Omaha daily bee., 1895-09-15
HE NEVER WROTE THE TENTH
DR.. Baetens Discusses the Musical Work Of
Beethoven.
SOME PLANS OF THE GREAT COMPOSER
with the Ninth symphony His Eff
forts Ceascd-Cnrricd Out the
Idea of Using Voices with
Instruments.

In continuing the discussion upon the sub
ject OF Beethoven's ninth symphony. DR..
Daetens says:
The conversation turned on Goe.he, and
after Beethoven had described his sojourn
with the poet at Carlsbad. Rochlitz spoke OF
his poetry and the inspiration it ought to pro-
duce in the mind Of the musician.
81 know it-I know It," Beethoven inter
rupted "Since that delightful summer at
Carlsbad read Goethe every day-eve:y day
that do read. He has destroyed Kopstock
for me. Does that astonish you? You laugh
at the idea Of my reading Klopstock? Well,
must confess that have read him for many
years during my walks in the country. Did
l always understand him? No. he com
mences too low; always in maestoso; alway:
in ID fiat But he is grand. he elevates the
SOUL and IL l do not altogether comprehend
him l can divine him pretty nearly. Only
he is always wishing to die. as IL death d
not come quickly enough. But that is all very
we'll in poetry. But Goethe-he sees, and all
his readers see with him. That is why one
can put his words 10 music will say no
more. No one writes bstter for music than
he"
IL seized this fortuitous opportunity" says
Rochltz, "and without more a1o w.ote my
proposition on his slate Uor the poor grand
old man couldn't hear any more). My heart
beat rapidly when l handed 1t to him. He
read 1t graveiy-thoughtfully. Ha,' he cried,
that would be piece Of work! Something
might come from THAR And then, after q
pause: But for some time have busted my
self with three other great works. Much is
already hatched out-that Is, in my mind. l
| must first rid myself OF them--two SYM
phonies differing from each other and both
differing from my others, and an orator o.
All this will take much time You see, for
some time past have not been able to write
readily. / sit and think. and think. and get
1t all settled, but 1t won't go onto the paper.
great work troubles me immensely at the
outset; once into 1t and it's smooth sailing" "
FIRST USE OF VOICES.
And now for evidence as to the character
Of the two symphonies which Beethoven says
were In his mind Upon a page OF the
sketch book used In 1918 was found this
memorandum in Beethoven's handwriting
He plans an "Adagio Cantigue," to be in
troduced as plous song in a symphony in
the ancient keys, or modes. There is a sug
gestlon OF the test in the beginning Of a
choral, Lord God, We Praise Thee! Halle
lujah!' The number is to be complete in
ITSELF or Is to serve as an Introduction Tor
theme-"preposta') to fugue. Then comes
the suggestion land 1t is noted for ref1ection)
that perhaps the entire second symphony
might be characterized by the introduction
of voices, either in the last movement or
already in the Adagio. In the finale the
orchestra, violins, ETC., should be increased
ten fold. Or another plan the Adagio might
be repeated in some manner In the last
movement when the voices could enter grad
ually in succession. For the test Of he
Adagio, he suggested a temple hymn from
Greek mythology and for the subject of the
allegro festival of Bacchus. Had this scheme
been put into effect 1t would most assuredy
have resulted in a work different from
his other symphonies. In this memorandum
we find the first ntimation Of his intended
use Of voices In a symphony, but even here
the uncertainty whether to introduce them
in the Adagio USUALLY the second number OF
a symphony or the finale whether to use
them as a vocal introduction to an instru-
mental fugue, or In all Independent piece,
shows that his plans were by no means
ripe. The inference is plain that the first
OF the two symphonies. that is, the one which
We now call the ninth. was designed as a
purely instrumental work. and not alone
the introduction OF the "Ode to JOY" but
the introduction Of choral part In any