The Wheeling daily intelligencer. [volume] (Wheeling, W. Va.) 1865-1903, 1898-04-30

musician without hearing can hardly be
Imagined. His sorrow was portrayed
IN the most touching language In let
ters 10 his 3frlendS. ID communica-
tion to one OF his brothers ne says. .r
ON forced TO live al an exile" This Is
nothing but a cry OF degpais or being
convinced that his misfortune was If
remediable.
Els only opera. "F'ideiic.'' was writ
ten In the gear OF 1906. The overture
which was written last In 1915 Is known
as the overture 10 "tidello.' and Is
played 10 introduce the opera. What
was In reality the third overture Is now
called "Leonoref' No. /. The frst LEO.
moro" Is styled No. 2. The second and
greatest Is known as No. .. The playing
OF this al but verify tho high appre-
citation With which It Is always rccely-
cd.
The subject OF "Fidcllo'' Is sud and
dramatic. The words for the opera
were adapted from Dou!lly's "Leonore."
The other greatNovertlres are 'Corioi-
anus" produced In 1907. and "Egmont'
In 1910. In an article written after the
presentation Of the "Egmont" music at
Welmar, In 1851, Franz Llstz has laid
great stress on the fact that In Bee
| kIluNtH = lIluslG ~ hOtNllG y lItBtuys
"Egmont,' we find one of the earliest
examples OF a musical composer draw
Ing his inspiration from the words OF a
great poet. In. 1918 the "Missa Solem-
MIS- Opus 123, was begun. but not fin.
ished until four years after. And his
devotion to this work was even With
him quite unusual. In the Sonatas Bee
thoven refers only to his. inhermost self.
To the plano alone does he conhde the
secrets of his own heart. In earlier
times, with Mozart and Haydn, the
common character OF instrumental mu-
sic was a free play OF general express
Ion. Beethoven OF tina contrary, ex-
pressed definite situations and descr!b-
ed clearly recognizable states OF mind.
The tone-poet brings before US a soul
picture, rich in various moods and
feelings. His originality and adherence
to form and Intention place him far SUI
perloc to n composer. Imagination
was given full bent without witch no
musical work can be understood, least
Of all one OF his creations. Mere musical
knowledge and acquaintance with the
laws OF composition do not suffice.
HIS Greairst Sonata.
The Sonata Opus. 81 in F minor,
known as "Appasslonata." has a place
or our programme. 1t was written
during the summer OF 1906, and Bee
thoven himself considered It the great.
est OF his Sonatas. The first movement
Allegro Assai Ia quicker motion thin
simple Allegro), begins with a short
characteristic theme. Soft waillngs Is
sue from the heart. Fate Is heard
knocking at the door. In the second
theme there arises q wonderfully SYM
pathetic strain Of happy consolation:
The storm bursts forth again, and
with restless surglng 10 and fro, the
consollng motive takes q gloomy turn,
and at last the angry. thunder rolls.
The second movement Andante Con
Moto somewhat slow and containing
emotion), comes as q contrast between
the first and last movements. This mel
ody Is a sunbeam fun OF refreshing
warmth and %unendlng charm. Three
short variations follow this ideal song.
1t Is brought to a close with painful
strains forboding the storm OF the FL
male. The third movement, Allegro Ma
Non Troppo. QlvelF, but not too fast).
begins with 4 series of sixths, sounding
like n wild cutlery from a soul In an
guish. After the agitation ever In
creasing, with an occasional subsistence,
the gloomy spectacle OF the first part IS
repeated and Isolated flashes Of humor
dart across the night. In the Presto
the great genius comes forth like a
warrior In steel harness and with proud
dignity seems 10 say in the full chords
"Behold, the storm has not broken the
oak. 1t may return. but It cannot
break It," Asfinal outburst follows, but,
it Is powerless; the spirit has freed IT.
self and at last the struggle ceases In
solemn tones. The work has been ap-
propriately called an Emotional
Tragedy"
The composer had q key or SUCCESS
ton for every composition. On helng
asked where he had found the key to
the .Appassionata, he answered, read
Sh~akespeare's Tempest" One au-
thority says Beethoven was first and
last 4 writer OF Sonatas, another that
his Mine Symphonies are the great
musical monument OF the world"
Which demonstrates his superiority In
each. While his quartettes are consld.
cred the highest perfection which mu-
sic has attained, the quartette in C
sharp minor. Opus. 13l, he called his
greatest" and the quartette opus, 135.
which was written In 1926, Is said to be
his dying song" His last contribution
to music classics was in the quartette
form.
His hearing now completely gone,eye-
sight falling, harrassed by the lngrati-
tude Of a hayward nephew, to whom he
had been as a father. he was left viz
tually alone with poverty and disease
to await the end. A few friends sought
to solace his last days with attention
and Kindness, but his sturdy %independ-
ence would not accept more. While sus-
tanning friendly relations with the pub
fishers Of his compositions. he received
very small remuneration, as he was by
nature Incapable of specializing on bis
productions. Being m~agnanimous and
! ulselllsh ne was not financially success