He often thought, If Beethoven or Chopin had centuries to compose music, imagine the treasures we would have.
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.
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.
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.
Beethoven was trained in the greatest and most advanced musical tradition of his time.
The modern Wagnerian conductor is apt to complain that Beethoven, in his four-bar phrase, drowns a melody which lies in the weakest register of the clarinet by a crowd of superfluous notes in oboes, horns and flutes.
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.
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.
In 1889 a museum of Beethoven relics was opened in the house in which the composer was born.
The enormous dramatic development in the symphonic music of Beethoven made the problem of the Mass with orchestral accompaniment almost insoluble.
Beethoven read the final prayer of the Mass as a "prayer for inward and outward peace," and, giving it that title, organized it on the basis of a contrast between terrible martial sounds and the triumph of peaceful themes, in a scheme none the less spiritual and sublime because those who first heard it had derived their notions of the horror of war from living in Vienna during its bombardment.
Critics who have lived in London during the relief of Mafeking have blamed Beethoven for his realism.
In his eleventh year he began to play in public there, and Beethoven came to his second concert in April 1823.
He also played Beethoven and Weber in public - a very courageous thing in those days.
His munificence with regard to the Beethoven statue at Bonn made a great stir.
About Liszt's pianoforte technique in general it may be said that it derives its efficiency from the teaching of Czerny, who brought up his pupil on Mozart, a little Bach and Beethoven, a good deal of Clementi and Hummel, and a good deal of his (Czerny's) own work.
Later, we find him imitating Paganini and Chopin, and at the same time making a really passionate and deep study of Beethoven, Weber, Schubert, Berlioz.
Cantatas: Prometheus-chore; " Beethoven Cantata "; " An die Kiinstler "; Die Glocken des Strassburger Miinsters; 12 Chore far Mannergesang; Songs, 8 books; Scena, Jeanne d'Arc au bflcher.
Otherwise, when Beethoven has anything special for the violoncellos to say, he invariably softens and deepens their singularly incisive cantabile tones by doubling them with the violas.
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.