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BEETHOVEN, (Lewis von,) one of the finest musical geniuses that ever existed, but so eccentric in his habits, that the world was long inclined to call him a madman. He was born on the 17th of December, 1770, at Bonn, on the Rhine, his father occupying the situation of tenor at the electoral chapel. It has, however, been said, that his father was Frederic William II. of Prussia, as if none but a royal descent was adequate to his genius. His faculties developed themselves so early, that his father began to instruct him when he was only five years old, but soon found him above his lessons. Hence he gave him over to Van der Enden, one of the best pianists of that time. Subsequently, Neefe, by orders of the elector Maximilian, became Beethoven's master. He initiated the extraordinary child into the works of Sebastian Bach and Händel, which ever excited his reverence and veneration. At the age of eight (so it is said, at least), he excelled as a violin player; and at thirteen, some of his compositions were printed. But it was improvisation and the fantasia libera, in which he shone most brightly, and which he first exhibited before the learned composer, Junker, at Cologne, pouring forth a superabundance of rich and brilliant ideas. It was in this sort of boundless ramble, as it were, that his mind found nourishment and scope. In composition, he continually violated the rules of harmony then received. This caused an opposition that often harassed him, and probably injured his temper. The talents which he showed on the organ, induced his patron, the elector, to send him in

• The extraordinary novelty of his works shocked the greatest masters. Haydn considered him but a good pianist, Salieri said he was mad, Neefe prohibited him seriously from composing, and Albrechtsberger talked of putting him in prison. It appears even, that his father died of grief at having a son who did not care about counterpoint. (A. Delrieu, 1. c.)

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1792 to Vienna, to perfect under Haydn his theoretic and practical acquirements. Just in the same way as Corneille had not been able to understand Racine, Haydn was mistaken in Beethoven, whom he thought "not destined to be a musical composer;" and when asked his opinion about him, said drily," he plays well on the piano." Mozart, however, had shown more penetration. When Beethoven had previously made a visit to Vienna, in 1790, and had executed a fantasia libera before him, he cautiously said at first nothing, thinking that it had been previously practised and played by heart. But as Beethoven, suspecting this, requested Mozart to give him some theme, and receiving one of a very complicated nature, he followed it extempore, during three-quarters of an hour. Holding his breath, Mozart slipped on tip-toe into the next room, and said to some friends there, "Mark well this young man, you will hear more of him.'

When Haydn went to England, he left Beethoven under the care of Albrechtsberger, from whom he received important lessons in counterpoint, as he gratefully acknowledged in his posthumous Studien. His reputation as a pianist and composer began now to be established, but it was his fantasia libera which carried away every hearer. At that period he also learnt much of ancient and modern languages, history, and the belles-lettres, his life being generally spent alone. A musician, however, named Wolff (now forgotten) competed then with him as a player; yet, although rivals, they bore a sincere friendship towards each other. The crowd of amateurs became divided; prince Lichnowsky giving the palm to Beethoven, baron Wetzlar to Wolff. It was in the charming villa of the latter, near Schönbrunn, that contests between the two champions were often prolonged until late at night-nights, which will

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never be forgotten by the few who still remain to remember them. In 1801 his patron, the elector, having died, he determined on remaining at Vienna, then the capital of the musical world. Two of his younger brothers had followed him thither, and on that account, also, he declined a most favourable offer to go to London. Prince Lichnowsky received Beethoven about 1802 as an inmate in his house, but accustomed to compose mostly out of town, amidst mountains and forests, unruly and averse from any system not emanating from himself, he was soon induced to change his quarters. An anecdote is related of Lichnowsky, which shows that he was a prince even in mind. When Beethoven had moved into his palace, he ordered his domestics, that if he and the latter should ring at the same time, the guest should be attended first.

