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diff --git a/43591.txt b/43591.txt deleted file mode 100644 index b7b686a..0000000 --- a/43591.txt +++ /dev/null @@ -1,18624 +0,0 @@ -The Project Gutenberg EBook of The Life of Ludwig van Beethoven, Volume I -(of 3), by Alexander Wheelock Thayer - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: The Life of Ludwig van Beethoven, Volume I (of 3) - -Author: Alexander Wheelock Thayer - -Translator: Henry Edward Krehbiel - -Release Date: August 29, 2013 [EBook #43591] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK LIFE OF BEETHOVEN, VOL I *** - - - - -Produced by Henry Flower and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/American Libraries and Google Print.) - - - - - - - - - -Transcriber's Note - - -Gesperrt text is indicated by ~tildes~, and superscript by caret -symbols (e.g. M^{me}). - - - - - THE LIFE OF LUDWIG VAN BEETHOVEN - VOLUME I - - - - -[Illustration] - -[Illustration: LUDWIG VAN BEETHOVEN - -After the Bust by Franz Klein - -1812] - - - - - The Life of - Ludwig van Beethoven - - _By_ Alexander Wheelock Thayer - - Edited, revised and amended from the original - English manuscript and the German editions - of Hermann Deiters and Hugo Riemann, concluded, - and all the documents newly translated - - By - Henry Edward Krehbiel - - Volume I - - Published by - The Beethoven Association - New York - - - - - SECOND PRINTING - - Copyright, 1921, - By Henry Edward Krehbiel - - From the press of G. Schirmer, Inc., New York - Printed in the U. S. A. - - - - - IN PROFOUND REVERENCE THIS WORK - IS DEDICATED BY THE EDITOR - TO THE MEMORY OF - - Alexander Wheelock Thayer and Dr. Hermann Deiters - - ALSO IN GRATEFUL APPRECIATION - TO - THE BEETHOVEN ASSOCIATION - - AND WITH A LARGE MEASURE OF GRATITUDE AND AFFECTION - TO HIS FRIEND AND COLLEAGUE - RICHARD ALDRICH - - - - -Introduction - - -If for no other reasons than because of the long time and monumental -patience expended upon its preparation, the vicissitudes through which -it has passed and the varied and arduous labors bestowed upon it by the -author and his editors, the history of Alexander Wheelock Thayer's Life -of Beethoven deserves to be set forth as an introduction to this work. -His work it is, and his monument, though others have labored long and -painstakingly upon it. There has been no considerable time since the -middle of the last century when it has not occupied the minds of the -author and those who have been associated with him in its creation. -Between the conception of its plan and its execution there lies a -period of more than two generations. Four men have labored zealously -and affectionately upon its pages, and the fruits of more than four -score men, stimulated to investigation by the first revelations made by -the author, have been conserved in the ultimate form of the biography. -It was seventeen years after Mr. Thayer entered upon what proved to be -his life-task before he gave the first volume to the world--and then -in a foreign tongue; it was thirteen more before the third volume came -from the press. This volume, moreover, left the work unfinished, and -thirty-two years more had to elapse before it was completed. When this -was done the patient and self-sacrificing investigator was dead; he did -not live to finish it himself nor to see it finished by his faithful -collaborator of many years, Dr. Deiters; neither did he live to look -upon a single printed page in the language in which he had written that -portion of the work published in his lifetime. It was left for another -hand to prepare the English edition of an American writer's history of -Germany's greatest tone-poet, and to write its concluding chapters, as -he believes, in the spirit of the original author. - -Under these circumstances there can be no vainglory in asserting that -the appearance of this edition of Thayer's Life of Beethoven deserves -to be set down as a significant occurrence in musical history. In it -is told for the first time in the language of the great biographer the -true story of the man Beethoven--his history stripped of the silly -sentimental romance with which early writers and their later imitators -and copyists invested it so thickly that the real humanity, the -humanliness, of the composer has never been presented to the world. In -this biography there appears the veritable Beethoven set down in his -true environment of men and things--the man as he actually was, the man -as he himself, like Cromwell, asked to be shown for the information of -posterity. It is doubtful if any other great man's history has been so -encrusted with fiction as Beethoven's. Except Thayer's, no biography of -him has been written which presents him in his true light. The majority -of the books which have been written of late years repeat many of -the errors and falsehoods made current in the first books which were -written about him. A great many of these errors and falsehoods are in -the account of the composer's last sickness and death, and were either -inventions or exaggerations designed by their utterers to add pathos -to a narrative which in unadorned truth is a hundredfold more pathetic -than any tale of fiction could possibly be. Other errors have concealed -the truth in the story of Beethoven's guardianship of his nephew, -his relations with his brothers, the origin and nature of his fatal -illness, his dealings with his publishers and patrons, the generous -attempt of the Philharmonic Society of London to extend help to him -when upon his deathbed. - -In many details the story of Beethoven's life as told here will be new -to English and American readers; in a few cases the details will be -new to the world, for the English edition of Thayer's biography is not -a translation of the German work but a presentation of the original -manuscript, so far as the discoveries made after the writing did not -mar its integrity, supplemented by the knowledge acquired since the -publication of the first German edition, and placed at the service of -the present editor by the German revisers of the second edition. The -editor of this English edition was not only in communication with Mr. -Thayer during the last ten years of his life, but was also associated -to some extent with his continuator and translator, Dr. Deiters. Not -only the fruits of the labors of the German editors but the original -manuscript of Thayer and the mass of material which he accumulated -came into the hands of this writer, and they form the foundation on -which the English "Thayer's Beethoven" rests. The work is a vastly -different one from that which Thayer dreamed of when he first conceived -the idea of bringing order and consistency into the fragmentary and -highly colored accounts of the composer's life upon which he fed his -mind and fancy as a student at college; but it is, even in that part -of the story which he did not write, true to the conception of what -Beethoven's biography should be. Knowledge of the composer's life has -greatly increased since the time when Thayer set out upon his task. -The first publication of some of the results of his investigations -in his "Chronologisches Verzeichniss" in 1865, and the first volume -of the biography which appeared a year later, stirred the critical -historians into activity throughout Europe. For them he had opened up a -hundred avenues of research, pointed out a hundred subjects for special -study. At once collectors of autographs brought forth their treasures, -old men opened up the books of their memories, librarians gave eager -searchers access to their shelves, churches produced their archives, -and hieroglyphic sketches which had been scattered all over Europe -were deciphered by scholars and yielded up chronological information -of inestimable value. To all these activities Thayer had pointed the -way, and thus a great mass of facts was added to the already great mass -which Thayer had accumulated. Nor did Thayer's labors in the field -end with the first publication of his volumes. So long as he lived he -gathered, ordered and sifted the new material which came under his -observation and prepared it for incorporation into later editions and -later volumes. After he was dead his editors continued the work. - -Alexander Wheelock Thayer was born in South Natick, Massachusetts, -on October 22nd, 1817, and received a liberal education at Harvard -College, whence he was graduated in 1843. He probably felt that he was -cut out for a literary career, for his first work after graduation -was done in the library of his _Alma Mater_. There interest in the -life of Beethoven took hold of him. With the plan in his mind of -writing an account of that life on the basis of Schindler's biography -as paraphrased by Moscheles, and bringing its statements and those -contained in the "Biographische Notizen" of Wegeler and Ries and a -few English accounts into harmony, he went to Europe in 1849 and -spent two years in making researches in Bonn, Berlin, Prague and -Vienna. He then returned to America and in 1852 became attached to -the editorial staff of "The New York Tribune." It was in a double -sense an attachment; illness compelled him to abandon journalism and -sever his connection with the newspaper within two years, but he never -gave up his interest in it. He read it until the day of his death, -and his acquaintance with the member of the Tribune's staff who was -destined to have a part in the completion of his lifework began when, -a little more than a generation after he had gone to Europe for the -second time, he opened a correspondence with him on a topic suggested -by one of this writer's criticisms. In 1854 he went to Europe again, -still fired with the ambition to rid the life-history of Beethoven of -the defects which marred it as told in the current books. Schindler -had sold the _memorabilia_ which he had received from Beethoven and -Beethoven's friend Stephan von Breuning to the Prussian Government, -and the precious documents were safely housed in the Royal Library at -Berlin. It was probably in studying them that Thayer realized fully -that it was necessary to do more than rectify and harmonize current -accounts of Beethoven's life if it were correctly to be told. He had -already unearthed much precious ore at Bonn, but he lacked the money -which alone would enable him to do the long and large work which -now loomed before him. In 1856 he again came back to America and -sought employment, finding it this time in South Orange, New Jersey, -where Lowell Mason employed him to catalogue his musical library. -Meanwhile Dr. Mason had become interested in his great project, and -Mrs. Mehetabel Adams, of Cambridge, Massachusetts, also. Together they -provided the funds which enabled him again to go to Europe, where -he now took up a permanent residence. At first he spent his time in -research-travels, visiting Berlin, Bonn, Cologne, Duesseldorf (where -he found material of great value in the archives of the old Electoral -Courts of Bonn and Cologne), Frankfort, Paris, Linz, Graz, Salzburg, -London and Vienna. To support himself he took a small post in the -Legation of the United States at Vienna, but exchanged this after a -space for the U. S. Consulship at Trieste, to which office he was -appointed by President Lincoln on the recommendation of Senator Sumner. -In Trieste he remained till his death, although out of office after -October 1st, 1882. To Sir George Grove he wrote under date June 1st, -1895: "I was compelled to resign my office because of utter inability -longer to continue Beethoven work and official labor together." From -Trieste, when his duties permitted, he went out on occasional exploring -tours, and there he weighed his accumulations of evidence and wrote his -volumes. - -In his travels Thayer visited every person of importance then -living who had been in any way associated with Beethoven or had -personal recollection of him--Schindler, the composer's factotum and -biographer; Anselm Huettenbrenner, in whose arms he died; Caroline van -Beethoven, widow of Nephew Karl; Charles Neate and Cipriani Potter, -the English musicians who had been his pupils; Sir George Smart, -who had visited him to learn the proper interpretation of the Ninth -Symphony; Moscheles, who had been a professional associate in Vienna; -Otto Jahn, who had undertaken a like task with his own, but abandoned -it and turned over his gathered material to him; Maehler, an artist -who had painted Beethoven's portrait; Gerhard von Breuning, son of -Beethoven's most intimate friend, who as a lad of fourteen had been -a cheery companion of the great man when he lay upon his fatal bed -of sickness;--with all these and many others he talked, carefully -recording their testimony in his note-books and piling up information -with which to test the correctness of traditions and printed accounts -and to amplify the veracious story of Beethoven's life. His industry, -zeal, keen power of analysis, candor and fairmindedness won the -confidence and help of all with whom he came in contact except the -literary charlatans whose romances he was bent on destroying in the -interest of the verities of history. The Royal Library at Berlin sent -the books in which many of Beethoven's visitors had written down their -part of the conversations which the composer could not hear, to him at -Trieste so that he might transcribe and study them at his leisure. - -In 1865, Thayer was ready with the manuscript for Volume I of the work, -which contained a sketch of the Courts of the Electors of Cologne at -Cologne and Bonn for over a century, told of the music cultivated at -them and recorded the ancestry of Beethoven so far as it had been -discovered. It also carried the history of the composer down to the -year 1796. In Bonn, Thayer had made the acquaintance of Dr. Hermann -Deiters, Court Councillor and enthusiastic musical litterateur, and to -him he confided the task of editing and revising his manuscript and -translating it into German. The reason which Thayer gave for not at -once publishing his work in English was that he was unable to oversee -the printing in his native land, where, moreover, it was not the custom -to publish such works serially. He urged upon his collaborator that he -practise literalness of translation in respect of his own utterances, -but gave him full liberty to proceed according to his judgment in -the presentation of documentary evidence. All of the material in the -volume except the draughts from Wegeler, Ries and Schindler, with which -he was frequently in conflict, was original discovery, the result -of the labors begun in Bonn in 1849. His principles he set forth in -these words: "I fight for no theories, and cherish no prejudices; my -sole point of view is the truth.... I have resisted the temptation -to discuss the character of his (Beethoven's) works and to make such -a discussion the foundation of historical speculation, preferring to -leave such matters to those who have a greater predilection for them. -It appears to me that Beethoven the _composer_ is amply known through -his works and in this assumption the long and wearisome labors of so -many years were devoted to Beethoven the _man_." The plan to publish -his work in German enabled Thayer to turn over all his documentary -evidence to Deiters in its original shape, a circumstance which saved -him great labor, but left it for his American editor and continuator. -The first German volume appeared in 1866; its stimulative effect upon -musical Europe has been indicated. Volume II came from the press in -1872, Volume III in 1879, both translated and annotated by Deiters. -They brought the story of Beethoven's life down to the end of the year -1816, leaving a little more than a decade still to be discussed. - -The health of Thayer had never been robust, and the long and -unintermittent application to the work of gathering and weighing -evidence had greatly taxed his brain. He became subject to severe -headaches and after the appearance of the third volume he found it -impossible to apply himself for even a short time to work upon the -biography. In July, 1890, he wrote a letter to Sir George Grove which -the latter forwarded to this writer. In it he tells in words of -pathetic gratitude of the unexpected honors showered upon him at Bonn -when at the invitation of the Beethoven-Haus Verein he attended the -exhibition and festival given in Beethoven's birthplace a short time -before. Then he proceeds: "Of course the great question was on the lips -of all: When will the fourth volume appear? I could only say: When -the condition of my head allows it. No one could see or have from my -general appearance the least suspicion that I was not in mental equal -to my physical vigor. In fact, the extreme excitement of these three -weeks took off for the time twenty years of my age and made me young -again; but afterwards in Hamburg and in Berlin the reaction came. -Spite of the delightful musical parties at Joachim's, Hausmann's, -Mendelssohn's ... my head broke down more and more, and since my return -hither, July 3rd, has as yet shown small signs of recuperation. The -extreme importance of working out my fourth volume is more than ever -impressed upon my mind and weighs upon me like an incubus. But as yet -it is still utterly impossible for me to really work. Of course I only -live for that great purpose and do not despair. My general health is -such that I think the brain must in time recover something of its -vigor and power of labor. What astonishes me and almost creates envy -is to see this wonderful power of labor as exemplified by you and my -neighbor, Burton. But from boyhood I have had head troubles, and what I -went through with for thirty years in supporting myself and working on -Beethoven is not to be described and excites my wonder that I did not -succumb. Well, I will not yet despair." Thayer's mind, active enough -in some things, refused to occupy itself with the Beethoven material; -it needed distraction, and to give it that he turned to literary work -of another character. He wrote a book against the Baconian authorship -of Shakespeare's works; another on the Hebrews in Egypt and their -Exodus (which Mr. E. S. Willcox, a friend of many years, published at -his request in Peoria, Illinois). He also wrote essays and children's -tales. Such writing he could do and also attend to his consular duties; -but an hour or two of thought devoted to Beethoven, as he said in -a letter to the present writer, brought on a racking headache and -unfitted him for labor of any kind. - -Meanwhile year after year passed by and the final volume of the -biography was no nearer its completion than in 1880. In fact, beyond -the selection and ordination of its material, it was scarcely begun. -His friends and the lovers of Beethoven the world over grew seriously -concerned at the prospect that it would never be completed. Sharing in -this concern, the editor of the present edition developed a plan which -he thought would enable Thayer to complete the work notwithstanding -the disabilities under which he was laboring. He asked the cooperation -of Novello, Ewer & Co., of London, and got them to promise to send -a capable person to Trieste to act as a sort of literary secretary -to Thayer. It was thought that, having all the material for the -concluding volume on hand chronologically arranged, he might talk it -over with the secretary, but without giving care to the manner of -literary presentation. The secretary was then to give the material a -proper setting and submit it to Thayer for leisurely revision. Very -hopefully, and with feelings of deep gratitude to his friends, the -English publishers, the American editor submitted his plan; but Thayer -would have none of it. Though unable to work upon the biography for -an hour continuously, he yet clung to the notion that some day he -would not only finish it but also rewrite the whole for English and -American readers. From one of the letters placed at my