from his works: the Trio of the second movement of the Seventh
Symphony; the Slow Movement theme of the B-flat major Trio
and the Slow Movement of the Sonata op. 109. (See Supple-
ment Nos. 47, 48, 49.) Anyone who allows these themes to sink
into his consciousness is carried into a realm of ideality where he
begins to recognize the truth that “the things which are unseen
are eternal.” Music of this transporting power is far above that
which merely excites, amuses or even fascinates; and of such
music Beethoven is the poet for all time.
We have referred above to the voluminous literature extant con-
cerning Beethoven. Several scholars, in fact—notably Alexan-
der Thayer and Sir George Grove—have devoted a large part
of their lives to finding out all there is to be known about his
life and works. Obviously the layman cannot be expected to
become familiar with this entire mass of historical and criti-
cal writing. The following books, however, may be considered
indispensable aids to those who would become cultivated appre-
ciators of Beethoven’s masterpieces: theLife of Beethovenby
Alexander Thayer—a great glory to American scholarship; the
life in Grove’s Dictionary; the illuminating Biography by d’Indy
(in French and in English);Beethoven and his Nine Symphonies
by Grove; theOxford History of Music, Vol. V; and the essay
by Mason in hisBeethoven and his Forerunners.[171] We cite, in
closing, a eulogy[172] by Dannreuther—in our opinion the most
eloquent ever written on Beethoven’s genius:
“While listening,” says Mr. Dannreuther, “to such works as the
Overture to Leonora, the Sinfonia Eroica, or the Ninth Sym-
phony, we feel that we are in the presence of something far wider
and higher than the mere development of musical themes. The
execution in detail of each movement and each succeeding work
is modified more and more by the prevailing sentiment. A reli-
gious passion and elevation are present in the utterances. The
mental and moral horizon of the music grows upon us with each
renewed hearing. The different movements—like the different
particles of each movement—have as close a connection with
one another as the acts of a tragedy, and a characteristic signifi-
cance to be understood only in relation to the whole; each work
is in the full sense of the word a revelation. Beethoven speaks a
language no one has spoken before, and treats of things no one
has dreamt of before: yet it seems as though he were speaking
of matters long familiar, in one’s mother tongue; as though he