Some Account of the , with Historical Notices (Concluded) Author(s): Carl Engel Source: The Musical Times and Singing Class Circular, Vol. 20, No. 439 (Sep. 1, 1879), pp. 468-472 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3356667 Accessed: 17-04-2016 15:44 UTC

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468 THE MUSICAL TIMES.-SEPTEMBER I, I879. phrase, and the then gisres out, alone, the leading phrase of the subject:-

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w The final close being left as an inversion of the chord, to keep the idea intact. But this must be our last quotation from s7orks from which it is strange to think that any of the quo- This is repeated, and then the piano is silent during tations should be new, as we have no doubt they are the usual peroration of the orchestra, entering at to not a few of our pianoforte-playing readers, among, last unexpectedly svith a long shake on a high note, the amateurs at all events. These last wouid do again in a rather Beetnovenish manner. Some well to study some of these half-forgotten, or at least striking suggestions, for the time at which they were ignored, pianoforte compositions of Mozart, if only made, are to be found in the little-known set of to keep the balance against the too exclusive cultiva- variations on Gretry's lovely old tune, "Une fevre tion of Schumann Jand Grieg which is carried on at brulante " (which, it may be remembered, Beethoven present in our drawing-rooms. also treated in the variation form). 'the composition was evidently regarded as rather a special " piece " - SOME ACCOUNT OF THE CLAVICHORD it contains one variation marked "bravura," con- WITH HISTORICAL NOTICES. taining what were probably considered showy difficul- BY CARL ENGEL. ties in that day, including a good many rapid scale (Cowlclzzdedfrotss pczge 4I5.) passages in thirds, which remind one of Mozart's description of Clementi's playing, " He has a bril- THAT was an admirer of liant right hand, and his principal passages are the clavichord is evident not only from the fact of his thirds," and sug,,est the idea that this was meant as having written for it some of his finest compositions something in Clementi's line. But the interesting but also from certain recorded observations. He variation is the fourth, which is in the form of a appreciated it more highly than the , on highly impassioned recitative with interlude phrases account of its capability of yielding to the intentions in a remarkably modern style: ex. gr.- of the performer, and of permitting various modifica- tions of expression to be obtained merely by the Tentpo I}}tO. RECIT. touch. He always preferred to play on the clavi- , it$t I-tb-s bj$-t, i4--T64i t-J-J ' L chord; the harpsichord was for him too soulless, and the pianoforte too coarse. This statement is to be found in the biographical sketch of J. S. Bach written by J. N. Forkel, who was personally acquainted with the two eldest sons of the great composer, Friedemann and Emanuel. When, in the year I726, Gottfried Silbermann sub- mitted to J. S. Bach for examination a pianoforte which Silbermann had made, Bach declared that his clavichord was decidedly superior to it in regard to expression and delicacy of touch. No doubt he was right; and his candid criticism, which is said to have offended Silbermann, may perhaps evidence the im- perfection of the pianofort-e at that time rather than the excellence of the clavichord. It must be remem- ____ Tepo IV[O. bered that the pianoforte was then a new invention g_Sx J J-# S T4-bs ij i 1> still in its infancy, dating from about the year I7II when it suggested itself to Cristofori to substitute hammers for the jacks and crowquills in the clavi- cembalo. BIoreover, it is recorded that in I74r, about & §, - 44 , * I ,H1 t 2 twenty years after his Erst attempt, Silbermann suc- ceeded in constructing two pianofortes which obtained the approval of J. S. Bach. G. Silbermann's pianofortes had the shape of the g? bw * r w m ; r > r m c | 9 m-> harpsichord. In the year I758 C. E. Friderici, at Gera, in Central Germany, commenced constructing i f agitato. & c. pianofortes in the oblong-square shape of the clavi- chord. In order to distinguish his instrument from that of Silbermann, he called it Fortbiez. However there is no satisfactory evidence for the statement found in almost all the treatises on the history of the The conclusion of the whole composition is also worth pianoforte, that Friderici (or Friederici, as modern noting, the leading phrase of the theme repeated in writers spell his name) was the first pianoforte-maker dilxintlentdo who adopted the oblong-square shape. On the con- trary, there are indications of this shape having been adopted at an early period, and of its having been sug- gested by the clavichord. The organ-builder Spath, in Ratisbon, is recorded to have altered p p diout. into pianofortes by substituting hammers for the tangents. As there lived in Ratisbon (German 146 ig;}r t r t J. t - t l f " Regensburg") two organ-builders of this name-