disposal by Sir -George Grove, it appears that subsequently (in 1892) there was some -correspondence between an English publisher and Mr. Thayer touching an -English edition. The letter was written to Sir George on June 1st, -1895. In it he says: "I then hoped to be able to revise and prepare -it (the Beethoven MS.) for publication myself, and was able to begin -the labor and arrange with a typewriting woman to make the clean copy. -How sadly I failed I wrote you. Since that time the subject has not -been renewed between us. I am now compelled to relinquish all hope of -ever being able to do the work. There are two great difficulties to be -overcome: the one is that all letters and citations are in the original -German as they were sent to Dr. Deiters; the other, there is much to -be condensed, as I always intended should be for this reason: From the -very first chapter to the end of Vol. III, I am continually in conflict -with all previous writers and was compelled, therefore, to show in -my text that I was right by so using my materials that the reader -should be taken along step by step and compelled to see the truth for -himself. Had all my arguments been given in notes nine readers out of -ten would hardly have read them, and I should have been involved in -numberless and endless controversies. Now the case is changed. A. W. -T's novelties are now, with few if any exceptions, accepted as facts -and can, in the English edition, be used as such. Besides this, there -is much new matter to be inserted and some corrections to be made from -the appendices of the three German volumes. The prospect now is that -I may be able to do some of this work, or, at all events, go through -my MS. page by page and do much to facilitate its preparation for -publication in English. I have no expectation of ever receiving any -pecuniary recompense for my 40 years of labor, for my many years of -poverty arising from the costs of my extensive researches, for my--but -enough of this also." In explanation of the final sentence in this -letter it may be added that Thayer told the present writer that he had -never received a penny from his publisher for the three German volumes; -nothing more, in fact, than a few books which he had ordered and for -which the publisher made no charge. - -Thus matters rested when Thayer died on July 15th, 1897. The thought -that the fruits of his labor and great sacrifices should be lost to the -world even in part was intolerable. Dr. Deiters, with undiminished zeal -and enthusiasm, announced his willingness to revise the three published -volumes for a second edition and write the concluding volume. Meanwhile -all of Thayer's papers had been sent to Mrs. Jabez Fox of Cambridge, -Massachusetts, the author's niece and one of his heirs. There was a -large mass of material, and it became necessary to sift it in order -that all that was needful for the work of revision and completion -might be placed in the hands of Dr. Deiters. This work was done, at -Mrs. Fox's request, by the present writer, who, also at Mrs. Fox's -request, undertook the task of preparing this English edition. Dr. -Deiters accomplished the work of revising Volume I, which was published -by Weber, the original publisher of the German volumes, in 1891. He -then decided that before taking up the revision of Volumes II and III -he would bring the biography to a conclusion. He wrote, not the one -volume which Thayer had hoped would suffice him, but two volumes, the -mass of material bearing on the last decade of Beethoven's life having -grown so large that it could not conveniently be comprehended in a -single tome, especially since Dr. Deiters had determined to incorporate -critical discussions of the composer's principal works in the new -edition. The advance sheets of Volume IV were in Dr. Deiters's hands -when, full of years and honors, he died on May 1st, 1907. Breitkopf and -Haertel had meanwhile purchased the German copyright from Weber, and -they chose Dr. Hugo Riemann to complete the work of revision. Under Dr. -Riemann's supervision Volumes IV and V were brought out in 1908, and -Volumes II and III in 1910-1911. - -Not until this had been accomplished could the American collaborator -go systematically to work on his difficult and voluminous task, for -he had determined to use as much as possible of Thayer's original -manuscript and adhere to Thayer's original purpose and that expressed -in his letter to Sir George Grove. He also thought it wise to condense -the work so as to bring it within three volumes and to seek to enhance -its readableness in other ways. To this end he abolished the many -appendices which swell the German volumes, and put their significant -portions into the body of the narrative; he omitted many of the -hundreds of foot-notes, especially the references to the works of the -earlier biographers, believing that the special student would easily -find the sources if he wished to do so, and the general reader would -not care to verify the statements of one who has been accepted as the -court of last resort in all matters of fact pertaining to Beethoven, -the man; he also omitted many letters and presented the substance of -others in his own words for the reason that they can all be consulted -in the special volumes which contain the composer's correspondence; -of the letters and other documents used in the pages which follow, he -made translations for the sake of accuracy as well as to avoid conflict -with the copyright privileges of the publishers of English versions. -Being as free as the German editors in respect of the portion of the -biography which did not come directly from the pen of Thayer, the -editor of this English edition chose his own method of presentation -touching the story of the last decade of Beethoven's life, keeping -in view the greater clearness and rapidity of narrative which, he -believed, would result from a grouping of material different from -that followed by the German editors in their adherence to the strict -chronological method established by Thayer. - -A large number of variations from the text of the original German -edition are explained in the body of this work or in foot-notes. In -cases where the German editors were found to be in disagreement with -the English manuscript in matters of opinion merely, the editor has -chosen to let Mr. Thayer's arguments stand, though, as a rule, he has -noted the adverse opinions of the German revisers also. A prominent -instance of this kind is presented by the mysterious love-letter found -secreted in Beethoven's desk after his death. Though a considerable -literature has grown up around the "Immortal Beloved" since Thayer -advanced the hypothesis that the lady was the Countess Therese -Brunswick, the question touching her identity and the dates of the -letters is still as much an open one as it was when Thayer, in his -characteristic manner, subjected it to examination. This editor has, -therefore, permitted Thayer not only to present his case in his own -words, but helped him by bringing his scattered pleadings and briefs -into sequence. He has also outlined in part the discussion which -followed the promulgation of Thayer's theory, and advanced a few -fugitive reflections of his own. The related incident of Beethoven's -vain matrimonial project has been put into a different category by -new evidence which came to light while Dr. Riemann was engaged in his -revisory work. It became necessary, therefore, that the date of that -incident be changed from 1807, where Thayer had put it, to 1810. By -this important change Beethoven's relations to Therese Malfatti were -made to take on a more serious attitude than Thayer was willing to -accord them. - -In this edition, finally, more importance is attached to the so-called -Fischer Manuscript than Thayer was inclined to give it, although he, -somewhat grudgingly we fear, consented that Dr. Deiters should print it -with critical comments in the Appendix of his Vol. I. The manuscript, -though known to Thayer, had come to the attention of Dr. Deiters too -late for use in the narrative portion of the volume, though it was -thus used in the second edition. The story of the manuscript, which -is now preserved in the museum of the Beethoven-Haus Verein in Bonn, -is a curious one. Its author was Gottfried Fischer, whose ancestors -for four generations had lived in the house in the Rheingasse which -only a few years ago was still, though mendaciously, pointed out to -strangers as the house in which Beethoven was born. Fischer, who lived -till 1864, was born in the house which formerly stood on the site of -the present building known as No. 934, ten years after Beethoven's eyes -opened to the light in the Bonngasse. At the time of Fischer's birth -the Beethoven family occupied a portion of the house and Fischer's -father and the composer's father were friends and companions. There, -too, had lived the composer's grandfather. Gottfried Fischer had a -sister, Caecilia Fischer, who was born eight years before Beethoven; -she remained unmarried and lived to be 85 years old, dying on May -23rd, 1845. The festivities attending the unveiling of the Beethoven -monument in 1838 brought many visitors to Bonn and a natural curiosity -concerning the relics of the composer. Inquirers were referred to -the house in the Rheingasse, then supposed to be the birthplace of -the composer, where the Fischers, brother and sister, still lived. -They told their story and were urged by eager listeners to put it -into writing. This Gottfried did the same year, but, keeping the -manuscript in hand, he added to it at intervals down to the year 1857 -at least. He came to attach great value to his revelations and as -time went on embellished his recital with a mass of notes, many of no -value, many consisting of iterations and reiterations of incidents -already recorded, and also with excerpts from books to which, in his -simplicity, he thought that nobody but himself had access. He was -an uneducated man, ignorant even of the correct use of the German -language; it is, therefore, not surprising that much of his record is -utterly worthless; but mixed with the dross there is much precious -metal, especially in the spinster's recollection of the composer's -father and grandfather, for while Gottfried grew senile his sister -remained mentally vigorous to the end. Thayer examined the document and -offered to buy it, but was dissuaded by the seemingly exorbitant price -which the old man set upon it. It was finally purchased for the city's -archives by the Oberbuergermeister and thus came to the notice of Dr. -Deiters. His use of it has been followed by the present editor. - - HENRY EDWARD KREHBIEL. - - Blue Hill, Maine, U. S. A. - July, 1914. - - -_Postscript_ - -The breaking out, in August, 1914, of the war between Austria and -Servia which eventually involved nearly all the civilized nations -of the world, led the publishers, who had originally undertaken to -print this Work as brought to a conclusion by the American Editor, -indefinitely to postpone its publication. In the spring of 1920 the -Beethoven Association, composed of musicians of high rank, who had -given a remarkably successful series of concerts of Beethoven's -chamber-music in New York in the season 1919-20, at the suggestion of -O. G. Sonneck and Harold Bauer resolved to devote the proceeds of the -concerts to promoting the publication of Thayer's biography. To this -act of artistic philanthropy the appearance of the work is due. - - H. E. K. - Blue Hill, Maine, U. S. A. - September, 1920. - -[Illustration: ALEXANDER WHEELOCK THAYER - -January 1888] - - - - -Contents of Volume I - - - PAGE - - INTRODUCTION vii - - CHAPTER I. Fall of the Ecclesiastical-Civil States in - Germany--Character of Their Rulers--The Electors - of Cologne in the Eighteenth Century--Joseph Clemens--Clemens - August--Max Friedrich--Incidents and - Achievements in Their Reigns--The Electoral Courts - and Their Music--Earliest Records of the Beethovens - in the Rhineland--Musical Culture in Bonn at the - Time of Ludwig van Beethoven's Birth--Operatic - Repertories--Christian Gottlob Neefe--Appearance of - the City 1 - - CHAPTER II. Beethoven's Ancestors in Belgium--Louis - van Beethoven, His Grandfather--He Leaves His Paternal - Home--Tenor Singer at Louvain--His Removal to - Bonn--Marriage--Activities as Bass Singer and Chapelmaster - in the Electoral Chapel--Birth and Education - of Johann van Beethoven, Father of the Composer--Domestic - Afflictions--His Marriage--Appearance and - Character of the Composer's Mother 42 - - CHAPTER III. Birth of Ludwig van Beethoven, the Composer-- - Conflict of Dates--The House in Which He - Was Born--Poverty of the Family--An Inebriate - Grandmother and a Dissipated Father--The Composer's - Scant Schooling--His First Music Teachers--Lessons - on the Pianoforte, Organ and Violin--Neefe - Instructs Him in Composition--A Visit to Holland 53 - - CHAPTER IV. Beethoven a Pupil of Neefe--Early Employment - of His Talent and Skill--First Efforts at Composition--Assists - Neefe at the Organ in the Orchestra - of the Electoral Court--Is Appointed Assistant Court - Organist--Johann van Beethoven's Family--Domestic - Tribulations--Youthful Publications 67 - - CHAPTER V. Elector Max Franz--Appearance and Character - of Maria Theresias's Youngest Son--His Career - in Church and State--Musical Culture in the Austrian - Imperial Family--The Elector's Admiration for Mozart - and Mozart's Characterization of Him--His Court - Music at Bonn 77 - - CHAPTER VI. Beethoven Again--His Studies Interrupted--A - Period of Artistic Inactivity in Bonn--The Young - Organist Indulges in a Prank--A Visit to Vienna--Mozart - Hears the Youthful Beethoven Play--Sympathetic - Acquaintances--Death of Beethoven's Mother--Association - with the von Breuning Family--Some - Questions of Chronology Discussed 85 - - CHAPTER VII. The Family von Breuning--Beethoven - Brought Under Refining Influences--Count Waldstein--Beethoven's - First Maecenas--Time of the Count's - Arrival in Bonn--Beethoven Forced to Become Head - of His Father's Family 98 - - CHAPTER VIII. The National Theatre of Elector Max - Franz--Beethoven's Associates in the Court Orchestra--Anton - Reicha--Andreas and Bernhard Romberg--His - Practical Experience in the Electoral Band--The - Operatic Repertory of Five Years in the Court Theatre 105 - - CHAPTER IX. The Last Three Years of Beethoven's Life - in Bonn--Gleanings of Fact and Anecdote--A Visit - from Haydn--Merry Journey up the Rhine--Beethoven's - Meeting with Abbe Sterkel--He Extemporizes--His - Playing Described by Carl Ludwig Junker--He - Shows a Cantata to Haydn--The Extent of Max - Franz's Patronage of the Composer--Social and Artistic - Life in Bonn--Madame von Breuning a Guardian - Angel--The Circle of Companions--Friendships with - Young Women--Jeannette d'Honrath--Fraeulein Westerhold--Eleonore - von Breuning--Beethoven Leaves Bonn - Forever--The Parting with His Friends--Incidents of - His Journey to Vienna 110 - - CHAPTER X. Beethoven's Creative Activity in Bonn--An - Inquiry into the Genesis of Many Compositions--The - Cantatas on the Death of Joseph II and the Elevation - of Leopold II--Vicissitudes of These Compositions--A - Group of Songs--The "Ritterballet" and Other Instrumental - Works--Several Chamber Compositions--The - String Trio, Op. 3, Carried to England--Manuscripts - Taken by Beethoven from Bonn to Vienna 129 - - CHAPTER XI. Beethoven in Vienna--Care for His Personal - Appearance--Death of His Father--Records of Minor - Receipts and Expenditures--His Studies with Haydn--Clandestine - Lessons in Composition with Johann Schenk--A - Rupture with Haydn--Becomes a Pupil of Albrechtsberger - and Salieri--Characteristics as a Pupil 146 - - CHAPTER XII. Music in Vienna at the Time of Beethoven's - Arrival There--Theatre, Church and Concert-Room--Salieri - and the Royal Imperial Opera--Schikaneder's - Theater auf der Wieden--Composers and Conductors in - the Imperial Capital--Paucity of Public Concerts--A - Music-loving Nobility: The Esterhazys; Kinsky; Lichnowsky; - von Kees; van Swieten--Private Orchestras--Composers: - Haydn, Kozeluch, Foerster, Eberl, Vanhall--Private - Theatres 163 - - CHAPTER XIII. Beethoven in Society--Success as a Virtuoso--The - Trios, Op. 1--Tender Memories of Friends - in Bonn--A Letter to Leonore von Breuning--Wegeler - Comes to Vienna--His Reminiscences--A Quarrel and - Petition for Reconciliation--Irksome Social Conventions--Affairs - of the Heart--Variations for Simrock--First - Public Appearance as Pianist and Composer--The - Pianoforte Concertos in C and B-flat--The Trios, Op. 1, - Revised--Sonatas Dedicated to Haydn--Dances for the - Ridotto Room--Plays at Haydn's Concert 174 - - CHAPTER XIV. The Years 1796 and 1797--Success - Achieved in the Austrian Capital--A Visit to Prague--The - Scena: "Ah, perfido!"--Sojourn in Berlin--King - Frederick William II--Prince Louis Ferdinand--Violoncello - Sonatas--Relations with Himmel--Plays for the - Singakademie--Fasch and Zelter--War-Songs--The - Rombergs--A Forgotten Riding-Horse--Compositions - and Publications of the Period--Matthisson and His - "Adelaide"--Quintet for Strings, Op. 4--Pieces for - Wind-instruments--The "Jena" Symphony--Dances 190 - - CHAPTER XV. General Bernadotte--The Fiction about - His Connection with the "Sinfonia eroica"--Rival - Pianists--Joseph Woelffl--Tomaschek Describes Beethoven's - Playing--Dragonetti--J. B. Cramer--Beethoven's - Demeanor in Society--Compositions of 1798 and 1799--The - Trios, Op. 9--Pianoforte Concertos in C and B-flat--An - Unfinished Rondo for Pianoforte and Orchestra--Several - Pianoforte Sonatas--"Sonate pathetique"--Trio - for Pianoforte, Clarinet and Violoncello--Origin - of the First Symphony--Protest Against an Arrangement - of it as a Quintet 212 - - CHAPTER XVI. Beethoven's Social Life in Vienna--Vogl-- - Kiesewetter--Zmeskall--Amenda--Count Lichnowsky-- - Eppinger--Krumpholz--Schuppanzigh and His Quartet--Johann - Nepomuk Hummel--Friendships with Women--Magdalene Willmann-- - Christine Gerhardi--Dedications to Pupils--Countess - Keglevics--Countess Henriette Lichnowsky--Countess Giulietta - Guicciardi--Countess Thun--Princess Liechtenstein--Baroness - Braun 229 - - CHAPTER XVII. Beethoven's Character and Personality--His - Disposition--Evil Effects of Early Associations and - Inadequate Intellectual Training--Sentimental Ideals - not Realized in Conduct--Self-sufficiency and Pride--The - Homage of Young Disciples--Love of Nature--Relations - with Women--Conceptions of Virtue--Literary - Tastes--His Letters--The Sketchbooks--His Manner - of Compositions--Origin of His Deafness 245 - - CHAPTER XVIII. Beethoven's Brothers--His First Concert - on His Own Account--Septet and First Symphony - Performed--Punto and the Sonata for Horn--The - Charlatan Steibelt Confounded--Beethoven's Homes in - Vienna--Madame Grillparzer, the Poet's Mother--Dolezalek-- - Hoffmeister--E. A. Foerster--The Quartets, Op. 18--Prince - Lichnowsky's Gift of a Quartet of Viols--Publications - of 1800 265 - - CHAPTER XIX. The Year 1801--Compositions offered to - Hoffmeister--Concerts for Wounded Soldiers--Vigano - and the Ballet "Prometheus"--Interest in the Publication - of Bach's Works and His Indigent Daughter--Stephan - von Breuning--Summer Home in Hetzendorf--Composition - of "The Mount of Olives"--Compositions - and Publications of the Year--The Funeral March in the - Sonata, Op. 26--The So-called "Moonlight" Sonata--Inspired - by a Poem of Seume's--Illicit Publication of - the String Quintet, Op. 29 281 - - CHAPTER XX. Important Letters of 1801--Communications - to Amenda, Hoffmeister and Wegeler--The Composer's - Ill Health--The Beginning of His Deafness--Early - Symptoms Described by Himself--Thoughts of - Marriage--Indignation Aroused by the Criticisms of - the Allgemeine Musikalische Zeitung--The "Leipsic - Oxen"--Gradual Recognition of Beethoven's Genius--Anton - Reicha--Von Breuning's Relations with