"The immense amount of Dussek's compositions for the pianoforte have by no means equal merit; many of them were written for the mere object of sale, still more for the purpose of tuition, and some with the design of executive display. Of those which were produced, however, in the true spirit of art, expressing the composer's feelings in his own unrestrained ideas, there exist quite enough to stamp him one of the first composers for his instrument; and while these are indispensable in the complete library of the pianist, they are above value to the student in the development of his mechanism and the formation of his style. A strong characteristic of the composer is his almost redundant profusion of ideas;[89] but his rich fecundity of invention is greatly counterbalanced by diffuseness of design, resulting from the want of that power of condensation by means of which greater interest is often given to less beautiful matter."

And then, again, in an a.n.a.lysis of a Dussek Quintet, he remarks that in that composer's works we may trace "not only the origin of many of the most beautiful effects with which later writers have been accredited, but some of the identical ideas by which these very writers have made their way into popularity."

III. Friedrich Wilhelm Rust

During the years 1744-45 a young man named Johann Ludwig Anton Rust went to Leipzig to study jurisprudence and philosophy. But he was also musical, and played the violin at performances given under the direction of J.S. Bach. On returning to his home at Worlitz, Rust tried to inspire those around him with enthusiasm for the music of Bach. With his younger brother, Friedrich Wilhelm, he was, at any rate, successful; for the latter, already at the age of thirteen, was able to play by heart the whole of the "Well-tempered Clavier." Later on, young Friedrich went to Halle to study law, and there not only made the acquaintance of Friedemann Bach, but, in return for attending to the correspondence of that gifted musician, he received from him instruction in composition, organ and clavier playing. Afterwards, at Potsdam, he continued his clavier studies under Emanuel Bach. Surely a finer training never fell to the lot of any pupil. Schumann recommends young musicians to make Bach their daily bread; and of that, Rust must have had full weight. But the list of his teachers is not yet exhausted; he went to Italy in 1765, and studied the violin under Tartini. Rust composed operas, cantatas, concertos, and sonatas for violin,[90] and for pianoforte; the last-named, of which he wrote eight, now concern us.

The earliest, ent.i.tled "Sonata Erotica," was composed in 1775; this work, however, was not published until the year 1888 (edited by his grandson, Dr. Wilhelm Rust,[91] late cantor of St. Thomas'). It is the first of a series of works extraordinary in many ways--in form, subject-matter, developments, and technique. With regard to the last-named, there is something to say, and it had better be said at once. Dr. E. Prieger, in his interesting pamphlet, _F.W. Rust: Ein Vorganger Beethovens_, remarks as follows:--"While the grandson, full of enthusiasm, threw his whole soul into the creations of his ancestor, he gave a reflection, in his edition, of the pictures which had been vividly formed in his mind." To accomplish this he has strengthened the writing, and, in some cases, _modernised_ it. Dr.

Prieger, who has seen some, if not all of the autographs, has a.s.sured us that "these additions only concern the exterior, and do not affect the fundamental, character of the work." This statement is, to a certain extent, satisfactory, and we receive it thankfully. But a great deal of the writing is far ahead of the age in which it was written; it reminds one now of Weber, now of Schumann. Why, one may ask, did not the editor indicate the additions in smaller notes? Then it would have been possible to see exactly what the elder Rust had written, and what the younger Rust had added. At present one can only marvel at some of the writing, and long to know how much of it really belongs to the composer. It appears that Rust, as editor of his grandfather's work, had some intention of describing his editions, etc., but death, which frequently prevents the best intentioned plans, intervened.

The "Sonata Erotica" is noticeable, generally, for its charm, poetry, and spontaneity. The first movement, an Allegro moderato, is in sonata-form. The second, in the key of the relative minor, ent.i.tled Fantasie, has in it more of the spirit of Beethoven than of Emanuel Bach. The Finale is in rondo form; the middle section consists of a playful Duettino, containing free imitations.

