his best music. Where among all his purely instrumental works is
anything to be found as inspired as the music in the scenes where the
ghostly statue nods at _Don Juan_, and subsequently where it enters
his room and clutches his hand in its marble grasp? I venture to add
that even Beethoven, although he is not generally regarded as an
operatic composer _par excellence_, and although his fame chiefly
rests on his symphonies and other instrumental works, nevertheless
composed his most inspired music in connection with his one opera
"Fidelio." I refer to the third "Leonora" overture, and to the music
in the prison scene, where the digging of the grave is depicted in the
orchestra with a realism worthy of Wagner, and where the music when
_Leonora_ levels her pistol at the villain reaches a climax as
thrilling as is to be found in any dramatic work, musical or literary.
Obviously, it was the intensely dramatic situation which here inspired
Beethoven to the grandest effort of his genius.

It has often been asserted that the best numbers in "Fidelio" were
directly inspired in Beethoven by the emotional exaltation resulting
from one of his unhappy love affairs. Mr. Thayer doubts this story,
because he could not find anything in Beethoven's sketch-books
corroborating it; but even if it should be a myth, there are many well
authenticated facts which show that Beethoven, like other composers,
owed many of his best ideas to the magic influence of love in
stimulating his mental powers. He dedicated thirty-nine compositions
to thirty-six different women, and it is well known that he was
constantly falling in love, had made up his mind several times to
marry, and was twice refused. Female beauty always made a deep
impression on him, and Marx relates that "even in his later years he
was fond of looking at pretty faces, and used to stand still in the
street and gaze after them with his eyeglasses till they were out of