The works which first showed Beethoven's genius as a composer, were his quartets for stringed instruments, which kind of composition also he carried to the very limits of our present conceptions. His intimacy with M. Salieri, and the general desire of the public, led him also to theatrical composition. The result was the opera Leonora, afterwards named Fidelio. It was first performed at Prague (about 1811), with no great success, and was not thoroughly appreciated till much later. The immense power, nay, stress of the orchestra and chorus, laid upon the word Freyheit (freedom), was one of the first manifestations of those republican opinions of Beethoven, which showed themselves so strongly in after life. About the same time his oratorio, Christ on the Mount of Olives, the symfonia heroica, and pastorale, made their ap

pearance.

Beethoven, however, was yet not a man established in the world, having no income but that which his continual exertions procured him from day to day. "At the age of thirty-seven, equivocal trials as a composer, an unhappy amour, a deceived ambition, and a rude behaviour, had made him completely miserable." (Delrieu.) It was Jerome Bonaparte, king of Westphalia, who, in 1809, made Beethoven the first offer of a permanent and honourable situation, as maître de chapelle at Cassel. This aroused others, and the archduke Rudolph (his musical pupil), with the princes Lobkowitz and Kinsky, secured to him (in terms most flattering) a yearly pension of 4000 florins of paper money (then worth about 70%.),

on condition of staying in the Austrian dominions. About this time, his bodily afflictions had risen to a height which embittered his life to the utmost degree. He laboured under a defect in hearing, the more tormenting to him, as he felt that he ought to possess that sense more perfectly than any other; in fact, he had possessed it in his younger years, with a nicety very rarely known. His disaster was partially alleviated by marks of respect and sympathy showered upon him- either a medal with his portrait, struck at Paris, or a costly piano sent him by London artists and amateurs, a diploma of the Royal Academy of Sweden, or that of honorary citizenship of Vienna. Beethoven's happiest days were passed between 1817 and 1819. He lived then much at Bruck am Gebürge, a village near Vienna, whence he continually rambled over the adjoining charming country. It was at that time, that his portrait (representing him amidst a bower of foliage) was taken, which is really himselfseveral representations of him being absurd caricatures. An incident, which happened about this time to the writer of this article and some friends, will best picture Beethoven's mode of life. We were once taking a drive to Bruck, when a heavy thunder-storm began to threaten, and, at a mile from the village, burst forth with unusual violence. We made therefore all speed possible, when we perceived a solitary rambler, stalking right across the fields, and making, at times, most eccentric gestures. It was Beethoven. One of our party recognised him first, and waved his hat to him; Beethoven nodded in return, but on he went. Such a man could represent a storm from real and intimate intercourse with nature.

Beethoven had two brothers; the younger, John, was an apothecary, who had become prosperous by his means, but, notwithstanding, continually preyed upon his purse, even when he was ill. Both brothers incessantly meddled with his affairs, and did every thing to alienate him from his friends. But he was so kind as to say of each of them, "He is, after all, my brother." His fame was constantly spreading over half the world, still he lived solitary and retired. In the coffee-room which he frequented at Vienna, he sat alone, self-absorbed, sometimes making strange gestures. But every one treated him most respectfully.

In politics, Beethoven displayed his

usual eccentricity. A symphony of his was to have been dedicated to Bonaparte, when first consul; but before it appeared, its intended patron was an emperor. The composer said immediately, that he would have nothing to do with him, and the title-page was destroyed. The piece, indeed, came forth, but its character was changed from gay to sad, and it bore another title. Thus, too, when he and Goethe were once walking in Carlsbad, during the season, engaged in conversation, the imperial family and other princes came that way. Beethoven would have turned aside, and continued the conversation; but Goethe stopped, and made one of his courtly bows. For this, Beethoven, who had run away, severely reproached him. Hence it is not surprising, that this great composer, although living for thirty years in the Austrian metropolis, never inscribed a line of his music to either the emperor Francis or prince Metternich.