Beethoven--Lessons - to Ferdinand Ries and Carl Czerny 297 - - CHAPTER XXI. Beethoven's Love-Affairs--Countess Guicciardi--A - Conversation with Schindler about Her - Marriage--Schindler's Contradictory Story--Countess - Erdoedy--Schindler's Theory Disproved--The Letter - to the "Immortal Beloved"--Critical Study of its Date--Countess - Guicciardi Not the Woman Addressed--A - Conjecture Concerning the Countess Therese von - Brunswick--Other Candidates for the Honor of Being - the Object of Beethoven's Supreme Love--Magdalena - Willmann--Amalia Sebald--The Arguments of Kalischer, - Mariam Tenger and Marie Lipsins (La Mara) Set - Forth by the Editor of this Biography--Statements of - Relations and Descendants of the Countesses Guicciardi - and von Brunswick--The Memoirs of the Countess Therese--Later - French Investigations 317 - - CHAPTER XXII. The Year 1802--The Village of Heiligenstadt-- - Beethoven's Views on Transcriptions--His Despondency--The - "Heiligenstadt Will"--Confession of - His Deafness--The Second Symphony--Return to - Vienna--Marches for the Pianoforte, Four Hands--A - Defence of Brothers Johann and Karl Kaspar--Their - Characters--Karl's Management of Beethoven's Business - Affairs--The Bagatelles, Op. 33--The Songs, Op. - 52--Compositions and Publications of 1802--Three - Sonatas for Pianoforte and Violin--The Sonatas for - Pianoforte, Op. 31--An Alteration by Naegeli--Finale of - the Sonata in D minor--Beethoven on the Character of - His Variations 348 - - - - -Chapter I - - Introductory--The Electors of Cologne in the Eighteenth - Century--Joseph Clemens, Clemens August and Max Friedrich--The - Electoral Courts and Their Music--Musical Culture in Bonn at the - Time of Beethoven's Birth--Appearance of the City in 1770. - - -One of the compensations for the horrors of the French Revolution was -the sweeping away of many of the petty sovereignties into which Germany -was divided, thereby rendering in our day a union of the German People -and the rise of a German Nation possible. The first to fall were the -numerous ecclesiastical-civil members of the old, loose confederation, -some of which had played no ignoble nor unimportant part in the advance -of civilization; but their day was past. The people of these states had -in divers respects enjoyed a better lot than those who were subjects -of hereditary rulers, and the old German saying: "It is good to dwell -under the crook," had a basis of fact. At the least, they were not sold -as mercenary troops; their blood was not shed on foreign fields to -support their princes' ostentatious splendor, to enable mistresses and -ill-begotten children to live in luxury and riot. But the antiquated -ideas to which the ecclesiastical rulers held with bigoted tenacity had -become a barrier to progress, the exceptions being too few to render -their farther existence desirable. These members of the empire, greatly -differing in extent, population, wealth and political influence, were -ruled with few or no exceptions by men who owed their positions to -election by chapters or other church corporations, whose numbers were -so limited as to give full play to every sort of intrigue; but they -could not assume their functions until their titles were confirmed -by the Pope as head of the church, and by the Emperor as head of the -confederation. Thus the subject had no voice in the matter, and it -hardly need be said that his welfare and prosperity were never included -among the motives and considerations on which the elections turned. - -The sees, by their charters and statutes, we think without exception, -were bestowed upon men of noble birth. They were benefices and -sinecures for younger sons of princely houses; estates set apart -and consecrated to the use, emolument and enjoyment of German John -Lacklands. In the long list of their incumbents, a name here and -there appears, that calls up historic associations;--a man of letters -who aided in the increase or diffusion of the cumbrous learning of -his time; a warrior who exchanged his robes for a coat of mail; a -politician who played a part more or less honorable or the reverse in -the affairs and intrigues of the empire, and, very rarely, one whose -daily walk and conversation reflected, in some measure, the life and -principles of the founder of Christianity. In general, as they owed -their places wholly to political and family influences, so they assumed -the vows and garb of churchmen as necessary steps to the enjoyment of -lives of affluence and pleasure. So late as far into the eighteenth -century, travelling was slow, laborious and expensive. Hence, save for -the few more wealthy and powerful, journeys, at long intervals, to a -council, an imperial coronation or a diet of the empire, were the rare -interruptions to the monotony of their daily existence. Not having the -power to transmit their sees to their children, these ecclesiastics -had the less inducement to rule with an eye to the welfare of their -subjects: on the other hand, the temptation was very strong to augment -their revenues for the benefit of relatives and dependents, and -especially for the gratification of their own tastes and inclinations, -among which the love of splendor and ostentatious display was a -fruitful source of waste and extravagance. - -Confined so largely to their own small capitals, with little -intercourse except with their immediate neighbors, they were far more -dependent upon their own resources for amusement than the hereditary -princes: and what so obvious, so easily obtained and so satisfactory -as music, the theatre and the dance! Thus every little court became a -conservatory of these arts, and for generations most of the great names -in them may be found recorded in the court calendars. One is therefore -not surprised to learn how many of the more distinguished musical -composers began life as singing boys in cathedral choirs of England -and Germany. The secular princes, especially those of high rank, -had, besides their civil administration, the stirring events of war, -questions of public policy, schemes and intrigues for the advancement -of family interests and the like, to engage their attention; but the -ecclesiastic, leaving the civil administration, as a rule, in the -hands of ministers, had little to occupy him officially but a tedious -routine of religious forms and ceremonies; to him therefore the -theatre, and music for the mass, the opera, the ball-room, and the -salon, were matters of great moment--they filled a wide void and were -cherished accordingly. - -COLOGNE AND ITS ELECTORS - -The three German ecclesiastical princes who possessed the greatest -power and influence were the Archbishops of Mayence, Treves and -Cologne--Electors of the Empire and rulers of the fairest regions of -the Rhine. Peace appears hardly to have been known between the city of -Cologne and its earlier archbishops; and, in the thirteenth century, a -long-continued and even bloody quarrel resulted in the victory of the -city. It remained a free imperial town. The archbishops retained no -civil or political power within its walls, not even the right to remain -there more than three days at any one time. Thus it happened, that in -the year 1257 Archbishop Engelbert selected Bonn for his residence, and -formally made it the capital of the electorate, as it remained until -elector and court were swept away in 1794. - -Of the last four Electors of Cologne, the first was Joseph Clemens, -a Bavarian prince, nephew of his predecessor Maximilian Heinrich. -The choice of the chapter by a vote of thirteen to nine had been -Cardinal Fuerstenberg; but his known, or supposed, devotion to the -interests of the French king had prevented the ratification of the -election by either the Emperor or the Pope. A new one being ordered, -resulted in favor of the Bavarian, then a youth of eighteen years. The -Pope had ratified his election and appointed a bishop to perform his -ecclesiastical functions _ad interim_, and the Emperor invested him -with the electoral dignity December 1, 1689. Vehse says of him: - - Like two of his predecessors he was the incumbent of five sees; he - was Archbishop of Cologne, Bishop of Hildesheim, Liege, Ratisbon - and Freisingen. His love for pomp and splendor was a passion which - he gratified in the magnificence of his court. He delighted to - draw thither beautiful and intellectual women. Madame de Raysbeck, - and Countess Fugger, wife of his chief equerry, were his declared - favorites. For seventeen years, that is, until the disastrous year - 1706, when Fenelon consecrated him, he delayed assuming his vows. - He held the opinion, universal in the courts of those days, that - he might with a clear conscience enjoy life after the manner of - secular princes. In pleasing the ladies, he was utterly regardless - of expense, and for their amusement gave magnificent balls, - splendid masquerades, musical and dramatic entertainments, and - hunting parties. - -St. Simon relates that several years of his exile were passed at -Valenciennes, where, though a fugitive, he followed the same round -of costly pleasures and amusements. He also records one of the -Elector's jests which in effrontery surpasses anything related of -his contemporary, Dean Swift. Some time after his consecration, he -caused public notice to be given, that on the approaching first of -April he would preach. At the appointed time he mounted the pulpit, -bowed gravely, made the sign of the cross, shouted "Zum April!" (April -fool!), and retired amid a flourish of trumpets and the rolling of -drums. - -Dr. Ennen labors energetically to prove that Joseph Clemens's fondness -in later years for joining in all grand church ceremonies rested -upon higher motives than the mere pleasure of displaying himself in -his magnificent robes; and affirms that after assuming his priestly -vows he led a life devoted to the church and worthy of his order; -thenceforth never seeing Madame de Raysbeck, mother of his illegitimate -children, except in the presence of a third person. It seems proper -to say this much concerning a prince whose electorship is the point -of departure for notices of music and musicians in Bonn during the -eighteenth century; a prince whose fondness for the art led him at -home and in exile to support both vocal and instrumental bands on a -scale generous for that age; and who, moreover, made some pretensions -to the title of composer himself, as we learn from a letter which -under date of July 20, 1720, he wrote to a court councillor Rauch -to accompany eleven of his motets. It is an amusingly frank letter, -beginning with a confession that he was an _Ignorant_ who knew nothing -about notes and had absolutely no knowledge of _musique_, wherefore he -admits that his manner of composing is "very odd," being compelled to -sing anything that came into his head to a composer whose duty it was -to bring the ideas to paper. Nevertheless he is quite satisfied with -himself, "At all events I must have a good ear and _gusto_, for the -public that has heard has always approved. But the _methodum_ which I -have adopted is that of the bees that draw and collect the honey from -the sweetest flowers; so, also, I have taken all that I have composed -from good masters whose _Musikalien_ pleased me. Thus I freely confess -my pilfering, which others deny and try to appropriate what they have -taken from others. Let no one, therefore, get angry if he hears old -arias in it, for, as they are beautiful, the old is not deprived of its -praise.... I ascribe everything to the grace of God who enlightened me, -the unknowing, to do these things." Not all "composers," royal or mean, -are as honest as the old Elector! - -It is fortunate for the present purpose, that the portion of the -electoral archives discovered after a lapse of nearly seventy years -and now preserved at Duesseldorf, consists so largely of documents -relating to the musical establishment of the court at Bonn during the -last century of its existence. They rarely afford information upon -the character of the music performed, but are sufficiently complete, -when supplemented by the annual Court Calendars, to determine with -reasonable correctness the number, character, position and condition -of its members. The few petitions and decrees hereafter to be given -in full because of their connection with the Beethovens, suffice for -specimens of the long series of similar documents, uniform in character -and generally of too little interest to be worth transcription. - -In 1695 a decree issued at Liege by Joseph Clemens, then in that city -as titular bishop, though not consecrated, adds three new names to the -"Hoff-Musici," one of which, Van den Eeden, constantly reappears in the -documents and calendars down to the year 1782. From a list of payments -at Liege in the second quarter of 1696, we find that Henri Vandeneden -(Heinrich Van den Eeden) was a bass singer, and that the aggregate -of vocalists, instrumentists, with the organ-blower (_calcant_), was -eighteen persons. - -Returned to Bonn, Joseph Clemens resumed his plan of improving his -music, and for those days of small orchestras and niggardly salaries he -set it upon a rather generous foundation. A decree of April 1, 1698, -put in force the next month, names 22 persons with salaries aggregating -8,890 florins. - -POLITICAL VICISSITUDES OF THE ELECTORATE - -After the death of Maximilian Heinrich the government passed into the -hands of Cardinal Fuerstenberg, his coadjutor, who owed the position to -the intrigues of Louis XIV, and now used it by all possible means to -promote French interests. The king's troops under French commanders, -he admitted into the principal towns of the electorate, and, for his -own protection, a French garrison of 10,000 men into Bonn. War was -the consequence; an imperial army successfully invaded the province, -and, advancing to the capital, subjected its unfortunate inhabitants -to all the horrors of a relentless siege, that ended October 15, 1689, -in the expulsion of the garrison, now reduced to some 3900 men, of -whom 1500 were invalids. Yet in the war of the Spanish Succession -which opened in 1701, notwithstanding the terrible lesson taught only -eleven years before, the infatuated Joseph Clemens embraced the party -of Louis. Emperor Leopold treated him with singular mildness, in vain. -The Elector persisted. In 1702 he was therefore excluded from the -civil government and fled from Bonn, the ecclesiastical authority in -Cologne being empowered by the Emperor to rule in his stead. The next -year, the great success of the French armies against the allies was -celebrated by Joseph Clemens with all pomp in Namur, where he then was; -but his triumph was short. John Churchill, then Earl of Marlborough, -took the field as commander-in-chief of the armies of the allies. His -foresight, energy and astonishing skill in action justified Addison's -simile--whether sublime or only pompous--of the angel riding in the -whirlwind and directing the storm. He was soon at Cologne, whence he -despatched Cochorn to besiege Bonn. That great general executed his -task with such skill and impetuosity, that on May 15 (1703) all was -ready for storming the city, when d'Allegre, the French commander, -offered to capitulate, and on the 19th was allowed to retire. "Now -was Bonn for the third time wrested from the hands of the French and -restored to the archbishopric, but alas, in a condition that aroused -indignation, grief and compassion on all sides," says Mueller. - -Leopold was still kindly disposed toward Joseph Clemens, but he -died May 5, 1705, and his successor, Joseph I, immediately declared -him under the ban of the Empire. This deprived him of the means and -opportunities, as Elector, for indulging his passion for pomp and -display, while his neglect hitherto, under dispensations from the -Pope, to take the vows necessary to the performance of ecclesiastical -functions, was likewise fatal to that indulgence as archbishop. But -this could be remedied; Fenelon, the famous Archbishop of Cambray, -ordained him subdeacon August 15, 1706; the Bishop of Tournay made -him deacon December 8, and priest on the 25th; on January 1, 1707, -he read his first mass at Lille, and indulged his passion for parade -to the full, as a pamphlet describing the incident, and silver and -copper medals commemorating it, still evince. "Two years later, May 1, -1709, Joseph Clemens received from Fenelon in Ryssel (Lille) episcopal -consecration and the pallium."--(Mueller.) Upon the victory of Oudenarde -by Marlborough, and the fall of Lille, he took refuge in Mons. The -treaty of Rastadt, March, 1714, restored him to his electoral dignities -and he returned to the Rhine; but Dutch troops continued to hold Bonn -until December 11, 1715. On the morning of that day they evacuated -the city and in the afternoon the Elector entered in a grand, solemn -procession commemorated by an issue of silver medals. - -During all these vicissitudes Joseph Clemens, from whatever source -he derived the means, did not suffer his music to deteriorate and, -returned to Bonn, no sooner was the public business regulated and -restored to its former routine than he again turned his attention to -its improvement. - -Joseph Clemens died November 12, 1723, having previously secured the -succession to his nephew Clemens August, last of the five Electors -of Cologne of the Bavarian line. The new incumbent, third son of -Maximilian Emanuel, Elector of Bavaria and his second wife, a daughter -of the celebrated John Sobieski of Poland, was born August 17, 1700, -at Brussels, where his father resided at the time as Governor General. -From his fourth to his fifteenth year he had been held in captivity -by the Austrians at Klagenfurt and Gratz; then, having been destined -for the church, he spent several years at study in Rome. As a child -in 1715 he had been appointed coadjutor to the Bishop of Regensburg; -in 1719 he was elected to the two sees of Paderborn and Muenster made -vacant by the death of his brother Moritz, was chosen coadjutor to his -uncle of Cologne in 1722, made his solemn entry into Bonn as elector -May 15, 1724, was the same year also elected Bishop of Hildesheim, in -1725 Provost of the Cathedral at Liege, 1728 Bishop of Osnabrueck, and, -finally, in 1732 reached the dignity of Grand Master of the Teutonic -Order. - -THE RULE OF ELECTOR CLEMENS AUGUST - -His rule is distinguished in the annals of the electorate for little -else than the building, repairing, renewing and embellishing of -palaces, hunting-seats, churches, convents, and other edifices. At -Bonn he erected the huge pile the foundation of which had been laid -by his uncle, now the seat of the university. The handsome City Hall -was also his work; the villa at Poppelsdorf was enlarged by him into -a small palace, Clemensruhe, now the University Museum of Natural -History. In Bruehl, the Augustusburg, now a Prussian royal palace, -dates from his reign, and Muenster, Mergentheim, Arnsberg and other -places show similar monuments of his prodigality in the indulgence of -his taste for splendor. "Monstrous were the sums," says Dr. Ennen, -"squandered by him in the purchase of splendid ornaments, magnificent -equipages, furniture costly for its variety, and of curious works of -art; upon festivities, sleighing-parties, masquerades, operas, dramas -and ballets; upon charlatans, swindlers, female vocalists, actors and -dancers. His theatre and opera alone cost him 50,000 thalers annually -and the magnificence of his masked balls, twice a week in winter, is -proof sufficient that no small sums were lavished upon them." - -The aggregate of the revenues derived from the several states of which -Clemens August was the head nowhere appears; but the civil income of -the electorate alone had, in his later years, risen from the million -of florins of his predecessor to about the same number of thalers--an -increase of some 40 per centum; added to this were large sums derived -from the