From Bentley's Miscellany. MEMOIR OF BEETHOVEN.

BY MISS THOMASINA ROSS.

In this brightest interval of the great composer's existence, whilst he was mingling in the gayest and most intellectual circles of Viennese society, he conceived an ardent and romantic attachment for a lady of noble family. This affair is alluded to by some of his biographers, but in a manner sufficiently vague to warrant the inference that it was clouded in mystery. Beethoven's correspondence contains several letters to this lady. They are addressed to "Julia," and from their tenor it is obvious that an obstacle more formidable than difference of rank rendered a union with the object of his affections impossible. A paper, in his own handwriting, contains the following passage, evidently referring to this subject :

"Love-love alone is capable of confer

sition and scoring, rendered him a mostj refractory and wayward pupil.* He would not acknowledge himself to have been the pupil of Haydn, because, as he affirmed, he had never learned anything from him.† When Haydn left Vienna on his second visit to England, Beethoven rejoiced at the opportunity thus afforded for their separation. He then began to take lessons from the celebrated Albrechtsberger, who, like Haydn, found him thoroughly untractable. Among the many distinguished acquaintance formed by Beethoven soon after his arrival in Vienna, may be numbered the princely family of Lichnowsky. Prince Karl Lichnowsky, who had been a pupil of Mozart, was the Mæcenas of the musical professors then in Vienna. The prince as signed to Beethoven a yearly pension of six hundred florins, and he became the pater-ring on me a happier state of existence. Oh, nal friend of the young composer. heaven! let me at length find her, she who princess, also a most accomplished musi- may strengthen me in virtue-who may cian, extended to him the affection of a lawfully be mine." mother. The attentions lavished on him But, whatever may be the facts connectby this illustrious couple were almost ludi-ed with this unfortunate attachment, it furcrous; and truly, the eccentricities, and nished inspiration for one of Beethoven's the strange temper of their protégé must most exquisite productions, viz., the Sonata frequently have taxed their indulgence to Op. 27. The composition is known throughthe utmost. Taking a retrospect of this out Austria by the name of the "Moonlight period of his life, he observes, in a letter to Sonata "-a name intended merely to india friend: "The princess treated me with cate the tender and romantic coloring with grandmotherly fondness, and sometimes I which it is imbued. In the published copies could well-nigh have persuaded myself that the title and dedication differ from the style she would have a glass shade put over me, in which they appear in the composer's lest I should be touched or breathed on by MS., where the following words are writpersons whom she deemed unworthy to ap- ten at the head of the composition: "Soproach me." nata quasi Fantasia dedicata alla Madamazella Contessa Giulietta di Guicciardi."

The

His unwillingness to conform to rules is exemplified in the following anecdote related by Ries, in his “Notizien ueber Beethoven." "One day, during a walk, I was talking to him of two consecutive-fifths which occur in one of his earliest violin quartetts in C minor, and which, to my surprise, sound most harmoniously. Beethoven did not know what I meant. and would not believe the intervals could be fifths. He soon produced the piece of music paper which he was in the habit of carrying about with him, and I wrote down the passage with its four parts. When I had thus proved myself to be right, he said Weil, and who forbids them?' Not knowing what to make of this question, I was silent, and he repeated it several times until I at length replied, Why, it is one of the very first rules.' He, however, still repeated his question, and I answered, Marpurg; Kirnberger, Fuchs, &c.-in fact, all our theorists.' Well, then, I permit them,' was his final answer. At this ungracious treatment, Haydn very naturally felt offended; but however true it might be that he had learned nothing from his master, yet traces of Haydn's classic elegance of style are clearly discernible in some of Beethoven's early

works.

During an interval of ten or twelve years, the first performances of all Beethoven's works regularly took place at Prince Lichnowsky's musical parties.

