The Appreciation of Music - Vol. 1 (of 3)

CHAPTER XIII.

Chapter 312,701 wordsPublic domain

BEETHOVEN--III.

I. THE SLOW MOVEMENT BEFORE BEETHOVEN.

The slow movements of the sonatas and symphonies of Haydn and Mozart were essentially lyric pieces in which the composer relied for his effect on the beauty of his melodies. These melodies, usually two in number, were varied by being presented in different keys and by being ornamented with passing-notes, scale passages, trills, etc. Each section was clearly separated from the others by cadence chords, so that the total effect was of a series of separate divisions, each, as it were, independent and complete in itself. There are, of course, exceptions to this method of procedure, particularly in the string quartets of Haydn and Mozart, which are more highly developed than is usual in their piano sonatas, but as a general rule this was their way of treating slow movements.

This lyric, sectional form of slow movement served as a foil to the more involved first movement. The lovely, serene melodies were not disturbed by passion, nor sacrificed for picturesque effect of any kind. In the string quartets and symphonies they were enlivened by a certain amount of polyphony (see Chapter X), and in the piano sonatas they occasionally departed from the simple regular form, but they seldom dealt with tragedy and seldom presented any evidence of that idiosyncrasy and intense individuality that marks the slow movement of later times.

II. THE SLOW MOVEMENTS OF BEETHOVEN'S EARLY SYMPHONIES.

The early sonatas and symphonies of Beethoven are largely constructed on the old model. The first piano sonata, referred to in Chapter XII, has a sectional slow movement that might almost have been written by Mozart. The slow movement of the first symphony is simplicity itself, both in form and content; and even the adagio of the Pathétique Sonata (see Chapter XI) is a straightforward sectional piece with a lyric melody presented several times, with varying accompaniment, and with the usual contrasting middle section.

[Music: score] (_a_)

[Music: score] (_b_)

[Music: score] (_c_)

[Music: score] (_d_)

[Music: score] (_e_)

[Music: score] (_f_)

[Music: score] (_g_)

FIGURE LV.

In Figure LV is shown the first theme of the andante of the first symphony, (_a_) themes from the larghetto of the second symphony, (_b_) and (_e_) and portions of the middle section of the same (_c_), (_d_), (_f_), and (_g_). Each of these themes is distinctly strophic; each has perfect phrase balance, charm of contour or outline, and simplicity of harmonization. Not so highly organized as the theme from the Pathétique Sonata (see Chapter XI, Figure XLVII) they resemble the themes of the older masters, but bear, nevertheless, some evidence of the individuality that so fully characterizes Beethoven's later music. But in the treatment of the theme from the second symphony that individuality is clearly manifested. Instead of a mere restatement varied by new harmonization or by elaboration of the theme itself, there is a free play of fancy, one or two short motives from the first theme being tossed about in the orchestra from one instrument to another in delightful by-play.

All sorts of devices are resorted to to keep the interest of the listener at its height. The chief motive (Figure LV, (_b_)) passes from calm serenity to playfulness, and again to splendid sonorous grandeur; a phrase from this same motive becomes the subject of an almost crabbed discussion (Figure LV, (_d_)), while the charming secondary theme (Figure LV, (_e_)), whose whimsical gayety animates the early part of the movement, is given a plaintive quality by a change to minor (Figure LV, (_f_)) and the touching contrapuntal phrases that are set against it. A little later a single phrase from the same theme becomes the subject of a bit of vigorous by-play between the different instruments (Figure LV, (_g_)).

Thus the slow movement, even in Beethoven's early works, becomes vivified by his intense individuality. In his more mature compositions in this form the whole body of the music pulsates with life--no single part stagnates.

EXAMPLE FOR ANALYSIS, No. 21.

_Beethoven: The Fifth Symphony, Slow movement._

We have already pointed out in Chapter X that the slow movement is usually written in some sectional form. Beethoven followed the old models in this respect in the majority of his slow movements, but his enrichment of the content of the music and his skill in avoiding conventional endings and other platitudes makes his pieces less rigid in effect than those of Haydn and Mozart. He was particularly fond of leaving his listeners until the last moment in doubt of the ultimate conclusion of a passage, leading them away from his point and coming back to it by an unexpected modulation or turn of phrase; he frequently ends the section of a movement with one or two brusque chords suddenly inserted after a passage full of sentiment. In short, his sectional movements are less obvious in design, and more flowing and continuous, than was the custom before his day.

