The Critical Reception of Beethoven’s Compositions by His German Contemporaries Part 2

Op. 107. Ten Themes with Variations for Piano with Optional Flute or Violin Accompaniment 107.1. “Review.” Allgemeine musikalische Zeitung 23 (15 August 1821): col. 567–69.1 O ne is already accustomed to receiving something entirely unexpected from this original spirit, who goes entirely his own way. At first glance, however, one can scarcely, on the basis of any of his works, have felt so puzzled and astonished as here, with this one. Keyboard variations, by Beethoven: we will not attempt to describe what one may probably first expect at this announcement, after this master’s earlier works of this kind, and after the course of his spirit in his works overall. Let everyone develop this according to his own point of view. Whatever this leads him to expect, however: what he finds here, particularly on first paging through it, is certainly not included. For what appears to him here? Upon the ten small, quite strange themes, a succession of variations, which nearly all look like those that one sets before students who have only just mastered elementary exercises: variations for the most part in only two voices, nearly always with the most customary exterior cut. Excursions, alternation of forms, and so forth are nearly absent; nowhere is there harmonic fullness, or anything remotely virtuosic in the figurations and passagework. Here and there are even variations that are simpler than the theme itself, progressing with a single voice in octaves or reduced to bare chords, and so forth. With such a great artist, does this not amount to playing games, or even playing with the public? Let one now consider the thing more closely, however. Play through the great abundance of small pieces, only very carefully and precisely. Do not be disturbed if this music, particularly at first, refuses to taste right—indeed, at times, even to sound right. And what will one find? Certainly still just what we have specified, but with what spirit, with what sensibility, These variations, along with the six sets of variations of Op. 105, were written in 1818–1819. The first edition of Op. 105, which also included parts of Op. 107, was issued by Preston in London and Thomson in Edinburgh in May 1819. The first complete edition, on which this review is based, was published by Simrock in Bonn in August/ September 1820. These works, based on national melodies, had originally been requested by Thomson in connection with the folksong arrangements Beethoven had been writing for that publisher (see Op. 108, and cf. the reviewer’s own note, below). Thomson had specifically asked that they be “in an agreeable style, and not too difficult” (Thayer-Forbes, 716). 1 23 107.1 to what purpose it is written! Above all, one finds such an abundant sum of inventions, all new, all individual, inventions that are thus like the clever first sketches of a master, not in the least dressed up with decoration or even with coloration, not in the least set off by that which technique and experience have to teach about artistic effect, but rather set up so the thing is merely expressed in its essential nature, and simple to the point of bareness, at times even to the point of dryness. Thus, trustingly and without consideration, it is given over to those who have the outward and inward sensibility for something of this kind, at the same time, however, having the ability and delight in thinking, perseverance in seeking where something will not show itself very well on its own, and, even after such a process, the good nature to indicate quietly, without blame or praise, just what pleases them, with the assumption that this could depend just as much on them as on the artist. That is how we dealt with it, at least, and this is what we found on this path. (We also found much that did not please us at all, particularly in the first numbers.) In confessing this candidly here, we have at the same time described the strange work itself as far as may be necessary in order to indicate the class of artists and amateurs for whom it chiefly appears to be intended, to prevent misunderstandings and misinterpretations, and to secure the right kind of access to it. And that may be all that is incumbent upon us here. Let two superfluous things still be touched on briefly, however. First. Amateurs, who are still entirely unaccustomed to dealing with more recent pieces of music, as we have stated, and who still want to assimilate these works of the master, will do well if they begin with the numbers that at the same time offer the most to the emotions and do not completely depart from the current manner of writing variations. These are the numbers: book 2, no. 3, on a cheerful Russian theme; book 3, no. 6, on a gentle Scottish theme; book 4, no. 7, on a (well-known) melancholic Russian theme; and book 5, no. 9, on a pleasant Scottish theme. These are thus the ones that we hold to be the most beautiful overall.2 Second. It cannot fail to be the case, as this work particularly indicates, that Beethoven possesses, among his papers, a great many sketches, studies, and preliminary efforts, perhaps from his earlier years, that he has for the most part given up on working out, and is no longer interested in. We believe, then, that we are requesting, not just for ourselves, but also in the name of many respectable friends of music, that just as clever painters tend to offer experts similar sketches and things of this kind, which are easily erased, he too should not let these be lost, but should gradually make them known. We hardly need to add that, as is also the case in painting, much joy is secured for the connoisseur and the thoughtful amateur through communications of this kind, if they truly come from so preeminent a master. They are also a salutary influence on young artists, since they can enrich their imagination through them, learning to reflect and to direct their thoughts to what is most essential and necessary. Due to the nature of youth, the susceptibility of the senses, and the urge to please, they are otherwise The publication was originally divided into five “livres,” each containing two variations. The individual variations, however, were numbered successively. 