On the occasion on which the celebrated Razumowsky Quartett was first played, the performers were, Schuppenzigh (first violin), Sina (second), Weiss (viola), and Kraft, alternately with Linke, (violoncello). In the frequent rehearsals of that quartett, Beethoven seemed to have infused into the souls of the performers some portion of his own sublime spirit, and the result was a degree of perfection, which enraptured the assembled cognoscenti.

Beethoven's quartett music, which may be said to have opened a new world of art, full of sublime conceptions and revelations, found worthy interpreters in the four great instrumentalists above named, over the pu rity of whose performance the composer

watched with unceasing anxiety. In 1825, | world. When it subsequently appeared, when one of his last difficult quartetts was the words "Per festegiare il souvenire d' un to be performed before a very select audi- grand 'uomo" were appended to the title. ence, he sent to Schuppenzigh, Sina, Weiss, and Linke, the parts respectively allotted to them, acompanied by the following droll letter:

"My Dear Friends:

The next grand labor of the composer was his opera of " Fidelio," which was first performed under the title of "Leonora," at the Theater an der Wien. To this opera Beethoven composed no less than four overtures, and rejected them all by turns. The splendid overture in E (that now performed with the opera), was not written till the year 1815.

"Herewith each of you will receive what belongs to him; and you are hereby engaged to play, on condition that each binds himself, upon his honor, to do his best to distinguish himself, and to surpass the rest. This paper must be signed by In 1809, the appointment of kapel-meiseach of those who have to cooperate in the per-ter to the King of Westphalia was offered formance in question. BEETHOVEN." to Beethoven with a salary of 600 ducats. In the year 1800, the grand oratorio of However, it was considered discreditable to the "Mount of Olives" was commenced; Austria to suffer the great composer, whom and whilst engaged on that work, the com- she proudly called her own, to be tranferposer experienced the first symptoms of the red to any other country. Accordingly deafness which subsequently became so fatal. the Archduke Rudolph, Prince Kinsky, and He wrote the " Mount of Olives" during Prince Lobkowitz, offered to settle upon a summer sojourn at Hetzendorf, a village contiguous to the gardens of the imperial palace of Schönbrunn. At that place he spent several summers, in complete seclusion, and there he composed his "Fidelio," in 1805. Beethoven used to relate that he wrote these two great works in the thickest part of the wood, in the park of Schönbrunn, seated between two branches of an oak, which shot out, near the ground, from the trunk of the tree. Schindler mentions that, in the year 1823, he visited that part of the park, in company with Beethoven, and that he then saw the tree, which conjured up many interesting reminiscences.

him an annuity of 4000 florins, on condition that he would not quit Austria-a condition to which Beethoven readily acceded.

All persons of intelligence and taste, who visited Vienna, eagerly sought an introduction to Beethoven: the consequence was that he was beset by visitors from all parts of the world, who approached him with the deference they would have rendered to a sovereign. Among the eminent persons introduced to the composer in the year 1810, was Bettina Brentano, better known as Madame Von Arnim. That celebrated lady has described her inA lingering fit of illness, accompanied by terviews with the composer in her letters increased deafness, disabled him, for the to Goethe, contained in the well-known space of two or three years, from proceed-publication entitled, "Goethe's Briefweching with a work which he had long previous- sel mit einem Kinde." Bettina paved the ly planned out. This was the Sinfonia way to a personal acquaintance between Eroica, intended as a homage of Napoleon, Goethe and Beethoven; and these two eminent men met for the first time in the summer of 1812 at Toeplitz.

then First Consul of the French republic.