The next sonata (1777), in D flat, opens with a graceful Allegretto, and closes with a Tempo di Minuetto, which, for the most part, points backward rather than forward. The slow movement, Adagio sostenuto, is, however, of a higher order than either of these. It has Beethovenish breadth and dignity, yet lacks the power of the Bonn master: those magic touches by which the latter makes us feel his genius, and secures gradation of interest up to the very close of a movement. This Adagio, however, were the date of its composition unknown, might pa.s.s for a very clever imitation of Beethoven's style.

In 1784, Rust wrote two sonatas, one in F sharp minor, the other in B flat minor. The latter consists of three movements, and the music, especially in the Adagio in E flat minor, bears traces of the great Bach; still there are pa.s.sages which sound more modern even in this very Adagio, which points so clearly to him as the source of inspiration. The modern element, however, admits of explanation, for Haydn and Mozart, at the time in which the sonata was written, had appeared in the musical firmament. But in the works we are about to mention, the composer suggests Beethoven, Weber, and even Schumann. In writing about Clementi, we were compelled frequently, and at the risk of wearying our readers, to call attention to foreshadowings of both the letter and spirit of Beethoven. The cases of Clementi and Rust, however, are not quite parallel. With the former it was mere foreshadowing; with exception of a few pa.s.sages in which there was note resemblance between the two composers, the music still bore traces of Clementi's mode of thought and style of writing. But with Rust, there are moments in which it is really difficult to believe that the music belongs to a pre-Beethoven period.

The sonata[92] in D minor (1788) opens with a vigorous yet dignified Allegro; the graceful Adagio is of eighteenth century type; it is in the key of the relative major, but closes on the dominant chord of D minor, leading without break to a final Allegro, full of interesting details. The movement concludes with an impressive _poco adagio_ coda, in which Rust makes use of the princ.i.p.al theme of the opening movement. We will venture on one quotation, although a few bars, separated from the context, may convey only a feeble impression--

[Music ill.u.s.tration]

The sonata in D major, composed six years later, opens with an interesting Allegro. The second movement, in B minor, bears the superscription "Wehklage" (Lamentation). Rust's eldest son, a talented youth, who was studying at Halle University, was drowned in the river Saale, 23rd March 1794. Matthisson, the "Adelaide" poet, sent to the disconsolate father a poem ent.i.tled "Todtenkranz fur ein Kind," to which Rust sketched music, and on that sketch is based this pathetic movement, which sounds like some tone-poem of the nineteenth century.

Here is the impressive coda:--

[Music ill.u.s.tration]

There follows a dainty, old-fashioned Minuet, and a curious movement ent.i.tled "Schwermuth und Frohsinn" (Melancholy and Mirth);[93] though after the "Wehklage" these make little impression.

During four years (1792-96), Rust was occupied with a sonata in C minor and major. The work is a remarkable one. It opens with an energetic Recitativo in C minor, interrupted for a few bars by an Arioso Adagio in C major. Then comes a Lento in six-four time based on the celebrated Marlbrook song, a dignified movement containing, among other canonic imitations, one in the ninth. It leads by means of a _stringendo_ bar to a brilliant Allegro con brio, a movement of which both the music and the technique remind one of Beethoven's bravoura style. A second section of the sonata commences with the recitative phrase of the opening of the work, only in A minor. This leads to a highly characteristic Andante, which Dr. Rust, the editor, in a preface to the published sonata, likens to the "mighty procession" in Lenau's _Faust_. The Finale consists of an animated Allegro, with a clever fugato by way of episode; there is still an Allegro maestoso, which, except for its length and the fact that it contains a middle section, Cantabile e religioso, we should call a long coda. The whole, evidently programme-music, is a sonata worked out somewhat on Kuhnau lines.

Now, was Beethoven acquainted with Rust's music? Dr. Prieger, in the pamphlet mentioned above, remarks as follows:--"During the years 1807-27 Wilhelm Karl Rust (_b._ 1787, _d._ 1855), the youngest son of our master, was in Vienna, and had the good fortune to make the acquaintance of Beethoven, who was pleased with his playing, and recommended him as teacher. Among Rust's lady pupils were Baroness Dorothea Ertmann and Maximiliane Brentano, both of whom belonged to Beethoven's most intimate circle of friends, and had been honoured by having works dedicated to them. The younger Rust was gifted with an extraordinary memory, and therefore it seems more than probable that he occasionally performed some of his father's works in that circle.

