Beethoven’s character was a prism of many facets.  Wagner views him always as the mystic, the seer, at odds with the world.  Side by side with this characterization he constantly dwells, as just noted, on Beethoven’s uncontrollable tendency to humor, gayety (Heiterkeit) which shows itself not only in his life, but still more in his works.  This may have been a device deliberately assumed to enable him to escape mental suffering.  At all events it was a prominent trait of his character, but does not seem to have added to his enjoyment of life.  No circumstance, however painful, but that he is able to extract some jest or pleasantry from it.  The paradox is before us of a man world-weary at the core, outwardly serene, gay.  In the same ratio in which those things which serve to make life enjoyable to the average man were diminished or withdrawn, does his tendency to incessant humor increase.

The consciousness of being able to achieve great things, and the joy in accomplishing them, is what gives the artist the exultant mood, the feeling of gayety.  To be sensible of such an heritage, to participate in this God-given wealth, to run riot in it, to know that the more of it that is used the more will be given, to be favored of the gods in a way that the possessor of untold wealth cannot aspire to—­this is what gives the serene and joyous mood, which characterizes the man of genius for the most part.  When he comes out of this ideal world into the commonplace every-day life, and realizes his unfitness for it, the other side of the picture is presented to his consciousness, and then is exhibited that strange melancholy, Weltschmerz, which constantly comes to the fore in the journals and letters of men like Wagner, or Beethoven, or Liszt.

The Sunday morning concerts, instituted by Czerny in the winter of 1816, call for more than passing notice.  A select company of professional musicians and amateurs had banded themselves into an organization for the purpose of performing and studying the best class of chamber-music with special reference to Beethoven’s compositions.  Czerny was the originator and moving spirit, as stated, and the performances were held at his house.  Beethoven attended them frequently.  Czerny, whose admiration for the master was unbounded, was brought into more intimate relations with him through these concerts, as Beethoven was consulted in regard to the programmes and occasionally rehearsed some of his new compositions with him.  Though a brilliant performer, Czerny did not like public life or society, and retired from the concert stage at a time when his powers were at their best, in order to give all his time to composition.  His ability in improvising was a marvel even for those times.  He was Beethoven’s successor in Prince Lichnowsky’s circle, frequently playing at concerts at his house.  He is credited with being able to play from memory all of Beethoven’s works.  Like Schubert, his one pleasure was to be with a few chosen spirits, and talk on the subject of his art.