church, and subsidies from Austria, France and the sea-coast -states amounting to at least 14,000,000 francs; indeed, during the -Elector's last ten years the French subsidies alone made an aggregate -of at least 7,300,000 francs; in 1728 Holland paid on account of -the Clemens Canal 76,000 thalers. At the centennial opening of the -strong-box of the Teutonic Order he obtained the fat accumulations of -a hundred years; and 25 years later he opened it again. Yet, though -during his rule peace was hardly interrupted in his part of Europe, he -plunged ever deeper and more inextricably into debt, leaving one of -large proportions as his legacy to his successor. He was a bad ruler, -but a kindly, amiable and popular man. How should he know or feel the -value of money or the necessity of prudence? His childhood had been -spent in captivity, his student years in Rome, where, precisely at -that period, poetry and music were cultivated, if not in very noble -and manly forms, at least with a Medicean splendor. The society of -the Arcadians was in full activity. True, both Clemens August and -his brother were under the age which enabled them to be enrolled as -"Shepherds," and consequently their names appear neither in Crescembini -nor in Quadrio; but it is not to be supposed that two young princes, -already bishops by election and certain of still higher dignities in -the future, were excluded from the palaces of Ruspoli and Ottoboni, -from those brilliant literary, artistic and luxurious circles in which, -only half a dozen years before, their young countryman, the musician -Handel, had found so cordial a welcome. Those were very expensive -tastes, as the citation from Ennen shows, which the future elector -brought with him from Rome. Italian palaces, Italian villas, churches, -gardens, music, songstresses, mistresses, an Italian holy staircase on -the Kreuzberg (leading to nothing); Italian pictures, mosaics and, what -not? All these things cost money--but must he not have them? - -This elector is perhaps the only archbishop on record to whose epitaph -may truthfully be added: "He danced out of this world into some -other";--which happened in this wise: Having, in the winter of 1760-61, -by some unexpected stroke of good fortune, succeeded in obtaining from -the usually prudent and careful bankers of Holland a loan of 80,000 -thalers, he embraced the opportunity of making a long-desired visit to -his family in Munich. Owing to a sudden attack of illness he was once -on the point of turning back soon after leaving Bonn. He persevered, -however, reached Coblenz and crossed over to the palace of the Elector -of Treves at Ehrenbreitstein, where he arrived at 4 P.M. February 5, -1761. At dinner an hour later he was unable to eat; but at the ball, -which followed, he could not resist the fascination of the Baroness -von Waldendorf--sister of His Transparency of Treves--and danced with -her "eight or nine turns." Of course he could not refuse a similar -compliment to several other ladies. The physical exertion of dancing, -joined to the excitement of the occasion and following a dreary -winter-day's journey, was too much for the enfeebled constitution of -a man of sixty years. He fainted in the ballroom, was carried to his -chamber and died next day. - -APPOINTMENTS IN THE ELECTORAL CHAPEL - -It seems to have been the etiquette, that when an elector breathed -his last, the musical chapel expired with him. At all events, no -other explanation appears of the fact that so many of the petitions -for membership, which are still preserved, should be signed by men -who had already been named in the Court Calendars. It is also to be -remarked that some of the petitioners receive appointments "without -salary." These seem to have been appointments of the kind, which in -later years were distinguished in the records and in the calendars by -the term "accessist," and which, according to the best lights afforded -by the archives, may be considered as having been provisional, until -the incumbent had proved his skill and capacity, or until a vacancy -occurred through the death or resignation of some old member. There -are indications that the "accessists," though without fixed salary, -received some small remuneration for their services; but this is by no -means certain. It would seem that both vocalists and instrumentists -who received salaries out of the state revenues were limited to a -fixed number; that the amount of funds devoted to this object was -also strictly limited and the costs incurred by the engagement of -superior artists with extra salaries, or by an increase of the number, -were defrayed from the Elector's privy purse; that the position -of "accessist" was sought by young musicians as a stepping-stone -to some future vacancy which, when acquired, insured a gradually -increasing income during the years of service and a small pension when -superannuated; that the etiquette of the court demanded, even in cases -when the Elector expressly called some distinguished artist to Bonn, -that the appointment should be apparently only in gracious answer to -an humble petition, and that, with few exceptions, both singers and -members of the orchestra were employed in the church, the theatre and -the concert-room. - -Clemens August made his formal entry into Bonn, May 15, 1724. A number -of petitions are passed over, but one granted "without salary" on -February 18, 1727, from Van den Eeden must be given in its entirety: - - Supplique tres humble a S. A. S. E. de Cologne - pour Gille Vandeneet. - BONN, d. 18 Feb., 1727. - - Prince Serenissime, - Monsigneur. - - Vandeneet vient avec tout le respect qui luy est possible se - mettre aux pieds de V. A. S. E. luy representer qu'ayant eu - l'honneur d'avoir estre second organiste de feu S. A. S. E. - d'heureuse memoire, elle daigne luy vouloir faire la meme grace - ne demendant aucun gage si long tems qu'il plaira a V. A. S. E. - promettant la servire avec soin et diligence. - - Quoi faisant etc. etc. - -On the same date Van den Eeden received his appointment as second court -organist. June 8, 1728, a decree is issued granting him a salary of 100 -florins. To a third petition the next year, signed Van den Enden, the -answer is an increase of his salary to 200 thalers, and thus a future -instructor of Ludwig van Beethoven becomes established in Bonn. The -records need not concern us now until we reach the following, which -forms part of the history of the grandfather of the subject of this -biography: - - March, 1733, - - _DECRETUM_ For Ludovicum van Beethoven as Electoral Court Musician. - - Cl. A. Whereas His Serene Highness Elector of Cologne, Duke - Clemens August in Upper and Lower Bavaria, etc. Our Gracious - Lord having, on the humble petition of Ludovico van Beethoven, - graciously declared and received him as Court Musician, and - assigned him an annual salary of 400 florins Rhenish, the present - decree under the gracious hand of His Serene Electoral Highness - and the seal of the Privy Chancellor, is granted to him, and the - Electoral Councillor and Paymaster Risack is herewith commanded - to pay the said Beethoven the 400 fl. _quartaliter_ from the - beginning of this year and to make a proper accounting thereof. - B... March, 1733. - -Thirteen years later we find this: - - Allowance of an additional 100 Thalers annually to the Chamber - Musician van Beethoven. - - Inasmuch as His Serene Highness Elector of Cologne, Duke Clement - August of Upper and Lower Bavaria, our most Gracious Lord has - increased the salary of his Chamber Musician van Beethoven by - the addition of 100 thalers annually which became due through - the death of Joseph Kayser, instrument maker, the Court Chamber - Councillor and Paymaster Risach is hereby informed and graciously - commanded to pay to him the said Beethoven the 100 fl. a year in - quarterly installments against voucher from the proper time and to - make the proper accounting. Witness, etc. Poppelsdorf, August 22, - 1746. - -On May 2, 1747, Johann Ries became Court Trumpeter with a salary of -192 thalers. This is the first representative we have met of a name -which afterwards rose to great distinction, not only in the orchestra -of the Elector but also in the world at large. On March 5, 1754, he -was formally appointed Court Musician (violinist) having set forth in -his petition that instead of confining himself to the trumpet he had -made himself serviceable in the chapel by singing and playing other -instruments. Later he took ill and was sent to Cologne. We shall -presently meet his two daughters and his son Franz Ries, the last of -whom will figure prominently in the life-history of Beethoven. Under -date March 27, 1756, occur several papers which have a double interest. -They relate to the Beethoven family and are so complete as to exhibit -the entire process of appointment to membership in the electoral -chapel. The original documents are not calculated to give the reader -a very exalted idea of the orthographical knowledge of the petitioner -or the Chamber Music Director Gottwaldt; but that fault gives us the -clue to the correct pronunciation of the name Beethoven--the English -"Beet-garden." - -JOHANN VAN BEETHOVEN BECOMES "ACCESSIST" - - To His Electoral Serenity of Cologne, etc. My most Gracious Lord - the humble petition and prayer of - Joan van Biethoffen. - - Most Reverend, most Serene Elector, - Most Gracious Lord, Lord, etc. - - May it please your Electoral Serenity graciously to hear the - humble representations how in the absence of voices in Your - Highness's Court Chapel my insignificant self took part in the - music for at least four years without the good fortune of having - allotted by Your Serene Electoral Highness a small _salario_. - - I therefore pray Your Serene Electoral Highness most humbly that - it graciously please you (in consideration of my father's faithful - service for 23 years) to rejoice me with a decree as court - musician, which high grace will infuse me with zeal to serve Your - Serene Highness with the greatest fidelity and zealousness. - - Your - Serene Electoral Highness's - Most humble-obedient-faithful servant, - Joan van Biethoffen. - - To the Music Director Gottwaldt for a report of his humble - judgment. Attestation by the most gracious sign manual and seal of - the privy chancellary. - - Bonn, March 19, 1756. - (Signed) Clemens August (L.S.) - - Most reverend, most serene Elector, - Most gracious Lord, Lord, etc. - - Your Serene Electoral Highness has referred to my humble judgment - the petition of Joan van Piethoffen, the supplicant prays Your - Electoral Highness for a gracious decree as accessist in the - court music, he has indeed served for two years with his voice on - the Duc Sall (doxal), hopes in time to deserve the good will of - Your Serene Highness by his industry, and his father who enjoys - the grace of serving Your Highness as bass singer prays his - appointment, I pray most humbly and obediently for instruction - concerning your Highness's good will in the matter, submit myself - humbly and obediently to Your Serene Highness's grace and remain - in greatest humility. - - Your Serene and Electoral Highness's - Most Humble and obedient servant - Gottwaldt, Director of the - Chamber Music. - -A further report was made to the Elector as follows: - - BONN, March 27, 1756. - _Coloniensis gratiosa._ - - Chamber Music Director Gottwaldt _ad supplicam_ of Joan van - Betthoffen has served two years on the docsal and hopes through - his industry to serve further to the satisfaction of Your - Electoral Highness, to which end his father who through Your - Highness's grace serves as bass singer will seek completely to - qualify him which may it please Your Serene Highness to allow. - - _Idem_ Gottwaldt _ad supplicam_ Ernest Haveckas, accessist in the - court music, reports that suppliant, though not fully capable - as yet hopes by special diligence to make himself worthy of - Your Highness's service and would be encouraged and rejoiced in - his efforts if Your Serene Highness would graciously deign to - grant him a _decreto_, humbly praying to be informed as to Your - Highness's wishes in the matter. - - _DECRETUM_ - - Court Musician's Decree for Johan van Biethofen. - - _Clm. A._ Whereas His Serene Electoral Highness of Cologne, Duke - Clement August in Upper and Lower Bavaria etc. Our Gracious Lord - on the humble petition of Johan van Biethofen and in consideration - of his skill in the art of singing, also the experience in the - same already gained, having graciously declared and accepted - him as court musician, appoint and accept him by this writing; - therefore the said Biethofen receives this decree with the - gracious sign manual and seal of the Privy Chancellary, and those - who are concerned to recognize him hereafter as an Electoral court - musician and to pay him such respect as the position deserves. - - Bonn, March 25, 1756. - -Johann van Beethoven was 16 years old at this time. Why he should -appear in the Court Calendar as an _accessist_ four years after the -publication of this decree appointing him Court Musician does not -appear. - -THE DUTIES OF COURT CHAPELMASTERS - -But slender success has rewarded the search for means of determining -the character and quality of that opera and music, upon which, -according to Ennen, Clemens August lavished such large sums. The period -embraced in that elector's rule (1724-1761) was precisely that in which -the _old_ Italian opera, the oratorio and the sacred cantata reached -their extreme limits of development through the genius of Handel and -J. S. Bach. It closes at the moment when Gluck, C. P. E. Bach and -Joseph Haydn were laying the immovable foundations of a new operatic, -orchestral and pianoforte music, and before the perfected sonata-form, -that found universal adoption in all compositions of the better class, -not vocal. Little music comparatively was issued from the press in -those days, and consequently new forms and new styles made their way -slowly into vogue. Another consequence was that the offices of composer -for the chamber, the church, the comedy, or however they were named, -were by no means sinecures--neither at the imperial court of Maria -Theresia, nor at the court of any petty prince or noble whose servants -formed his orchestra. Composers had to furnish music on demand and as -often as was necessary, as the hunter delivered game or the fisherman -fish. What a volume of music was produced in this manner can be seen -in the case of Joseph Haydn at Esterhaz, whose fruitfulness did not, -in all probability, exceed that of many another of his contemporaries. -The older Telemann furnished compositions to the courts of Bayreuth -and Eisenach as well as the Gray Friars at Frankfort-on-the-Main, and -also performed his duties as musical director and composer at Hamburg. -He wrote music with such ease that, as Handel said, he could write -for eight voices as rapidly as an ordinary man could write a letter. -Under such conditions did the men write who are mentioned as official -composers in our narrative. It is probable that not a note of theirs -remains in existence, and equally probable that the loss is not at -all deplorable except as it leaves the curiosity of an antiquary -unsatisfied. A few text-books to vocal pieces performed on various -occasions during this reign have been preserved, their titles being -"Componimento per Musica," music by Giuseppe dall'Abaco, Director of -the Chamber Music (1740); "La Morte d'Abel" (no date is given, but -"il Signor Biethoven" sang the part of _Adamo_); "Esther" ("From the -Italian of S. F. A. Aubert," the text partly in German, partly in -Italian); "Anagilda" (_Drama per Musica_). - -After the unlucky ball at Ehrenbreitstein the crook and sceptre -of Cologne passed from the Bavarian family which had so long held -them into the hands of Maximilian Friedrich of the Suabian line -Koenigsegg- (or Koenigseck-) Rothenfels. For a century or more this -house had enjoyed fat livings in the church at Cologne, in which -city the new elector was born on May 13, 1708. He was the fourth of -his race who had held the important office of Dean of the Cathedral, -from which post he was elevated to the electorship on April 6, 1761, -and to the ecclesiastical principality of Muenster the next year; -with which two sees he was fain to be content. He was by nature an -easy, good-tempered, indolent, friendly man, of no great force of -character--qualities which in the incumbent of a rich sinecure just -completing his fifty-third year, would be too fully confirmed and -developed by habit to change with any change of circumstances; and -which, says Stramberg, made him unusually popular throughout the land -despite the familiar little verse: - - Bei Clemens August trug man blau und weiss, - Da lebte man wie im Paradeis; - Bei Max Friedrich trug man sich schwarz und roth, - Da litt man Hunger wie die schwere Noth. - -The condition of the finances had become such through the extravagant -expenditures of Clemens August that very energetic measures were -necessary, and to the effects of these, during the first few years of -Max Friedrich's rule, in throwing many persons out of employment, these -doggerel lines doubtless owe their origin. - -MAX FRIEDRICH AND HIS MINISTER - -It was fortunate for the Elector's subjects that his indolence was -made good by the activity and energy of a prime minister who found -his beau ideal of a statesman in Frederick II of Prussia, whom, in -his domestic policy, he imitated as far as the character of the -two governments allowed. This was equally if not more true in the -principality of Muenster. To the respect which one must feel for the -memory of Belderbusch, the all-powerful minister at Bonn, is added, -in the case of Fuerstenberg, the equally powerful minister at Muenster, -admiration and regard for the man. The former was respected, feared, -but not loved in the electorate; the latter was respected and very -popular in the principality. To Kasper Anton von Belderbusch the new -Elector owed his elevation; to his care he entrusted the state; to -his skill and strength of character he was indebted for release from -the pecuniary difficulties which beset him and for the satisfaction, -as the years rolled by, of seeing his states numbered among the most -prosperous and flourishing in Germany. Belderbusch's first care was -to reduce the expenditure. "He put a stop to building," says Ennen, -"dismissed a number of the actors, restricted the number of concerts -and court balls, dispensed with the costly hunts, reduced the salaries -of court officials, officers and domestics, lessened the _etat_ for the -kitchen, cellar and table of the prince, turned the property left by -Clemens August into money and comforted the latter's creditors with the -hope of better times." But though economy was the rule, still, where -the Elector considered it due to his position, he could be lavish. -Whatever opinions may be entertained as to the wisdom and expediency of -clothing ecclesiastics with civil power, it would be unjust not to give -the bright as well as the dark side of the picture. This is well put -by Kaspar Risbeck in relation to the Rhenish states whose princes were -churchmen, and his remarks are in place here, since they relate in part -to that in which the childhood and youth of Beethoven were spent. - - The whole stretch of the country from here to Mayence is one of - the richest and most populous in Germany. Within this territory - of 18 German miles there are 20 cities lying hard by the shore of - the Rhine and dating, for the greater part, from the period of - the Romans. It is still plainly to be seen that this portion of - Germany was the first to be built up. Neither morasses nor heaths - interrupt the evidences of cultivation which stretch with equal - industry far from the shores of the river over the contiguous - country. While many cities and castles built under Charlemagne - and his successors, especially Henry I, in other parts of Germany - have fallen into decay, all in this section have not only been - preserved but many have been added to them.... The natural wealth - of the soil in comparison with that of other lands, and the easy - disposition of its products by means of the Rhine, have no doubt - contributed most to these results. Nevertheless, great as is the - prejudice in Germany against the ecclesiastical governments, they - have beyond doubt aided in the blooming development of these - regions. In the three ecclesiastical electorates which make up - the greater part of this tract of land nothing is known of those - tax burdens under which the subjects of so many secular princes - of Germany groan. These princes have exceeded the old assessments - but slightly. Little is known in their countries of serfdom. The - appanage of many princes and princesses do not force them to - extortion. They have no inordinate military institution, and do - not sell the sons of their farmers; and they have never taken so - active a part in the domestic and foreign wars of Germany as the - secular princes. Though they are not adept in encouraging their - subjects in art culture, varied agriculture has been developed to - a high degree of perfection throughout the region. Nature does of - its own accord what laws and regulations seek to compel, as soon - as the rocks of offence are removed from the path.