2 24 107.1 rarely inclined to do this, and this would be all the more useful an influence for them. May the admirable master thus not let our request be in vain!3 The accompanying part for flute or violin is called optional on the title page, but it is not always easy to do without, and in several passages it is almost necessary.4 This is probably the earliest published reference to Beethoven’s sketches, although it is not clear whether the author knows of their existence and extent or is merely speculating. 4 A footnote in the original text reads: “These variations were originally written at the invitation of a friend of music in Edinburgh and also first appeared in print there.” 3 25 107.1 Op. 108. Twenty-Five Scottish Songs 108.1. “Music. Overview of New Publications. L. in October 1822.” Journal für Literatur, Kunst, Luxus und Mode 37 (October 1822): 606–8.1 T he first two volumes each contain eight, the third contains nine songs. They are naive, sentimental, dedicated to love, to wine, and to romantic fantasies and emotions, and at times have something of a folksy quality. The original is quite faithfully and often happily replicated in the German; only occasionally does one encounter harsh or unprosodic passages, which also damage the declamation in the composition. B. probably wrote his music originally to the English text, and the German has not always been happily underlaid, as, for example, in no. 1, where music is accented in a way that contradicts our pronunciation, but later, at the passage “love, wine, music must be true, genuine, like” is accented correctly.2 In these variously beautiful and interesting songs, the distinctive construction of the simple and characteristic melodies, the progression of the harmonies, and the predominantly simple, always appropriate nature of the accompaniment, reveal the original master, who also can allow many idiosyncrasies and knows how to compensate for many errors of declamation (for The project of arranging traditional Scottish songs for the purpose of their preservation and dissemination, which produced Beethoven’s Op. 108, along with a large number of his songs without opus numbers, was initiated by George Thomson (1757–1851) of Edinburgh, who commissioned similar work from several other important composers, including Haydn, Ignaz Pleyel (1757–1831), and Leopold Koželuch (1747–1818). Thomson’s correspondence with Beethoven had begun as early as 1803. The first edition of Op. 108, written from 1810 to 1818, was published by Preston in London in June 1818, appearing together with works by Haydn and by Henry R. Bishop (1786–1855), remembered today as the composer of “Home, Sweet Home.” The original text was in English and consisted of verses written to the traditional melodies by a variety of poets, including Robert Burns, Walter Scott, and Lord Byron. Beethoven, however, simply set the melodies without reference to the texts, with which he was not familiar; this fact, of which early reviewers were evidently unaware, should be borne in mind when one is considering this and other writers’ comments on the appropriateness of many of the musical settings to the texts. The first German edition, which was the subject of this review and of 108.2–108.7, was issued by Schlesinger in Berlin in July 1822, with texts in both German and English. 2 The first song is titled “Music, love and wine” in English and “Musik, Liebe und Wein” in German. The reviewer misquotes the text that concludes the chorus, which reads “Liebe, Wein, Musik muss sein, wahr, ächt, rein!” (Love, wine, music must be, true, genuine, pure!) In German the word “Musik,” unlike its English cognate “music,” is pronounced with the accent on the second syllable, a fact the author of the German text of this song largely ignores. 1 26 108.1 example, in no. 3 and no. 5 of volume 1)3 by means of uncommon beauties. It would be hard to characterize these songs, or to single out individual ones above the others. I note among others the very soulful eighth song in the first volume: The lovely lass of Inverness, the beautiful duet in E-flat major, in which the flowery time of year is celebrated in song, at the beginning of the second volume. 4 The second song, Sympathy,5 also has its unique beauties. No. 5, a drinking song, in 9/8 time,6 is interesting, although the declamation is not successful. The eighth is of the joking variety.7 — The third volume has its own unique value. No. 1, “O Mary, at thy window be,” for example, is so outstandingly lovely and naive; no. 3, “O swiftly glides the bonny boat,”8 and no. 4, “When will you come again,”9 are no less successful. No. 5, “By William late offended,”10 in an old-fashioned warlike manner; no. 6, “The Highland watch” (march tempo, in G minor with choir); The shepherd’s song, no. 7, charming and tender; and the ninth, “Sally in our alley,” has a touch of the comical.11 The supplemental violin and violoncello accompaniment must no doubt particularly enliven the whole.12 “Oh! sweet were the hours” and “The maid of Isla.” These are the titles that originally appeared in English. The German versions were titled “O köstliche Zeit” and “Das Islamägdlein.” 