This content downloaded from 134.129.182.74 on Sun, 17 Apr 2016 15:44:45 UTC All use subject to http://about.jstor.org/terms THE MUSICAL TIMES.- SEPTEMBER I, I879. 469 viz., Franz Jakob Spath, who died at an advanced " Critica Musica." Still more strange it appears age in the year I760, and Johann Adam Spath, who that neither the musical dictionary by J. Walther may have been his son and as their christian (LelpZlg, I732), nor even a later one, the second names are not given in the records, it is impossible edition of " Musikalisches Lexicon" (Chemnitz to determine precisely the time when those piano- I749), notice the pianoforte. J. Walther mentions, fortes were made. In Rimbault's book on the piano- however, Cristofori, whom he calls Cristofali, as forte may be seen an illustration of an early square having invented " a clavessin on which piAno and pianoforte, but no date is given. There must have forte *an be produced," and he refers the reader to been such instruments in Germany about the year Mattheson's " Critica Musica." I750, if not earlier. On the other hand, D. G. Turk, After J. S. Bach's commendation of Silbermann's in his instruction-book for playing the clavichord, achievements in I74I, the pianoforte began to attract published in the year I789, deEnes the pianoforte (or the attention of some other German musicians ot fortetiano, as he calls it) as having the shape of a reputation. For instance, Johann Joachim Quantz small harpsichord; and, he adds, " some new and the distinguished flute-player of King Frederick II. diminutive kinds have the shape of the clavichord." of Prussia, remarks in his comprehensive instruction- It is not my intention here to allude to the early book for the flute, published at Berlin in the year history of the pianoforte further than is necessary I752: 4 The modification of loudness cannot be for showing how certain peculiarities in its construc- obtained so well on the harpsichord, if it has only a tion were anticipated in the clavichord. Gottfried single keyboard, as it can be obtained on the instru- Silbermann's pianoforte had two strings in unison ment which is called pianoforte, and which contains for each tone throughout, just like the clavichord. hammers instead of quills.... Indeed, the piano- The higher octaves were rather weak in comparison forte possesses all the conditions which are requisite with the bass, and it was this inequality of sound for a good accompaniment, and it depends only upon upon which J. S. Bach especially remarked when he the performer to employ them judiciously. True, a examined Silbermann's {irst instruments. In fact, good clavichord possesses also these conditions; but it was so generally objected to by the clavichord- it cannot produce the same effect, because a fortissi!Jlo players, that the manufacturers of the " new instru- is not obtainable." ment " were soon induced to attempt to remedy the In England it took a still longer time than in Ger- defect by the employment of three or more strings many before the pianoforte gained popular favour. for each tone in the treble. Jakob Adlung, in his The playbill of the Theatre Royal in Covent Garden, work entitled " Anleitung zur musikalischen Gelahrt- dating from the year I767, which announces the heit," the Erst edition of which appeared at Erfurt pianoforte as " a new instrument " half a century -in the year I758, mentions such improved pianofortes, after its invention-has been so often mentioned that which he saw in Erfurt, and which were made by it is unnecessary to say more about it than that this Fickert, in Zeitz, Prussia. The highest octave had suggestive document may be seen framed at Messrs. five strings for each tone, the middle octaves four, Broadwood's. At all events, records like these ought and the lowest octave three. This arrangement was to be taken into consideration in appreciating our adopted, Adlung remarks, " not only with the object social music of the time of Handel. of ensuring the desirable equality in the power of It is to be regretted that the biographers of Johann sound, but also in order to prevent the frequent