12.-BEETHOVEN'S MOONLIGHT SONATA.

so nä’tå, a kind of musical composition.

fi nä'le (fe nä'la), the end of a

piece of music.

in vŏl'un ta ri ly, without

choice; without intending. rev'er ent ly, with fear, mingled

with respect and love.

aġ i tä' to, hurried; trembling. im půl'sive, sudden; unexpected.

It happened at Bonn.

im pro vişe', play something without preparation.

In'fi nite ly, without bounds or
limits.

gro těsque' (gro těsk'), wildly
formed; ludicrous.
com păs'sion ately, with kind-
ness, pity, or sympathy.
ĕlf'in, intricate; relating to clfs.
in'ter lude, a short piece of music.

One moonlight winter's evening I called upon Beethoven; for I wished him to take a walk, and afterward sup with me. In passing through some dark, narrow street, he suddenly paused. "Hush!" he said, "what sound is that? It is from my sonata in F. Hark! how well it is played!"

It was a little, mean dwelling, and we paused outside and listened. The player went on; but, in the midst of the finale, there was a sudden break; then the voice of sobbing. "I can not play any more. It is so beautiful; it is utterly beyond my power to do it justice. O, what would I not give

to go to the concert at Cologne!"

"Ah! my sister," said her companion; "why create regrets when there is no remedy? We can scarcely pay our rent."

“You are right, and yet I wish for once in my life to hear some really good music. But it is of no use."

Beethoven looked at me.

"Let us go in," he

said.

"Go in!" I exclaimed; "what can we go in for?”

"I will play to her," he said, in an excited tone. "Here is feeling-genius-understanding! I will play to her, and she will understand it."

And, before I could prevent him, his hand was upon the door. It opened and we entered.

A pale young man was sitting by the table, making shoes; and near him, leaning sorrowfully upon an old-fashioned piano, sat a young girl, with a profusion of light hair falling over her face. Both were cleanly but very poorly dressed, and both started and turned toward us as we entered.

"Pardon me," said Beethoven, "but I heard music and was tempted to enter. I am a musician." The girl blushed, and the young man looked grave and somewhat annoyed.

“I—I also overheard something of what you said," continued my friend. "You wish to hearthat is, you would like-that is-shall I play for you?"

There was something so odd in the whole affair, and something so comical and pleasant in the manner of the speaker, that the spell was broken in a moment, and all smiled involuntarily.

"Thank you," said the shoemaker; "but our piano is so wretched, and we have no music." "No music!" echoed my friend; "how, then, does the young lady- He paused, and colored; for, as he looked in the girl's face, he saw that she was blind. "I-I entreat your pardon," he stammered. "I had not perceived before. Then you play by ear? But where do you hear the music, since you frequent no concerts?"

"We lived at Bruhl for two years, and while

there, I used to hear a lady practicing near us. During the summer evenings, her windows were generally open, and I walked to and fro outside to listen to her."

She seemed so shy that Beethoven said no more, but seated himself quietly before the piano and began to play. He had no sooner struck the first chord than I knew what would follow-how grand he would be that night. And I was not mistaken. Never, during all the years I knew him, did I hear him play as he then played to that blind girl and her brother. He seemed to be inspired; and, from the instant when his fingers began to wander along the keys, the very tone of the instrument seemed to grow sweeter and more equal.

The brother and sister were silent with wonder and rapture. The former laid aside his work; the latter, with her head bent slightly forward, and her hands pressed tightly over her breast, crouched down near the end of the piano, as if fearful lest even the beating of her heart should break the flow of those magical, sweet sounds. It was as if we were all bound in a strange dream, and only feared to awake.

Suddenly the flame of the single candle wavered, sank, flickered, and went out. Beethoven paused, and I threw open the shutters, admitting a flood of brilliant moonlight. The room was almost as light as before, the moon's rays falling strongest upon the piano and player. But the chain of his ideas seemed to have been broken by the accident. His head dropped upon his breast; his hands rested upon his knees; he seemed absorbed in deep thought. He remained thus for some time. At length the

young shoemaker rose and approached him eagerly, yet reverently.

"Wonderful man!" he said, in a low tone. "Who and what are you?"

"Listen!" said Beethoven, and he played the opening bars of the sonata in F. A cry of delight and recognition burst from them both, and exclaiming, "Then you are Beethoven!" they covered his hands with tears and kisses.

He rose to go, but we held him back with entreaties. "Play to us once more-only once more!”

He suffered himself to be led back to the instrument. The moon shone brightly in through the window, and lit up his glorious, rugged head and massive figure. “I will improvise a sonata to the moonlight!" said he, looking up thoughtfully to the sky and stars. Then his hands dropped on the keys, and he began playing a sad and infinitely lovely movement, which crept gently over the instrument, like the calm flow of moonlight over the dark earth.

This was followed by a wild, elfin passage in triple time-a sort of grotesque interlude, like the dance of sprites upon the lawn. Then came a swift agitato finale-a breathless, hurrying, trembling movement, descriptive of flight, and uncertainty, and vague impulsive terror, which carried us away on its rustling wings, and left us all in emotion and wonder.

"Farewell to you!" said Beethoven, pushing back his chair, and turning toward the door-" farewell to you!"

"You will come again?" asked they, in one breath. He paused and looked compassionately, almost tenderly, at the face of the blind girl.

66

Yes, yes," he said hurriedly, “I will come again, and give the young lady some lessons! Farewell!

I will come again!"

Their looks followed us in silence more eloquent than words till we were out of sight.

"Let us make haste back," said Beethoven, "that I may write out that sonata while I can yet remember it."

We did so, and he sat over it until long past day-dawn. And this was the origin of that Moonlight Sonata with which we are all so fondly acquainted.

Biography. —Ludwig vän Beethoven (batỏ ven), one of the greatest composers, was born at Bonn in 1770, and died in Vienna in 1827.

The works of Beethoven created a new epoch in the development of music, and the popularity of his compositions has not diminished with the lapse of years.

The picture of Beethoven that is given us by his biographers, is indeed a sad one. He was alone, deaf, and the object of unkind treatment on the part of those who should have been his friends. How nobly he rose above all petty annoyances, we can readily understand when we listen to the grand and solemn strains of his immortal music.

Notes and Questions. Where is Bonn? Where is Cologne? Sonata in F is the name of a musical composition written in the key of F.

Elocution.-The repetition of I in the seventh paragraph denotes hesitation or stammering. The dashes in the same paragraph are used to mark abrupt changes of thought due to mental confusion.

Find another example in the lesson, of repetition of words in stammering.

Language. – -The first word of the lesson, It, has the following meaning:-The events which I am about to describe or speak of. The use of the word It may shorten the expression of a thought; but it is too indefinite in meaning to be employed frequently. The use of the word in the case already referred to, causes the instant inquiry - "What happened at Bonn?"

Give two other examples in which It is employed, and substitute its meaning in each case,