a_) belongs to
Beethoven's epoch, and was used by him as frequently as was, for
example, the expression 'poetic contents' by others--in opposition to
works which only offer an harmonic and rhythmic play of tones. Writers
on aesthetics of our day declaim against the latter term; _with_ good
reason, if it refer to programme-music; _without_ reason, if they
extend their negation to all Beethoven's music, and deny its poetic
contents. Whence that tendency, which so frequently manifests itself,
and that strong desire to give pictorial explanations, especially of
the Beethoven symphonies and sonatas, if they contained nothing but a
well-ordered harmonic and rhythmic play of tones, and if they--or, at
least, some of them--were not based on some special idea? What other
composer creates this almost irresistible desire?"

[99] Mr. E. Pauer, in his preface to Ernst von Elterlein's
_Beethoven's Pianoforte Sonatas explained for the lovers of the
musical art_,--a valuable and interesting book,--remarks: "Herr von
Elterlein's design is not so much to describe the beauties of
Beethoven's sonatas, as to direct the performer's attention to these
beauties, and to point out the _leading and characteristic features of
each separate piece_" (the italics are ours).

[100] The Finale of a Sonata in A flat by Cramer, one of three
dedicated to Haydn, is said to have suggested to Beethoven the Finale
of _his_ Sonata in A flat (Op. 26). Dr. Erich Prieger, who has
recently published a facsimile of the autograph of Beethoven's sonata,
in his preface quotes some passages from the Cramer Finale, which
certainly seem to show that the Bonn master was to some extent
influenced by his predecessor. Here is the second of the three
passages quoted:--

[Music illustration]

[101] Woelfl's "Ne plus Ultra" Sonata would have long been forgotten
but for Dussek's "Plus Ultra." See chapter on "Predecessors of
Beethoven."

[102] In Steibelt's two sonatas (Op. 62), for instance, the airs "If a
body meet a body," "Jesse Macpharlane," and "La Chrantreuse"
[Transcriber's Note: So in original, perhaps should be "Chartreuse"]
are introduced. In his Op. 40 we also find "The Caledonian Beauty,"
"The Maid of Selma," "'Twas within a mile of Edinbro' town," and "Life
let us cherish." Woelfl's sonatas (Op. 35, 38) also contain Scotch
airs, and his "Ne plus Ultra" has variations on "Life let us cherish."

[103] 1773-1853, court organist at Heldburghausen.

[104] 1766-