[I] Beethoven’s love of strongly defined contrasts is nowhere better illustrated than here.  The sharp discordant tones, which characterize the opening bars of the movement, are simply pushed aside by the new.  It is the subjugation of the worldly by the spiritual, of suffering by happiness.

The Mass in D can be said to be the parent of some of the Parsifal music.  Wagner had the discernment to seize on the intellectual subtleties he found there, and to put them to happiest uses.  If we compare the instrumental effects just noted with the exquisitely delicate music that opens the Parsifal Prelude after the introductory leit motif, we find a solution to each, as well as an affinity, in the religious mysticism in which each is enveloped.  There is a central theme, but so shadowy and unreal as to be hardly apparent.  Like a nimbus these shimmerings of sound from the violins surround and permeate it, so that one is not aware of any particular melody, but rather it is perceived that the atmosphere is full of a divine melody, as if by spiritual insight the listener had attained to a state of mind akin to that of the seer, and had, for the time being, become one with the composer.  The effect is produced of being in the presence of something holy.

The Naturlangsamkeit necessary to the birth of any great art-work sometimes extends to its recognition and appreciation by the public.  Beethoven considered the Mass in D his greatest achievement, but it gains ground very slowly.  It is rarely mentioned, and seldom performed.  Similarly Bach’s greatest works slumbered nearly a century until brought to light by Mendelssohn.

It is significant that Wagner was as world-weary from middle-age on as was Beethoven.  Like him he took refuge in creative work.  Both were pioneers, always in advance of their time, cheerfully making the sacrifices which this position entails, diverging ever more and more with advancing years from beaten paths and the ideas of others on the subject of their art.  Resignation and asceticism, the goal of mankind, was Wagner’s solution of the problem of existence, a conclusion arrived at after reading Schopenhauer.  Beethoven had also come to it long before reaching middle-age.  Wagner was, in his later years, a mystic, as was Beethoven; and like Beethoven his most congenial work in those years was of a religious character.

INDEX

Adagio, the, 62. 
Adversity, school of, 6. 
Altruism, 43, 164. 
American Revolution, 3, 4. 
Andante, the, 123. 
Antwerp, 4. 
Appassionata Sonata, 14, 44, 63, 66, 70, 71. 
Archduke Rudolph, 80 et seq., 84, 93, 107, 108, 129, 188, 206,
  Appointed Archbishop, 145-146,
  Disciple of Beethoven, 81,
  Installation of, 148, 154,
  as performer, 81,
  regard for Beethoven, 146. 
Aristocracy, of Vienna, 41. 
Art, office of, 4. 
Art-history (this country), 181.