Another of his characteristics was an avarice, that made him ever willing to plead poverty. This gained him 2001. from George IV. of Great Britain, when regent. Not long before his death, he applied to the Harmonic Society of London to give a concert for his benefit. He received instantly a present of 100%. When he died, however, 10,000 florins were found in an old trunk.

Beethoven was very partial to the son of his elder brother, who, for a time, had been his constant companion. This young man, who greatly abused his kindness, late in the autumn of 1826 came suddenly to Baden, and earnestly besought him to save him from his creditors. On this application, the kind uncle walked a distance of more than twelve miles, and when he reached his house, was drenched with rain. A violent cold ensued, then an inflammation of the lungs, which brought on dropsy. He died on the 26th of March, 1827, at half-past five A.M. Thirty thousand people assisted at his funeral!

Beethoven's countenance was one of those which might be known amongst millions. His frame was strong, but he was only of ordinary size, perhaps even a little under it. His forehead, perhaps one of the finest ever seen, was of extraordinary breadth, and of a form highly symmetrical. His eyes, generally serious and stern, when he was excited became like stars. At moments when occupied by some lofty idea, "his exterior at once underwent a striking alteration, and assumed an aspect

visibly inspired and commanding, which, to the bystanders, made his short figure appear as gigantic as his mind."

His principal works are, seventeen quartets, three quintets, five trios, a septuor, for stringed instruments; thirtythree sonatas for the piano alone; nine symphonias, one with choruses; the Battle of Vittoria, symphony; two masses; Christ on the Mount of Olives, oratorio; Adelaide and Armide, cantatas; Egmont, melodrama; Prometheus, ballet; overtures to Coriolanus, the Ruins of Athens, and the Dedication of the Temple; concerts for the piano and for the violin, and a host of other minor compositions. To these we must add his Studien, or treatise on harmony and compositiona work full of useful advice for the composer, and showing that Beethoven knew thoroughly those rules of counterpoint, which he seemed to disregard in his compositions. Readers who require a detailed musical review of his works, may consult Schilling's Encyclopedie der Music. Of his vanity as a composer, the following anecdote may give some idea. When Ries spoke of two consecutive fifths, in his violin concert, and expressed some doubt of their correctness, Beethoven said, "Well, and who then has forbidden the use of them?" Ries cited some of the first authorities, when the proud reply was given, "Then I allow them. Yo el Rey."

The materials for Beethoven's life are increasing every day. Schindler's Leben is perhaps the most complete, of which M. Moschelles has published an English edition. See also Ferdinand Ries. Biog. Univ. Suppl. Hogarth's Musical History. Polytechnic Journal, 1840. Tait's Magazine, 1841. Le Siècle, 14 Sept. 1810, A. Delrieu.

BEFFA-NEGRINI, (Anthony, 15321602,) a poet and miscellaneous writer, born at Asola, in the province of Brescia, and descended from a noble family. He wrote the history of several distinguished houses, a life of the countess Matilda, and some other historical works, of which all have not seen the light. (Biog. Univ.)

BEFFROY DE BEAUVOIR, (Lewis Stephen, 1754-1825,) a native of Laon, of a distinguished but impoverished family. He was an officer of grenadiers when the revolution broke out, and immediately became one of its decided partisans. This was the way to fortune; he filled, in succession, several important offices, and in 1792 was deputed to the National Convention, where he voted for

