I. begins a division of the work, entitled by the
author "Chorische Werke." In previous chapters, Beethoven's pianoforte
compositions-sonatas, trios, the quintett, etc., up to Op. 54,
exclusive of the concertos for that instrument and orchestra-have been
treated. In this we have a very pleasing account of the gradual
progress of the composer from the concerto to the full splendor of the
grand symphony.
"The composer Beethoven," says Marx, "was, as we have seen, also a
virtuoso. No one can be both, without feeling himself drawn to the
composition of concertos. These works then follow, and in close
relation to the pianoforte compositions of Beethoven, with and without
the accompaniment of solo instruments; and to them others, which may
just here be best brought under one general head for notice. From them
we look directly upward to orchestral and symphonic works. To all these
we give the general name of 'choral' works, for want of a better,--a
term which in fact belongs but to vocal music, and is exceedingly ill
adapted to a part of the compositions now under consideration. The
term, however, is used here as pointing at the significance of the
orchestra to Beethoven.
Pages:
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341
342
343
344