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Updated: May 29, 2025
In previous chapters, Beethoven's pianoforte compositions-sonatas, trios, the quintett, etc., up to Op. 54, exclusive of the concertos for that instrument and orchestra-have been treated. In this we have a very pleasing account of the gradual progress of the composer from the concerto to the full splendor of the grand symphony.
I used occasionally to play with Ella at the house of a lady who gave musical parties. He was always attuned to the highest pitch, most good-natured, but most excitable where music was to the fore. We were rehearsing a quintett, the pianoforte part of which was played by the young lady of the house a very pretty girl, and not a bad musician, but nervous to the point of hysteria.
Half the audience probably know every bar of the music by heart, and no inconsiderable number could perhaps perform it very decently themselves. It is indeed at these quartett and quintett meetings, that you see genuine specimens of musical knowledge and musical enthusiasm.
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