he was a man capable of loving and worthy to be loved. His simple nature was easily touched by distress, and just as easily imposed upon by those who designed to use him for their own ends. Many of his quarrels and dislikes were either brought about or fomented by persons in whom he had placed a mistaken faith. This was notably the case with regard to the quarrel with Stephen Breuning, his best and truest friend, to whom, after a separation of years, he turned with an appeal for pardon that did honour to his heart. The letter accompanied a miniature of the composer, and ran as follows:

'Beneath this portrait, dear Stephen, may all that has for so long gone on between us be for ever hidden. I know how I have torn your heart. For this the emotion that you must certainly have noticed in me has been sufficient punishment. My feeling towards you was not malice. No--I should no longer be worthy of your friends.h.i.+p; it was pa.s.sionate love for you and myself; but I doubted you dreadfully, for people came between us who were unworthy of us both. My portrait has long been intended for you. I need not tell you that I never meant it for anyone else.

Who could I give it to with my warmest love so well as to you, true, good, n.o.ble Stephen? Forgive me for distressing you. I have suffered myself as much as you have. It was only when I had you no longer with me that I first really felt how dear you are, and always will be, to my heart. Come to my arms once more, as you used to do.'