the nineteenth century,
Beethoven's name figured on the programmes. A friend of the family,
Dr. Carl Iken, who took part in the musical proceedings, was an ardent
admirer of Beethoven's music, and he ventured to draw up explanations
and picture-programmes of the master's works; and these were read out
before the performances of the works in question. It seems, indeed,
that he was the first who felt impelled to give utterance to the
poetical feelings aroused by Beethoven's music. Dr. Iken's intentions
were of the best, and he may often have succeeded in throwing his
audience into the right mood. A poetical programme, if not too
fantastic, would often prove of better effect than the most skilful of
analyses. These "Iken" programmes so delighted Dr. Mueller that he sent
several of them to the master at Vienna. Beethoven read, but his anger
was stirred. He sent for Schindler, and dictated a letter to Dr.
Mueller. It was a friendly but energetic protest against such treatment
of his or anyone else's music. He drew attention to the erroneous
opinions to which it would give birth. _If explanations were needed_,
he declared, _let them be limited to the general characteristics of
the compositions_,[99] which it would not be difficult for cultured
musicians to furnish. Thus relates Schindler, and there seems no
reason to doubt his word. It is to be hoped that Dr. Mueller's letter
will one day be discovered. It was not the plan to which Beethoven
objected, but the manner in which it was carried out.

Before quitting this subject, let us refer to one or two sonatas
concerning which there are well authenticated utterances of the
master. Schindler once asked him for the key to the Sonatas in D minor
(Op. 31, No. 2) and F minor ("Appassionata"), and Beethoven replied:
"Read Shakespeare's _Tempest_." The reply was laconic. Beethoven, no
doubt, could have furnished further details, but he abstained from so
doing, and in this he was perfectly justified. Then Schindler, growing
bold, ventured a further question: "What did the master intend to
express by the Largo of the Sonata in D (Op. 10, No. 3)?" And the
latter replied that everyone felt that this Largo described the
condition of the soul of a melancholy man, with various nuances of
light and shade. Beethoven's quiet, dignified utterances deserve
special attention in these days of programme-music. It is perhaps well
that he did not carry out his idea of furnishing the clue to the
poet