New-York tribune., 1910-08-28

cards tone and by giving himself up to an IN
Ceterminate feeing-but that he often under
took to utter internally related mental cohoi-
tons: that he often allowed himself to be moved
and carried away by external Influences that
he created ideally-lke Goethe IN "oros anu
q Ranhael in forms. He has frequently given
the thought-content Of his tone structures ia
writing The names of the 'Eroica ana Fas-
.oror svr7Dhonies are well known examples;
the Funeral March on the Death OF Hero III
,be Aeat major sonata the titles Les Adleux'
T,Ahsence' an6 lie Retour given to the 'hree
movements of the Sonata Op. 81, and other
,op,os and designations testify to this. we
1ovo annie evidence that Beethoven perInit'eo
;rnressions made on his mind by eHteihi
.hings to influence his musio-by natural sceheS
happeninss and sounds Thus the iiiui iii"i u
n brock prompted the observation III d h'
hook The deeper the water the sia>ei '1o
,,na.,. the clatter of a horses hoofs, Rles says
SUGGESTED the theme of the finale OF the Soliata
in D minor Op. 81 No 2; ne caught the "o.'
o- the G minor symphony from a bird But III
his sonatas he not a programmes III ''ie
crude sense of an imtator of sounds or user Oh
the device of association of ideas Inc pili-
cir1a which he followed always thiit eA-
,reseed in the words which he inscribed on lhe
score of the PASTORAL symphony: More al
EXPRESSION of feeling than delineatioh ne was
chary about giving even a hlnt OF 'he 1oea VI
feelings which had prompted his music ei.he'
!, ,,-ri+irr titles or by word of mouth Schlnd-
Ter saws that in 1916 he was prevailed upon "
make arrangements fer the publication OIL d ie
,ises edition of his sonatas for pianoforte, beng
irfuenced in this determination by lhree COLI
s;deratfons viz first, "to indicate the poetlc
i6aas which form the groundwork Oh IiahS VI
+bos, sonatas thereby facilitating the compre-
,,,.nsion Of the music and determining the siSie
f tho performance: secondly to adapt all MS
previously published pianoforte compositions ~
tho extended scale of the pianoforte OF SIX ana
cne-half octayes, and, thirdly 10 oeiiie 'Ne
nature of musical defamation
There is plausibty at least IN the susse
tion that Beethoven entertained the se' civ
third considerations; but the first not only mes
in the face of BeethoVenS consistent 'oii'
rut is at variance with an experience "h'oii
SCHNEIDER himself made, as we shall see pi
entlv If Beethoven ever felt disposed TO give
verbal Interpretations to his sonatas ne ihus'
have given them to the pupils ana pa'io''s ~
,,bo,o he dedicated them; and had ne uoAe
,b;s 1-e should surely hive had the Poeticai
cIosses handed down to US Sohe'iheS ~
directly asked about his meanings lie iepi'eo
automatically. Marks nst OF ti'ie' i''ei'
extended by significant directions Ior teihpo a
exnression: but even then how nconsideraple
he of WORKS containing SNoii i't'N|
comrared with the rest Of his compositions.
The Pastoral" symphony is most lndupllapiy
,rocran nlme music, yet BeethoVens NOTEBOOKS
contain almost pathetic evidence OF his desire
+f,a+ II should not be thought that in 1t he hau
dronped into realism "All painting IN lhsru-
mental music if pushed too far, is failure
is a note found among his SketcheS' 1eopie
will not require titles to recognize the general
intention to be more a matter OF feehnS 1hah
of naintine, in sounds is another.
Much mischief has been made by tltieS which
1ublishers and others have given to works With
ont the sanction of the composer 1t was not
Beethoven who called the Sonata in + minor
"Appassionata,' that in C-sharp MINOR COP
o. No o "Moonlight or that in major
ION oSl "Pastorale" There is some Apostle
ness IN the first and of these designations,
and in the case of persons gifted with healthy
intellectual and iesthetic stomachs they 90 no
harm. but others led by them to think
foolish things of Beethoven and to play his
music. in a silly The Sonata III C.
erar, minor has asked many tear from gentle
ec11s who were taught to hear in its first
,,oy-nment a lament for unreqGited love and
referted that il Wa: dedicated to the Countess
f:iu1ietta C;uicciardi, for whom Beethoven as |
e,,redIr had a tender feeling. Moonlight and |
tro plaint of an unhappy loVer-how affecting! |
T3ut beethoven did not compose the sonata for |