Sebastian Bach do not positively state which of his breaking of the string by offering a greater resist- compositions for keyed stringed instruments were ance tothe force of the hammers." This expedient originally intended by him for the clavichord and must date at least from the year I750- at any rate which for the harpsichord. However, in most in- Wahlfried Fickert or Ficker, as he is called in some stances this is ascertainable from the title or from German musical dictionaries is recorded to have the characteristics of the composition. For ex- flourished as a manufacturer of organs and clavi- ample, it admits of no doubt that the series of Pre- chords residing in Zeitz about the year I730. Adlung ludes and Fugues issued by him under the title states that the hammers were made either of wood " Das wohltemperirte Clavier " were conceived for or of horn, and the hammer-shanks either of wood the clavichord; and the same may be surmised of or of metal. The instrument was called Haz7t11zer- the famous Chromatic Fantasia, on account of the werkS and also Ha1¢rxertantalosl. The first designa- various modilEcations in accent and expression which tion was given to it when it was constructed so that it constantly demands from the touch of the player. the hammers struck the strings from below; and the On the other hand, the " Thirty Variations on an second designation, when they struck the strings Air," in which the effects are to a great extent calcu- from above. This statement also shows that Beet- lated upon the employment of two manuals, and upon hoven, when he adopted on the title-page of some of the different qualities of sound produced by registers his latest pianoforte sonatas the designation of Ha11z- or stops, were originally conceived for the harpsi- twterklz7vier for pistoforte, did not exactly coin a new chord (cla7Jice71;zZvalo); and this is also the case with word. As regards the Hawnssteeaxta10n, there can be his concertos, which, being intended for public per- no doubt that it was suggested by the famous dulci- formance, require a more powerful sound than that of mer constructed and played in public concerts by the clavichord. Furthermore, it appears probable , which in the beginning of the that with many compositions of this kind J. S. Bach eighteenth century became known by the name of wished to leave it optional whether they sllould be Pa;taleo1z, and was afterwards called Patttalon. In played on the clavichord or on the harpsichord. It this dulcimer the strings were of course vibrated by must be borne in mind that in his time the art of being struck from above. instrumentation had not advanced to the degree of It is curious to observe how long a time the piano- development which it has attained in the present forte had to struggle with its precursors, the clavi- century. Handel states on the title-page of his chord and harpsichord, before it obtained the regard Concertos that they are intended for the harpsichord of musical composers. It is difficult to believe that or organ--two instruments which have nothing in the " new instrument " should not have been known common as far as treatment and quality of sound are to Handel as well as it was to J. S. Bach, consider- concerned. Nevertheless, it is desirable to ascertain ing that J. Mattheson, in Hamburg, the friend of which of Bach's compositions were especially in- Handel's youth, knew it well, and noticed it as early tended for the clavichord, since it is instructive to as in the year I725, in the second volume of his the musical student to know the norks of the great

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masters of his art exactly as they were originally Likewise J. F. Reichardt, the well-known Prussian conceived. Kapellmeister,who visited E. Bach in Hamburg in The assertion of some of our musical writers that the year I774, records (" Briefe eines aufmerksamen J. S. Bach's clavichord had a compass of only four Reisenden." Frankfurt, I774; vol. ii., p. I6)- ; Herr octaves is evidentlyunfounded. Probablyitarose from E. Bach plays not only a very slow and song-like an examination of his clavichord compositions, which Adagio with the most touching expression, to the are generally restricted to that compass. But we shame of many players on other instruments who know that he possessed a fine clavichord made by considering the natural capabilities of their instru- G. Silbermann; and we shall presently see that ments, might imitate the human voice with even less about the year I750, and most likely at an earlier difficulty; he is also able to sustain