He often thought, If Beethoven or Chopin had centuries to compose music, imagine the treasures we would have.
Similar principles apply in infinite detail to the treatment of wind instruments, and we must never lose sight of them in speculating as to the reasons why the genius of Beethoven was able to carry instrumentation into worlds of which Haydn and Mozart never dreamt, or why, having gone so far, it left anything unexplored.
It is in E major, while Beethoven chooses to use trumpets in C. The only note which these can play in E major is the tonic, to which they are accordingly confined until the recapitulation of the second subject.
This passage shows that if Beethoven had had the modern trumpet at his disposal, while he would no doubt freely have used its resources, he would nevertheless have maintained its character as an instrument founded on the natural scale, and would have agreed with Brahms that the nobility and purity of its tone depends upon its faithful adherence, at least within symphonic limits, to types of melody suggestive of that scale.
The development of pianoforte technique since Beethoven has been in some ways even more revolutionizing than that of the brass instruments; and pianoforte instrumentation, both in solo and in chamber-music, is a study for a lifetime.
Beethoven almost always has 2 flutes, and invariably 2 clarinets.
Magnificent examples are Mozart's trio for pianoforte, clarinet and viola, his quintet for pianoforte, oboe, clarinet, horn and bassoon (imitated by Beethoven), his quintet for clarinet and strings, Brahms's clarinet-quintet for the same combination, and his trio for pianoforte, violin and horn.
Beethoven, we know, lost sympathy with his early works as he grew older; but that was because his later works absorbed his interest, not because his early works misrepresented his ideals.
Wagner's earlier works have too long been treated as if they represented the pure and healthy childhood of his later ideal; as if Lohengrin stood to Parsifal as Haydn, Mozart and early Beethoven stand to Beethoven's last quartets.
Beethoven was trained in the greatest and most advanced musical tradition of his time.
Now Wagner's excellent teacher Weinlig did certainly, as Wagner himself testifies, teach him more of good music than Beethoven, Haydn and Mozart could have seen in their youth; for he showed him Beethoven.
As with Shakespeare and Beethoven, the day will never come when we can measure the influence of so vast a mind upon the history of art.
In the history of art Vienna owes to its musicians, among whom are counted Haydn, Mozart, Beethoven and Schubert.
He was a man of singularly handsome presence, not without mental qualities of a high order; he was devoted to the arts - Beethoven and Mozart enjoyed his patronage and his private orchestra had a European reputation.
In June 1792 he returned home, and, breaking his journey at Bonn, was presented with a Cantata by Beethoven, then aged two-and-twenty, whom he invited to come to Vienna as his pupil.
The polyphony of Beethoven was unquestionably influenced by it and, even in his latest sonatas and quartets, may be regarded as its logical outcome.
Beethoven was born in Bonn, and a statue was erected to him in the Munster-platz in 18 4 5.
If she knows the difference between Schumann and Beethoven, it is because she has read it, and if she has read it, she remembers it and can tell any one who asks her.