The andante of the Fifth Symphony is in free variation form, the divisions--unlike those in the variations referred to in Chapter VII--not being clearly marked nor regular in form. The theme has two parts, but Beethoven skillfully avoids that prolixity sometimes evident in Haydn's "Andante with Variations;" nor does he lengthen his two themes to such an extent as to make them a little doubtful as proper subjects for variation treatment, as did Haydn. Furthermore, although the second part of Beethoven's theme is a better subject than Haydn's "Trio" theme, being more terse and more characteristic, Beethoven presents it in nearly its original form each time it appears, making the first and more important subject serve as the basis of his variations. Such changes as do occur in the second theme will be noted later. The complete movement may be tabulated as follows:

TABULAR VIEW OF STRUCTURE OF THE ANDANTE OF THE FIFTH SYMPHONY.[45]

The foregoing table may be compared with that of the Haydn variations in Chapter VII. While the general scheme is the same--for the two themes are in each case presented several times--the Beethoven variations are much more concise, and at the same time much more fully expressive and illustrative of the original theme. Haydn's variations are naïve; Beethoven's are conscious. Beethoven presents his themes from widely different points of view; Haydn presents charmingly elaborate versions of the same melodies. "Composers did not for a long while," says Parry,[46] "find out the device of making the same tune or 'theme' appear in different lights, so as to make studies of different aspects of the same story under changing conditions, as in Robert Browning's _Ring and the Book_."

These entirely distinct presentations of the original idea give to this movement an especial charm, placing it far above any of Haydn's or Mozart's variations.

III. INDIVIDUALITY OF THE ANDANTE OF THE FIFTH SYMPHONY.

The peculiar charm of this andante lies not so much in its melodies, beautiful as they are, as in the individuality of their treatment. The first version of the theme as it appears in Beethoven's sketch-book is shown in Figure LVI (_a_), and at (_b_) is given the first part of the completed theme.

[Music: score] (_a_)

[Music: score] (_b_)

FIGURE LVI.

It will be observed that the original idea was somewhat mechanical in its rhythm, and lacked that variety imparted to the completed theme by the tied note at the beginning of measure 3 and at the middle of measure 5. Beethoven's original intention must have been quite at variance in other ways with what he finally evolved, for he marks his first sketch, "Andante quasi Minuetto," _i. e._ "in the style of the minuet," and of this there is left no evidence whatever.

Each variation of this theme is quite distinct from the original, particularly in its mood. While the original theme has a calm and even pensive beauty, full of sentiment, the two variations of it are less serious and, at times, verge on the humorous and playful (as at measure 108), or on the grotesque (as at measure 115). But in the episodes that occur between the variations--in the transitions or links between the different parts--Beethoven's fancy has fullest play. He ranges all the way from comedy to tragedy, from delicate gaiety to lumbering, Brobdingnagian heaviness. Simple raillery seizes him when, at measure 160, he allows the violin to take up the familiar motive and toss it to the basses and take it back again, or when he amuses himself with weaving thirds up and down (134), crossing and recrossing, spinning out the little three-note motive into a fine web, which is finally torn apart as the whole orchestra thunders out the secondary theme (148).

These two passages (portions of which are shown in Figure LVII) in their freedom from restraint and their expression of the composer's idiosyncrasies, are quite beyond what had ever been attempted before. We see working here a mind full of resource and capable of sounding the greatest depths of the subject.

[Music: score]

FIGURE LVII.

And this highly imaginative method of treating the transitions or connecting passages is one of the fundamental differences between the variations of Haydn and Mozart and those of Beethoven "_A priori_,"[47] says Mr. Hadow, "it would be easy to conjecture that the variation form is unsatisfactory. It affords little scope for structural organization, little for episode or adventure, it seems to have no higher aim than that of telling the same story in the largest possible number of different words. Indeed, composers before Beethoven are often in evident straits to maintain its interest." An examination of any set of variations by an inferior composer will reveal just the defects Mr. Hadow refers to. But Beethoven not only tells the story in quite different words, but finds opportunity for all sorts of interesting episodes and adventures, so that the structural weakness of the form is quite lost sight of. With him the connecting passages skillfully avoid too great stress on pure melody--with which the listeners would otherwise be surfeited--and, at the same time, they never degenerate into unmeaning passages of empty chords and scales such as often occurred in the music of Haydn and Mozart.

