culiar beauties may be enumerated as follows:-originality of invention-uncommon passages-a very energetic manner-imitative passages almost innumerable and abstruse scientific modulation. The first of the peculiarities no sincere lover of music who has heard any of his symphonies will refuse to admit, and it is principally to this prominent feature in all his works that the fame he has acquired is owing. There is something in the first movements of all his overtures and symphonies, which, to the hearer, conveys a clear impression that the piece is not similar to any he ever heard before by other composers. The frequent employment of discords unresolved with a full harmony, the apparent sombre cast of expression by a continual richness and depth of the bass, the evident preparation for some beautiful allegro or vivace movement; all these conspire to raise the author in our estimation, and to keep our attention alive. Yet when he does lead us to the quick, it is not upon a light, unmeaning or dance-like passage that he chooses to work; conscious of his resources, he gives an excellent subject, gradually rising into importance as the instruments one after another join in the united chorus, and when, (as Maister Mace would say) that vast concording unity' of the whole band comes thundering in,' we perceive with what admirable skill the orchestra is brought together, and afterwards, to the latter part of the piece, continue our admiration of the scientific manner in which the parts are worked up,-the conclusion leaves us in regret." In the Mount of Olives,' the introductory symphony is considered to be so affecting and appropriate as to be equal if not superior to Haydn's introduction or representation of Chaos in the Creation. The whole is a striking instance of Beethoven's originality of invention. With respect to his energetic manner, nearly the whole of his works abound with specimens of this description of beauty. We must next advert to another peculiarity in Beethoven's music, his unexpected and abstruse modulations; which by some amateurs are considered beauties, by others are thought to counteract taste and expression. This latter opinion is refuted by Dr Burney. It is true that in the first ages of music, and when the first compositions in parts were given to the world, it was thought necessary by the theorists and contrapuntists of the day to give rules for modulation, and woe to the adventurous, hardened being who dared sacrilegeously break through them. Still, notwithstanding this, restraint, Monteverde published his System of Discords." Immediately the whole host of critics was up in arms and could scarcely find words to express their astonishment and horror at so audacious an attempt. Yet in time these were received as current, and other composers gradually extended the number of chords, derivative discords, and modulations, each succeeding generation of musicians, until Haydn's time, improving upon and rejecting the severe fetters 6 which the rules imposed by the preceding one would have laid upon it. In the midst of Beethoven's energy, variety, and abstruseness, ideas may sometimes however be discovered which create enthusiasm solely from their simplicity. Of this description is the well known passage in his Battle Sinfonia,' where one fifer is supposed to be heard attempting to rally the disordered ranks of the French army, by playing their national air of Malbrouk, which he performs in a minor key, from his own presumed thirst and fatigue. The talents of Haydn and Mozart raised instrumental composition in Germany to an astonishing elevation; and Beethoven may be said, not only to have maintained the art in that stupendous altitude, but even in some respects to have brought it to a still higher degree of perfection. Reichardt, in his letters from Vienna, says "Haydn drew his quartetts from the pure source of his sweet and unsophisticated nature, his captivating simplicity and cheerfulness; in these works he is still without an equal. Mozart's mightier genius and richer imagination took a more extended range, and