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

musician without hearing can hardly be
imagined. Ills sorrow WAS portrayed
In the most touching language In let
tiers TO his friends. In n1communlca-
ton to one of his brothers ne says, az
ON forced to live as ar exile. This Is
nothing but cry OF despair or being
convinced that his misfortune was r.
~tremediable.
Els only opera, "fidelic.r was writ
ten In the gear OF 1906, The overture
which was written last In 1914 Is Known
as the overture TO "rldello,' and Is
played to introduce the opera. What
was In reality the third overture Is now
called "Leonore' No. /. The lrst Leo
nore' Is styled No. 2. The second and
greatest Is known as No. 3. The playing
OF. this can but verify the high appre-
citation with which 1t Is always recely-
cd.
Tho subject OF "Fidello" Is sad and
dramatic. The words for tho opera
were adapted, from Boullly's "Leonore."
The other great ovcrtures are '.Coriol-
anus" produced In 1907. and "Egmont"
in 1910. In an article written after the
presentation OF the "Egmont' music at
Weimar, In 1854, Franz Listz has laid
great stress on the fact that In Bee
thoven's music to Goethe's tragedy.
"Egmont," we find one OF the earliest
examples OF a musical composer draw
Ing his inspiration from the words OF 4
great poet. In 1918 the "Missa Solem-
mis-" Opus 1923, was begun, but not fin.
isled 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 lnnermost self.
To the plano alone does he confidc the
secrets of his own heart. In earlier
times, with Mozart and Haydn, the
common character OF Instr .mental mu-
sic was q free play of general express
ion. Beethoven on the contrary, en-
pressed definite situations and descrlb-
cd clearly recognizable states OF mind.
The tone-poet brings before US n soul
picture. rich in various moods and
feelings. His originality and adherence
to form and intention place him far STU
pcrioc to any composer. Imagination
was given full bent without which 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 Greatest Sonata. lt
The Sonata Opus. 81 In F minor.
known as "Appassionata," has a place
or programme. 1t was written
during the summer of 1906, and Bee
thoven himself considered 1t the great
est OF his Sonatas. The first movement
Allegro Assai "a quicker motion th5n
simple Allegro, begins with a short
characteristic theme. Soft wailings Is
u from the heart. Fate Is heard
knocking at the door. In the second
theme there arises a wonderfully SYM
pathetic strain Of happy consolation.
The storm bursts forth again, and
with restless surging to and fro, the
c~onsoling motive takes a gloomy turn,
and at last the angry thunder rolls.
The second movement Andante Con
Moto somewhat slow and containing
emotlon), comes as n contrast between
the first and last movements. This mel
ody Is a sunbeam full Of refreshing
warmth and amending 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 fash.
begins with 4 series of slHths, sounding
like a wild outcry from a soul In an
guish. After the agitation ever in
creasing. with IN 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 II cannot
break it." a final outburst follows, but,
1t Is powerlcss; the spirit has freed It
self and a%t-last the struggle ceases in
solemn tones. The work has been ap-
propriately called an Emotional
Tragedy"
The composer had a key or sugges-
ton for every composition. On being
asked where he had found the key to
the .Appassionata' ne answered. read
Shakespeare's Tempest" One au-
thority says Beethoven was first and
last 4 writer of Sonatas, another hat
his Mine Symphonies are the great
musical monument of the world"
Which demonstrates his superiority in
each. While his quartettes are consid-
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, 1875,
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.cye-
sight falling. harrassed by the lnSrati-
tude of a hayward nephew, to whom he
had been as q father, he was left vir-
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-
thinning friendly relations with the pub
fishers OF his compositions, he received
very small remuneration, as he was by
nature incapable of specializing on his
productions. Being magnanimous and
unseliish he was not financially success