While reading Beethoven’s views on the subject of how music ought to be performed, it is but natural to inquire about his own manner of playing. On this point Ries, his best pupil, reports:
“In general Beethoven played his own compositions very capriciously, yet he adhered, on the whole, strictly to the beat and only at times, but seldom, accelerated the tempo a trifle. Occasionally he would retard the tempo in a crescendo, which produced a very beautiful and striking effect. While playing he would give a passage, now in the right hand, now in the left, a beautiful expression which was simply inimitable; but it was rarely indeed that he added a note or an ornament.”
Of his playing when still a young man one of his hearers said that it was in the slow movements particularly that it charmed everybody. Almost unanimously his contemporaries give him the palm for his improvisations. Ries says:
“His extemporizations were the most extraordinary things that one could hear. No artist that I ever heard came at all near the height which Beethoven attained. The wealth of ideas which forced themselves on him, the caprices to which he surrendered himself, the variety of treatment, the difficulties, were inexhaustible.”
His playing was not technically perfect. He let many a note “fall under the table,” but without marring the effect of his playing. Concerning this we have a remark of his own in No. 75. Somewhat critical is Czerny’s report:
“Extraordinary as his extempore playing was it was less successful in the performance of printed compositions; for, since he never took the time or had the patience to practice anything, his success depended mostly on chance and mood; and since, also, his manner of playing as well as composing was ahead of his time, the weak and imperfect pianofortes of his time could not withstand his gigantic style. It was because of this that Hummel’s purling and brilliant manner of play, well adapted to the period, was more intelligible and attractive to the great public. But Beethoven’s playing in adagios and legato, in the sustained style, made an almost magical impression on every hearer, and, so far as I know, it has never been surpassed.” Czerny’s remark about the pianofortes of Beethoven’s day explains Beethoven’s judgment on his own pianoforte sonatas. He composed for the sonorous pianoforte of the future,—the pianoforte building today.
The following anecdote, told by Czerny, will be read with pleasure. Pleyel, a famous musician, came to Vienna from Paris in 1805, and had his latest quartets performed in the palace of Prince Lobkowitz. Beethoven was present and was asked to play something. “As usual, he submitted to the interminable entreaties and finally was dragged almost by force to the pianoforte by the ladies. Angrily he tears the second violin part of one of the Pleyel quartets from the music-stand where it still lay open, throws it upon the rack of the pianoforte, and begins to improvise. We had never heard him extemporize more brilliantly, with more originality or more grandly than on that evening.
“But throughout the entire improvisation there ran in the middle voices, like a thread, or cantus firmus, the insignificant notes, wholly insignificant in themselves, which he found on the page of the quartet, which by chance lay open on the music-stand; on them he built up the most daring melodies and harmonies, in the most brilliant concert style. Old Pleyel could only give expression to his amazement by kissing his hands. After such improvisations Beethoven was wont to break out into a loud and satisfied laugh.”
Czerny says further of his playing: “In rapidity of scale passages, trills, leaps, etc., no one equaled him,—not even Hummel. His attitude at the pianoforte was perfectly quiet and dignified, with no approach to grimace, except to bend down a little towards the keys as his deafness increased; his fingers were very powerful, not long, and broadened at the tips by much playing; for he told me often that in his youth he had practiced stupendously, mostly till past midnight. In teaching he laid great stress on a correct position of the fingers (according to the Emanuel Bach method, in which he instructed me); he himself could barely span a tenth. He made frequent use of the pedal, much more frequently than is indicated in his compositions. His reading of the scores of Handel and Gluck and the fugues of Bach was unique, inasmuch as he put a polyphony and spirit into the former which gave the works a new form.”
In his later years the deaf master could no longer hear his own playing which therefore came to have a pitifully painful effect. Concerning his manner of conducting, Seyfried says: “It would no wise do to make our master a model in conducting, and the orchestra had to take great care lest it be led astray by its mentor; for he had an eye only for his composition and strove unceasingly by means of manifold gesticulations to bring out the expression which he desired. Often when he reached a forte he gave a violent down beat even if the note were an unaccented one. He was in the habit of marking a diminuendo by crouching down lower and lower, and at a pianissimo he almost crept under the stand. With a crescendo he, too, grew, rising as if out of a stage trap, and with the entrance of a fortissimo he stood on his toes and seemed to take on gigantic proportions, while he waved his arms about as if trying to soar upwards to the clouds. Everything about him was in activity; not a part of his organization remained idle, and the whole man seemed like a perpetuum mobile. Concerning expression, the little nuances, the equable division of light and shade, as also an effective tempo rubato, he was extremely exact and gladly discussed them with the individual members of the orchestra without showing vexation or anger.”
