rtets, the
instrumental trios, the violin sonatas, and the overtures forgotten.
The "Dutchman," with his force and depth, his tenderness and
sweetness, was the Cardinal's prime favourite. "We were at the
concert," Mrs. Newman writes to him at school, "and fascinated with
the Dutchman" (the name he had given to Beethoven to tease his
music-master because of the _van_ to his name), "and thought of you
and your musical party frequently."[26] "They tell me," he said in
May, 1876, on occasion of hearing at the Latin Play, the _scherzo_ and
_finale_ of the Second Symphony, "that these first two symphonies of
Beethoven are not in his style; to me they are Beethoven all over.
There is no mistaking that _scherzo_." And again in October, 1877,
after a rendering of the _allegretto_ of the Eighth Symphony, on our
observing that it was like the giant at play, he said: "It is curious
you should say that. I used to call him the gigantic nightingale. He
is like a great bird singing. My sister remembers my using the
expression long ago." And although he betrayed a little doubt as to
Beethoven's tone being essentially religious, he was unwilling to hear
anything said against him.[27] The late Father Caswall, once
distracted, while singing High Mass, with Beethoven's Mass in C,
half-humorously vented his wrath at recreation against the _Credo_.
Said he: "I think that's a condemnable _Credo_." "Oh, I rather liked
it," was Father Newman's rejoinder. "More dramatic than reverent," had
been the remark made to the latter in September, 1882, by the then
Warden of Keble, after the conclusion of the _Mount of Olives_ at the
Birmingham Festival. The Cardinal said little or nothing at the time,
but his affection for Beethoven came out subsequently. "When you come
to Beethoven," said he, "I don't say anything about good taste, but he
has such wonderful bits here and there." And in the department of
_cadenza_ and variation he deemed him without an equal.

[Footnote 25: Mozley, _Corr._ ii. 67.]

[Footnote 26: Mozley, _Corr._ i. 19.]

[Footnote 27: The late Canon Mozley said that Chopin was "certainly a
Manichean; he did not believe in God; he believed in some spirit, not
in God;" while "the moral grandeur of Beethoven's genius was always
present to him, as, with less force, was also Mendelssohn's: 'They
believed in God--their music showed it.'" (_Letters_, p. 353, Edit.
1885.)]

Distrusting their talent lest it should run away with them, and they