grandeur as the significance of the
work took possession of his mind, finally became an apotheosis of
friendship, a message to the world.

That the Archduke appreciated Beethoven and valued his friendship is
plain. He carefully preserved the letters written him by the master and
dedicated to him some of his own compositions. He had as complete a
library of Beethoven's works as was attainable, and was thoroughly
familiar with the master's music. That Beethoven responded to this to an
equal degree is not likely. He lived too abstracted a life for that. He
valued this friendship as much as such a man could, considering the
disparity in rank and the difference in mode of thought of the two men.
In dedicating so many of his compositions to him, and in consenting to
teach him for so long a period, he showed the esteem in which he held
him. Probably no other person, man or woman received the deference and
consideration from Beethoven, which he accorded the Archduke. The
republican, socialistic Beethoven was not specially influenced by his
rank; rather, it was his personality and devotion to music, which won
the regard of the master and formed the bond between them.

In the composition of the mass, Beethoven was on familiar ground; the
work was congenial to him. The emotions called up by the subject swayed
him to such an extent that he had difficulty in keeping it within
bounds. The mass was a form of music with which he had been associated
from childhood. It will be remembered that he played the organ at the
age of twelve years at church services, a practice which was kept up for
some years. His earliest impressions on the subject of music were in
this style. He was, in addition, inclined to it by temperament.

The beautiful text appealed to him strongly. It is related that when the
German version of his first Mass (in C) was brought him, he quickly
opened the manuscript and ran over a few pages. When he came to the Qui
tollis, the tears trickled from his eyes and he was obliged to desist,
saying with the deepest emotion, "Yes, that was precisely my feeling
when I composed it."

His journal entries at the time of beginning work on the Mass in D show
how completely the subject had taken possession of him. "To compose true
religious music, consult the old chorals in use in monasteries," he
wrote, which gives the clew to his frequent lapses into the ancient
ecclesiastical modes, the Lydian and Dorian, in this mass, a practice