4 The duet is “Behold my love how green the groves.” The German titles are “Die holde Maid von Inverness” and “Schau her, mein lieb, der Wälder Grün.” 5 “Sympathie” in German. 6 “Come fill, fill my good fellow.” (“Trinklied” in German.) 7 “Could this ill world have been contriv’d.” (“Wenn doch die arge böse Welt” in German.) 8 Here and elsewhere, the titles of the songs are given as they originally appeared in English. The German titles are “Mariechen, komm an’s Fensterlein” and “Wie gleitet schnell das leichte Boot.” 9 The song is actually titled “Faithfu’ Johnie” (“Der treue Johnie” in German). 10 The song is actually titled “Jeanie’s distress” (“Jeanie’s Trübsal” in German). 11 The German titles of these songs are “Die Hochlands-Wache” and “Das Bäßchen in unserm Strässchen.” The shepherd's song is titled “Des Schäfers Lied” in German. 12 In the first edition, parts for violin and cello were printed separately; their performance is often considered optional, even though they are designated as “obligat” on the title page. 3 27 108.1 108.2. “Musical Review.” Zeitung für Theater, Musik und bildende Künste, Beilage zum Freymüthigen 2 (2 November 1822): 144 and 148. W ith the three volumes of Scottish songs with English and German texts for one singing voice with three-voice choir, accompanied by pianoforte with violin and violoncello, published by the music firm of A. M. Schlesinger, the ingenious L. van Beethoven has made a precious gift to the numerous admirers and friends of his original muse, which is all the more priceless since we possess only a few song compositions by this magnificent national tone poet, full of true romantic spirit. The songs that are before us here were originally composed to English texts, and certainly owe a great part of their strange rhythms and modulations to considerations of Scottish nationality, whose declamatory expression often emerges in a completely characteristic way from the underlaid German translation. But it is exactly this unexpected unfamiliarity that lends these truly newly discovered melodies (which remind us of Joseph Haydn’s splendid Scottish songs) the charm of surprise.1 These songs were worthy of being dedicated to the prince, who is himself as rich in imagination and inventiveness as he is a refined connoisseur and tasteful judge of art, a true Maecenas for worthy artists both domestic and foreign, and at the same time himself both a creative and performing artistic dilettante of rare purity. We mean his highness, the most venerable Prince Radzivil.2 It is, on the whole, easy for the singer to perform these songs by Beethoven in accordance with their character. The first volume contains: 1) “Music, love, and wine,”3 full of cheerful joviality. 2) “Sunset,” breathing gentle emotion. 3) “Oh! sweet were the hours,” a truly precious song concluding with the happy request: “Wine! Wine! Wine!” etc. 4) “The Maid of Isla,” with an original conclusion. 5) “The sweetest lad was Jamie.” 6) “Dim, dim is my eye,” full of deep feeling. 7) “Bonnie See 108.1, n. 1. The reader is reminded that neither Beethoven nor Haydn actually set English texts; they simply arranged the melodies, for which texts were supplied by poets unfamiliar with the arrangements. 2 The translated texts retain the orthography of the originals. The Schlesinger edition was dedicated to Prince Anton Radziwill on the title page, where his name is also spelled “Radzivil.” 3 The titles of the songs are given as they originally appeared in English. In the Schlesinger edition, this song was titled “Musik, Liebe und Wein.” The remaining songs cited in this paragraph were titled “Der Abend,” “O köstliche Zeit,” “Das Isla Mägdlein,” “Der schönste Bub’ war Henny,” “Trüb, trüb ist mein Auge,” “Frische Bursche, Hochlands-Bursche,” and “Die holde Maid von Inverness.” 1 28 108.2 lad­die, highland laddie,” a very merry, genuinely nationalistic song of the Scottish highlands. 8) “The lovely lass of Inverness,” full of deep melancholy. Accompaniment by the pianoforte alone is for the most part sufficient, but the additional nuances of the violin and cello have a completely characteristic effect, and the little choir as well is not easily dispensable, if the intended effect is to be completely brought out. Engraving and paper are superior. The price of the first volume: Two Thalers. Next a few things about the content of the two following volumes. The second volume of Beethoven’s Scottish Songs, Op. 108, opens with a lovely duet.4 This is followed by: “Sympathy” for one voice, full of expression and characteristic rhythm. No. 3, “Oh! Thou art the lad” and No. 4, “Oh, had my fate,” remain entirely in the spirit of the poems.5 No. 5, the genuine highland drinking song (in G minor, 9/8 time) with choir,6 stands out as most original in modulation and character. Nos. 6 and 7 are songs full of feeling.7 No. 8 shows the humor of the original tone-poet.8 As a further characteristic of these songs, we note the interesting (at times rather long) opening and concluding ritornellos, in which the violin and violoncello are often conspicuous. The third volume begins with the naïve “O Mary, at thy window be.” In no. 2, “Enchantress, farewell,” the correct declamation could not always be incorporated sufficiently into the translation. No. 3, the fishing song “O swiftly glides the bonny boat,” is a very dear, genial song. The accompaniment strikingly paints the movement of the boat on the water. The entry of a second singing voice and then of the choir is uncommonly effective and gives the idyll an almost dramatic bearing, since it represents the participating characters and the scene. No. 4, “Faithfu’ Johnie,” expresses artlessly, simply, and genuinely the feelings of true love. A sidepiece to it is no. 5, “Jeanie’s distress.” No. 6, “The highland watch,” with choir, expresses completely the bold, warlike spirit of the Scottish mountaineers in a genuinely Nordic folk melody. No. 7, “The shepherd’s song,” lets the gentle shepherd’s flute resound in a pastoral melody. No. 8, “Again, my lyre,” breathes melancholy and deep feeling. No. 9, “Sally in our alley,” is full of roguish humor and contrasts all the more with the previous song.9 Thus concludes the entire abundant collection of songs, which, particularly on account of the original text, deserves to find numerous admirers in Great Britain as well. It is entirely appropriate that the additional verses are printed on separate pages; it would have been better, however (but, admittedly, too spacious and expensive) to set the melody above the words as well. The price of the second book is one Thaler, twenty Groschen; that of the third is two Thalers, eight Groschen. “Behold my love how green the groves.” The German titles of these songs were “Sympathie,” “O Du nur bist mein Herzensbub’, Willy,” and “O hätte doch dies goldne Pfand.” 6 “Come fill, fill, my good fellow.” 7 “O, how can I be blithe” and “O cruel was my father.” 8 “Could this ill world have been contriv’d.” 9 The German titles of the songs cited in this paragraph were “Mariechen, komm’ ans Fensterlein,” “O Zaub’rinn, leb wohl,” “Wie gleitet schnell das leichte Boot,” “Der treue Johnie,” “Jeanie’s Trübsal,” “Die Hochlands Wache,” “Des Schäfers Lied,” “Noch einmal wecken Thränen,” and “Das Bäschen in unsrem Sträßchen.” 4 5 29 108.2 108.3. v.d. O . . . r. “Review.” Berliner allgemeine musikalische Zeitung 2 (5 May 1824): 159–62. (Mentioned: Symphony no. 6, Op. 68) T he immortal master presents his admirers with twenty-five Scottish folk songs, which will shine eternally in his diadem for as long at the song retains its modest position with feeling souls, as pearls that, though certainly small, are nevertheless genuine. We have long been accustomed to Beethoven not condescending to that which could win the pleasant nod (to speak with Hoffmann) of the musical masses, showing their sensibility for art; he oppresses them (particularly in his larger works).1 Here, as well, there are no commonplaces; no turn of melody, however pleasant, is heard to the point of boredom; there are none of the popular cadential formulas that are certainly now fashionable. Furthermore, there is no overdone, sick languishing, no deliberate painting, no untimely joking: such defects as one now so often finds in songs by well-known composers. No! These songs are created purely from the eternal fountain of his original genius; here there is nature and only that pure joy that moves and gladdens the human heart out of love for it. In regard to that noble simplicity that is appropriate to the song, they are worthy of being grouped together with the songs of Schulz, Reichardt, and Zelter,2 and draw every unprejudiced, nature-loving soul who is indifferent to This statement echoes the sentiments expressed by E. T. A. Hoffmann in his reviews of the 5th symphony and the piano trios, Op. 70, both contained in the second volume of this series. In both reviews, Hoffmann argued that Beethoven’s instrumental music is largely uncongenial to the masses, and that a special Romantic sensibility is necessary to understand it fully. He nevertheless found the piano trios more accessible in this regard than the symphony. As has been noted earlier, Hoffmann’s ideas gained wide currency and were widely cited by other reviewers. 2 Johann Peter Abraham Schulz (1747–1800) was a German song composer and theoretician. He is appropriately grouped together here with Johann Friedrich Reichardt (1752–1814) and Carl Friedrich Zelter (1758–1832). All three are representatives of the so-called Berlin lieder school, which emphasized simple, often strophic settings with the quality of folk music. It is well known that this school was promoted by Goethe, who was much less sympathetic to the seemingly more advanced style of lied composition pioneered by Schubert. Beethoven, however, seems to have grown more sympathetic to Goethe’s Volksweise ideal in his later years, experimenting with modified strophic settings in works like An die ferne Geliebte, Op. 98. See Joseph Kerman, “An die ferne Geliebte,” in Beethoven Studies, ed. Alan Tyson, 123–57 (New York: W. W. Norton, 1974). From this perspective, the extreme simplicity of these late settings could be seen as a culmination of this interest. 1 30 108.3 fashion irresistibly toward them. Song must be thus. Goethe has taught us this as well. The more one sings these songs, the deeper do they sink down into the soul. Without wanting to, one carries them with one always when walking. One may be looking at the blue sky, rejoicing at people’s good fortune, or letting one’s moist glance sink upon graves; everywhere the recollection of these songs excites joy or sympathy. The poems are for the most part extremely beautiful and characteristic, and deserve particular appreciation in regard to their poetic charm and simple diction. They were originally composed by Beethoven in English (as can already be concluded from the title), on account of which the declamation of two songs does not fit the melody as well in the German translation (which, by the way, is splendid and faithful throughout). Specifically, right away in No. 1 in the first volume, in which the word Musik is set throughout as though in English.3 No. 2 in the third volume, however: “Enchantress, fare well”4 is particularly disturbing sung in German. Most of the others, however, can be performed well in German. We group them together into: 1) tenderly mournful songs, 2) soldier’s songs, 3) drinking songs, and 4) cheerful love songs.5 1) Among the tenderly mournful ones the reviewer particularly liked “Faithful Johnie” (No. 4, vol. 3). How heartfelt it is, how true! The conclusion: Figure 12. Op. 108, no. 20, mm. 15–24, underlaid with the German text of the fifth and final verse On the pronunciation of the German text, see 108.1, n. 2. Here and elsewhere, the author gives titles and quotes from the songs as they appear in the German version. The original English titles and texts have been substituted in the translation. 