20. "Nature is a glorious school for the heart! It is well; I shall be a scholar in this school and bring an eager heart to her instruction. Here I shall learn wisdom, the only wisdom that is free from disgust; here I shall learn to know G.o.d and find a foretaste of heaven in His knowledge.

Among these occupations my earthly days shall flow peacefully along until I am accepted into that world where I shall no longer be a student, but a knower of wisdom."

(Copied into his diary, in 1818, from Sturm's "Betrachtungen uber die Werke Gottes in der Natur.")

21. "Soon autumn will be here. Then I wish to be like unto a fruitful tree which pours rich stores of fruit into our laps! But in the winter of existence, when I shall be gray and sated with life, I desire for myself the good fortune that my repose be as honorable and beneficent as the repose of nature in the winter time."

(Copied from the same work of Sturm's.)

CONCERNING TEXTS

Not even a Beethoven was spared the tormenting question of texts for composition. It is fortunate for posterity that he did not exhaust his energies in setting inefficient libretti, that he did not believe that good music would suffice to command success in spite of bad texts. The majority of his works belong to the field of purely instrumental music.

Beethoven often gave expression to the belief that words were a less capable medium of proclamation for feelings than music. Nevertheless it may be observed that he looked upon an opera, or lyric drama, as the crowning work of his life. He was in communication with the best poets of his time concerning opera texts. A letter of his on the subject was found in the blood-spotted pocketbook of Theodor Komer. The conclusion of his creative labors was to be a setting of Goethe's "Faust;" except "Fidelio," however, he gave us no opera. His songs are not many although he sought carefully for appropriate texts. Unhappily the gift of poetry was not vouchsafed him.

22. "Always the same old story: the Germans can not put together a good libretto."

(To C. M. von Weber, concerning the book of "Euryanthe," at Baden, in October, 1823. Mozart said: "Verses are the most indispensable thing for music, but rhymes, for the sake of rhymes, the most injurious. Those who go to work so pedantically will a.s.suredly come to grief, along with the music.")

23. "It is difficult to find a good poem. Grillparzer has promised to write one for me,--indeed, he has already written one; but we can not understand each other. I want something entirely different than he."

(In the spring of 1825, to Ludwig Rellstab, who was intending to write an opera-book for Beethoven. It may not be amiss to recall the fact that Mozart examined over one hundred librettos, according to his own statement, before he decided to compose "The Marriage of Figaro.")

24. "It is the duty of every composer to be familiar with all poets, old and new, and himself choose the best and most fitting for his purposes."

(In a recommendation of Kandler's "Anthology.")

25. "The genre would give me little concern provided the subject were attractive to me. It must be such that I can go to work on it with love and ardor. I could not compose operas like 'Don Juan' and 'Figaro;'

toward them I feel too great a repugnance. I could never have chosen such subjects; they are too frivolous."

(In the spring of 1825, to Ludwig Rellstab.)

26. "I need a text which stimulates me; it must be something moral, uplifting. Texts such as Mozart composed I should never have been able to set to music. I could never have got myself into a mood for licentious texts. I have received many librettos, but, as I have said, none that met my wishes."

(To young Gerhard von Breuning.)

27. "I know the text is extremely bad, but after one has conceived an ent.i.ty out of even a bad text, it is difficult to make changes in details without disturbing the unity. If it is a single word, on which occasionally great weight is laid, it must be permitted to stand. He is a bad author who can not, or will not try to make something as good as possible; if this is not the case petty changes will certainly not improve the whole."

(Teplitz, August 23, 1811, to Hartel, the publisher, who wanted some changes made in the hook of "The Mount of Olives.")

28. "Good heavens! Do they think in Saxony that the words make good music? If an inappropriate word can spoil the music, which is true, then we ought to be glad when we find that words and music are one and not try to improve matters even if the verbal expression is commonplace--dixi."

(January 28, to Gottfried Hartel, who had undertaken to make changes in the book of "The Mount of Olives" despite the prohibition of Beethoven.)

29. "Goethe's poems exert a great power over me not only because of their contents but also because of their rhythms; I am stimulated to compose by this language, which builds itself up to higher orders as if through spiritual agencies, and bears in itself the secret of harmonies."

(Reported as an expression of Beethoven's by Bettina von Arnim to Goethe.)

30. "Schiller's poems are difficult to set to music. The composer must be able to rise far above the poet. Who can do that in the case of Schiller? In this respect Goethe is much easier."

(1809, after Beethoven had made his experiences with the "Hymn to Joy"

and "Egmont.")

ON COMPOSING

Wiseacres not infrequently accused Beethoven of want of regularity in his compositions. In various ways and at divers times he gave vigorous utterance to his opinions of such pedantry. He was not the most tractable of pupils, especially in Vienna, where, although he was highly praised as a player, he took lessons in counterpoint from Albrechtsberger. He did not endure long with Papa Haydn. He detested the study of fugue in particular; the fugue was to him a symbol of narrow coercion which choked all emotion. Mere formal beauty, moreover, was nothing to him. Over and over again he emphasizes soul, feeling, direct and immediate life, as the first necessity of an art work. It is therefore not strange that under certain circ.u.mstances he ignored conventional forms in sonata and symphony. An irrepressible impulse toward freedom is the most prominent peculiarity of the man and artist Beethoven; nearly all of his observations, no matter what their subject, radiate the word "Liberty." In his remarks about composing there is a complete exposition of his method of work.

31. "As regards me, great heavens! my dominion is in the air; the tones whirl like the wind, and often there is a like whirl in my soul."

(February 13, 1814, to Count Brunswick, in Buda.)

32. "Then the loveliest themes slipped out of your eyes into my heart, themes which shall only then delight the world when Beethoven conducts no longer."

(August 15, 1812, to Bettina von Arnim.)