It is not
surprising that Beethoven should have neglected it to some extent,
although he has used it with excellent effect in some of the sonatas and
in his two masses. His fertility of imagination was great and it was
hard for him to tie himself down to the formal style in composition,
after his powers had reached maturity. The fugue, in one form or
another, seems to be almost indispensable in musical composition, but it
is always characterized by learning instead of inspiration. It is
something which has to be worked out like a problem in mathematics.
Beethoven's thought in music is marked by something higher than the
disposition to divert one's attention to his talent or skill. A definite
meaning is there; he has something to reveal.
At the beginning of his career as composer, Beethoven was not above
taking advice on the subject of his compositions. He frequently
discussed them with Prince Lichnowsky, and adopted his suggestions when
it came to alterations. As he advanced in knowledge of his art, however,
he became reticent on the subject and would discuss them with no one.
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