s this with the
words, "mehr Ausdruck der Empfindung als Malerei." [An expression of
sensibility rather than painting.] In everything relating to his art
Beethoven was tentative. In the sketch-book of this Symphony there is an
inscription in his handwriting, "Man ueberlaesst den Zuhoerer sich selbst
die Situationen auszufinden." [The hearer should be left to find out the
situations for himself,] showing that, on considering the matter
carefully he changed his mind, and concluded after all, that the
explanations were permissible. In but few instances has Beethoven
vouchsafed any explanation of his musical intent, and then it seems to
have been done reluctantly. It was hardly necessary in the case of the
Pastoral Symphony as it is comparatively easy of comprehension. The
title gives the clew; the occasional bird notes of quail, cuckoo and
lark, the scene at the brook, could hardly be mistaken; while the
dance-music in Part III, as well as the storm with its forebodings of
terror, convey their meaning plainly to the average intelligence. This
poem of nature is always enjoyable, refreshing the mind, and resting the
jaded faculties, much as a trip to the country helps us physically.

The explanations as Beethoven appended them are as follows:

No. I. Allegro: The awakening of cheerful feelings on arriving in the
country.

No. II. Andante: Scene at the Brook.

No. III. Allegro: Merry meeting of country folk.

No. IV. Allegro: Thunder-storm.

No. V. Allegretto: Song of the Shepherds, and glad and thankful feelings
after the storm.

Many great composers before and after Beethoven have essayed this
portrayal of a storm, Haendel, Haydn (Seasons), Glueck, Mozart, Rossini
(William Tell overture), Chopin, Wagner (Flying Dutchman), are a few
instances.

The Pastoral Symphony has been dramatized so to speak, that is, it has
been put on the stage, the different situations of this nature-poem
having been portrayed by living and moving tableaux, pantomimic action
and ballet; there was scenery, and the dance of the peasants and the
thunder-storm were, no doubt, realistic enough. This representation took
place at a festival of the _Kuenstler Liedertafel_ of Duesseldorf in 1863,
also in London.

CHAPTER VIII

MEETING WITH GOETHE

Eine schoene Menschenseele finden ist Gewinn.
--HERDER.

Beethoven did not have the faculty of teaching except in rare insta