the death of Lewis. From this time, his attention was chiefly turned to finance and agriculture, of which he was made commissioner. On the restoration of the Bourbons he was exiled as a regicide, and he retired to Liège, where he ended his days. He published one or two tracts of no importance. (Biog. Univ. Suppl.) BEFFROY DE REIGNY, (Lewis Abel, 1757-1811,) brother of the preceding, better known by the name of Cousin Jacques, an author who first tried a frivolous style of writing, but afterwards changed it, and his dramatic pieces had considerable success. All his works have a moral tendency, and are replete with honest sentiments, with which he constantly strives to inspire his readers. He rendered himself conspicuous by giving, in 1800, his Dictionnaire Néologique des Hommes et des Choses de la Révolution. Among his numerous works may be remarked, Les Petites Maisons du Parnasse, Poème comique d'un Genre nouveau en Vers et en Prose, Bouillon, 1783, in 8vo. Marlborough, Poème comique en Prose rimée, Londres et Paris, 1783, in 8vo. Histoire de France pendant trois Mois, Paris, 1789, in 8vo. Soirées chantantes, ou le Chansonnier Bourgeois, avec les Airs Notés, Paris, 1802, in 8vo. He composed the music to his operas, and which, if it savour of negligence in style, is very often both easy and agreeable. He died in obscurity at Charenton.

BEGA, (St. Bee,) an Irish virgin, who retired about the middle of the seventh century to a spot in Copeland, near Carlisle, where a religious house was eventually founded to her memory. Her 'day is the 7th of September; or, according to Dempster, who places her amongst the Scottish saints, the 6th of that month. (Butler, Lives of the Saints. Dempster. Strype's Grindal.)

BEGA, (Cornelius, 1620-Aug. 27, 1664,) a painter, born at Haarlem, son of a sculptor named Peter Begyn. He changed his name to Bega in consequence, it is said, of having been disowned by his father for irregularities in conduct. He was a disciple of Ostade, and his pictures, like his master's, represent Dutch peasants regaling and amusing themselves; interiors of Dutch cottages; exteriors with landscape and cattle introduced; all which subjects he treated with great humour of character and excellence of effect. They are not, indeed, equal to the pencilling of Ostade, but his touch was delicate and his colouring lucid. Bega died of the plague which ravaged

Holland in 166-4, it is said, in consequence of his attendance on a young woman to whom he was tenderly attached, and who, being attacked by the malady, was abandoned by all but her lover. If this story be true, the date of Bega's birth, as stated above, would appear to be correct, rather than that of 1600, as given by M. Durdent in the Biographie Universelle. Bega etched several drolleries, and a set of thirty-four prints, representing alehouse scenes, &c. (Pilkington's and Bryan's Dictionaries. Biog. Univ. Strutt's Dict. of Eng.)

BEGARELLI, (Anthony, about 1498 -1565,) a native of Modena, and a most eminent modeller in clay. That city was celebrated for its practitioners in this art, which consisted in modelling all sorts of figures in plaster, stucco, and clay. Guido Mazzoni, otherwise called Paganini, had already made considerable progress in this class of sculpture in 1484; he had had for a rival Giovanni, the father of Nicolo del' Abbate, but Begarelli surpassed as well Mazzoni and Abbate, as all their pupils. He executed figures as large, and sometimes larger than life. In the church and monastery of the Benedictines is preserved a noble collection of them. As he lived long, and worked to the end of his life, he filled the churches of Modena with monuments, groups, and statues, besides others which he modelled for Parma, Mantua, and other places. Vasari praises him for the fine air of his heads, for beautiful drapery, exquisite proportions, and for the colour of marble; relating also, that Michael Angelo said of Begarelli's works, "If this clay were only to become marble, woe betide the ancient statues," a species of eulogy, in the opinion of Lanzi, most desirable to an artist, "in particular when we reflect upon the profound science of Buonarotti, and how tardy he was to praise." Begarelli was also an able designer, and taught that as well as the art of modelling, whence he greatly influenced the art of painting; and to him, in the opinion of Lanzi, we are, in a great measure, to trace that correctness, relief, and foreshortening, and degree of grace, approaching nearly to Raffaelle's, in all of which this part of Lombardy boasted such a conspicuous share. (Lanzi, Stor. Pitt. iv. 29. Biog. Univ.)

BEGAT, (John,) born at Dijon in 1523, who acquired considerable reputation for learning and eloquence as an advocate in that town. He was employed to solicit from Charles IX. the revocation of