Were It My Place To Categorize The Different Periods Of The Great Master's Thoughts, As Manifested In His Sonatas, Symphonies,

And Quartets, I should certainly not fix the division into three styles, which is now pretty generally adopted and which

You have followed; but, simply recording the questions which have been raised hitherto, I should frankly weigh the great question which is the axis of criticism and of musical aestheticism at the point to which Beethoven has led us - namely, in how far is traditional or recognized form a necessary determinant for the organism of thought? -

The solution of this question, evolved from the works of Beethoven himself, would lead me to divide this work, not into three styles or periods, - the words "style" and "period" being here only corollary subordinate terms, of a vague and equivocal meaning, - but quite logically into two categories: the first, that in which traditional and recognized form contains and governs the thought of the master; and the second, that in which the thought stretches, breaks, recreates, and fashions the form and style according to its needs and inspirations. Doubtless in proceeding thus we arrive in a direct line at those incessant problems of "authority" and "liberty." But why should they alarm us? In the region of liberal arts they do not, happily, bring in any of the dangers and disasters which their oscillations occasion in the political and social world; for, in the domain of the Beautiful, Genius alone is the authority, and hence, Dualism disappearing, the notions of authority and liberty are brought back to their original identity. - Manzoni, in defining genius as "a stronger imprint of Divinity," has eloquently expressed this very truth. -

This is indeed a long letter, my dear Lenz, and as yet I am only at the preliminaries. Let us then pass on to the Deluge, - and come and see me at Weymar, where we can chat as long and fully as we like of these things in the shade of our fine park. If a thrush chances to come and sing I shall take advantage of the circumstance to make, en passant, some groundless quarrels with you on some inappropriate terms which one meets with here and there in your book, - as, for example, the employment of the word "scale" (ut, fa, la, etc.) instead of arpeggio chord; or, again, on your inexcusable want of gallantry which leads you maliciously to bracket the title of "Mamselle" (!) on to such and such a Diva, a proceeding which will draw down upon you the wrath of these divinities and of their numerous admirers. But I can assure you beforehand that there are far more nightingales than thrushes in our park; and, similarly, in your book the greater number of pages, judiciously thought out and brilliantly written, carry the day so well in worth and valor over any thinly scattered inattentions or negligences, that I join with my whole heart in the concert of praise to which you have a right.

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