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Beethoven's studies were in strict counterpoint, and the text-book
was that same "Gradus ad Parnassum" of Fux which Haydn had himself
contended with in the old days at St Stephen's. How many exercises
Beethoven wrote cannot be said, but 245 have been preserved, of
which, according to Nottebohm, Haydn corrected only forty-two.
Much ink has been wasted in discussing the relations of these
distinguished composers. There is no denying that Haydn neglected
his young pupil, but one may find another excuse for the neglect
besides that of his increasing age and his engrossing occupations.
Beethoven was already a musical revolutionist: Haydn was content
to walk in the old ways. The two men belonged almost to different
centuries, and the disposition which the younger artist had for
"splendid experiments" must have seemed to the mature musician
little better than madness and licentious irregularity. "He will
never do anything in decent style," was Albrechtsberger's dictum
after giving Beethoven a series of lessons.
Haydn's opinion of Beethoven's future was not so dogmatically
expressed; but he must have been sorely puzzled by a pupil who
looked upon even consecutive fifths as an open question, and
thought it a good thing to "learn occasionally what is according
to rule that one may hereafter come to what is contrary to rule."
It is said that Haydn persisted in regarding Beethoven, not as a
composer at all but as a pianoforte player; and certainly
Beethoven regarded Haydn as being behind the age. That he was
unjust to Haydn cannot be gainsaid. He even went so far as to
suspect Haydn of willfully trying to retard him in his studies, a
proceeding of which Haydn was altogether incapable. For many
years he continued to discharge splenetic remarks about his
music, and he was always annoyed at being called his pupil. "I
never learned anything from Haydn," he would say; "he never would
correct my mistakes." When, the day after the production of his
ballet music to Prometheus, he met Haydn in the street, the old
man observed to him: "I heard your music last night; I liked it
very well." To which Beethoven, alluding to Haydn's oratorio,
replied: "Oh! dear master, it is far from being a CREATION."
The doubtful sincerity of this remark may be inferred from an
anecdote quoted by Moscheles. Haydn had been told that Beethoven
was speaking depreciatingly of "The Creation." "That is wrong of
him," he said. "What has HE written, then? His Septet? Certainly
that is beautiful; nay, splendid."
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