5 The German original uses the term Minne-Lieder, the term for newly rediscovered courtly love poetry of medieval Germany. 3 4 31 108.3 is extremely moving and genuine! The postlude is a farewell greeting from the far distance, which the faithful Johnie waves to his passionately beloved with tears in his beautiful, sincere eyes. “Oh! Sweet were the hours” (No. 3, vol. 1) also truly comes from the singer’s heart. An Andante con moto6 begins a sweet, rustic, and interesting melody in the discant of the pianoforte (it recalls the Pastoral symphony, perhaps deliberately?). The string instruments gently continue this voice with the words “Oh! sweet were the hours, when in mirth’s frolic throng I led up the revels with dance and with song; when brisk from the fountain, and bright as the day, my spirits o’erflow’d, and ran sparkling away!” The bass of the pianoforte accompanies the melody with a triplet figure that breathes rusticity, with which the cello entwines in a brotherly manner in contrary motion. The figure rests on a constant F in the bass. An unnameable sadness lies in the melody. It says: “the gracious past is over!” The oppressed heart seeks relief, and breaks out into the words “Wine! Wine! Wine! Come bring me wine to cheer me, friend of my heart! Come pledge me high! Wine! Till the dreams of youth again are near me, why must they leave me (here a melting ritardando) tell me, why?” with an Allegro ben marcato, set off by a pizzicato in the cello. The theme of the Allegro awakens again as a postlude after the ritardando, but falls back into that precious time (Andante) and concludes with the first two measures of the Allegro. Beethoven is a great psychologist and knows how to touch with infinite tenderness upon the innermost strings of the soul! No. 2, vol. 1, “Sunset,” is an evening at rest, with a quiet accompaniment, which solemnly lowers the romantic Tweed into Scotland’s solemn valleys. The singing voice plaintively breathes out his sorrow. No. 5, vol. 1, “The sweetest lad was Jamie,” is moving and genuine. So is No. 8, vol. 1, “The lovely lass of Inverness.” No. 8, vol. 3, “Again, my lyre,” is a magnificent poem! In No. 2, vol. 2,7 the words “Why, Julia, say, that pensive mien? I heard the bosom sighing” are most sensibly accompanied by one steady and solemn cello note, from which a second note in the violin detaches itself, to the words: “how quickly on thy cheek is seen the blush, as quickly flying!” Both of these notes make a very beautiful effect. The bright pianoforte sounds in the postlude sound like “a silent tear I know not why, in trem’lous lustre gleaming.” — No. 7, vol. 2, “O cruel was my father,” made a deep and lasting impression on the reviewer. Figure 13. Op. 108, no. 15, mm. 5–6. The key signature of one flat is missing, and the last note should be a C. Actually Andante con moto e semplice. “Sympathy.” 6 7 32 108.3 This melody returns continually; it is truly flexible! One sees the poor castaway, exhausted by it, sink to her knees. The passage: “Hush, hush my lovely Baby and warm thee in my breast!” is gruesome and sounds (unisono) like madness. The conclusion “from this bitter piercing air” awakens the deepest compassion. 2) Soldier’s songs. No. 7, vol. 18 is of an entirely different type. In lively, nationalistic, and march-like rhythms, the fresh and bold highland boys, with their silver moon, shining waistband, and blue hat, go home from Waterloo. The old Donald Bane, who, in the view of his young fellow Scots, himself becomes young again, receives them with the most genial tune, which has angular and somewhat barbaric intervals, on account of which our polished ear at first also bristles at it. If one has first made oneself familiar with these powerful intervals, though, one feels all the joy of the old, genial Donald Bane. The postlude inquires very characteristically, and its last measures answer: “Waterloo! Waterloo!” — Even more characteristic is the march-like No. 6 in vol. 3: “The highland watch.” The melody is in fact an old, splendid bardic tune, bold and firm like the crags of Scotland. The little choir is very effective. One sees the Scots moving proudly over their bold heights and hears them singing from the fullness of their hearts. The postlude fades out fancifully enough. 3) Drinking songs. No. 1, vol. 1, “Music, love and wine,” with choir, mentioned above as needing to be sung in English, is fresh and has an agreeable melody, which is brought in contrapuntally in the second voice of the choir. No. 5 in vol. 2, “Come fill, fill, my good fellow” (in G minor), pleased the reviewer extremely well. One hears that the drinking party is no longer on the first bottle; already the “heart is flowing” somewhat warmly, and the “fancy brightly gleaming”9 in both of the string instruments in the most lively manner. The rapid modulation from G minor to F major gives the song particular life. 4) Cheerful love songs. Among these No. 3, vol. 2, “Oh! thou art the lad of my heart, Willy” is particularly outstanding. A lovely little song! full of “love, and life, and glee.”10—Who does not see the “Bonnie laddie, highland laddie.” This is a paraphrase of the text, as was the original German—“Funken des Witzes sprühen.” The two texts originally read “Wenn heiss die Köpfe glühen und Witzesfunken sprühen” and “When warm the heart is flowing and bright the fancy glowing.” 