On the other hand, we have Beethoven's energetic nature holding aloof from anything which might influence his own individuality."

There, in a few words, is the answer to our question. And it is about the only one we can ever hope to obtain. Rust was altogether a remarkable phenomenon, a musician born, as it were, out of due time.

If Beethoven, as seems quite possible, was acquainted with his music, then Rust exerted an influence over the master quite equal to that of Clementi. It almost seems as if we ought to say, greater.

CHAPTER VII

LUDWIG VAN BEETHOVEN

Bach's forty-eight Preludes and Fugues and Beethoven's thirty-two Sonatas tower above all other works written for the pianoforte; they were aptly described by the late Dr. Hans v. Bulow, the one as the Old, the other as the New Testament of musical literature. Each fresh study of them reveals new points of interest, new beauties; they are rich mines which it is impossible to exhaust. Bach seemed to have revealed all the possibilities of fugue-form; and the history of the last seventy years almost leads one to imagine that Beethoven was the last of the great sonata writers. To this matter, however, we will presently return. In speaking of the various composers from Kuhnau onwards, we have tried to show the special, also the earliest, influences acting on them; and we shall still pursue the same course with regard to Beethoven. When he went to Vienna in 1792 he found himself in the very centre of the musical world. Haydn, though past sixty years of age, was at the zenith of his fame; and Beethoven, for a time, studied under him. Mozart had died in the previous year, so his name was still in everybody's mouth. The early works of Beethoven give strong evidence of the influence exerted over him by these two composers. Then Prince Lichnowsky, the friend and pupil of Mozart, and Baron van Swieten, the patron and friend of both Haydn and Mozart, were among the earliest to take notice of the rising genius and to invite him to their musical _matinees_ and _soirees_; and one can easily guess what kind of music was performed on those occasions. But the little story of Beethoven remaining at van Swieten's house, after the guests had departed, in order to "send his host to bed with half a dozen of Bach's Fugues by way of _Abendsegen_" reminds us of another strong, and still earlier, influence. At Bonn, under the guidance of his master, Christian Gottlob Neefe, Beethoven was so well-grounded in the "Well-tempered Clavier," that already, at the age of twelve, he could play nearly the whole of it. But, if we are not mistaken, he also made early acquaintanceship with the sonatas of Emanuel Bach. For in 1773 Neefe published "Zwolf Klavier-Sonaten," which were dedicated to the composer just named. In the preface he says: "Since the period in which you, dearest Herr Capellmeister, presented to the public your masterly sonatas, worked out, too, with true taste, scarcely anything of a characteristic nature has appeared for this instrument.[94] Most composers have been occupied in writing Symphonies, Trios, Quartets, etc. And if now and then they have turned their attention to the clavier, the greater number of the pieces have been provided with an accompaniment, often of an extremely arbitrary kind, for the violin; so that they are as suitable for any other instrument as for the clavier." Then, later on, Neefe acknowledges how much instruction and how much pleasure he has received from the theoretical and practical works of E. Bach (we seem to be reading over again the terms in which Haydn expressed himself towards Bach). May we, then, not conclude that young Beethoven's attention was attracted to these "masterly sonatas,"

and also to those of his teacher Neefe? This is scarcely the moment to describe the Neefe sonatas.[95] In connection, however, with Beethoven, one or two points must be noticed. In the third of the three sonatas which Beethoven composed at the age of eleven, the last movement is ent.i.tled: Scherzando allegro ma non troppo, and twice in Neefe do we come across the heading, Allegro e scherzando (first set, No. 5, last movement; and second set, No. 1, also last movement).

