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<b>BEGAS, LUISE PARMENTIER.</b> Born in Vienna. Pupil of Schindler and Unger. She travelled extensively in Europe and the Orient, and spent some time in Sicily. She married Adalbert Begas in 1877 and then established her studio in Berlin. Her subjects are landscape, architectural monuments, and interiors. Some of the latter are especially fine.
Beethoven, as we know from his friend Schindler and his pupil Ries, often, if not always, had some object before him when composing his instrumental works. The fact that the same music suggests different interpretations to different minds will not disturb us if we remember that music does not and never can depict or describe its object: for that we have the arts of poetry and painting.
He invariably played the viola on these occasions, perhaps, as Schindler hints about Beethoven, because indifferent playing on the viola is not so noticeable as on other instruments. As was to have been expected from so pronounced an antiquarian, he had small sympathy for modern music.
Now, 1st, all his extracts are in the second edition of Schindler's "Biography;" 2d, all the variations from the original are found word for word in Schindler's excerpts; 3d, the first of the above three examples, which Marx takes for an expression of Beethoven's views, was written by Schindler himself, for his master's perusal!
They must have quarrelled later, as in a letter to Schindler in 1823 Beethoven refers to Ruprecht in the most abusive terms.
In the intervals of his work, worn by fatigue, he was in the habit of resting his mind by reading the classics, or Persian literature. Schindler, who was near him for the last ten years of his life says in relation to Beethoven's love of the Greek classics. "He could recite long passages from them.
The answer is: these performances were given daily, including Sunday, and at all hours of the day, some concerts being given as early as six o'clock in the morning. It was indeed a "golden age for Beethoven," as Schindler remarks. Thayer gives a list of twenty-one great houses open to Beethoven, nine of which belonged to princes.
Pachler, an advocate in Gratz, from whom two letters are given by Schindler of the dates of August 15th, 1825, and November 5th, 1826, in which she invites Beethoven to visit her in Gratz. Schindler considers as applicable to this lady the words of a note in Beethoven's writing of which he has given a fac-simile in his Biography, I. 95; the date 1817 or 1818.
The summer of 1818 was spent at Mödling. He was in the best of health and spirits as stated, and began the work with great energy and enthusiasm. His whole nature seemed to change, Schindler states, when he began the great work. His interest and absorption in it was extraordinary, as is shown by the sketch-books from the beginning.
No doubt the copyists often misunderstood the master's instructions, always given in writing in his later years. He was so careless with his handwriting that some of his letters are undecipherable in part, to this day. Schindler, with good common-sense made a practice of transcribing Beethoven's words on the back of any letter received from him before filing it away.
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