in this slow period, G. Silbermann constructed his clavichords tempo a tone of the duration of six quavers with all with a greater compass than four octaves. As degrees of power and softness; and this he can do in Emanuel Bach, in I753, regarded the greater com- the bass as well as in the treble. But he can accom- pass requisite for a good clavichord, it is not likely plish it probably only on his precious Silbermann that his eminent father, who died in I750, should not clavichord, for which he has also especially written have possessed an instrument with such a compass some Sonatas in which he has introduced such long- especially as he was a friend of G. Silbermann. The sustained tones. The same remark applies to the real reason why the clavichord compositions written extraordinary power with which he renders some during the Srst half of the eighteenth century seldom passages. Indeed, it is the strongest fortissis110; any overstep four octaves may be found in the circum- other clavichord but Silbermann's would be knocked stance that the extension of the compass beyond to pieces by it. And then, again, we have the most these limits was at that time still rather an extra- delicate pianissisno, which it would be impossible to ordinary adoption, the older and common clavichords produce at all on any other clavichord." having generally only four octaves. Besides, the According to E. L. Gerber (" Historisch-bio- tones abosre this compass were in most instances too graphisches Lexicon der Tonkunstler." Leipzig thin and feeble to be of much use; and a further I790), the Silbermann clavichord which Emanuei extension of the bass produced indistinct and hum- Bach possessed, and which he highly appreciated ming sounds, so that it was found advisable to add a was constantly used bv this eminent musician during thin octave string to each tone in order to render the the last ISfty years of his life. As he died in I788 he bass more distinct. This contrivance was apt to must have become possessed of it about the year render the lowest tones too prominent no wonder I738. No doubt the old clavichord was more durable that the composers rather kept to the four octaves than is the pianoforte, not only on account of the which had the most eSective quality of sound, and simplicity of its mechanism, but also because it was which offered no impediment to their compositions treated much more gently than the pianoforte is being played on any clavichord, no matter whether treated by most pianists of the present day. It it was an old one or a new one. would, however, appear that E. L. Gerber's state- J. S. Bach's Chromatic Fantasia extends in the ment requires rectilScation. According to C. H. treble to- Bitter (" Carl Philipp Emanuel und Wilhelm Friede- mann Bach." Berlin, I868; vol. ii., p. II8), the Sil- bermann clavichord was not among the effects of Emanuel Bach and it is conjectured that he dis- posed of it in the year I78I, because there is among and in the bass not lower than- his compositions a Rondo in E minor, written in the year I78I, and headed, "Abschied von meinem Sil- bermann'schen Clavier " (" Farewell to my Silber mann Clavichord "). Be this as it may, we learn from a letter of his, dated " Hamburg, I773," that he This beautiful composition is therefore confined to valued Frideric1's clavichords especially on account the compass of four octaves. On the harpsichord of their great equality of tone, and that he objected the extension of the compass svas effected at a some- to the additional octave-string in the bass adopted what earlier period than on the clavichord, probably by Barthold Fritz. Among his eSects were two because the twang of the quills renders the low bass clavichords by Friderici, a harpsichord, and a piano- tones and high treble tones much more distinct than forte by Jung. does the push of the tangents. In his celebrated work, " Versuch uber die wahre Having given the opinions of Handel and J. S. Art das Clavier zu spielen " (" An Essay on the True Bach on the capabilities of the clavichord, it is Method of playing the Clavichord." Berlin, I753), hardly necessary to give those of their contemporary Emanuel Bach remarks: " The harpsichord is chiefly fellow-artists, since the opinions of these trvo used for concertawlte music, and the clavichord for masters have ten times more weight than all the playing alone. The new forte-tiano [the pianoforte], others taken together. I must, however, make an if lt is manufactured well and durable, possesses exception in favour of Emanuel Bach, because he many advantages; but its