New-York tribune., 1914-11-01

and II is NOT as easy 10 cVNHtcl 10 o..
fancy with the last movement OF IN
sonata as with the first and second
but the evidence that Beethoven palc
it the tribute Of his music seems con
elusive
Vi. d'Indy evidently has plensry IN
splration touching the amorous IN
fuences which found expression IN
Beethoven's music. His one inspira-
ton was the Guicciardi. Neither
Theresa Malfatti. nor Amalie Sebald'
nor Bettina Breutano, nor the other
women whom Beethoven might nave
noticed, have left any impression on
his musical production So TO her
who became the Countess Gallinberc
we owe all the music written between
1902 and 1915 which tells, in NJ.
dTndy's words, or reveals "amorous
anguish" q" None Of this music having
been dedicated 10 the Countess Bruins
wick. that lady, of course, was never
beloved by Beethoven, and could not
V'No. a hundred times, no.') have
been the Immortal Beloved Of the
famous love letters, even II docu-
mentary evidence were piled up 20
prove IT, All that is music would
rise up IN testimony 10 thls.' II must
he delightful to be so cocksure about
the workings of the innermost soul of
a man like Beethoven. NJ. dIndy comes
10 earth again when he treats OF the
composers love Of nature and the
music which II inspired. Here ne men
tions the Pastoral symphony, OF
course, the symphony in A No. -.
the Eighth .he finds delineation OF
evpsies at festival IN the hnaleI, the
Sonata I'm G., Op. 96. for planoforte and
violin. and tine Trio in b fiat Not
withstanding the perslstently lnclslVe
rhvthms Of the Seventh symphony, ana
in spite Of Wagncr's description OF y
as "thc apotheosis Of the dance NJ.
dIpJv will have Il that il is a dellnea-
ton of nature. In this he consciously
or uDconsciously follows Professor
BischoF. the rabid Wagnerite, VINO
fastened the epithet Music Of the
Future" on the pOet-composer WORKS
"The symphony in A. says VI. d1ndy'
". is q pastoral symphony pure
and simple IN the rhythm Of the irSt
movement there is certainly nothlhe
dance-like; IL seems rather as II IN
sp;red BY the song Of bird. The trio
i'm the Scherzo reproduces, 1t is sald,
the melody Of pilgrims chant, heard
AZ Teplitz i'm 1872; and the hnaie is
village fe tival aptly charaeterized''
NJ. dTndy counts love of country
among the inspiring influences OF bee
thoven and thinks that ne cherished
equally his unique German Father-
land" and Austria, the land OF ms
adoption. Yet he never went back TO
Bonn after he had taken up his So
iourn in Vienna, and there was never
q moment up to the time Of his death
when. so the opportunity offered itself,
that he did not rail a. everything Aus
trian. from the Emperor down 10 his
servants. 1t was TO keep him m vienna
when he wanted to accept Jerome
Bonaparte's invitation to become his
court musician that his friends created
the annuity fund which he enjoyed so
MANY wears, and even while subsistlng
on n he consulted q lawyer to see
whether or not he might leave Austria
without forfeiting his pension. 70
litically, England was His admiration
and though NJ. dIndy presents us with
/ the singular spectacle Of Frenchman
DENYING. for the sake OF theory, that
the "Eroica" was conceived out OF ad-
miration for Bonaparte as First Con
| sui. the facts in the case cannot be
waved aside as lightly as Nj. dlndy at
tennis to do il. II is a singular as.
sumption on his part hat the name OF
Ronaparte on the manuscript OF the
symphony meant no more than a pur-
posed conventional dedication 70 the
head Of "A state, and his argument IS
both foolish and futile.
But valuable and suggestive are our
authors analyses Of the compositions
of what he calls Beethoven's third pc
riod-that Of reflection from 1915 10
the end Of his life; and despite OF what
has been said above, the little book is
entertaining, stimulating and IN
4 structiVe