10 This is again a paraphrase of the English text, which originally read “Willy, there’s love and life and glee.” The German text, however, was “voll Liebe und Leben und Lust!” both here and in the Schlesinger edition. 8 9 33 108.3 gracious virgin, lucky in love, standing before her beloved in the bloom of youth? At the conclusion she says thoughtfully to the lark in the blue sky: “Come down to thy nest, and tell thy mate, but tell thy mate alone, thou hast seen a maid, whose heart of love, is merry and light as thine own.” No. 1 in vol. 2 is an idyllic, gentle little duet, “Behold my love how green the groves,” whose conclusion particularly pleased the reviewer: “for nature smiles as sweet I ween to Shepherds as to Kings.” No. 8, vol. 211 is also nice, particularly the “crony” and “bonnie.” Likewise “O Mary, at thy window be.” —No. 3, vol. 3,12 the fisher’s song, paints the waves of Largo Bay in a lovely manner, and the fermata on the words “upon the summer sea” is truly poetic. No. 5, vol. 313 pleased the reviewer less. No. 7, vol. 3, however, “The shepherd’s song,” is like an idyll by Geßner,14 as clear and bright as the ether. This song is very much set off by the string instruments. The conclusion is particularly noteworthy: Figure 14. Op. 108, no. 23, mm. 14–15, underlaid with the German text of the 1st verse It sounds so dissatisfied. Even in the very last notes, the Figure 15. Op. 108, no. 25, m. 8. The key signature of two sharps is missing. “Could this ill world have been contriv’d.” “O Swiftly Glides the Bonny Boar.” 13 “Jeanie’s distress” 14 Solomon Geßner (1730–1788) was an idyllic poet associated with Swiss poets of the eighteenth century and with the Rococo movement. 11 12 34 108.3 in our Figure 16. Op. 108, no. 25, m. 12. The key signature of two sharps is missing, and the second note should be a D. is very pretty.15 The reviewer would never finish if he wanted to go through all the new, previously unheard beauties of these songs. The above sketch may suffice to recommend these three volumes most urgently to the friends of nature and of beautiful songs. He would think that they must have been very welcome in England, since they are really composed to the English text and all more or less bear a Scottish character. However, the general interest that is being shown even in Germany in recent times in Scottish customs and characteristics, brought about particularly by Walter Scott’s novels,16 will already secure a general dissemination for these songs. The engraving is clear and beautiful. Several printing errors, which, however, one would hardly take for special characteristics (as one sometimes does in Jean Paul), can be easily corrected, and the price for all three volumes (thirty pages), six Thalers, four Groschen, is appropriate. Nevertheless, as a practical edition, it could have been even cheaper if the verses for the compositions had not been printed separately. As soon as verses are not placed directly under the notes, they can absolutely never serve their purpose. For one must learn either the music or the words by heart, which can be inconvenient and demands time. The double text (English and German) certainly makes proper underlay difficult for these songs, but once several more pages were allowed for printing, it would have been better to fill them up with notes, as tends to happen with Maria von Weber’s songs. “Bäschen” (little female cousin) in our “Sträschen” (little street) is a reasonable German translation of the original title of the final song, “Sally in our Alley.” 16 Walter Scott (1771–1832) was a Scottish poet and author of Ivanhoe (1820) and The Bride of Lammermoor (1819), which was the basis of Donizetti’s Lucia di Lammermoor. He wrote the texts of “Sunset,” “The maid of Isla,” and “Enchantress, fare well,” Nos. 2, 4, and 18 in this collection. 15 35 108.3 108.4. “Review.” Allgemeine musikalische Zeitung 27 (28 December 1825): col. 866–68. M r. v. B. or the publisher of this collection should have prefaced it with some information about its origin; as it is, one certainly does not know whether Scottish refers merely to the poems, as everyone means when announcing German songs, Italian canzonettas, and suchlike, and whether the word composed is to be understood in reference to the melodies or merely to the accompaniment and harmonic working out.1 Neither gentleman wanted to go to this trouble, however, and so everyone must come to the understanding that seems to him most likely. To us, it is most likely that these Scottish songs are like those by Jos. Haydn that were once published in London, in English, in two thick folio volumes, and in Leipzig, more selectively, in English and German, in two small volumes. That is to say, the English publisher took down the songs as they were sung by the people and turned them over to Haydn, so that he could join them, as far as possible without alteration, with our current harmonic practice, and work this out as an obbligato accompaniment. (This took place in Haydn’s last years, and Neukomm,2 who lived with him at that time, is thus supposed to have completed most of them). If we are mistaken, and the word composed is truly to be taken literally, then our mistake is not our fault, and it is to be hoped that Mr. v. B. will be all the less offended by it, 1 Like the two previous reviews, this one was based on the Schlesinger edition of July 1822, whose title page reads: “SCHOTTISCHE LIEDER / mit englischem und deutschem Texte. / Für eine Singstimme und kleines Chor / mit Begleitung / des Piano-Forte, Violine und Violoncelle obligat / componirt von / LUDWIG VAN BEETHOVEN.” 