nt in
his compositions. Schindler, who thoroughly appreciated his genius, and
who was eager for enlightenment on this phase of his art, was in the
habit of drawing Beethoven out, as occasion offered, but it was always a
difficult process. Simple and childlike in most matters, the master was
wary and suspicious to an incredible degree when the conversation
touched on the subject of his compositions. At times, however, this
reserve gave way to Schindler's persistency. When he asked him about the
opening bars of the C minor Symphony (the Fifth) it brought out the
well-known remark, "thus fate knocks at the door." At another time, he
asked him for an elucidation of the Sonatas in F minor (opus 57) and D
minor (opus 29), and received the answer "read Shakespeare's Tempest,"
which was only half an answer. More definite is his meaning in the two
Sonatas (opus 14), which represents the entreating and resisting
principle in the conversation of a pair of lovers.

[Musical notation.]

Men of genius seldom care to explain their utterances. "The spirit gives
it to me and I write it down" is a remark attributed to Beethoven, and
this stated the case sufficiently from his point of view.

Zelter, director of the Singakademie of Berlin wrote Beethoven on
completion of the Mass, asking him to arrange it for voices only, as
nothing but _a capella_ music was permitted by the institution. To this
Beethoven gave a favorable reply, saying that with some modifications
the project was feasible. It, however, was not carried out.

It is significant that Beethoven gives the German direction throughout
in this Mass. At the Kyrie the direction is Mit Andacht. At the soli of
the Agnus Dei he writes Aengstlich, denoting great agitation or anxiety.
It may have been done as a kind of protest to the Italian cult in music,
which had at this period taken complete possession of the Vienna public.
The more solid German music was neglected in favor of Rossini, and
Beethoven felt this change of front keenly, making it the subject of
remark to Rochlitz and to others.

It can readily be supposed that works like the Mass in D are not easily
produced. To get his materials for it Beethoven penetrated deeply the
mystery surrounding life. The ideas which he voices seem always to have
existed, like other great forces in the universe; he impresses one as
being the discoverer, rather than the creator of them.

Schindler, who saw much of him during these years, say