"Music alone ushers man into the portal of an intellectual world, ready to encompass _him_, but which _he_ may never encompass. That mind alone whose every thought is rhythm can embody music, can comprehend its mysteries, its divine inspirations, and can alone speak to the senses of its intellectual revelations. Although spirits may feed upon it as we do upon air, yet it may not nourish all mortal men; and those privileged few alone, who have drawn from its heavenly source, may aspire to hold spiritual converse with it. How few are these! for, like the thousands who marry for love, and who profess love, whilst love will single out but one amongst them, so also will thousands court Music, whilst she turns a deaf ear to all but the chosen few. She, too, like her sister arts, is based upon morality--_that fountain-head of genuine invention_! And would you know the true principle on which the arts _may_ be won? It is to bow to their immutable terms, to lay all passion and vexation of spirit prostrate at their feet, and to approach their divine presence with a mind so calm and so void of littleness as to be ready to receive the dictates of fantasy and the revelations of truth. Thus the art becomes a divinity, man approaches her with religious feelings, his inspirations are God's divine gifts, and his aim fixed by the same hand from above which helps him to attain it."
And he adds:--"We know not whence our knowledge is derived. The seeds which lie dormant in us require the dew, the warmth, and the electricity of the soil to spring up, to ripen into thought, and to break forth. Music is the electrical soil in which the mind thrives, thinks, and invents. Music herself teaches us harmony; for _one_ musical thought bears upon the whole kindred of ideas, and each is linked to the other, closely and indissolubly, by the ties of harmony."
Hearken to proof of the truth of this eloquent and beautiful description of music.
The talents of a Haydyn and Mozart raised instrumental composition in Germany to an astonishing elevation; and Beethoven may be said not only to have maintained the art in that stupendous altitude, but even in some respects to have brought it to a still higher degree of perfection. "Haydyn," says Reichardt, "drew his quartets from the pure source of his sweet and unsophisticated nature, his captivating simplicity and cheerfulness. In these works he is still without an equal. Mozart's mightier genius and richer imagination took a more extended range, and embodied in several passages the most profound and sublime qualities of his own mind. Moreover, he was much greater as a performer than Haydyn, and as such expected more from instruments than the latter did. He also allowed more merit to highly-wrought and complicated compositions, and thus raised a gorgeous palace within Haydyn's fairy bower. Of this palace Beethoven was an early inmate; and in order adequately to express his own peculiar forms of style, he had no other means but to surmount the edifice with that defying and colossal tower which no one will probably presume to carry higher with impunity.