[1] - -Henry Swinburne, whose letters to his brother were published long after -his death under the title of "The Courts of Europe," writes under date -of November 29, 1780: - - Bonn is a pretty town, neatly built, and its streets tolerably - well paved, all in black lava. It is situated in a flat near the - river. The Elector of Cologne's palace faces the South entry. It - has no beauty of architecture and is all plain white without any - pretensions. - - We went to court and were invited to dine with the Elector - (Koenigsegge). He is 73 years old, a little, hale, black man, very - merry and affable. His table is none of the best; no dessert - wines handed about, nor any foreign wines at all. He is easy and - agreeable, having lived all his life in ladies' company, which he - is said to have liked better than his breviary. The captains of - his guard and a few other people of the court form the company, - amongst whom were his two great-nieces, Madame de Hatzfeld and - Madame de Taxis. The palace is of immense size, the ball-room - particularly large and low.... The Elector goes about to all the - assemblies and plays at Tric-trac. He asked me to be of his party - but I was not acquainted with their way of playing. There is every - evening an assembly or play at court. The Elector seems very - strong and healthy, and will, I think, hold the Archduke a good - tug yet. - -This Archduke was Max Franz, youngest son of Maria Theresia, whose -acquaintance Swinburne had made in Vienna, and who had just been chosen -coadjutor to Max Friedrich. A curious proof of the liberality, not to -say laxity, of the Elector's sentiments in one direction is given by -Stramberg in his "Rheinischer Antiquarius," to wit, the possession of -a mistress in common by him and his minister Belderbusch--the latter -fathering the children--and this mistress was the Countess Caroline von -Satzenhofen, Abbess of Vilich! - -CHAPELMASTER LUDWIG VAN BEETHOVEN - -The reduction which was made by Belderbusch upon the accession of Max -Friedrich in the expenses of the theatre and other amusements does not -appear, except in the case of the chapelmaster, to have extended to the -court music proper, nor to have been long continued in respect to the -"operetta and comedy." The first in order of the documents and notices -discovered relating to the musical establishment of this Elector are of -no common interest, being the petition of a candidate for the vacant -office of chapelmaster and the decree appointing him to that position. -They are as follows: - - Very Reverend Archbishop and Elector - most gracious Lord Lord! - - May it please Your Electoral Grace to permit a representation of - my faithfully and dutifully performed services for a considerable - space as vocalist as well as, since the death of the chapelmaster, - for more than a year his duties _in Dupplo_, that is to say by - singing and wielding the baton concerning which my demand still - remains _ad referendum_ much less have I been assured of the - position. Inasmuch as because of particular _recommendation_ - Dousmoulin was preferred over me, and indeed unjustly, I have been - forced hitherto to submit to fate. - - But now, gracious Elector and Lord, that because of the reduction - in salaries Chapelmaster Dousmoulin has already asked his - demission or will soon do so, and I at the command of Baron - Belderbusch am to begin _de novo_ to fill his office, and the same - must surely be replaced,--Therefore - - There reaches Your Electoral Grace my humble petition that you - may graciously be pleased (: inasmuch as the "Toxal" must be - sufficiently supplied with _musique_, and I must at all events - take the lead in the occurring church ceremonies _in puncto_ the - chorales:) to grant me the justice of which I was deprived on the - death of Your Highness's _antecessori_ of blessed memory, and - appoint me chapelmaster with some augmentation of my lessened - salary because of my services performed in _Duplo_. For which - highest grace I shall pour out my prayers to God for the long - continuing health and government of your Electoral Grace, while in - deepest submission I throw myself at your feet. - - Your - Electoral Grace's - most humble servant - Ludwig van Beethoven - "Passist." - - M. F. Whereas We, Maximilian Friedrich, Elector of Cologne, on the - demission of our former chapelmaster Touche Moulin, and the humble - petition of our bass singer Ludwig van Beethoven have appointed - the latter to be chapelmaster with the retention of his position - as bass singer, and have added 97 rthlr. _species_ 40 alb. to his - former salary of 292 rthlr. _species_ 40 alb. per annum divided - in _quartalien_, which appointment is hereby made and payment - ordered by our grace, our exchequer and all whom it may concern - are called on to observe the fact and do what is required under - the circumstances. - - Attest, etc. - - Bonn, July 16, 1761. - -Next in order, at an interval of rather more than a year, is the -following short paper in reply to a petition, not preserved, of the new -chapelmaster's son: - - _Supplicanten_ is hereby graciously assured that in the event of - a _vacatur_ of a court musician's salary he shall have special - consideration. Attest our gracious sign manual and the impress of - the seal of the Privy Chancellary. - - Bonn, November 27, 1762. - - Max Fried. Elector. - v. Belderbusch, (:L. S.:) - -About December, 1763, a singer, Madame Lentner, after some four and -a half years of service, threw up her appointment, giving occasion, -through the vacancy thus caused, for the following petition, report and -decrees: - - Most Reverend Elector, Most Gracious - Lord, Lord. - - Will Your Electoral Grace deign to receive the representation that - by the acceptance of service elsewhere of Court Musician Dauber - there has fallen to the disposition of Your Reverend Electoral - Grace a salary of 1,050 rth., wherefore I, Joannes van Beethoven, - having graciously been permitted for a considerable time to serve - as court musician and have been graciously assured by decree of - appointment to the first vacancy, and have always faithfully and - diligently performed my duties and graciously been permitted to - be in good voice, therefore my prayer is made to Your Reverend - and Electoral Grace for a grant of the aforesaid 1,050 rth. or a - gracious portion thereof, which act of highest grace I shall try - to merit by fidelity and zeal in the performance of my duties. - - Your - Reverend Electoral Grace's - most obedient servant - Joannes van Beethoven, - vocalist. - -This petition was seconded by the father in the following manner: - - Most Reverend Archbishop and Elector, - Most gracious Lord, Lord. - - Your Electoral Grace having graciously been pleased to submit for - my humble report the humble petition of Your Highness's court - musician Joann Ries that his daughter be appointed to the place - in the court music of Your Highness made vacant by the discharged - soprano Lentner _sub Litt. A._ - - Humbly obeying Your gracious command I submit an impartial report - that for about a year the daughter of the court musician Ries has - frequented the "Duc sahl" (doxal) and sung the soprano part and - that to my satisfaction. - - But now that my son Joannes van Beethoven has already for 13 years - sung soprano, contralto and tenor in every emergency that has - arisen on the "Duc sahl," is also capable on the violin, wherefore - Your Reverend Electoral Grace _27 Novembris 1762_ granted the - accompanying decree graciously bearing your own high sign manual - _sub Litt. B._ - - My humble and obedient but not anticipatory opinion is that the - court singer Lentner's vacated salary _ad_ 300 fl. (: who went - away without the gracious permission of Your Highness over a - quarter of a year ago and reported to me _in specie_ she was going - without permission and would not return:) be graciously divided so - that my son be decreed to receive 200 florins and the daughter of - Court Musician Ries 100 fl. - - _Zu Ewr. Churfuerst. gnaden bestaendige hulden und gnaden mich - unterthaenigst erlassendt in tieffester submission ersterbe._ - - Your Reverend Electoral Grace's - most humble and obedient - Ludwig van Beethoven, - Chapel Master. - -JOHANN VAN BEETHOVEN'S SALARY - -Increase of salary of 100 rthr. for Court Musician Beethoven. - - M. F. - - Whereas We, Maximilian Friedrich, Elector of Cologne, on the - humble petition of our court musician Johann van Beethoven, have - shown him the grace to allow him 100 rthr. out of the salary - vacated by the departure of the singer Lentner to be paid annually - in _quartalien_ we hereby confirm the allowance; for which this - decree is graciously promulgated to be observed by our Electoral - exchequer which is to govern itself accordingly. - - Attest p. - Bonn, April 24, 1764. - -Under the same date a decree was issued appointing Anna Maria Ries, -daughter of Johann Ries, Court Singer, with a salary of 100 th. also -out of that of the Lentner. A few days later the following action was -taken: - - M. F. E. - - To the Electoral Exchequer touching the appointment of Court - Musician Beethoven and the Singer Ries. - - You are hereby graciously informed that our court musician - Bethoven junior and the singer Ries will soon lay before you two - decrees of appointment. Now inasmuch as with this the salary of - the former singer Lentner is disposed of but since she received - an advance of 37-1/2 rth. from our Master of Revenues and 18 - rth. _spec._ was paid to her creditors we graciously command you - herewith so to arrange the payment of the two salaries that the - advance from the Revenues and then the payment to the creditors be - covered from the Lentner's salary; and that until this is done the - salaries of the beforementioned Ries and Bethoven do not begin. - - We etc. - Bonn, April 27, 1764. - -On April 3, 1778, Anna Maria Ries received an additional 100 fl. A few -more documents lead us to the family of Johann Peter Salomon: - - _ad Supplicam_ Philip Salomon. - - To inform our chapelmaster van Betthoven appointed on his humble - petition that we are not minded to grant the letter prayed for - to the Prince v. Sulkowsky, but in case his son is not returned - by the beginning of the coming month 8bris, we are graciously - determined to make disposition of his place and salary. - - Attest. Muenster, August 8, 1764. - Sent, the 22 _dito_. - -In spite of this order on July 1, 1765, the Elector gave a document -to the son, Johann Peter Salomon, certifying that he had served -him faithfully and diligently and had "so conducted himself as to -deserve to be recommended to every one according to his station."[2] -On petition of Philipp Salomon, the father, he and his daughter were -appointed Court Musicians by decree dated August 11, 1764. - -Several papers, dated April 26, 1768, although upon matters of very -small importance, have a certain interest as being in part official -communications from the pen of Chapelmaster van Beethoven, and -illustrating in some measure his position and duties. They show, -too, that his path was not always one bordered with roses. Being -self-explanatory they require no comment: - -I. - - Most Reverend Archbishop and Elector, - Most Gracious Lord, Lord. - - Will Your Electoral Grace deign to listen to the complaint that - when Court Singer Schwachhofer was commanded in obedience to an - order of His Excellency Baron von Belderbusch to alternate with - Jacobina Salomon in the singing of the solos in the church music - as is the custom, the said Schwachhofer in the presence of the - entire chapel impertinently and literally answered me as follows: - I will not accept your _ordre_ and you have no right to command me. - - Your Electoral Grace will doubtless recall various _disordre_ - on the part of the court chapel indicating that all respect and - _ordonance_ is withheld from me, each member behaving as he sees - fit, which is very painful to my sensibilities. - - Wherefore my humble prayer reaches Your Electoral Highness that - the public affront of the Schwachhofer be punished to my deserved - _satisfaction_ and that a decree issue from Your Highness to the - entire chapel that at the cost of Your Gracious displeasure or - punishment according to the offence my _ordre_ shall not be evaded. - - Your Electoral Grace's - Humble and Most Obedient Servant - Ludovicus van Beethoven. - -II. - - To Chapelmaster van Beethoven - Concerning the Court Musicians. - M. F. E. - - Receive the accompanying Command to the end that its contents be - conveyed to all of our court musicians or be posted on the "toxal." - - We remain, etc. - Bonn, April 26, 1768. - -III. - - Command respecting the Court Musicians. - - Having learned with displeasure that several of our court - musicians have tried to evade the _ordre_ issued by our Chapel - Master or refused to receive them from him, and conduct themselves - improperly amongst themselves, all of our court musicians are - hereby earnestly commanded without contradiction to obey all the - commands given by our Chapel Master in our name, and bear peaceful - relations with each other, since we are determined to proceed with - rigor against the guilty to the extent of dismissal in certain - cases. - - Sig. Bonn, April 26, 1768. - -JOHANN VAN BEETHOVEN NEEDS MORE MONEY - -On November 17, 1769, Johann van Beethoven submits a petition in -which he exhibits anew his genius for devising methods for varying -the spelling of his own name. That he could no longer live on 100 th. -salary is evident when it is remembered that he has now been married -two years; but as there were several applicants for the salary which -had fallen to the disposal of the Elector, it was divided among the -four most needy. Beethoven's memorial contains a fact or two in regard -to his duties as Court Musician which are new: - - To - His Electoral Grace - of Cologne, etc., etc. - - The Humble Supplication - and Prayer - of - Johann Bethof, Court Musician. - - Most Reverend Archbishop and Elector, - Most Gracious Lord, Lord. - - May Your Most Reverend Electoral Grace, graciously permit the - presentation of this humble _supplicando_, how for many years I - have served Your Highness faithfully and industriously on the - "Duc saahl" and the theatre, and also have given instruction in - various _supjecta_ concerning the aforesaid service to the entire - satisfaction of Your Electoral Grace, and am engaged now in study - to perfect myself to this end. - - My father also joins in this _supplic_ in his humble capacity of - the _theatri_ and will participate in the gladness should Your - Electoral Grace graciously grant the favor; as it is impossible - for me to live on the salary of 100 th. graciously allowed me, I - pray Your Electoral Grace to bestow upon me the 100 th. left at - Your gracious disposal by the death of Your court musician Philip - Haveck; to merit this high grace by faithful and diligent service - shall be my greatest striving. - - Your Electoral Grace's - most humble - Joannes Bethof, - Court Musician. - -In answer to this there came the following decree: - - Whereas we, Max. Frid. p. on the death of Court Musician Philipp - Haveck and the submissive petition of our court musician Philipp - Salomon bestowed upon him the grace of adding 50 fl. for his - two daughters to the salary which he already enjoys out of the - salary of the above mentioned Haveck per year; we confirm the act - hereby; wherefore we have graciously issued, this decree, which - our Electoral Court Exchequer will humbly observe and make all - necessary provisions. - - Attest, p. Muenster, 17th 9bris 1769. - - (On the margin:) "Gracious addition of 50 fl. for the court - musician Philipp Salomon" and, besides Brandt and Meuris, also - "_in simili_ for Court Musician Joann Bethoff 25 fl." - -There need be no apology for filling a few more pages with extracts -from documents found in the Duesseldorf archives; for now a period has -been reached in which the child Ludwig van Beethoven is growing up -into youth and early manhood, and thrown into constant contact with -those whose names will appear. Some of these names will come up many -years later in Vienna; others will have their parts to play in the -narrative of that child's life. Omitting, for the present, a petition -of Johann van Beethoven, we begin them with that of Joseph Demmer, of -date January 23, 1773, which first secured him his appointment after a -year's service and three months' instruction from "the young Mr. van -Beethoven." - - Most Reverend Archbishop and Elector, - Most Gracious Lord, etc., etc. - - I have been accepted as chorister in the cathedral of this city at - a salary of 80 th. per year, and have so practised myself in music - that I humbly flatter myself of my ability to perform my task - with the highest satisfaction. - - It being graciously known that the bass singer van Beethoven - is incapacitated and can no longer serve as such, and the - contra-bassist Noisten can not adapt his voice: therefore this my - submissive to Your Reverend Electoral Grace that you graciously - be pleased to accept me as your bass singer with such gracious - salary as may seem fit; I offer should it be demanded to attend - the operettas also and qualify myself in a short time. It depends - upon a mere hint from Your Electoral Grace alone; that it shall - not be burdensome to the cantor's office of the cathedral to save - the loss of the 80 th. yearly which it has bestowed upon me. - - I am in most dutiful reverence - Your Electoral Grace's - most obedient - Joseph Demmer. - - _Pro Memoria_. - - Cantor Demmer earned at the utmost 106 rth. per year if he - neglected none of the greater or little _Horis_. - - Pays the Chamber Chancellor Kuegelgen - for board, annually, 66 rth. - for _quartier_ (lodging) 12 rth. - - moreover, he must find himself in clothes and washing since his - father, the sub-sacristan in Cologne, is still overburdened with 6 - children. - - He has paid 6 rth. to young Mr. Beethoven for 3 months. - -JOSEPH DEMMER SUCCEEDS BEETHOVEN - -In response to another petition after the death of L. van Beethoven the -following decree was issued: - - Decree as Court vocal bass for Joseph Demmer. - - Whereas His Electoral Grace of Cologne, M. F. our most gracious - Lord, on the humble petition of Joseph Demmer has graciously - appointed and accepted him as His Highness's vocal bass on the - Electoral Toxal, with a yearly salary of 200 fl. divided in - _quartalien_ to begin with the current time, the appointment is - confirmed hereby and a decree granted to the same