embodied in several passages the most profound and sublime qualities of his own mind. Moreover he was much greater as a performer than Haydn, and as such expected more from instruments than the latter did. He also allowed more merit to highly wrought and complicated compositions, and thus raised a gorgeous palace within Haydn's fairy bower. Of this palace Beethoven was an early inmate; and in order adequately to express his own peculiar forms of style, he had no other means but to surmount the edifice with that defying and colossal tower which no one will probably presume to carry higher with impunity." Whoever doubts the justice of this last remark need only consult Beethoven's Concerto in C minor (No. 37 in the ensuing catalogue); it is worthy of being studied with attention; consulting at the same time the review of it in No. 28 of the seventh year of the Leipsic Musical Gazette. Let the student, who wishes to be able duly to appreciate the comparative merit of Beethoven's works, endeavour further to hear the performance, by a good orchestra, of his Pastoral Sinfonia;' and in order properly to estimate this grand and difficult work of art, it is even desirable that he should first read with attention the beautiful and spirited description of this exquisite masterpiece, given by Mr Frederick Mosengeil of Meiningen, in No. 133 of the Zeitung fur die Elegant Welt,' 1810. One of the principal regrets respecting Beethoven's music is that in most of his works his style inclines to the solemn and melancholy; "feelings," says Gerber, "which the calamities of the times have rendered but too prevalent amongst his German brethren." The works of this great master appear to be very unequal, whence we may most readily account for the difference of opinion which has been exhibited respecting the merit and originality of his compositions. It must be allowed that he possessed the attribute of genius; and some of his loftier strains display the fertility of his imagination in the invention of melodies, and skill and learning in the construction of hormonies; affording ample grounds for the eulogy of his most enthusiastic admirers. In many of his orchestral symphonies, overtures, quartettos for the violin, concertos, trios and sonatas for the piano-forte, he may without any presumption be reckoned by no means inferior to Haydn or Mozart. His overture to Prometheus, and his piano-forte concerto in C minor, Op. 37, (already referred to,) would alone be sufficient to immortalize him; and they will ever be heard with delight after any overture or concerto, even of Mozart.* Op. 1. Three Trios, for piano-forte, violin, and violoncello. 2. Three Sonatas, for piano-forte, dedicated to Haydn. 3. A Trio, in E flat, for violin, viola, and violoncello. 4. A Quintett, in E flat, for two violins, two violas, and violoncello. 5. Two Sonatas, for piano-forte, with violoncello or violin obligato, dedicated to the King of Prussia. 6. An easy Sonata, for the piano-forte, for four hands. 7. A Sonata in E flat, for piano-forte. 8. A Serenade in D, for violin, viola, and violoncello. 9. Three Trios for violin, viola, and violoncello; Paris edit. from Op. 4. 10. Three Sonatas, for the piano-forte. 11. A Trio in B, for the piano-forte, clarionet or violin, and violon cello. 12. Three Sonatas, for piano-forte, and violin. 13. Sonate Pathétique, for piano-forte. 14. Two Sonatas, for piano-forte. 15. A Concerto in C, for piano-forte. No. 1, with orchestra. * Dictionary of Musicians, from the earliest ages to the present time, 1824, vol. i;-Gerbert Neues Historisch-Biographisches Lexicon der Tonkünstler, Leipsic, 1812, vol. i.;-London Magazine, N. S. No. 29, pp. 67— 69;-Ramble among the Musicians of Germany, by a Musical Professor. 1828, pp. 146-152, and 162-165. 16. A Quintett in E flat, for piano-forte, hautboy, clarionet, horn, and bassoon. 17. A Sonata, for piano-forte and horn, or violoncello. 18. Six Quatuors, for two violins, viola, and violoncello. 19. A Concerto in B, for piano-forte. No. 2, with orchestra. 20. A Septetto in E flat, for violin, viola, clarionet, horn, bassoon, violoncello, and contra-basso. 