62. “It has always been known that the greatest pianoforte players were also the greatest composers; but how did they play? Not like the pianists of today who prance up and down the key-board with passages in which they have exercised themselves,—putsch, putsch, putsch;—what does that mean? Nothing. When the true pianoforte virtuosi played it was always something homogeneous, an entity; it could be transcribed and then it appeared as a well thought-out work. That is pianoforte playing; the other is nothing!”
(In conversation with Tomaschek, October, 1814.)
63. “Candidly I am not a friend of Allegri di bravura and such, since they do nothing but promote mechanism.”
(Hetzendorf, July 16, 1823, to Ries in London.)
64. “The great pianists have nothing but technique and affectation.”
(Fall of 1817, to Marie Pachler-Koschak, a pianist whom Beethoven
regarded very highly. “You will play the sonatas in F major and C minor,
for me, will you not?”)
65. “As a rule, in the case of these gentlemen, all reason and feeling are generally lost in the nimbleness of their fingers.”
(Reported by Schindler as a remark of Beethoven’s concerning pianoforte
virtuosi.)
66. “Habit may depreciate the most brilliant talents.”
(In 1812 to his pupil, Archduke Rudolph, whom he warns against too
zealous a devotion to music.)
67. “You will have to play a long time yet before you realize that you can not play at all.”
(July, 1808. Reported by Rust as having been said to a young man who
played for Beethoven.)
68. “One must be something if one wishes to put on appearances.”
(August 15, 1812, to Bettina von Arnim.)
69. “These pianoforte players have their coteries whom they often join; there they are praised continually,—and there’s an end of art!”
(Conversation with Tomaschek, October, 1814.)
70. “We Germans have too few dramatically trained singers for the part of Leonore. They are too cold and unfeeling; the Italians sing and act with body and soul.”
(1824, in Baden, to Freudenberg, an organist from Breslau.)
71. “If he is a master of his instrument I rank an organist amongst the first of virtuosi. I too, played the organ a great deal when I was young, but my nerves would not stand the power of the gigantic instrument.”
(To Freudenberg, in Baden.)
72. “I never wrote noisy music. For my instrumental works I need an orchestra of about sixty good musicians. I am convinced that only such a number can bring out the quickly changing graduations in performance.”
(Reported by Schindler.)
73. “A Requiem ought to be quiet music,—it needs no trump of doom; memories of the dead require no hubbub.”
(Reported by Holz to Fanny von Ponsing, in Baden, summer of 1858.
According to the same authority Beethoven valued Cherubini’s “Requiem”
more highly than any other.)
74. “No metronome at all! He who has sound feeling needs none, and he who has not will get no help from the metronome;—he’ll run away with the orchestra anyway.”
(Reported by Schindler. It had been found that Beethoven himself
had sent different metronomic indications to the publisher and the
Philharmonic Society of London.)
75. “In reading rapidly a multitude of misprints may pass unnoticed because you are familiar with the language.”
(To Wegeler, who had expressed wonder at Beethoven’s rapid primavista
playing, when it was impossible to see each individual note.)
76. “The poet writes his monologue or dialogue in a certain, continuous rhythm, but the elocutionist in order to insure an understanding of the sense of the lines, must make pauses and interruptions at places where the poet was not permitted to indicate it by punctuation. The same manner of declamation can be applied to music, and admits of modification only according to the number of performers.”
(Reported by Schindler, Beethoven’s faithful factotum.)
77. “With respect to his playing with you, when he has acquired the proper mode of fingering and plays in time and plays the notes with tolerable correctness, only then direct his attention to the matter of interpretation; and when he has gotten this far do not stop him for little mistakes, but point them out at the end of the piece. Although I have myself given very little instruction I have always followed this method which quickly makes musicians, and that, after all, is one of the first objects of art.”
(To Czerny, who was teaching music to Beethoven’s nephew Karl.)
78. “Always place the hands at the key-board so that the fingers can not be raised higher than is necessary; only in this way is it possible to produce a singing tone.”
(Reported by Schindler as Beethoven’s view on pianoforte instruction.
He hated a staccato style of playing and dubbed it “finger dancing” and
“throwing the hands in the air.”)
[PG Editor’s Note: #79 was skipped in the 1905 edition—error?]
All books are sourced from Project Gutenberg