In writing sonatas Haydn and Mozart had been satisfied with grace of outward form and a smooth and pretty flow of melody within that form. Beethoven was a man of intellectual force as well as of musical genius. He applied his intellect to enlarging the sonata form, his musical genius to supplying it with contents worthy of the greater opportunities he himself had created for it. There is a wonderful union of mind and heart in Beethoven's work. The sonata form, as perfected by him, is a monument to his genius. It remains to this day the flower of the classical period.
Nevertheless, the Beethoven sonatas no longer retain the place of pre-eminence once accorded them on pianoforte recital programs. When Von Bülow was in this country during the season of 1875-76 he frequently gave concerts at which he played only Beethoven sonatas. I doubt if any of the great pianists of to-day could now awaken as much public interest by such programs as Von Bülow did. I remember the concert at which, among others of the Beethoven sonatas, this virtuoso played Opus 106 ("Grosse Sonata für das Hammerklavier"). After he had played through part of the first movement he became restless, and from time to time peered over the keyboard and into the instrument as if something were wrong with it. Finally he broke off in the middle of the movement, rose from his seat and walked off the stage. When he reappeared, he had with him an attendant from the firm of manufacturers whose pianofortes he used, and together they fussed over the instrument for a while, before the attendant made his exit and the irate little pianist began the sonata all over again. We considered the mishap that gave us opportunity to hear him play so much of the work twice, a piece of great good luck for us. Would we so consider it now?
Von Bülow has passed into musical history as a great Beethoven player, and such he undoubtedly was. I doubt, however, if he was a greater Beethoven player than several living pianists. Some seasons ago Eugène d'Albert played a Beethoven program. His performance did not evoke the enthusiasm he anticipated. In fact there were intimations in the comments on his performance that he was not as great a Beethoven player as he thought he was. Personally, and having a very clear recollection of Von Bülow's Beethoven recitals, because I attended every one he gave in New York, and in my mind's eye can see him sitting at the pianoforte, bending away over, with his ear almost to the keyboard, I think d'Albert played his Beethoven program quite as well. What had happened, however, was this: A little matter of thirty years had passed and with it the classical period and its efflorescence, the sonata form, had faded by just so much, and by just so much no longer was considered by the public the crucial test of a pianist's musicianship. Incidentally it is worth noting that the public usually is far ahead of the profession and of the majority of critics in appreciating new tendencies in music and in realizing what is passing away; and the same thing probably prevails in other arts.
