Phonograph Monthly Review, Vol. 1, No. 5 (1927-02)

194 The Phonograph Monthly Review Beethoven's Symphonies 3 One Hundred Years After By RICHARD G. APPEL I T is but a little over a hundred years since Beethoven completed his final symphony. In the first quarter of the century which saw the successive appearance of the symphonies we know that they made a strong and vivid impres- sion. Compare Beethoven with Bach who wrote a masterpiece each week, but no more was heard of it till a hundred years after his death. We who live on the top of the world in the year 1927 are apt to think, if we think at all, what poor specimens those people of 1800 were who found fault with Beethoven. We are likely to take him for granted and are in danger of miss- ing the joys of discovery. Each music lover has the privilege of making new discoveries each time he hears a work of the master and he must never think that a single hearing has exhausted all the possibilities. There is a tendency in modern life to value only the new or novel; as if what comes later in time must necessarily be superior. But it is un- likely that there will be a second Beethoven or a second Bible or a second Shakespeare. There are new developments but they are likely to be in a different line. There are plenty of reasons why the critics of Beethoven's day did not altogether understand him. In the first place the performances were few and took place for the most part in private houses or palaces to which access was not always easy. Scores were not published often until years after; analyses were unknown; pianoforte ar- rangements were not available, so it can be seen the critics were at a disadvantage. If some of the greatest musical geniuses like Weber, Spohr and even Wagner could not under- stand some details of these symphonies, cer- tainly the rest of humanity need not feel embar- rassed if Beethoven is not always as clear as the light. As a matter of fact Beethoven made his own public and the critics and teachers have followed at a distance. We all remember the retort of the individual when someone reminded him of posterity, “What has posterity done for me?” That remark could not be put in the mouth of Beethoven who loved mankind although he found it hard to live with. He could never have fore- seen the literature that posterity has actually ac- cumulated about him. Indeed, hardly less remarkable than Beethoven's symphonies is the material which has grown up about them and about Beethoven. As this year of the centenary of his death will doubtless arouse great interest in all that pertains to him, a short account of the principal works on Beethoven and his symphon- ies will be given. In Germany it is generally admitted that more books have been published about Luther than about any other individual. Next comes Richard Wagner. Throughout the world at large there is no question, at least in the field of music, that Beethoven has furnished material for more books than all other composers combined. One book, Holland's “Beethoven,” has an unusual record. In addition to the original French it had appeared by 1921 in seven other languages: English, Ger- man, Spanish, Danish, Polish, Swedish and Dutch. The reason for this remarkable showing is not far to seek. Beethoven is, without doubt, the most universal musical genius. Supreme in all instrumental forms; symphony, sonata, and chamber music for all combinations, Beethoven derives additional fame from his choral music, his masses, opera and oratorio. Only in song has he been surpassed. How his music has conquered the world is one of the most fascinating chapters in the history of civilization and not the least interesting to us is his hold on the English speaking people. There is a disposition in some quarters to dis- parage critical work, as if the created work was sufficient in itself; as if the period which followed the creative period in literature or art was in- ferior. Is it not one great distinction between industry and art that one can produce an exact duplicate but the other can produce only one original ? Is it not better to appreciate fully what we have, than to bemoan the lack of what we have not? In honoring Beethoven or any other great human being we honor ourselves. We educate ourselves by learning to appreciate them, just as they educated themselves by studying their pre- decessors. Who said that the greatest genius is the most indebted man? Certain it is that most geniuses are the first to acknowledge it. There are people in the world who like to keep certain experiences for themselves, who take pride in proclaiming that what they value is the only thing worth while. They delight in explain- ing things as supernatural. Fortunately there are others who, having had a wonderful exper- ience, wish to communicate it to others, to explain it and analyze it In the great literature that has grown up about Beethoven we can indeed take pride. Not that all of it is of equal value or importance but that is represents a great educational effort. It is not unnatural that the first books about Beethoven contained much legendary material. In spite of the fact that his father tried to make a