peculiar treatment is difE- was probably the most accomplished clavichord cult, and requires especial study. The instrument player who has ever lived. suits well for solo performances, and also in con- Dr. Burney, who visited Emanuel Bach in Ham- certalte music, if there are not too many instruments burg in the year I772, relates in his journal: " He combined with it. I am, however, of opinion that a was so obliging as to sit down to his Silbermann fine clavichord, although its tone is less loud, pos- clavichord and favourite instrument, upon which he sesses all the beauties of the forte-piano, and has in played three or fourof his choicest and most difficult addition the Beblzng [a sort of tteniolo] and the sus- compositions, with the delicacy, precision, and spirit tained sound, because I can give the key an addi- for which he is so justly celebrated among his coun- tional pressure after having struck it. The clavi- trymen. In the pathetic and slosv movements, when- chord is, therefore, the instrument on which we can ever he had a long note to express he absolutely judge most accurately the accomplishments of a contrived to produce from his instrument a cry of player on stringed instruments with a keyboard. sorrow and complaint as can orly be effected upon For the qualities of a fine clavichord it is requisite the clavichord, and perhaps by himself." that it should have, besides a sonorous and in-

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THE MUSICAL TIMES.- SEPTEMBER I, I879. 47I sinuating sound, the proper number of keys, which one knows that this expression is only attainable on should at least extend from- a clavichord, and indeed only on a very good one. In general, the player ought to guard himself against the frequent employment of the Bebazng, and if he $,-, to f t - employs it he must take care to avoid the objection- able manner of forcing the tone above its pitch by The high E is desirable because it enables the clavi- too vehement a pressure." chord-player to try occasionally also compositions In order to shonv how Emanuel Bach used the which are not written for his instrument. Besides, Bebzlng in his clavichord compositions, an example our composers are rather fond of extending the com- is given, taken from the Andante of the second Sonata pass so high, since there are other instruments on of his " Sechs Cl avier- Son aten fur Kenner und Lieb- which this tone can be produced without very great haber" ('; Six Clavichord Sonatas for Connoisseurs difficulty. The lieys must have the proper weight and Amateurs." Leipzig7 I779): for raising the finger. The strings must be so strong as to permit their being forcibly attacked as well as to be treated tenderly, so that the player is enabled to produce with distinctness and purity all kinds of passages, be they loud or soft.... Whoever can play the clavichord well can also play the harpsi- chord well, but not vxce versa. The clavichord ought therefore, to be practised for attaining the right expression in performance, and the harpsichord for strengthening the fingers." As regards the Beblfng before alluded to, Emanuel Bach says: " A long-sustained tone which requires a passionate expression is appropriately given with the Beb%{?g. This is produced by holding the key down with the Enger, and then, so to say, balancing the finger on the key." The signs for the Bebg he gives thus:- The Sonata from which this example has been . _ _ copied is the same which Professor C. F. Cramer, a friend of E. Bach, distinctly points out (" Magazin der Musik." Hamburg, I783; p. I2I7) as one of the com- It will be observed that this peculiar kind of tremolo positions expressly written by E. Bach for his Silber- cannot be produced on the harpsichord, because it mann clavichord, " on which instrument he used to requires the tangent while pressed agairlst the string play it with particular delight." Now as this Sonata to act on it with a trembling motion, somewhat like extends in the treble to- $he finger of the violin-player when he produces a similar eSect on a sustained note. Probably the eSective " cry of sorrow and complaint," recorded by Dr. Burney in the extract from his journal quoted before, was produced by the Bebxng. - As this mode of expression is very peculiar, and as it is evident that the Silbermann clavichord in the it Cannot be exactly rendered even on our most possession of EX Bach must have had a compass perfect grand piano? it may interest the reader to embracing that tone. D. J. Turk, in enumerating have also the explanation of it given in the instruc- the qualities of a good clavichord, remarks: "Its tion-book for the clavichord by Daniel Gottlob Turk compass should be at least thus- (;; Elavierschule, oder Anweisung zum Klavierspie- len." Leipzig and Halle, I789?, which is generally t_ 2 I considered as one of the best works of its kind. Turk says: '; The Bebung (French, balcincemerzt ; - s Italian, trentolo) can be applied effectively only to a long-sustained tone, especially in compositions of a but, at the present day, preference is given to an plaintive character. It is usually indicated in the extension in the bass to- notation by these marks-