业

A copy of the sinfonia, with a dedication to the conqueror of Marengo, was on the point Whilst struggling with declining health of being despatched to Paris, through the and constantly increasing deafness, BeetFrench embassy at Vienna, when intelli- hoven produced many of his immortal gence was received that Napoleon had caus-works; among others the symphony in A ed himself to be proclaimed Emperor of the major, and the "Battle Symphony." The French. On hearing this, Beethoven tore latter was composed in commemoration of off the title leaf of the symphony, and flung the work itself on the floor, with a torrent of execration against the "new tyrant." So great was Beethoven's vexation at this event, that it was long ere he could be persuaded to present his composition to the

the battle of Vittoria. It is a magnificent specimen of that style of composition called by the Germans tonmalerei [musical-painting, and it portrays with graphic powers, through the medium of sounds, the horrors of war, and the triumph of victory. There is one passage in the piece, which though trifling in itself, is indicative of the mastermind of the composer. At the opening of

the symphony, the air of "Marlbrook" is as to deprive him almost totally of the sense introduced as the national march played by of hearing, and, consequently, to unfit him the French troops whilst advancing. But for conducting an orchestra. A touching as the battle proceeds, it becomes evident instance of this unfitness is related by to the hearer that the French are giving Schindler. It occurred when Beethoven way, and they are falling in numbers be- was invited to conduct his "Fidelio," at fore the British army. At length the band, the court opera house, at Vienna. He took which at the commencement of the conflict the tempi either much too quick or much too was spiritedly playing "Marlbrook," is slow, to the great embarrassment of the gradually dispersed, and only one fifer is singers and the orchestra. heard attempting to keep up the fast fleet- time," says Schindler, "the efforts of Ka-' ing valor of his countrymen by the inspir- pell Meister Umlauf kept the performers ing strain of the favorite march. But the together, but it was soon found impossible solitary musician is wearied and dispirited, to proceed, and it was necessary to say to and he now plays "Marlbrook" in the mi- poor Beethoven, 'This will not do.' But nor key, slowly and sorrowfully, and in no one had the courage to say these words; broad contrast with the gay allegro which and when Beethoven perceived a certain marked its commencement. This is a true embarrassment in every countenance, he touch of nature. motioned me to write down to him what it

"For some

The first performance of the "Battle meant. In a few words I stated the cause, Symphony" took place in the Hall of the at the same time entreating him to desist, University of Vienna, in December, 1812, on which he immediately left the orchestra. and the proceeds of the performance were The melancholy which seized him after this destined for the benefit of Austrian and painful incident was not dispelled the whole Bavarian soldiers disabled at the battle of day, and during dinner he uttered not a sinHanau. On this occasion the leading mu-gle word."

sicians of Germany took the most subordi- Having completed his ninth symphony, nate parts in the orchestra, all feelings of he planned two great works. One was an professional importance being merged in oratorio, to be entitled "The Victory of sentiments of charity and patriotism. In the Cross;" the other, which he proposed a letter of thanks addressed to the orches- making the grand effort of his life-the contral performers, Beethoven observes :clusion of his artistical exertions-was to "On me devolved the task of conducting set Goethe's "Faust" to music. But these the whole, because the music was my com- works, together with a projected requiem, position; but had it been by any one else, were all laid aside, for the purpose of proI should have taken my place at the great ceeding with some quartetts, which the Rusdrum just as cheerfully as Hummel did, for sian Prince, Nicolas Galitzin, had commiswe were all actuated solely by the pure sioned him to compose. For these quartetts feeling of patriotism, and a willingness to the Prince agreed to pay the sum of one exert our abilities for those who had sacri- hundred and twenty-five ducats, but Beetso much for us." hoven never received a fraction of the

The cantata, entitled Die Glorreiche money. On these quartetts he was occupied Augenblick, was composed in honor of the Congress of Vienna, during which the allied sovereigns showed marked attention to Beethoven, and the Emperor Alexander repeatedly visited him.

for several years, his progress being repeatedly interrupted by ill health. The first work produced, after his partial recovery from a protracted indisposition, was the quartett (No. 12) with the remarkable From the year 1815 Beethoven's life was adagio, having affixed to it the words "Canoverclouded by an accumulation of un-zione di rengraziamento in modo lidico offortunate circumstances, which rendered ferta alla Divinita da un guarito." But the him deplorably unhappy. The lop of a convalescence thus beautifully commemoratportion of the pension settled on him in ed was not of long duration. The composer 1809 had greatly diminished his pecuniary was soon seized with inflammation of the resources. Added to this a nephew, who lungs, accompanied by symptoms of dropsy, was under his guardianship, whom he ten-which confined him to his bed, and utterly derly loved, and for whom he had made disabled him from writing. It is melancholy great sacrifices, deeply afflicted him by his to reflect that, in this sad condition, Beetmisconduct. hoven was painfully pressed by pecuniary His deafness speedily increased, so much difficulties. To the disgrace of the VienVOL XIII. No. IV.

