Meanwhile, as a man Beethoven had been subject to his vicissitudes, but upon the whole, while no longer the popular composer of the day (his seriousness prevented that) he was in comfortable circumstances, but annoyed by the care of a nephew of irregular habits and reprehensible character. For many years now Beethoven had been getting deaf, and for the past ten or twelve he had been unable to hear ordinary conversation, so that communication had to be carried on with him by writing. Superficial observers inferred from this fact that the inability to hear his compositions must have reacted unfavorably upon them, and probably accounted for many passages which were unlike his early works, and unintelligible or unlovely to the critics aforesaid. It is true that between the early and the latest compositions of Beethoven there is a greater difference in intelligibility than between the early and the late compositions of any other master. But the difference is not one of judgment on his part, but purely one of different conception, different melodic structure and deeper effect. The ninth symphony, which the first players called impossible, has lived to be counted not simply the greatest of all of Beethoven's works, but the greatest of _all_ instrumental music. It has been named as an impassable barrier beyond which no later composer might pass and compose an instrumental symphony. Nothing could be more unjust or mistaken. Every composition of Beethoven is a fantasia, which in his earlier work indeed has the form of the sonata, the accepted serious form of the day; but in the works of the middle period, the limits of the sonata form were crossed in many directions, and in the latest the sonata is forsaken entirely. But this is not to say that Beethoven had gone beyond the sonata form. Beethoven was an improviser in music, quite as surely as his wildest successor, Schumann, and he wrote as he felt at the time. He lost nothing in being deaf. His inner tonal sense was as acute as ever, and had been trained as the tonal sense of few composers ever was. In point of fact the compositions of the later period are as sweet as those of any former period whatever. The last sonata for the pianoforte is one of the most advanced compositions that exist for the instrument. It is a tone poem which will outlast most other things that Beethoven wrote for this instrument. In fact, the accuracy with which the capacity of the instrument is gauged is one of the most striking peculiarities of the last sonatas and other late works of this master. Meanwhile, piano technique has advanced to a point where these great works no longer present the insurmountable difficulties that they did when first composed. Their general acceptance has been delayed by the foolish notion that there was about them something sacred and secluded from the apprehension of ordinary readers. This is not the case. They are within reach, and repay study.