IV. THE HARMONIC PLAN.

The recurrence in the same key of the theme in the variation form gives to it a certain monotony of harmonization unless the episodes are treated with great harmonic freedom. As was pointed out in Chapter II, harmony sometimes becomes an important element of structure, particularly in the rondo and variation forms, and in Haydn's and Mozart's variations the harmonic plan is not sufficiently varied to provide this much needed contrast. Beethoven, however, always much more free in the use of modulation than his predecessors, imparts to these variations almost at the outset great variety of key, and in all his episodes ranges freely about, unhampered by limitations. In measure 28, for example, he suddenly starts towards the key of B-flat minor, only to emerge a moment later in C-major. The passage, beginning at measure 39, not only provides that relief from too great insistence on melody which we have already referred to as characteristic of his episodes, but its harmonies are purposely vague, leaving us in doubt until the last moment as to their ultimate conclusion. An interesting and beautiful effect is again produced, at measures 167-177, by the changes of key, while the scale passages that follow introduce further harmonic variety. At measure 206 begins a passage that seems to intend the key of D-flat, but again our expectations are not realized. So that the total impression we receive from the harmony of this movement is of a more complete unity and variety than is produced by the themes themselves.

It must also be noted in general that this freedom of harmony is one of the signs of advancement in the art of music, and that at the present time the combination of chords is much less restricted than was the case in Beethoven's day. And this steady advance has been as steadily opposed by theorists. When we remember that Monteverde (1567-1643) was bitterly criticised for introducing in a chord the unprepared dominant seventh, making thereby a dissonance almost as familiar to modern ears as is the simple major triad--we can easily realize how difficult it was for people in Beethoven's time to understand his far-reaching modulations. The steady progress is further illustrated by Wagner's music-dramas, which were considered when they first appeared as almost cacophonous in their harmonization, but which now seem perfectly simple and normal.

V. THE UNIVERSALITY OF BEETHOVEN'S GENIUS.

A piece of music like this is a human document. It embraces so many phases of human feeling, and it places them all, as it were, in such proper focus that we feel in listening to it as though we had come in contact with elemental human experience. This music is not unapproachably grand; we hear in it echoes of our own strivings, hopes, and despairs. And it is this sense of proportion, this wideness of vision, that makes Beethoven's music so universal. For in the last analysis the effect of any work of art depends on the artist's sense of values; a fine situation in a novel is all the finer for being set against a proper background; a tragedy must have moments of relief; beauty alone, whether in a painting or a piece of music, soon palls upon us; in the greatest works of art this sense of values--this feeling for proportion--is always present to save the situation (whatever it may be) from the deadly sin of being uninteresting.

Beethoven continually gives evidence of his mastery over this important element in composition. The beauty of his melodies never palls. Before that point is reached there is some sudden change of feeling, some unexpected turn of melody or modulation, some brusque expression that shocks us out of our dream. He is particularly fond of the latter device, and frequently lulls us into a fancied quiet only to awaken us abruptly when we least expect it. With him everything has its proportionate value, so that we get a clearly defined impression of the whole work, just as in a fine novel the values are so carefully preserved that we feel the locality of every incident, and come to know the characters as we know our own friends.

One who is thoroughly familiar with the andante of the Fifth Symphony feels this quality as predominant. We are not enraptured by the theme itself, as we are by that of Mozart's andante from the string quartet (referred to in Chapter X), but we feel the charm of incident and by-play, we are just as much interested in the connecting passages as we are in any other part of the piece; and we think of it all as we do of a finely written play, where one incident hangs on another, and nothing happens that does not bear on the plot.

Thus, judging music from the standpoint of universal human feeling, Beethoven reaches the highest point in its development. No other composer, before or since, has equalled him in this particular, and the more we study him the more we find in him. Repeated hearings do not dim the luster of his genius, nor have the great composers who have followed him had as broad a survey of human life as he possessed.

SUGGESTIONS FOR COLLATERAL READING.

_Hadow: "Oxford History," Vol. V. Parry: "Studies of Great Composers." Mason: "Beethoven and His Forerunners," Chapters VII, VIII, and IX._

FOOTNOTES:

[45] Number the measures and parts of measures consecutively from beginning to end--making 248 measures in all.

[46] "Oxford History," Vol. III, p. 85.

[47] "Oxford History of Music," Vol. V, p. 272.