Beethoven's humor was titanic, heroic, on a grand scale, always with what might be called a certain seriousness about it like that of a lion at play. Mozart gives many instances of humor in his compositions, but with a great difference in the character. His disposition was all gentleness and sweetness, and his humor is characterized by these attributes. It is on a small scale, and though enjoyable, has nothing commanding about it. The musician, more than any artist, reflects his character and trend of life in his work.
This sense of humor, inherent in the mental equipment of Beethoven, enabled him to enjoy a joke as well as give it, to perceive a ridiculous situation and extract due amusement from it, to appropriate it wherever he found it. But singularly enough, when the point of a joke was turned against himself, his sense of humor failed him utterly. He would often become angry in such cases and the perpetrator would come in for a round of abuse which made him chary of attempting it again.
Very bad music of which there was a sufficiency already in those times, gave him great amusement, which he manifested by roars of laughter, we are informed by Seyfried, who saw more or less of him during a period covering a quarter of a century. "All his friends," says Seyfried, "recognized that in the art of laughter, Beethoven was a virtuoso of the first rank." He often laughed aloud when nothing had occurred to excite laughter, and would in such case ascribe his own thoughts and fancies as the cause. Naïve and simple as a child himself, he could only see the naïveté in the worthless compositions above referred to, and could not understand the small ambition back of the pitiful effort. He often unintentionally afforded equally great amusement to others by his own naïveté. Thus he once told Stein, of the noted family of pianoforte makers that some of the strings in his Broadwood were out of order or lacking, and to illustrate it, caught up a bootjack and struck the keys with it. Ries states that Beethoven several times in his awkwardness emptied the contents of the ink-stand into the piano. On this same piano the master was often begged to improvise. The instrument was a present from the manufacturers, and when made, was probably the best example of its kind extant. It later came into the possession of Liszt.