21. A Sinfonia in C, for orchestra, No. 1. 22. A Sonata in B, for piano-forte. 23. A Sonata, for piano-forte, and violin. 24. A Sonata, for piano-forte and violin. 25. A Serenade in D, for flute, violin, and viola. 26. A Sonata in A flat, for piano-forte. 27. A Sonata, quasi Fantasia, for piano-forte. Nos. 1 and 2. 28. A Sonata in D, for piano-forte. 29. A Quintetto in C, for two violins, two violas, and violoncello. 30. Three Sonatas, for piano-forte, and violin, dedicated to Alexander I. 31. Three Sonatas, for piano-forte. Vienna edit. from Op. 29. 32. Six Songs, by Gellert. 33. Bagatelles for the piano-forte. 34. Six Variations, for the piano-forte. 35. Variations for the piano-forte. 36. A Sinfonia in D, for orchestra. No. 2. 37. A Concerto in C minor, for piano forte. No. 3, with orchestra. 38. A Grand Trio, for piano-forte, clarionet or violin, and violoncello, arranged after the Septetto, Op. 20, by the author. 39. Two Preludes, in all the twelve major keys, for the piano-forte, or organ. 40. A Romance in G, for violin, with orchestra. 41. A Serenade, for piano-forte, and flute or violin, arranged from the Serenade, Op. 25, by the author. 43. Overture to Prometheus, in C, for orchestra. 44. Fourteen variations, for piano-forte, violin, and violoncello. 45. Three Marches, for piano-forte, for four hands. 6 46. Scena ed Aria, Ah Perfido!' for a Soprano, with accompaniments for orchestra. 47. A Sonata, for piano-forte, and violin obligato, dedicated to Kreutzer. 48. Adelaide, by Mathisson, (in Italian and German,) with accompaniment for piano-forte. 49. Two easy Sonatas, for piano-forte. 50. A Romance, for violino princ. in F, with orchestra. 51. Two Rondos for piano-forte, in C and G. Nos. 1 and 2. 52. Eight Songs, with acccompaniments for piano-forte. 53. A Sonata in C, for piano-forte. 54. A Sonata in F, for piano-forte. 55. Heroic Sinfonia in E flat, for orchestra. No. 3. 56. A Concerto in C, for piano-forte, with orchestra. 57. A Sonata in F minor, for piano-forte. 58. Concerto 4 in G, for piano-forte, with orchestra. 59. Three Quartetts for two violins, viola, and violoncello. 60. A Sinfonia in B, for orchestra. No. 4. 61. A Concerto in D, for violin, with orchestra. 62. Overture to Coriolanus, in C minor, for orchestra. 64. A Grand Sonata, for piano-forte, and violoncello, arranged from the Trio, Op. 3, by the author. 67. A Sinfonia in E flat, for orchestra. No. 5. 68. Pastoral Sinfonia in F, for orchestra. No. 6. 69. A Sonata, for piano-forte, and violoncello. 70. Two Trios, for piano-forte, violin, and violoncello. 73. A Concerto in E flat, for piano-forte, with orchestra. 74. A Quartett in E flat, for two violins, viola, and violoncello. 75. Six Songs, by Goethe, with piano-forte accompaniments. 76. Variations for piano-forte. 77. A Fantasia for piano-forte.' 78. A Sonata in F sharp, (major) for piano-forte. 79. A Sonatina in G, for piano-forte. 80. A Fantasia in C minor, for piano-forte, with orchestra. 81. A Septett in E flat, for violin, &c. 81.*A Sonata for piano-forte. 82. Four Ariettas, and a Duet, (Italian and German), with accompaniments for piano-forte. 83. Three Songs, by Goethe, with accompaniments for the pianoforte. 84. Overture to Egmont, in F minor, for orchestra. 84.* Entre Actres to Egmont, for orchestra. 85. Oratorio-The Mount of Olives.' 86. Overture to the Opera of Leonora, for grand orchestra. 87. A Trio, for two hautboys, and English horn. 88. Fidelia, a grand Opera, the Score in M.S. No. 8. 94. A Song, from Tiedge's Urania, with accompaniments for piano forte. 95. Quartett 2, in F minor, for two violins, viola, and violoncello. 96. A Sonata, for piano-forte, and violin. 97. A Trio in B, for piano-forte, violin, and violoncello. 98. A Song, by Jeitteles. 99. A Bass Song. 100. A Romance. 101. A Sonata, in A major, for piano-forte. 102. Two Sonatas, for piano-forte, and violoncello. 104. Quintuors in C minor, for two violins, two tenors, and violoncello, or three violins, tenor, and violoncello, arranged after a piano-forte trio, by the author. |