"The Andante" said Wagner "is the typical German style." It was not
Beethoven's best style. Essentially a man of extremes, he delighted in
swinging the pendulum to its furthest limit either way. He early in life
acquired the irrepressible joyousness in his compositions, which was
Haydn's distinguishing trait. It is the key-note to much of Beethoven's
work up to the time of composing the Grand Mass. It figures to some
extent in his subsequent work. It is a feature which Wagner never tires
of exploiting in Beethoven's work. Whenever he mentions Beethoven's name
the word _Heiterkeit_ (joyousness) is sure to follow. The two are almost
synonymous with him. Where Beethoven is unapproachable, however, is in
his slow movements, the Adagios, solemn and portentous, in which all of
world-sorrow finds expression. It is in these scenes of terror that his
powers stand out with supernatural clearness.
His infinitude impresses one. It is as if he had penetrated other
spheres and could speak in new tongues. He delighted in startling
contrasts.
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