.N ... , t f 0 f I Nay, some manufacturers adopt even a still svider or by the word {reszolo being written over the note; compass." It must be borne in mind that Turk's and its execution is thus- book dates from the year I789. H;s statement affords a glan ce at the attempts at improvement which were in the second half of the eighteenth century resorted to in the construction of the clavi- 7W chord. He speaks of registers or stops such as In order to produce it eSectually the ISnger must be t-he Caelestina, the Pantalon, &c. with which some held on the key as long as the duration of the tone of these instruments were provided- but he disap- demands, and the player must endeavour to increase proves of them because '4 they bring the strings out the loudness of the tone by a gentle pressure of his of tune, and spoil the touch of the player.?' Enger several times repeated. It is perhaps hardly If large dimensions, a keyboard comprising Eve necessary to say that after each pressure the weight octaves and the greatest power obtainable, cono must be slightly relaxed, without however raising stituted the chief requisites of a lEne clavichord, no the finger entirely from the key. Moreover, every doubt preference must be girren to the specimens

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which were nsade during the second half of the Op. I04, and the Sonata, and the money; I meant to eighteenth century. Still, it would appear that the say, The honorarium, clvec Oll Sa1tS hO1IZ161Xt." Schind- clavichords of Silbermann and of his pupil Friderici, ler informx us that the pension which Beethoven dating from the ISrst half of the eighteenth century, received from the Archduke Rudolph and the Prin- have seldom been rivalled and never been surpassed, ces Kinski and Lobkowitz had shrunk to £9° a as far as nicety of mechanism, accuracy of touch, year; and that besides this sum he had only the pro- and delicacy of expression are concerned. As regards ceeds of the sale of four sonatas Op. I06, completed the harpsichord, its highest degree of perfection in in I8I9, and Op. I09, II0, and III, composed in the tone and touch was evidently attained at an earlier winter of I82I-I822 the only important works, if we period. At all events, it may be doubted whether the add to them the Overture in C, Op. I24, which he famous Rucker's , dating from the seven- wrote during the time he was susy with the Mass. teenth century, have in this respect ever been eclipsed The particulars of this account may not be quite by the grand and full-toned harpsichords which were correct-the pension, for instance, was in reality made towards the end of the eighteenth century, espe- £I36 but the fact that the master's income during cially in England, and which, it must be admitted, the years I8I8-I822 was inadequate to supply his are remarkably Sne. wants can, unfortunately, not be doubted. Thayer In short, it would appear that the best clavichords calculates that in the spring of I823 Beethos en's and harpsichords were in existence at the time of debts amounted to 7,ooo florins. In the year I820 Bach and Handel; and we know from the biographi- such was the composer's lack of mcney that he hact cal notices transmitted to us that these eminent to content himself for four days with a glass of beel- musicians had, as might indeed be expected, instru- and some rolls for dinner. Of course he might have ments by the most distinguished makers. sold the shares he had bought in the prosperous But it is unnecessary to discuss this question time of the Congress; but these were to be a legacy further here; I merely draw attention to it because for that scapegrace, his nephew, and must not be an acquaintance with the history of these instru- touched. An idea of his domestic felicity may be ments seems to me important for obtaining a correct formed by throwing a glance at his diary of the year appreciation of our classical music composed for the I8I9: ;4 January 3I.