Beethoven stands, we can only exclaim, “God works in a myste-
rious way, his wonders to perform.” It was early seen that the
young Beethoven had unusual ability, and so the shiftless father,
with the example of Mozart’s precocity before him, submitted
the boy to a deal of enforced drudgery in the way of harpsichord
and violin practice. He had one good teacher however, Neefe,
who records that the boy of thirteen played the harpsichord with
energetic skill and had mastered the Preludes and Fugues of the
Well-Tempered Clavichord. Beethoven’s general education was
sadly neglected, and when he was thirteen practically ceased.
These deficiencies were a source of mortification all his life. He
spelled atrociously, was never sure of his addition and subtrac-
tion and so was often involved in altercations with landlords
and washerwomen. By nature Beethoven was of strong, eager
intellect. He became an omnivorous reader, and later in life ac-
quired a working facility in Latin, French, Italian and English.
The first period of his life ends with his departure in 1792 for Vi-
enna, whither he was sent by the Elector to study with Haydn.
In summing up its special incidents we are struck first by the
vivid and lasting impression which Beethoven, in spite of his
lowly origin and deficiencies in education and cultivation, made
upon wealthy and refined people of distinction, simply through
his extraordinary personality and unmistakable sincerity. Two
of these friends were the von Breuning family, including the
charming daughter Eleanore—one of Beethoven’s early loves—
and the cultivated and influential Count Waldstein, in whose
companionship he became acquainted with the German poets
and with the dramas of Shakespeare. For a vivid picture of these
boyish years the student is recommended to the Romance,Jean
Christophe(by Romain Rolland) which, though somewhat ide-
alized, is mainly on a historical basis. Two of Beethoven’s most
unique characteristics date from this period. First, his constant
habit of drawing inspiration directly from Nature, of which he
was a passionate and persistent lover. He says of himself “No
one can love the country as I love it. Here alone can I learn
wisdom. Every tree exclaims to me ‘Holy, Holy, Holy.”’ In long
walks through wood and field he would allow his thoughts to
germinate, giving himself up utterly to creative emotion. When
in this state of mind Madame von Breuning used to say that he
was in his “raptus.” Consequently, in comparison with the works
of previous composers, which often have a note of primness and
artificial restraint—they smell a bit of the lamp and the study—
ann
(Ann)
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