Demmer, of - which, for purposes of payment, the Electoral Chancellary will - take notice and all whom it may concern will respect and obey the - same and otherwise do what is necessary in the premises. Attest, - p. Bonn, May 29, 1774. - -Two years later leave of absence, but without salary, was granted to -Joseph Demmer to visit Amsterdam to complete his education in music. -Further notes from documentary sources: - - 1774. May 26. Andreas Lucchesi appointed Court Chapelmaster in - place of Ludwig van Beethoven, deceased, with a salary of 1,000 fl. - - May 29. Salary of Anna Maria Ries raised from 230 fl. to 300 - fl. On May 13, 1775, together with Ferdinand Trewer (Drewer), - violinist, she receives leave of absence for four months, to - begin in June with two quarters' pay in advance. In the Court - Calendar for 1775, which was printed about seven months in - advance, she is already described as Madame Drewers, nee Ries. She - was considered the best singer in the chapel. - - November 23. Franz Anton Ries has granted him 25 th. payable - quarterly. - - 1775. March 23. Nicolas Simrock appointed on petition "Court - Hornist on the Electoral Toxal, in the cabinet and at table," - and a salary of 300 fl. was granted April 1. This is the first - appearance in these records of a name which afterwards rose into - prominence. - - 1777. April 20. B. J. Maeurer, violoncellist, "who has served in - the court chapel from the beginning of the year till now on a - promise of 100 th.," prays for an appointment as court 'cellist - at a salary of 400 th. Appointed at a salary of 200 th.; we shall - have occasion to recur to him presently in connection with notices - touching Beethoven. - -Under date May 22, 1778, J. van Beethoven informs the Elector that -"the singer Averdonck, who is to be sent to Chapelmaster Sales at -Coblenz, is to pay 15 fl. per month for board and lodging but that -only a _douceur_ is to be asked for her instruction and that to take -her thither will cost 20 th." There followed upon this the following -document: - - To the humble announcement of Court Musician Beethoven - touching the singer Averdonck. - - Electoral Councillor Forlivesi is to pay to the proper authorities - for a year beginning next month, 15 fl. a month and for the - travelling expenses 20 rth. once and for all as soon as the - journey is begun. - - Attest. - p. Bonn, May 22, 1778. - -This pupil of Johann van Beethoven, Johanna Helena Averdonk, born in -Bonn on December 11, 1760, and brought forward by her teacher at a -concert in Cologne, received 120 th. "as a special grace" on July 2, -and was appointed Court Singer on November 18, 1780, with a salary of -200 th. She died nine years later, August 13, 1789. - -The petitions sent in to the Elector were rarely dated and were not -always immediately attended to; therefore the date of a _decretum_ is -not to be taken as conclusive in regard to the date of facts mentioned -in a petition. An illustration is afforded by a petition of Franz -Ries. He has returned from a tour to Vienna and prays for a salary of -500 fl. "not the half of what he can earn elsewhere." The petition is -dated March 2. Two months passing without bringing him an answer, he -petitions again and obtains a decree on May 2 that in addition to his -salary of 28 th. 2 alb. 6, he shall receive "annoch so viel,"--again as -much,--i. e., 400 fl. - - 1780. August. Court Organist Van den Eede prays that in - consideration of his service of 54 years he be graciously and - charitably given the salary vacated by the death of Court Musician - Salomon. Eighteen others make the same prayer. The decision of the - privy council is in these words: "To be divided between Huttenus - and Esch. A decree as musical vocalist must first be given to the - latter." - - 1781. February 15. The name of C. G. Neefe is now met with for - the first time. He petitions for appointment to the position of - organist in succession to Van den Eede, obviously aged and infirm. - A decree was issued "_placet et expediatur_ on the death of - Organist Van den Eede," and a salary of 400 fl. granted. - - 1782. May 16. Johann van Beethoven petitions for "the three - measures (_Malter_) of corn." - -The archives of Duesseldorf furnish little more during the time of Max -Frederick save certain papers relating to the Beethoven family, which -are reserved for another place. - -OPERA AT THE ELECTOR'S COURT - -The search for means to form some correct idea of the character of -the musical performances at the Elector's court during this reign -has been more successful than for the preceding; but much is left to -be desired down to the year 1778, when the theatre was placed upon a -different basis and its history is sufficiently recorded. Such notices, -however, in relation to the operatic entertainments as have been found -scattered, mostly in the newspapers of Bonn, in those years, are -numerous enough to give an idea of their character; while the remarks -upon the festivities of the court, connected with them, afford a pretty -lively picture of social amusement in the highest circle. We make room -for some of the most significant occurrences, in chronological order: - - 1764. January 3. Galuppi's opera "Il Filosofo di Campagna," given - in the Electoral Theatre with great applause. - - January 8. A grand assembly at the palace in the afternoon, a - magnificent supper in the grand gallery at which many spectators - were present, and finally a masked ball. - - March 23. Second performance of "La buona Figliuola," music by - Piccini. - - May 13. Elector's birthday; "Le Nozze," music by Galuppi, and two - ballets. - - May 20. "II Filosofo" again, the notice of which is followed by - the remark that the Elector is about removing to Bruehl for the - summer but will visit Bonn twice a week "on the days when operas - are performed." - - September 21. "La Pastorella al Soglio" (composer not named, - probably Latilla), and two ballets. - - December 16. "La Calamita di cuori," by Galuppi, and two ballets. - This was "the first performance by the Mingotti company under the - direction of Rizzi and Romanini." - - 1765. January 6. "Le Aventure di Rodolfo" (Piccini?), given by the - same company together with a pantomime, "L'Arlequino fortunato per - la Maggia." After the play there was a grand supper at which the - Pope's nuncio was a guest, and finally a masked ball kept up till - 6 o'clock in the morning. - - 1767. May 13. The Archbishop's birthday. Here is the programme - condensed from the long description of the festivities in the - "Bonnischer Anzeiger": 1, Early in the morning three rounds from - the cannon on the city walls; 2, The court and public graciously - permitted to kiss His Transparency's hand; 3, solemn high mass - with salvos of artillery; 4, Grand dinner in public, the pope's - nuncio, the foreign ministers and the nobility being the guests - and the eating being accompanied by "exquisite table-music"; 5, - After dinner "a numerously attended assembly"; 6, "A serenata - composed especially for this most joyful day" and a comic - opera in the palace theatre; 7, Supper of 130 covers; 8, _Bal - masque_ until 5 a. m. The two dramatic pieces were "Serenata - festivale, tra Bacco, Diana ed il Reno," the authors unnamed, - and "Schiava finta," _drama giocoso dal celebre don Francesco - Garzia_, _Spagnuolo_, the music probably by Piccini; "Giovanni van - Beethoven" sang the part of _Dorindo_. - - 1768. May 16. "On the stage of the Court Theatre was performed - with much applause a musical poem in German, specially written for - the birthday of His Highness, and afterward an Italian intermezzo - entitled 'La Nobilta delusa.'" - - 1769. The festivities in honor of the birthday of the Elector - took place May 17th, when, according to the "Anzeiger," "an - Italian musical drama written expressly for this occasion was - performed"--but the title suggests the possibility of a mistake; - "II Riso d'Apolline," with music by Betz, had been heard in 1701. - - 1771. A single discovery only for this year has rewarded search, - that of a text-book, one of particular interest: "Silvain," - comedie en une acte, melee d'ariettes, representee, etc. Text - by Marmontel, music by Gretry. _Dolmon pere_, Mons. Louis van - Beethoven, _Maitre de Chapelle_; _Dolmon, fils aine_, Jean van - Beethoven, etc. - - 1772. February 27. "Le Donne sempre Donne," music by Andreas - Lucchesi. - - In March, on occasion of the opening of the Estates, "La Contadine - in Corte," music by Sacchini. - - The pieces given on the birthday this year were "Il Natal di - Giove," music by Lucchesi, and "La buona Figliuola," music by - Piccini. On the 17th the latter was repeated on the arrival of the - French ambassador. - - 1773. May 30. The Elector's birthday; "L'Inganno scoperto, overo - il Conte Caramella," music by Lucchesi, in which Ludovico van - Beethoven sang the part of _Brunoro, contadino e tamburino_. - -VERSATILITY OF THE COURT MUSICIANS - -There are three more operettas which evidently belong to the succeeding -winter when the Bonn company had the aid of two singers from the -electoral court of Treves. Their titles are "L'Improvvisata, o sia -la Galanteria disturbata," by Lucchesi, "Li tre Amanti ridicoli," -by Galuppi, and "La Moda," by Baroni. Ludwig van Beethoven did not -sing in them. The means are still wanting to fill up the many gaps in -the annals of this period or to carry them on during the next three -years. Perhaps, however, the loss is not of much importance, for the -materials collected are sufficient to warrant certain conclusions in -regard to the general character of the court music. The musicians, -both vocal and instrumental, were employed in the church, concert-room -and theatre; their number remained without material change from the -days of Christopher Petz to the close of Chapelmaster van Beethoven's -life; places in this service were held to be a sort of heritage, -and of right due to the children of old incumbents, when possessed -of sufficient musical talent and knowledge; few if any names of -distinguished virtuosos are found in the lists of the members, and, -in all probability, the performances never rose above the respectable -mediocrity of a small band used to playing together in the light and -pleasing music of the day. - -The dramatic performances appear to have been confined to the operetta; -and the vocalists, who sang the Latin of the mass, seem to have been -required to be equally at home in German, Italian and French in the -theatre. Two visits of the Angelo Mingotti troupe are noted; and one -attempt, at least, to place the opera upon a higher basis by the -engagement of Italian songstresses, was evidently made in the time of -Clemens August.; it may be concluded that no great improvement was -made--it is certain that no permanent one was; for in the other case -the Bonn theatrical revolution of 1778 had not been needed. This must -be noticed in detail. - -Chronologically the following sketch belongs to the biography of Ludwig -van Beethoven, as it embraces a period which happens in his case to -be of special interest, young as he was;--the period from his 8th to -his 14th year. But the details given, though of great importance for -the light which they throw upon the musical life in which he moved -and acted, would hardly be of so much interest to most readers as to -justify breaking with them the course of the future narrative. - -It was a period of great awakening in theatrical matters. Princes -and courts were beginning everywhere in Germany to patronize the -drama of their mother tongue and the labors of Lessing, Gotter and -other well-known names, in the original production of German, or in -the translation of the best English, Italian and French plays, were -justifying and giving ever new impulse to the change in taste. From -the many itinerant troupes of players performing in booths, or, in the -larger cities, in the play-houses, the better class of actors were -slowly finding their way into permanent companies engaged and supported -by the governments. True, many of the newly established court theatres -had but a short and not always a very merry life; true, also, that -the more common plan was merely to afford aid and protection to some -itinerant troupe; still the idea of a permanent national theatre on the -footing of the already long-existing court musical establishments had -made way, and had already been carried out in various places before it -was taken up by the elector at Bonn. It can hardly be supposed that the -example of the imperial court at Vienna, with the immense means at its -disposal, could exert any direct influence upon the small court at Bonn -at the other extremity of Germany; but what the Duke of Gotha and the -elector at Mannheim had undertaken in this direction, Max Friedrich may -well have ventured and determined to imitate. But there was an example -nearer home--in fact in his own capital of Muenster, where he, the -prince primate, usually spent the summer. In 1775, Dobbler's troupe, -which had been for some time playing in that city, was broken up. - - The Westhus brothers in Muenster built up their own out of the - ruins; but it endured only a short time. Thereupon, under the - care of the minister, H. von Fuerstenberg (one of those rare - men whom heaven elects and equips with all necessary gifts to - cultivate what is good and beautiful in the arts), a meeting of - the lovers of the stage was arranged in May and a few gentlemen - of the nobility and a few from the parterre formed a council - which assumed the direction. The Elector makes a considerable - contribution. The money otherwise received is to be applied to the - improvement of the wardrobe and the theatre. The actors receive - their honoraria every month.[3] - -OPERA AND DRAMA AT BONN IN 1779 - -At Easter, 1777, Seyler, a manager famous in German theatrical annals, -and then at Dresden, finding himself unable to compete with his -rival, Bondini, left that city with his company to try his fortunes -in Frankfort-on-the-Main, Mayence, and other cities in that quarter. -The company was very large--the Theatre Lexicon (Article "Mainz") -makes it, including its orchestra, amount to 230 individuals!--much -too large, it seems, in spite of the assertion of the Theatre Lexicon, -to be profitable. Be that as it may, after an experience of a year or -more, two of the leading members, Grossmann and Helmuth, accepted an -engagement from Max Friedrich to form and manage a company at Bonn in -order that "the German art of acting might be raised to a school of -morals and manners for his people." Taking with them a pretty large -portion of Seyler's company, including several of the best members, the -managers reached Bonn and were ready upon the Elector's return from -Muenster to open a season. "The opening of the theatre took place," says -the Bonn "Dramaturgische Nachrichten," "on the 26th of November, 1778, -with a prologue spoken by Madame Grossmann, 'Wilhelmine Blondheim,' -tragedy in three acts by Grossmann, and 'Die grosse Batterie,' comedy -in one act by Ayrenhofer." The same authority gives a list of all the -performances of the season, which extended to the 30th of May, 1779, -together with debuts, the dismissals and other matters pertaining to -the actors. The number of the evenings on which the theatre was open -was 50. A five-act play, as a rule, occupied the whole performance, -but of shorter pieces usually two were given; and thus an opening was -found occasionally for an operetta. Of musical dramas only seven came -upon the stage and these somewhat of the lightest order except the -first--the melodrama "Ariadne auf Naxos," music by Benda. The others -were: - - 1779. February 21. "Julie," translated from the French by - Grossmann, music by Desaides. - - February 28. "Die Jaeger und das Waldmaedchen," operetta in one act, - music by Duni. - - March 21. "Der Hofschmied," in two acts, music by Philidor. - - April 9. "Roeschen und Colas," in one act, music by Monsigny. - - May 5. "Der Fassbinder," in one act, music by Oudinot. - - May 14. A prologue "Dedicated to the Birthday Festivities of His - Electoral Grace of Cologne, May 13, 1779, by J. A. Freyherrn vom - Hagen." - -The selection of dramas was, on the whole, very creditable to the -taste of the managers. Five of Lessing's works, among them "Minna -von Barnhelm" and "Emilia Galotti," are in the list and some of the -best productions of Bock, Gotter, Engel and their contemporaries; of -translations there were Colman's "Clandestine Marriage" and "Jealous -Wife," Garrick's "Miss in her Teens," Cumberland's "West Indian," -Hoadly's "Suspicious Husband," Voltaire's "Zaire" and "Jeannette," -Beaumarchais's "Eugenie," two or three of the works of Moliere, and -Goldoni, etc.;--in short, the list presents much variety and excellence. - -Max Friedrich was evidently pleased with the company, for the -"Nachrichten" has the following in the catalogue of performances: "On -the 8th (of April) His Electoral Grace was pleased to give a splendid -breakfast to the entire company in the theatre.... The company will -occupy itself until the return of His Electoral Grace from Muenster, -which will be in the middle of November, with learning the newest and -best pieces, among which are 'Hamlet,' 'King Lear' and 'Macbeth,' which -are to be given also with much splendor of costume according to the -designs of famous artists." - -It may be remarked here that the "Bonn Comedy House" (for painting the -interior of which Clemens August paid 468 thalers in 1751, a date which -seems to fix the time at which that end of the palace was completed), -occupied that portion of the present University Archaeological Museum -room next the Coblenz Gate, with large doors opening from the stage -into the passageway so that this space could be used as an extension -of the stage in pieces requiring it for the production of grand scenic -effects. Above the theatre was the "Redouten-Saal" of Max Franz's -time. The Elector had, of course, an entrance from the passages of -the palace into his box. The door for the public, in an angle of the -wall now built up, opened out upon the grove of horse-chestnuts. The -auditorium was necessarily low, but spacious enough for several hundred -spectators. Though much criticized by travellers as being unworthy so -elegant a court, not to say shabby, it seems to have been a nice and -snug little theatre. - -Meanwhile affairs with Seyler were drawing to a crisis. He had returned -with his company from Mannheim and reopened at Frankfort, August 3, -1779. On the evening of the 17th, to escape imprisonment as a bankrupt, -whether through his own fault or that of another--the Theatre Lexicon -affirms the latter case--he took his wife and fled to Mayence. The -company was allowed by the magistrates to play a few weeks with a view -of earning at least the means of leaving the city; but on October 4, -its members began to separate; Benda and his wife went to Berlin, but -C. G. Neefe, the music director, and Opitz, descended the Rhine to Bonn -and joined the company there--Neefe assuming temporarily the direction -of the music in the theatre--of which more in another place. - -No record has been found of the repertory of the Bonn theatre for the -season 1779-1780, except that the opening piece on December 3, on the -evening after the Elector's return from Muenster, was a prologue, "Wir -haben Ihn wieder!" text by Baron vom Hagen, with airs, recitatives and -choruses composed by Neefe; that the "Deserteur" was in the list, and -finally Hiller's "Jagd." In June, 1781, the season being over, the -company migrated to Pyrmont, from Pyrmont to Cassel, and thence, in -October, back to Bonn. - -ANOTHER BUSY SEASON AT BONN - -The season of 1781-'82 was a busy one; of musical dramas alone 17 are -reported as newly rehearsed from September, 1781, to the same time in -1782, viz: - - "Die Liebe unter den Handwerkern" - ("L'Amore Artigiano") Music by Gassmann - "Robert und Calliste" " " Guglielmi - "Der Alchymist" " " Schuster. - "Das tartarische Gesetz" " " d'Antoine (of Bonn) - "Der eifersuechtige Liebhaber" - ("L'Amant jaloux") " " Gretry - "Der Hausfreund" - ("L'Ami de la Maison") " " Gretry - "Die Freundschaft auf der Probe" - ("L'Amitie a l'Epreuve") " " Gretry - "Heinrich und Lyda" " " Neefe - "Die Apotheke" " " Neefe - "Eigensinn und Launen der Liebe" " " Deler (Teller, Deller?) - "Romeo und Julie" " " Benda - "Sophonisba" (Deklamation mit Musik) " " Neefe - "Lucille" " " Gretry - "Milton und Elmire" " " Mihl (or Muehle) - "Die Samnitische Vermaehlungsfeier" - ("Le Marriage des Samnites") " " Gretry - "Ernst und Lucinde" " " Gretry - "Guenther von Schwarzburg" " " Holzbauer - -It does not follow, however, that all these operas, operettas and -plays with music were produced during the season in Bonn. The company -followed the Elector to Muenster in June, 1782, and removed thence -to Frankfort-on-the-Main for its regular series of performances at -Michaelmas. It came back to Bonn in the Autumn. - -The season 1782-'83 was as active as the preceding. Some of the newly -rehearsed spoken dramas were "Sir John Falstaff," from the English, -translations of Sheridan's "School for Scandal," Shakespeare's "Lear," -and "Richard III," Mrs. Cowley's "Who's the Dupe?" and, of original -German plays, Schiller's "Fiesco" and "Die Raeuber," Lessing's "Miss -Sara Sampson," Schroeder's "Testament," etc., etc. The number of newly -rehearsed musical dramas--in which class are included such ballad -operas as General Burgoyne's "Maid of the Oaks"--reached twenty, viz: - - "Das Rosenfest" Music by Wolf (of Weimar) - "Azalia" " " Johann Kuechler - (Bassoonist in - the Bonn chapel) - "Die Sklavin" (_La Schiava_) " " Piccini - "Zemire et Azor" " " Gretry - "Das Maedchen im Eichthale" - ("Maid of the Oaks") " " d'Antoine (Captain - in the army of the - Elector of Cologne) - "Der Kaufmann von Smyrna" " " J. A. Juste (Court - Musician in The - Hague) - "Die seidenen Schuhe" " " Alexander Frizer - (or Fridzeri) - "Die Reue vor der That" " " Desaides - "Der Aerndtetanz" " " J. A. Hiller - "Die Olympischen Spiele" (_Olympiade_) " " Sacchini - "Die Luegnerin aus Liebe" " " Salieri - "Die Italienerin zu London" " " Cimarosa - "Das gute Maedchen" (_La buona - figliuola_) " " Piccini - "Der Antiquitaeten-Sammler" " " Andre - "Die Entfuehrung aus dem Serail" " " Mozart - "Die Eifersucht auf der Probe" - (_Il Geloso in Cimento_) " " Anfossi - "Rangstreit und Eifersucht auf dem - Lande" (_Le Gelosie villane_) " " Sarti - "Unverhofft kommt oft" - (_Les Evenements imprevus_) " " Gretry - "Felix, oder der Findling" - (_Felix ou l'Enfant trouve_) " " Monsigny - "Die Pilgrimme von Mekka" " " Gluck - -But a still farther provision has been made for the Elector's amusement -during the season of 1783-'84, by the engagement of a ballet corps of -eighteen persons. The titles of five newly rehearsed ballets are given -in the report from which the above particulars are taken, and which may -be found in the theatrical calendar for 1784. - -With an enlarged company and a more extensive repertory, preparations -were made for opening the theatre upon the Elector's return, at the end -of October, from Muenster to Bonn. But the relations of the company to -the court have been changed. Let the "Theater-Kalender" describe the -new position in which the stage at Bonn was placed: - - Bonn. His Electoral Grace, by a special condescension, had - graciously determined to make the theatrical performances - gratuitous and to that end has closed a contract with His - Highness's Theatrical Director Grossmann according to which - besides the theatre free of rent, the illumination and the - orchestra he is to receive an annual subvention for the - maintenance of the company. On His Highness's command there will - be two or three performances weekly. By particular grace the - director is permitted to spend several summer months in other - places. - -AN INFLUENCE ON THE BOY BEETHOVEN - -The advantages of this plan for securing a good repertory, a good -company and a zealous striving for improvement are obvious; and its -practical working during this, its only, season, so far as can now be -gathered from scanty records, was a great success. It will hereafter -be seen that the boy Ludwig van Beethoven was often employed at the -pianoforte at the rehearsals--possibly also at the performances of -the company of which Neefe was the musical director. That a company -consisting almost exclusively of performers who had passed the ordeal -of frequent appearance on the stage and had been selected with full -knowledge of the capacity of each, and which, moreover, had gained so -much success at the Bonn court as to be put upon a permanent footing, -must have been one of more than the ordinary, average excellence, at -least in light opera, needs no argument. Nor need comments be made -upon the influence which daily intercourse with it, and sharing in its -labors, especially in the direction of opera, must have exerted upon -the mind of a boy of twelve or thirteen years possessed of real musical -genius. - -The theatrical season, and with it the company, came to an untimely -end. Belderbusch died in January, 1784. Madame Grossmann died in -childbed on March 28, and on April 15 the Elector followed them to -another world. After the death of the Elector Maximilian Friedrich the -Court Theatre was closed for the official mourning and the company -dismissed with four weeks' salary. - -It is consonant to the plan of this introductory chapter that some -space be devoted to sketches of some of the principal men whose names -have already occurred and to some notes upon the musical amateurs of -Bonn who are known, or may be supposed, to have been friends of the -boy Beethoven. These notices make no claim to the credit of being the -result of original research; they are, except that of Neefe, little -more than extracts from a letter, dated March 2, 1783, written by -Neefe and printed in Cramer's "Magazin der Musik" (Vol. I, pp. 337 _et -seq._). At that time the "Capelldirector," as Neefe calls him, was -Cajetano Mattioli, born at Venice, August 7, 1750, whose appointments -were concertmaster and musical director in Bonn, made on May 26, 1774 -and April 24, 1777. - - He studied in Parma, says Neefe, with the first violinist Angelo - Moriggi, a pupil of Tartini, and in Parma, Mantua and Bologna - conducted grand operas like "Orfeo," "Alceste," etc., by the - Chevalier Gluck with success. He owed much to the example set by - Gluck in the matter of conducting. It must be admitted that he is - a man full of fire, of lively temperament and fine feeling. He - penetrates quickly into the intentions of a composer and knows how - to convey them promptly and clearly to the entire orchestra. He - was the first to introduce accentuation, instrumental declamation, - careful attention to forte and piano, or all the degrees of - light and shade in the orchestra of this place. In none of the - qualifications of a leader is he second to the famed Cannabich of - Mannheim. He surpasses him in musical enthusiasm, and, like him, - insists upon discipline and order. Through his efforts the musical - repertory of this court has been provided with a very considerable - collection of good and admirable compositions, symphonies, masses - and other works, to which he makes daily additions; in the same - manner he is continually striving for the betterment of the - orchestra. Just now he is engaged in a project for building a - new organ for the court chapel. The former organ, a magnificent - instrument, became a prey of the flames at the great conflagration - in the palace in 1777. His salary is 1,000 fl. - - The chapelmaster (appointed May 26, 1774) was Mr. Andrea Lucchesi, - born May 28, 1741, at Motta in Venetian territory. His teachers - in composition were, in the theatre style, Mr. Cocchi of Naples; - in the church style, Father Paolucci, a pupil of Padre Martini at - Bologna, and afterwards Mr. Seratelli, Chapelmaster of the Duke - of Venice. He is a good organist and occupied himself profitably - with the instrument in Italy. He came here with Mr. Mattioli as - conductor of an Italian opera company in 1771. Taken altogether - he is a light, pleasing and gay composer whose part-writing is - cleaner than that of most of his countrymen. In his church-works - he does not confine himself to the strict style affected by many - to please amateurs. Neefe enumerates Lucchesi's compositions as - follows: 9 works for the theatre, among them the opera "L'Isola - della Fortuna" (1765), "Il Marito geloso" (1766), "Le Donne sempre - Donne," "Il Matrimonio per astuzia" (1771) for Venice, and the two - composed at Bonn, "Il Natal di Giove" and "L'inganno scoperto," - various intermezzi and cantatas; various masses, vespers and other - compositions for the church; six sonatas for the pianoforte and - violin; a pianoforte trio, four pianoforte quartets and several - pianoforte concertos. His salary was 1,000 fl. - -CHRISTIAN GOTTLOB NEEFE'S CAREER - -The organist of the Court Chapel was Christian Gottlob Neefe, son of a -poor tailor of Chemnitz in Saxony, where he was born February 5, 1748. -He is one of the many instances in musical history in which the career -of the man is determined by the beauty of his voice in childhood. At -a very early age he became a chorister in the principal church, which -position gave him the best school and musical instruction that the -small city afforded--advantages so wisely improved as to enable him in -early youth to gain a living by teaching. At the age of 21, with 20 -thalers in his pocket and a stipend of 30 thalers per annum from the -magistrates of Chemnitz, he removed to Leipsic to attend the lectures -of the university, and at that institution in the course of time he -passed his examination in jurisprudence. Upon this occasion he argued -the negative of the question: "Has a father the right to disinherit -a son for devoting himself to the theatre?" In Chemnitz Neefe's -teachers in music had been men of small talents and very limited -acquirements, and even in Leipsic he owed more to his persevering -study of the theoretical works of Marpurg and C. P. E. Bach than to -any regular instructor. But there he had the very great advantage -of forming an intimate acquaintance with, and becoming an object of -special interest to, Johann Adam Hiller, the celebrated director of -the Gewandhaus Concerts, the then popular and famous composer, the -introducer of Handel's "Messiah" to the German public, the industrious -writer upon music, and finally a successor of Johann Sebastian Bach -as Cantor of the Thomas School. Hiller gave him every encouragement -in his power in his musical career; opened the columns of his musical -"Woechentliche Nachrichten" to his compositions and writings; called -him to his assistance in operatic composition; gave him the results of -his long experience in friendly advice; criticized his compositions, -and at length, in 1777, gave him his own position as music director -of Seyler's theatrical company, then playing at the Linkische Bad in -Dresden. Upon the departure of that troupe for Frankfort-on-the-Main, -Neefe was persuaded to remain with it in the same capacity. He thus -became acquainted with Fraeulein Zinck, previously court singer at -Gotha but now engaged for Seyler's opera. The acquaintance ripened -into a mutual affection and ended in marriage not long afterward. It -is no slight testimony to the high reputation which he enjoyed that -at the moment of Seyler's flight from Frankfort (1779) Bondini, whose -success had driven that rival from Dresden, was in correspondence with -Neefe and making him proposals to resign his position under Seyler -for a similar but better one in his service. Pending the result of -these negotiations Neefe, taking his wife with him, temporarily joined -Grossmann and Helmuth at Bonn in the same capacity. Those managers, -who knew the value of his services from their previous experience as -members of the Seyler troupe, paid a very strong, though involuntary, -tribute to his talents and personal character by adopting such unfair -measures as to compel the musician to remain in Bonn until Bondini was -forced to fill his vacancy by another candidate. Having once got him, -Grossmann was determined to keep him--and succeeded. - -As long as the Grossmann company remained undivided Neefe accompanied -it in its annual visits to Muenster and other places;--thus the sketch -of his life printed sixteen years later in the first volume of the -"Allgemeine Musikzeitung" of Leipsic bears date "Frankfort-on-the-Main, -September 30, 1782"; but from that period save, perhaps, for a short -time in 1783, he seems not to have left Bonn at all. - -There were others besides Grossmann and Helmuth who thought Neefe -too valuable an acquisition to the musical circles of Bonn not to -be secured. Less than a year and a half after his arrival there the -minister Belderbusch and the countess Hatzfeld, niece of the Elector, -secured to him, though a Protestant, an appointment to the place of -court organist. The salary of 400 florins, together with the 700 -florins from Grossmann, made his income equal to that of the court -chapelmaster. It is difficult now to conceive of the forgotten name -of C. G. Neefe as having once stood high in the list of the first -North German composers; yet such was the case. Of Neefe's published -compositions, besides the short vocal and clavier pieces in Hiller's -periodical, there had already appeared operettas in vocal score, -"Die Apotheke" (1772), "Amor's Guckkasten" (1772), "Die Einsprueche" -(1773) and "Heinrich und Lyda" (1777); also airs composed for Hiller's -"Dorf-Barbier" and one from his own republished opera "Zemire und -Azor"; twelve odes of Klopstock--sharply criticized by Forkel in his -"Musikalisch-Kritische Bibliothek," much to the benefit of the second -edition of them; and a pretty long series of songs. Of instrumental -music he had printed twenty-four sonatas for pianoforte solo or with -violin; and from Breitkopf and Haertel's catalogues, 1772 and 1774, -may be added the following works included neither in his own list -nor that of Gerber: a partita for string quartet, 2 horns, 2 oboes, -2 flutes and 2 bassoons; another for the same instruments minus the -flutes and bassoons; a third for the string quartet and 2 oboes only, -and two symphonies for string quartet, 2 horns, 2 oboes and 2 flutes. -The "Sophonisbe" music was also finished and twenty years later, after -Mozart had given a new standard of criticism, it was warmly eulogized -in the "Allgemeine Musikzeitung" of Leipsic. At the date of his letter -to Cramer (March 2, 1783) he had added to his published works "Sechs -Sonaten am Clavier zu singen," "Vademecum fuer Liebhaber des Gesangs -und Clavier," the clavier score of "Sophonisbe," and a concerto for -clavier and orchestra. His manuscripts, he adds (Cramer's "Magazine," -I; p. 382), consist of (a) the scores of the operettas which had -appeared in pianoforte arrangements; (b) the score of his opera "Zemire -und Azor"; (c) the score of his opera "Adelheit von Veltheim"; (d) the -score of a bardic song for the tragedy "The Romans in Germany"; (e) -the scores of theatrical between-acts music; (f) the score of a Latin -"Pater noster"; (g) various other smaller works. He had in hand the -composition of the operetta "Der neue Gutsherr," the pianoforte score -of which, as also that of "Adelheit von Veltheim," was about to be -published by Dyck in Leipsic. A year before at a concert for amateurs -at the house of Mr. von Mastiaux he had produced an ode by Klopstock, -"Dem Unendlichen," for four chorus voices and a large orchestra, which -was afterwards performed in Holy Week in the _Fraeuleinstiftskirche_. -In short, Neefe brought to Bonn a high-sounding reputation, talent, -skill and culture both musical and literary, which made him invaluable -to the managers when new French and Italian operas were to be prepared -for the German stage; great facility in throwing off a new air, song, -_entr'acte_ or what not to meet the exigencies of the moment; very -great industry, a _cacoethes scribendi_ of the very highest value to -the student of Bonn's musical history in his time and a new element -into the musical life there. This element may have seemed somewhat -formal and pedantic, but it was solid, for it was drawn from the school -of Handel and Bach. - -MUSIC IN PRIVATE HOUSES OF BONN - -Let us return to Neefe's letter to Cramer again for some notices of -music outside the electoral palace: - - Belderbusch, the minister, retained a quintet of wind-instruments, - 2 clarinets, 2 horns and a bassoon. - - The Countess von Belderbusch, wife of a nephew of the minister, - whose name will come up again, "plays skilfully upon the clavier." - - The Countess von Hatzfeld, niece of the Elector, was "trained - in singing and clavier playing by the best masters of Vienna to - whom, indeed, she does very much honor. She declaims recitatives - admirably and it is a pleasure to listen to her sing arias _di - parlante_. She plays the fortepiano brilliantly and in playing - yields herself up completely to her emotions, wherefore one never - hears any restlessness or uneveness of time in her _tempo rubato_. - She is enthusiastically devoted to music and musicians."