2 By this time, hundreds of similar arrangements of British folk songs, most of them also accompanied by violin, cello, and piano, had been published in Haydn’s name. The earliest of these was issued by Napier in London in 1792–1795, and further editions by Thomson began to appear in 1802. It is hard to know which of these editions is referred to here. Sigismund Neukomm (1778–1858) was an Austrian composer who studied from 1797 to 1804 with Haydn, to whom he was related on his mother’s side. According to New Grove 13, 121, his arrangements of works by Haydn were for the most part done with the composer’s blessing; Haydn sanctioned arrangements by Neukomm of The Creation, Il ritorno di Tobia, The Seasons, and Arianna a Naxos. He undertook for Haydn the arrangement of forty-three Scottish songs and transcribed Haydn symphonies and oratorios for harmonium and piano. 36 108.4 since it is to his credit; for if he has merely invented these melodies himself in the Scottish manner, he has succeeded admirably and has fooled us completely. The first book contains eight songs, the second eight also, the third nine. With this considerable number, there is not space to go through them individually, and we must be satisfied with a general report. As regards the melodies, although they are related to one another, like the genuine folk songs of every nation that has them, they are nevertheless a true treasure trove, perhaps not only for composers of variations, potpourris, and suchlike, but for everyone who is capable of making sense out of everything where sense is to be found, even if it is expressed in turns of phrase that deviate so strongly from those that are now customary among us. The last is not so much the case, however, that an unusually manifold taste is necessary for it. The accompaniment, or, as one must rather say here, the harmonic working out, is, like everything that this master writes, full of proofs of his completely individual, thoughtful, deeply feeling nature, which prefers to seize upon the most singular ways of expressing itself. In particular, what he was able to build up in the preludes and postludes from anything the melody had to offer, in order to transport the singer or the listener to the heart of the matter in accordance with its form and expression, or to keep him there more firmly, is often truly admirable. In this regard B. has done far more than Haydn, just as his manner of treatment is far more distinctive, worked out, full of character, and hence far more attractive. What has been said about the melodies can be said about the poems as well. The German translation was done skillfully and diligently, without aiming at literal accuracy. It is too bad, however, that one sometimes encounters passages that lead one to conclude that the translator had only the original text before him, and not the music, or that he was not a musician, at least not a singer. Such a passage occurs right at the beginning of the first (splendid) song, as anyone can see who understands accentuation in music: Figure 17. Op. 108, no. 1, m. 10, underlaid with the text of the 1st verse which, by the way, conveys a different concept than the simple “O let me Musik hear.”3 The exterior of the work is not distinguished. At the bottom of the title page it says that these songs can also “be executed” by a singing voice with pianoforte “alone.”4 They can: true enough! The German text, “Es schalle die Musik,” means “let music resound.” The words “allein executirt” stand together in quotes in the original, but they had to be separated to make a grammatically correct translation. 3 4 37 108.4 108.5. “Reviews. Songs.” Berliner allgemeine musikalische Zeitung 4 (28 February 1827): 65.1 P robably no genre of composition (with the exception of the dance) is so frequently massproduced as the song. If, in their songs and in keeping with their times, Schulz and, particularly, Reichard strove to attain the simplicity of folk song, preeminently through the plainest melody and a literal and simple declamation, this striving later often degenerated, particularly with Reichard, into an effort to force difficult verse types and constructions into musical form. With Zelter,2 it often was allied (particularly in his compositions for bass voice) with the purpose of giving a rich voice opportunity for development. This is true of the great majority of recent Italian song melodies, which are certainly popular, but do not pay any particular attention to the text, indulging in tireless repetition of the same pleasant turn of phrase so that one could probably find hundreds of songs whose essential content, regardless of the text, is based on this mannerism: Figure 18 like others, whose content is characterized by this or that other turn of phrase. If one considers the uniformity of most song poems, and the narrow limits of song composition, the frequent overlapping of song composers is admittedly adequately explained, but it is all the more to be wished that one could be freed on all sides from the eternally wearying monotony. This is an excerpt from an article on recent contributions to the song (Lied) genre. Though the German word Lied has come to mean an art song for voice and piano, it simply means “song.” 2 Re. Schulz, Reichardt, and Zelter, see 108.3, n2. 