-Given notice to the house- precursors of the pianoforte. With this music every keeper. February I5. The cook has come. March musician, and especially every professional pianist, 8. Given I4 days' notice to the cook. March 22.- ought to be familiar- and it is chiefly the desire to The new housekeeper has come. May I2.-Arrived assist, in however small a degree, in promoting the at WIodlin [village near Vienna]. llliser ct halfter study of classical instrumental music which has SU?X." And so on in the same key. But tlae master induced me to give a detailed description of the vas tried by more grievous troubles than pecuniary clavichords in my possession. dificulties, mean privations and the teasing annoy- Messrs. Broadwood have kindly consented to my ances of housekeeping. A iawsuit between him and proposal to place the Gebndezze Klavier (Clavichord his sister-in-law, begun in I8I6 and not ended till No. 4) in one of their rooms in Great Pulteney 1820, was especially a cause of great vexation and Street, lvhere it may be seen during the present bitterness to him. His nephew had been recom- month (September). I therefore invite my musical mended to his care by his dying brother, but the friends and my musical enemies also, if I have any- mother of the boy, whom Beethoven held to be a to go and examine it; or, still better, to play on it woman of doubtful moral character, disputed the Bach's fugues precisely as he himselfplayed them on guardianship with him. The earnestness and con- the clavichord. scientiousness with which the composer undertool the charge of his nephew's education are charac- AN ANALYSIS OF teristic of the man. This new duty engrossed his thoughts and influenced his actions, it incited him to BEETHOVEN'S " MISSA SOLEMNIS." live and work. All these circumstances contempo- BY FR. NIECKS. raneous with the composition of the Mass must be IN the April number of THE WIUSICAL TINIES I en- taken into account, and also his previous career svith deavoured to characterise Beethoven and his " Missa its sad suSerings the hardship of his childhood, his Solemnis "; now I wish to supplement those general bodily diseases, above all the loss of hearing, with remarks by an analysis of this work. The mention the consequent social isolation, bzc.- for they show of a few dates and circumstances relative to the us how his soul was strung and tuned, and what history of its birth and existence may not be deemed agents were at work to produce music such as is an inappropriate prelude to an exposition of the heard in the " Missa Solemnis." Let us take note of internal structure and pervading spirit. Beethoven two extracts from the diary which Beethoven kept at began the composition of his Opus IZ3 in the winter this time: " Hard is thy situation at present; but He of I818-I8I9, and on February 27, I822, announced above is, oh, He is, and without him nothing is."- its completion in a letter to his pupil, the Archduke " God, God, my Refuge, my Rock, Thou seest my RudolphS into whose hands a copy of the score was heart! Oh hear, ever ineSable One, hear me, Thy delivered on March I9, I822. Schindler relates that unh appy, most unhappy of al 1 mortals. " the composer put the finishing touch to the " Missa " In a letter addressed to, but never received in the summer of that year, when he was staying at by Cherubini, dated March I5, I823, Beethoven Baden, near Vienna. At any rate the work attained writes:- completion two years too late for its original desti- " I recently completed a grand solemn Mass, and nation, namely, to be performed at the installation of have resolved to offer it to the various European the Archduke Rudolph as Archbishop of Olmutz, an Courts, as it is not my intention to publish it at pre- event which took place on March 20, I820. Almost sent. I have, therefore, asked the King of France, the only pleasant fact on record of Beethoven's life through the French Embassy here, to subscribe to at that time is the satisfactory state of his health. this work, and I feel certain that his majesty would, " Forgive the confusion," he writes from Vienna, on at your recommendation, agree to do so. April I6, I8I9, to Ferdinand Ries, in London, " if you " My critical situation demands that I should not knew my situation you would not be astonished at it. solely fix my eyes upon Heaven7 as is my wont; on Rather at what I here accomplish in spite of it." the contrary, it would have me fix them also upon And again on May 25: " Do not forget the quintett, earth, here below, for the necessities of life."

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