producers of sound and rhythm, but often as living beings. How
eloquent is the message of the Horns in the Trio to the Scherzo
of theHeroic! Berlioz compares the double basses in the Fifth
Symphony to the gambols of sportive elephants, and instances
might be multiplied. But words are futile in describing the won-
ders of Beethoven. A striking tribute is that of Professor John
K. Paine. “In instrumental music Beethoven is pre-eminent,
from all points of view, formally, aesthetically and spiritually.
Like Shakespeare’s, his creations are distinguished by great di-
versity of character; each is a type by itself. Beethoven is the
least of a mannerist of all composers. His compositions are gen-
uine poems, which tell their meaning to the true listener clearly
and unmistakably in the language of tones, a language however
which cannot be translated into mere words.”
[Footnote 135: The derivation of the word is worthy of note; it
means moisture, juice, something not dry. Humor is certainly
the juice of human nature.]
We are now in a position to approach intelligently, enthusias-
tically and reverently the mighty works of Beethoven which,
though built upon the foundations of Haydn and Mozart, yet
take us into an entirely new world of power and fancy. For il-
lustrations we select the first movement of theThirdorHeroic
Symphony; theSeventh Sonata in D majorfor Pianoforte; the
Fifth Symphony in C minor(entire) and theCoriolanusOver-
ture. In regard to the symphonies it is understood that the
emphasis on certain ones and the omission of others implies no
ultra-critical attitude. Each of Beethoven’s symphonies has its
characteristic attributes and each is the work of a genius. But
just as in Nature some mountains are more majestic than others,
so concerning the nine symphonies we may say that their order
of excellence as endorsed by the consensus of mankind would
be as follows. The First Symphony is somewhat experimental,
composed when Beethoven was working out his technique of ex-
pression. It is closely modeled on the style of Haydn and, though
showing certain daring touches and though perfectly direct and
sincere, is not of marked individuality. In the Second Symphony
a long advance is made, for we find numerous traits which are
thoroughly distinctive of the genius of Beethoven: the exciting
Prelude to the first movement; the heavenly Larghetto, one of
the first slow movements of real emotional power; the rollicking
Scherzo (note the fantastic touches in the Trio) and the splendor