1 38 108.5 In recent times capable men have certainly worked capably toward this, and this precedent allows susceptible friends of art to foresee progress in the genre, an awakening of younger artists and the expenditure of new breath. Beethoven must also be named foremost here, and the attention of artists and friends of art cannot be drawn frequently enough to his collection— Scottish songs, with accompaniment by Beethoven. Schlesinger in Berlin. a collection that is without peer in richness, depth and sincerity, variety of characters, and charm, and offers the most abundant sources for the student artist, as well as for the elevated enjoyment of the capable friend of art. 39 108.5 108.6. Adolf Bernhard Marx. “Review.” Caecilia 7 (September 1827): 107. T here are works toward which the public needs to grow to maturity. This has often been experienced, but probably no one has been able to maintain that a collection of songs stands so high previous to the above named. The majority of songs, like that of lyrical poems, is a play with the expression of emotions; one distinguishes those over which blows the breath of genuine feeling, in which at least one side rings true. A collection presents itself here that, in extent and variety of content, already surpasses most of its kind, while also taking hold of each of the alluring circumstances to be found in its range with sincerity and depth, filling them with such a noble charm of truthfulness, remaining so pure of every hidden decoration, so free of every disfiguration with empty convention, that among more recent works no richer treasure trove for study and animated enjoyment can be pointed out to disciples and friends of song and of song composition. Let them be most urgently recommended to them for their best advantage, without any encroaching discussion. 40 108.6 108.7. “Brief Notices.” Allgemeine musikalische Zeitung 30 (23 April 1828): col. 283–84.1 A completely characteristic spirit rings throughout these songs by the ingenious composer; one will find nothing conventional, and often many will find something deeply attractive, for all the strangeness of the working out. Whoever wishes to become acquainted with Beethoven’s inner essence precisely and from all sides must not overlook these songs. They too testify to the master’s ability to create his own world within himself and to bring it to life, free from convention, even from all attachment to any time or to one people. His ideal creativity, which is often completely lacking in practical consideration, must admittedly appear often enough to be sufficiently strange, at times indeed running counter to all regulation, as far as it restricts itself to what is already given. One may not look here for song tunes that conform to the strange old melodies of the Scottish highlands; no sleeping bard is awakened here out of the ruins of the misty past.2 It is Beethoven’s self-sufficient spirit that wanders here over the hills of slumber into a land that he himself dreamed up, which he calls Scotland, since it is certainly Scottish texts with which his inner world of sound unites itself. The spirits in the mossy oak groves would recognize only a single one related to them, the sixth song in the first volume, due to the remaining intervallic progressions if the appoggiatura of the fourth had been omitted.3 Thus, they are completely characteristic Beethoven songs, a fitting discussion of whose greater or lesser value space does not permit us. With a man like Beethoven, this is also certainly not absolutely necessary. We may certainly leave the judging of details to the taste and insight of each individual. May these collections find many friends, as is to be expected. This notice, like the full-length review in the Allgemeine musikalische Zeitung (no. 108.4) refers to the Schlesinger edition of July 1822. There is no indication as to why it is being reviewed again. 2 This is probably a reference to the early Romantic vogue of Ossian, the Scottish epic poet whose works, now long established as inauthentic, were widely considered to be the literary equal of Homer or Shakespeare. 3 The song in question in “Dim, dim is my eye,” the melody of which, except for a recurring G to F-sharp appoggiatura in D major, is entirely pentatonic. 1 41 108.7 Op. 109. Piano Sonata in E Major 109.1. “Sonata for Pianoforte by L. v. B.” Zeitung für Theater und Musik zur Unterhaltung gebildeter, unbefangener Leser: Eine Begleiterin des Freymüthigen 1 (1821): 184.1 (Mentioned: Piano sonata in B-flat major, Op. 106) T his inspired keyboard composition is a new proof of the inexhaustible imagination and deep harmonic knowledge of the magnificent tone-poet, who in this classical solo permitted fewer digressive ideas and less exotic originality than in the previous grand sonata in B-flat. The principal key of this masterful piece is E major. The first movement is more like a free fantasy; however, the completely new figuration in the Vivace2 and the principal idea of the soulful Adagio3 are worked out in a closely connected exchange until a Prestissimo in E minor offers the contrapuntist a broad field for his artistry. The rich and newly varied theme of the songful Andante, which is animated by a magical melodic charm, is still more intimately appealing. The first variation mostly speaks to the feelings. The imitations in the fourth one are splendidly interwoven; the fifth is characterized by strict style. In the sixth variation the skillful player can show off brilliantly, until at last the return of the simple cantabile theme once again calms the excited soul, and the most perfect musical artistry impresses the stamp of genuine mastery. The sonata Op. 109 was written in 1820 and was first published by Schlesinger in Berlin in late September 1821. This review refers to the first edition. 2 Actually Vivace ma non troppo. 3 Actually Adagio espressivo. 1 42 109.1