Then, again, No. 2 of the second set opens with a brief introductory Adagio, one, by the way, to some extent connected with the Allegro which follows. In the 2nd of the above-mentioned Beethoven sonatas (the one in F minor) there is also a slow introduction; the young master, no mere imitator, antic.i.p.ates his own "Sonate Pathetique," and repeats it in the body of the Allegro movement. Lastly, no one, we believe, can compare the Neefe variations with those of Beethoven in the 3rd sonata (in A) without coming to the conclusion that the pupil had diligently studied his teacher's compositions, which, we may add, were thoroughly sound, full of pleasing _cantabile_ writing, and, at times, not lacking in boldness. Let us venture on one quotation of only four bars from Sonata 1, in G, of the second set of six: it is the opening of a short Adagio connecting the Allegro with an Allegro e scherzando--

[Music ill.u.s.tration]

The enharmonic modulation from the second to the third bar reminds one of E. Bach, who was so fond of such changes; also of a similar one in the "Pathetique."

Beethoven wrote thirty-two sonatas, and in the following table the opus number of each work is given, also the date of its publication; some have a t.i.tle, and the greater number a dedication:--

Sonata Published Dedicated to

Op. 2 No. 1 (F minor) 1796. Haydn.

" No. 2 (A) " "

" No. 3 (C) " "

Op. 7 (E flat) 1797. Countess Babette Keglevics.

Op. 10 No. 1 (C minor) 1798. Countess Browne.

" No. 2 (F) " "

" No. 3 (D) " "

Op. 13 (C minor, "Sonate Pathetique") 1799. Prince Charles Lichnowsky.

Op. 14 No. 1 (E) " Baroness Braun.

" No. 2 (G) " "

Op. 22 (B flat) 1802. Count Browne.

Op. 26 (A flat) " Prince Charles Lichnowsky.

Op. 27 No. 1 (E flat) " Princess Liechtenstein.

" No. 2 (C sharp minor) " Countess Giulietta Guicciardi.

Op. 28 (D) " Joseph de Sonnenfels.

Op. 31 No. 1 (G) 1803.

" No. 2 (D minor) "

" No. 3 (E flat) 1804.

Op. 49 No. 1 (G minor) 1805.

" No. 2 (G) "

Op. 53 (C) " Count Waldstein.

Op. 54 (F) 1806.

Op. 57 (F minor) 1807. Count Brunswick.

Op. 78 (F sharp) 1810. Countess Theresa of Brunswick.

Op. 79 (G) "

Op. 81A (E flat; "Das Lebewohl, die Abwesenheit, das Wiedersehn") 1811. Archduke Rudolph.

Op. 90 (E minor) 1815. Count Moritz Lichnowsky.

Op. 101 (A) 1817. Baroness Dorothea Ertmann.

Op. 106 (B flat) 1819. Archduke Rudolph.

Op. 109 (E) 1821. Maximiliane Brentano.

Op. 110 (A flat) 1822.

Op. 111 (C minor) 1823. Archduke Rudolph.

The autograph of the last sonata does not bear any dedication, but, from a letter of Beethoven (1st June, 1823) to the Archduke, it is evident that it was intended for the latter.[96]

The fanciful name of "Moonlight" to Op. 27 (No. 2), the appropriate publisher's t.i.tle of Op. 57, and the poetical superscriptions of Op.

81A, have, without doubt, helped those sonatas towards their popularity. It does not always happen that the most popular works of a man are his best; but these in question justly rank among Beethoven's finest productions. The last five sonatas are wonderful tone-poems; yet, with the exception, perhaps, of Op. 110, in A flat, as regards perfection of form and unity of conception, not one equals Op. 27 (No.

2), Op. 31 (No. 2), and Op. 57. Apart from any aesthetic considerations, the digital difficulties of the last five sonatas prevent their becoming common property. The brilliant technique of Op.

53 has proved a special attraction to pianists, and it has therefore become widely known. With this one sonata Beethoven proved his superiority, even in the matter of virtuosity, over the best pianists of his day.

In order to be able to enter fully into the spirit of the music of great composers, it is necessary to know the history of their lives.

Beethoven's is fairly well known. But it may be worth while to refer, briefly, to the princ.i.p.al men and women to whom the master dedicated his pianoforte sonatas.