35

nese, who were then in the delirium of what authority of the lofty mind, and the interwas not inaptly called the Rossini fever, nal conviction of defective personal qualifitheir own great musician was neglected and cations (a struggle forcibly marked on the forgotten. But for a donation of £100, character of Beethoven), remains yet to be sent to Beethoven by the Philharmonic So- portrayed. His aspirations for the beauticiety, who had previously, on two occasions, ful-unattainable even by his mastery over invited him to London, he must have want- the resources of art; his honorable contempt ed comforts, and even necessaries. After of vulgar ambition and sordid meanness; lingering for some time in a hopeless condi- his blighted affections; the gradual decay tion, symptoms of a speedy termination to and final loss of that faculty, regarded by his sufferings appeared, and he breathed his the multitude as the one on which his very last on the 26th of March, 1827. existence and claim to attention must deThe character of Beethoven affords a cu-pend (for who would before have believed rious subject of speculation for the observer in the possibility of a deaf musician?)—all of the phenomena of the human mind; and these circumstances have yet to be traced in it must not be supposed that the materials their operation, until the dreary end closes collected by the industry and curiosity of upon the great Beethoven; dead, even bethe various biographers are exhausted in fore death, to the glory which was expandthe above brief memoir of this extraordinary ing round his name. man. The struggle between the conscious!

From the Eclectic Review.

JAMES II. AND THE PROTESTANT BISHOPS.

1. The Acquittal of the Seven Bishops in 1688. A descriptive History. By J. C. Hall, Esq., F. S. A.

2. Lecture on the Acquittal of the Seven Bishops. 3. Lecture on the Acquittal of the Seven Bishops. 4. Lecture on the Acquittal of the Seven Bishops.

By Rev. Hugh Stowell, A. M.
By Rev. Hugh McNeile, D. D.
By Rev. H. W. McGrath, M. A.

THERE is nothing in the intrinsic worth manifested and the good service she has of these pamphlets to entitle them to done in the cause of civil and religious libspecial notice. They throw no new light erty. on the history of the period on which they In the praises of the painting we are intreat. They are destitute of any indication clined, for the most part, to agree, though, of extended research or philosophic concep-in our view, it contrasts rather unfavorably, tion. The style is without force, the both as to interest and execution, with Mr. thoughts without vigor, and the sentiments Herbert's former work, and what is cerwithout liberality. Disgraced throughout tainly, as yet, his chef d'œuvre, "The Inby a narrow-minded bigotry, which recog-dependents Asserting Liberty of Connises no excellence beyond the pale of its science." His subject, indeed, is much less own contracted circle, they may increase favorable in the present, than in the former the reputation of the writers among their instance. The aspect of the bishops (to devoted admirers, but they will not serve whom, as the heroes of the occasion, the to extend their fame among those who are principal attention is directed), indicative, superior to the vulgar prejudices of faction. as it is, only of passive submission, however They are to be regarded partly as recom- natural and appropriate, is less striking and mendatory notices of Mr. Herbert's Pro- impressive than the manly attitude and testant Picture; partly as warnings against noble bearing of Philip Nye, as he gives the fearful encroachments of popery, and utterance to his lofty and enlightened pleadings for return to that ancient system views of religious freedom in the Westof persecution, which was the disgrace of minster Assembly. The subject has this our country; and partly as laudations of further disadvantage, as contrasted with its the church of England, for the zeal she has predecessor, that here the whole interest