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The great charm of the opera is its originality, and the wonderful freshness and fruitfulness of the composer in giving independent and characteristic melodies to every character, as well as the marvellous combination of technicality with absolute melody. Beethoven said of it that this was Mozart's one German opera in right of the style and solidity of its music.
Would that fill you with deep thoughts in Beethoven, or fire you into joy in Mendelssohn? Oh, no! You have your skeleton, but you have not one thing, the deepest; genius has to touch with its fire the fact that is before you; you want the mystery of life.
This learned and worthy doctor astonished the musical world a few years by his new marks of phrasing in the Beethoven symphonies. They topsy-turvied the old bowing. With Chopin, new dynamic and agogic accents are rather dangerous, at least to the peace of mind of worshippers of the Chopin fetish. Riemann breaks two bars into one.
Czerny, through his devotion to Beethoven, paid particular attention to Karl, and the boy made rapid progress. He accompanied his uncle on visits to other houses, by the latter's desire, with the object of forming his taste and stimulating his ambition for the art. From the start Beethoven planned a fine career for his nephew.
It is thus tolerably certain that the instrumental tone used to voice the pastoral character of the scene was the same as that which Beethoven used in his "Pastoral" symphony, as Berlioz used in his "Fantastic," as Gounod used in his "Faust," and that thus at least one element of the instrumental embodiment of Poliziano's story has come down to us. From Frottola Drama to Madrigal
I dare say it was long a bitter thing to Beethoven to see hundreds of people in raptures with his music, when he could not hear a note of it. And Huber " "But did Beethoven get to smile?" "If he did, he was happier than all the fine music in the world could have made him." "I wonder O! I wonder if I ever shall feel so." "We will pray to God that you may. Shall we ask him now?"
A youthful musical student, upon being asked how many symphonies Beethoven had composed, replied four, and obstinately stuck to it that Beethoven had only composed four. Called upon to enumerate the four, he answered thus, the C minor, the Eroica, the Pastoral, and the Ninth. "Ninth" had lost its numerical significance for that student.
Beethoven was generally approachable when not at work, and was always well disposed toward young musicians of talent, but the habitually modest estimate which Schubert placed on himself, coupled with the regard amounting to reverence which he entertained for Beethoven, was sufficient to deter the younger man.
She was a person of great levity of conduct and bad reputation, and every effort was made by Beethoven to withdraw her son from her influence, on which account he at once removed him from her care, and placed him in this institution.
This is especially noticeable in the concerted pieces, in which Beethoven sometimes seems to forget all about opera, characters, dramatic situation and everything else in the sheer delight of writing music.
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