BEETHOVEN 200 YEARS AGO TODAY: Wednesday, June 23, 1824

Today’s Vienna Allgemeine musikalische Zeitung (Nr.49) continues its lengthy review of the book Life of Rossini, by Stendhal. At pages 194-195, editor F.A. Kanne takes issue with the author’s lauding of Rossini when Stendhal writes, “In short, as soon as Rossini appears as an independent, unique composer, he reveals elegance and understanding, which the power of Haydn or the enthusiasm of Beethoven is lacking.”

Kenne comes to Beethoven’s defense and justifiably asks, “But how can one be so inexperienced as to make a comparison between Beethoven and Rossini?”

“Beethoven had from the beginning of his career scorned the idea of taking the same materials and saying things in the same way in one and the same composition. He abhors the tautological, and is so original in his originality that he might – like an offended beauty – often hide an attractive face behind an angry look and allows his surges of germination to flow out without interruption.”

“Rossini, on the other hand, suppresses the latter, and prefers the results of what experience has taught him: the world as it is now would rather be amused, entertained, and distracted, rather than examine its own depths.”

“Beethoven prefers to present a characteristic melody even in its harshest form, while Rossini doesn’t just round off the edges, but on top of that decorates it with various jewelry and ornaments.”

“Finally, Beethoven works far more deeply into the depths of harmony, while Rossini works almost exclusively on the surface. He often repeats his own harmonies, thereby showing that he either believes the world has a bad memory, or bad judgment. Beethoven will sacrifice more often the charm of a song to the depth of his feelings; meanwhile Rossini – who seems to me to be lucky with the world that surrounds him – always sacrifices the depth of feeling to the charm of the individual song.”

Kanne isn’t done castigating Stendhal, for he continues later in the review, “Rossini can be recognized everywhere by the peculiarities of his melodies – in the preference to move into the major third – on his ninths, which constantly characterize the reflection of his excited passion – in his singing figures, which always keep an eye on the appropriateness of the voice and method, and appear as pure decoration, not as a passionate intensification….He knows his world, and adapts to her moods, so he is a clever, fine, careful composer.”

“Beethoven in his originality – let us take a look at this famous master as a point of comparison – doesn’t want to please you or to know about the world. He writes how he feels, and how he wants the world to think about it.”

“Is he any less right?”

In today’s Wiener Zeitung (Nr.142) at 598, the Th. Weigl Art and Music Shop advertises the new publication of the Piano Sonata Nr.3, op.57, by Beethoven’s former pupil Carl Czerny, for a price of 2 florins 15 kreutzers C.M.

Martin Jones here plays Czerny’s Piano Sonata Nr.3, op.57: