Beethoven, the Man and the Artist 2 – Beethoven · Verses Across
Literature · Music
Beethoven, the Man and the Artist 2Preface
18
Literature · Music
Beethoven, the Man and the Artist 2
Preface
BeethovenEnglish
This little book came into existence as if it were by chance. The author had devoted himself for a long time to the study of Beethoven and carefully scrutinized all manner of books, publications, manuscripts, etc., in order to derive the greatest possible information about the hero. He can say confidently that he conned every existing publication of value. His notes made during his readings grew voluminous, and also his amazement at the wealth of Beethoven’s observations comparatively unknown to his admirers because hidden away, like concealed violets, in books which have been long out of print and for whose reproduction there is no urgent call. These observations are of the utmost importance for the understanding of Beethoven, in whom man and artist are inseparably united. Within the pages of this little book are included all of them which seemed to possess value, either as expressions of universal truths or as evidence of the character of Beethoven or his compositions. Beethoven is brought more directly before our knowledge by these his own words than by the diffuse books which have been written about him. For this reason the compiler has added only the necessary explanatory notes, and (on the advice of professional friends) the remarks introductory to the various subdivisions of the book. He dispensed with a biographical introduction; there are plenty of succinct biographies, which set forth the circumstances of the master’s life easily to be had. Those who wish to penetrate farther into the subject would do well to read the great work by Thayer, the foundation of all Beethoven biography (in the new revision now making by Deiters), or the critical biography by Marx, as revised by Behncke. In sifting the material it was found that it fell naturally into thirteen subdivisions. In arranging the succession of utterances care was had to group related subjects. By this means unnecessary interruptions in the train of thought were avoided and interesting comparisons made possible. To this end it was important that time, place and circumstances of every word should be conscientiously set down.
Concerning the selection of material let it be said that in all cases of doubt the authenticity of every utterance was proved; Beethoven is easily recognizable in the form and contents of his sayings. Attention must be directed to two matters in particular: after considerable reflection the compiler decided to include in the collection a few quotations which Beethoven copied from books which he read. From the fact that he took the trouble to write them down, we may assume that they had a fascination for him, and were greeted with lively emotion as being admirable expressions of thoughts which had moved him. They are very few, and the fact that they are quotations is plainly indicated. By copying them into his note-books Beethoven as much as stored them away in the thesaurus of his thoughts, and so they may well have a place here. A word touching the use of the three famous letters to Bettina von Arnim, the peculiarities of which differentiate them from the entire mass of Beethoven’s correspondence and compel an inquiry into their genuineness: As a correspondent Bettina von Arnim has a poor reputation since the discovery of her pretty forgery, “Goethes Briefwechsel mit einem Kinde” (Goethe’s Correspondence with a Child). In this alleged “Correspondence” she made use of fragmentary material which was genuine, pieced it out with her own inventions, and even went so far as to turn into letters poems written by Goethe to her and other women. The genuineness of a poem by Beethoven to Bettina is indubitable; it will be found in the chapter entitled “Concerning Texts.” Doubt was thrown on the letters immediately on their appearance in 1839.
Bettina could have dissipated all suspicion had she produced the originals and remained silent. One letter, however, that dated February 10, 1811, afterward came to light. Bettina had given it to Philipp von Nathusius. It had always been thought the most likely one, of the set to be authentic; the compiler has therefore, used it without hesitation. From the other letters, in which a mixture of the genuine and the fictitious must be assumed so long as the originals are not produced, passages have been taken which might have been thus constructed by Beethoven. On the contrary, the voluminous communications of Bettina to Goethe, in which she relates her conversations with Beethoven, were scarcely used. It is significant, so far as these are concerned, that, according to Bettina’s own statement, when she read the letter to him before sending it off, Beethoven cried out, “Did I really say that? If so I must have had a raptus.”
In conclusion the compiler directs attention to the fact that in a few cases utterances which have been transmitted to us only in an indirect form have been altered to present them in a direct form, in as much as their contents seemed too valuable to omit simply because their production involved a trifling change in form.