[4] - - Chancellor and Captain von Schall "plays clavier and violin. - Though not adept on either instrument he has very correct musical - feeling. He knows how to appreciate the true beauties of a - composition, and how to judge them, and has large historical and - literary knowledge of music." - - Frau Court Councillor von Belzer "plays the clavier and sings. - She has a strong, masculine contralto of wide range, particularly - downwards." - - Johann Gottfried von Mastiaux, of the Finance Department and - incumbent of divers high offices, is a self-taught musician. He - plays several instruments himself and has given his four sons and - a daughter the best musical instruction possible in Bonn. All - are pianists and so many of them performers on other instruments - that the production of quintets is a common family enjoyment. He - is a devoted admirer of Haydn, with whom he corresponds, and in - his large collection of music there are already 80 symphonies, - 30 quartets and 40 trios by that master. His rare and valuable - instruments are so numerous "that he could almost equip a complete - orchestra. Every musician is his friend and welcome to him." - - Count Altstaedter: "in his house one may at times hear a very good - quartet." - - Captain Dantoine, "a passionate admirer and knower of music; plays - the violin and the clavier a little. He learned composition from - the books of Marpurg, Kirnberger and Riepel. Formed his taste in - Italy. In both respects the reading of scores by classical masters - has been of great service to him." Among his compositions are - several operettas, symphonies and quartets "in Haydn's style." - - The three Messrs. Facius, "sons of the Russian agent here, are - soundly musical; the two elder play the flute and the youngest - plays the violoncello." (According to Fischer the members of this - family were visitors at the house of the Beethovens.) - - There are many more music-lovers here, but the majority of them - are too much given to privacy, so far as their musical practice - goes, to be mentioned here. Enough has been said to show that a - stranger fond of music need never leave Bonn without nourishment. - Nevertheless, a large public concert institution under the - patronage of His Electoral Grace is still desirable. It would be - one more ornament of the capital and a promoter of the good cause - of music. - -What with the theatre, the court music, the musical productions in the -church and such opportunities in private it is plain that young talent -in those days in Bonn was in no danger of starvation for want of what -Neefe calls "musikalische Nahrung." - -So much upon the _dramatis personae_, other than the principal figure -and his family. Let an attempt follow to describe the little city -as it appeared in 1770--in other words, to picture the scene. By an -enumeration made in 1789, the population of Bonn was 9,560 souls, a -number which probably for a long series of years had rarely varied -beyond a few score, more or less--one, therefore, that must very nearly -represent the aggregate in 1770. For the town had neither manufactures -nor commerce beyond what its own wants supported; it was simply the -residence of the Elector--the seat of the court, and the people -depended more or less directly upon that court for subsistence--as a -wag expressed it, "all Bonn was fed from the Elector's kitchen." The -old city walls--(the "gar gute Fortification, dass der Churfuerst sicher -genug darinnen Hof halten kann" of Johann Huebner's description)--were -already partially destroyed. Within them the whole population seems to -have lived. Outside the city gates it does not appear that, save by -a chapel or two, the eye was impeded in its sweep across gardens and -open fields to the surrounding villages which, then as now hidden in -clusters of walnut and fruit trees, appeared, when looked upon from -the neighboring hills, like islands rising upon the level surface of -the plain. The great increase of wealth and population during the last -150 years in all this part of the Rhine valley under the influence of -the wise national economy of the Prussian government, has produced -corresponding changes in and about the towns and villages; but the -grand features of the landscape are unchanged; the ruins upon the -Drachenfels and Godesberg looked down, as now, upon the distant roofs -and spires of Bonn; the castle of Siegburg rose above the plains away -to the East; the chapel crowned the Petersberg, the church with the -marble stairs the nearer Kreuzberg. - -A PROSPECT OF BONN IN BEETHOVEN'S DAY - -The fine landing place with its growing trees and seats for idlers, -the villas, hotels, coffee-houses and dwellings outside the old walls, -are all recent; but the huge ferryboat, the "flying bridge," even -then was ever swinging like a pendulum from shore to shore. Steam as -a locomotive power was unknown, and the commerce of the Rhine floated -by the town, gliding down with the current on rafts or in clumsy -but rather picturesque boats, or impelled against the stream by the -winds, by horses and even by men and women. The amount of traffic was -not, however, too great to be amply provided for in this manner; for -population was kept down by war, by the hard and rude life of the -peasant class, and by the influences of all the false national-economic -principles of that age, which restrained commerce by every device -that could be made to yield present profit to the rulers of the Rhine -lands. Passengers had, for generations, no longer been plundered by -mail-clad robbers dwelling upon a hundred picturesque heights; but each -petty state had gained from the Emperor's weakness "vested rights" -in all sorts of custom-levies and taxes. Risbeck (1780) found nine -toll-stations between Mayence and Coblenz; and thence to the boundary -of Holland, he declares there were at least sixteen, and that in the -average each must have collected 30,000 Rhenish florins per annum. - -To the stranger, coming down from Mayence, with its narrow dark -lanes, or up from Cologne, whose confined and pestiferously dirty -streets, emitting unnamed stenches, were but typical of the bigotry, -superstition and moral filth of the population--all now happily -changed, thanks to a long period of French and Prussian rule--little -Bonn seemed a very picture of neatness and comfort. Even its -ecclesiastical life seemed of another order. The men of high rank in -the church were of high rank also by birth; they were men of the world -and gentlemen; their manners were polished and their minds enlarged by -intercourse with the world and with gentlemen; they were tolerant in -their opinions and liberal in their views. Ecclesiastics of high and -low degree were met at every corner as in other cities of the Rhine -region; but absence of military men was a remarkable feature. Johann -Huebner gives the reason for this in few and quaint words:--"In times -of war much depends upon who is master of Bonn, because traffic on -the Rhine can be blockaded at this pass. Therefore the place has its -excellent fortification which enables the Elector to hold his court in -ample security within its walls. But he need not maintain a garrison -there in time of peace, and in time of war troops are garrisoned who -have taken the oath to the Emperor and the empire. This was settled by -the peace of Ryswick as well as Rastatt." - -While the improvement in the appearance of the streets of Bonn has -necessarily been great, through the refitting or rebuilding of a large -portion of the dwelling-houses, the plan of the town, except in those -parts lying near the wall, has undergone no essential change, the -principal one being the open spaces, where in 1770 churches stood. On -the small triangular Roemer-Platz was the principal parish church of -Bonn, that of St. Remigius, standing in such a position that its tall -tower looked directly down the Acherstrasse. In 1800 this tower was -set on fire by lightning and destroyed; six years later the church -itself was demolished by the French and its stones removed to become -a part of the fortifications at Wesel. On the small, round grass plot -as one goes from the Muenster church toward the neighboring city gate -(Neuthor) stood another parish church--a rotunda in form--that of St. -Martin, which fell in 1812 and was removed; and at the opposite end -of the minster, separated from it only by a narrow passage, was still -a third, the small structure dedicated to St. Gangolph. This, too, -was pulled down in 1806. Only the fourth parish church, that of St. -Peter in Dietkirchen, is still in existence and was, at a later date, -considerably enlarged. After the demolition of these buildings a new -division of the town into parishes was made (1806). - -The city front of the electoral palace, now the university, was more -imposing than now, and was adorned by a tall, handsome tower containing -a carillon, with bells numerous enough to play, for instance, the -overture to Monsigny's "Deserter." This part of the palace, with the -tower and chapel, was destroyed by fire in 1777. - -The town hall, erected by Clemens August, and the other churches were -as now, but the large edifice facing the university library and museum -of casts, now occupied by private dwellings and shops, was then the -cloister and church of the Franciscan monks. A convent of Capuchin nuns -stood upon the Kesselgasse; its garden is now a bleaching ground. - -HOLIDAY TIMES IN THE LITTLE CITY - -Let the fancy picture, upon a fine Easter or Pentecost morning in those -years, the little city in its holiday attire and bustle. The bells in -palace and church tower ringing; the peasants in coarse but picturesque -garments, the women abounding in bright colors, come in from the -surrounding villages, fill the market-place and crowd the churches -at the early masses. The nobles and gentry--in broad-flapped coats, -wide waistcoats and knee-breeches, the entire dress often of brilliant -colored silks, satins and velvets, huge, white, flowing neckcloths, -ruffles over the hands, buckles of silver or even of gold at the knees -and upon the shoes, huge wigs becurled and bepowdered on the heads, -and surmounted by the cocked hat, when not held under the arm, a sword -at the side, and commonly a gold-headed cane in the hand (and if the -morning be cold, a scarlet cloak thrown over the shoulders)--are -daintily picking their way to the palace to kiss His Transparency's -hand or dashing up to the gates in heavy carriages with white wigged -and cocked-hatted coachmen and footmen. Their ladies wear long and -narrow bodices, but their robes flow with a mighty sweep; their -apparent stature is increased by very high-heeled shoes and by piling -up their hair on lofty cushions; their sleeves are short, but long silk -gloves cover the arms. The ecclesiastics, various in name and costume, -dress as now, save in the matter of the flowing wig. The Elector's -company of guards is out and at intervals the thunder of the artillery -on the walls is heard. On all sides, strong and brilliant contrasts of -color meet the eye, velvet and silk, purple and fine linen, gold and -silver--such were the fashions of the time--costly, inconvenient in -form, but imposing, magnificent and marking the differences of rank -and class. Let the imagination picture all this, and it will have a -scene familiar to the boy Beethoven, and one in which as he grew up to -manhood he had his own small part to play. - -FOOTNOTES: - -[1] "Briefe," II. 354, 355. - -[2] This was the beginning of the career of Salomon. He became -concertmaster to Prince Henry of Prussia, played in Paris, and in 1781 -took up a residence in London where, as violinist and conductor, he -became brilliantly active and successful. He made repeated visits to -Bonn, once in 1790, when he was on his way to London accompanied by -Haydn. - -[3] Reichardt, "Theaterkalender, 1778," p. 99. - -[4] To her Beethoven dedicated his variations on "Venni Amore." - - - - -Chapter II - - The Ancestral van Beethoven Family in Belgium--Removal - of the Grandfather to Bonn--His Activities as Singer and - Chapelmaster--Birth and Education of Johann van Beethoven--The - Parents of the Composer. - - -THE COMPOSER'S BELGIAN ANCESTRY - -At the beginning of the seventeenth century a family named van -Beethoven lived in a village of Belgium near Louvain. A member of it -removed to and settled in Antwerp about 1650. A son of this Beethoven, -named William, a wine dealer, married, September 11, 1680, Catherine -Grandjean and had issue, eight children. One of them, baptized -September 8, 1683, in the parish of Notre Dame, now received the name -Henry Adelard, his sponsors being Henry van Beethoven, acting for -Adelard de Redincq, Baron de Rocquigny, and Jacqueline Grandjean. This -Henry Adelard Beethoven, having arrived at man's estate, took to wife -Maria Catherine de Herdt, who bore him twelve children--the third named -Louis, the twelfth named Louis Joseph. The latter, baptized December 9, -1728, married, November 3, 1773, Maria Theresa Schuerweghs, and died -November 11, 1808, at Oosterwyck. The second daughter, named like her -mother Maria Theresa, married, September 6, 1808, Joseph Michael Jacobs -and became the mother of Jacob Jacobs, in the middle of the nineteenth -century a professor of painting in Antwerp, who supplied in part the -materials for these notices of the Antwerp Beethovens, although the -principal credit is due to M. Leon de Burbure of that city.[5] - -The certificate of baptism of Louis van Beethoven, third son of Henry -Adelard, is to this effect: - - Antwerp, December 23, 1712--_Baptizatus_, Ludovicus. - - Parents: Henricus van Beethoven and Maria Catherine de Hert. - - Sponsors: Petrus Bellmaert and Dymphona van Beethoven. - -It is a family tradition--Prof. Jacobs heard it from his mother--that -this Louis van Beethoven, owing to some domestic difficulties -(according to M. Burbure they were financial), secretly left his -father's house at an early age and never saw it again, although in -later years an epistolary correspondence seems to have been established -between the fugitive and his parents. Gifted with a good voice and -well educated musically, he went to Louvain and applied for a vacant -position as tenor to the chapter ad Sanctum Petrum, receiving it -on November 2, 1731.[6] A few days later the young man of 18 years -was appointed substitute for three months for the singing master -(_Phonascus_), who had fallen ill, as is attested by the minutes of the -Chapter, under date November 2, 1731.[7] - -The young singer does not seem to have filled the place beyond the -prescribed time. By a decree of Elector Clemens August, dated March, -1733 (the month of Joseph Haydn's birth), he became Court Musician -in Bonn with a salary of 400 florins, a large one for those days, -particularly in the case of a young man who only three months before -had completed his 20th year. Allowing the usual year of probation -to which candidates for the court chapel were subjected, Beethoven -must have come to Bonn in 1732. This corresponds to the time spent at -Louvain as well as to a petition of 1774, to be given hereafter, in -which Johann speaks of his father's "42 years of service." There is -another paper of date 1784 which makes the elder Beethoven to have -served about 46 years, but this is from another hand and of less -authority than that written by the son. - -OTHER BEETHOVEN FAMILIES IN BONN - -What it was that persuaded Ludwig van Beethoven to go to Bonn is -unknown. Gottfried Fischer, who owned the house in the Rheingasse in -which two generations of Beethovens lived, professed to know that -Elector Clemens August learned to know him as a good singer at Liege -and for that reason called him to Bonn. That is not impossible, -whether the Elector went to Louvain or Ludwig introduced himself to him -at Liege. But it is significant that another branch of the Beethoven -family was already represented at Bonn. Michael van Beethoven was born -in Malines in February, 1684. He was a son of Cornelius van Beethoven -and Catherine Leempoel, and beyond doubt, as the later associations -in Bonn prove, closely related to the Antwerp branch of the family. -Michael van Beethoven married Maria Ludovica Stuykers (or Stuykens) -on October 8, 1707. His eldest son also bore the name of Cornelius -(born in September, 1708, in Malines) and there were four other sons -born to him during his stay in Malines, among them two who were named -Louis, up to 1715. At a date which is uncertain, this family removed -to Bonn. There Cornelius, on February 20, 1734, married a widow named -Helena de la Porte (nee Calem), in the church of St. Gangolph, Ludwig -van Beethoven, the young court singer, being one of the witnesses. -In August of the same year Cornelius was proxy for his father (who, -evidently, had not yet come to Bonn), as godfather for Ludwig's first -child. Later, after his son had established a household, he removed to -Bonn, for Michael van Beethoven died in June, 1749, in Bonn, and in -December of the same year Maria Ludovica Stuykens (_sic_), "the Widow -van Beethoven." Cornelius became a citizen of Bonn on January 17, 1736, -on the ground that he had married the widow of a citizen, and in 1738 -he stands alone as representative of the name in the list of Bonn's -citizens. He seems to have been a merchant, and is probably the man -who figures in the annual accounts of Clemens August as purveyor of -candles. He lost his wife, and for a second married Anna Barbara Marx, -_virgo_, on July 5, 1755, who bore him two daughters (1756 and 1759), -both of whom died young and for both of whom Ludwig van Beethoven was -sponsor. Cornelius died in 1764 and his wife in 1765, and with this -the Malines branch of the family ended. Which one of the two cousins -(for so we may in a general way consider them) came to Bonn, Ludwig -or Cornelius, must be left to conjecture. There is evidence in favor -of the former in the circumstance that Cornelius does not appear as -witness at the marriage of Ludwig in 1733. If Ludwig was the earlier -arrival, then the story of his call by the Elector may be true; he was -not disappointed in his hope of being able to make his way by reason of -his knowledge of music and singing. - -The next recorded fact in his history may be seen in the ancient -register of the parish of St. Remigius, now preserved in the town -hall of Bonn. It is the marriage on September 7, 1733, of Ludwig van -Beethoven and Maria Josepha Poll, the husband not yet 21 years of age, -the wife 19. Then follows in the records of baptisms in the parish: - - 1734, August 8. - - _Parents_: - - Ludwig van Beethoven, - Maria Josepha Poll. - - _Baptized_: - - Maria - Bernardina - Ludovica. - - _Sponsors_: - - Maria Bernardina Menz, - Michael van Beethoven; - in his place Cornelius van - Beethoven. - -The child Bernardina died in infancy, October 17, 1735. Her place was -soon filled by a son, Marcus Josephus, baptized April 15, 1736, of -whom the parents were doubtless early bereaved, for no other notice -whatever has been found of him. After the lapse of some four years -the childless pair again became parents, by the birth of a son, whose -baptismal record has not been discovered. It is supposed that this -child, Johann, was baptized in the Court Chapel, the records of which -are not preserved in the archives of the town and seem to be lost; or -that, possibly, he was born while the mother was absent from Bonn. -An official report upon the condition and characters of the court -musicians made in 1784, however, gives Johann van Beethoven _born in -Bonn_ and aged forty-four--thus fixing the date of his birth towards -the end of 1739 or the beginning of 1740. - -The gradual improvement of the elder Beethoven's condition in respect -of both emolument and social position, is creditable to him alike as -a musician and as a man. Poorly as the musicians were paid, he was -able in his last years to save a small portion of his earnings; his -rise in social position is indicated in the public records;--thus, the -first child is recorded as the son of L. v. Beethoven "musicus"; as -sponsor to the eldest daughter of Cornelius van Beethoven, he appears -as "Dominus" van Beethoven;--to the second as "Musicus Aulicus"; in -1761 he becomes "Herr Kapellmeister," and his name appears in the -Court Calendar of the same year, third in a list of twenty-eight -"Hommes de chambre honoraires." Of the elder Beethoven's appointment -as head of the court music no other particulars have been obtained -than those to be found in his petition and the accompanying decree -printed in Chapter I. From these papers it appears that the bass singer -has had the promise of the place from Clemens August as successor to -Zudoli, but that the Elector, when the vacancy occurred, changed his -mind and gave it to his favorite young violinist Touchemoulin, who -held the position for so short a time, however, that his name never -appears as chapelmaster in the Court Calendar, he having resigned on -account of the reduction of his salary by Belderbusch, prime minister -of the new Elector who just at that period succeeded Clemens August. -The elevation of a singer to such a place was not a very uncommon -event in those days, but that a chapelmaster should still retain his -place as singer probably was. Hasse and Graun began their careers -as vocalists, but more to the point are the instances of Steffani, -Handel's predecessor at the court of Hanover, and of Righini, -successively chapelmaster at Mayence and Berlin. In all these cases the -incumbents were distinguished and very successful composers. Beethoven -was not. Wegeler's words, "the chapelmaster and bass singer had at an -earlier date produced operas at the National Theatre established by -the Elector," have been rather interpreted than quoted by Schindler -and others thus: "it is thought that under the luxury-loving Elector -Clemens August, he produced operas of his own composition"--a -construction which is clearly forced and incorrect. Strange that so few -writers can content themselves with exact citations! Not only is there -no proof whatever, certainly none yet made public, that Chapelmaster -van Beethoven was an author of operatic works, but the words in his own -petition, "inasmuch as the Toxal must be sufficiently supplied with -_musique_," can hardly be otherwise understood than as intended to -meet a possible objection to his appointment on the ground of his not -being a composer. Wegeler's words, then, would simply mean that he put -upon the stage and conducted the operatic works produced, which were -neither numerous nor of a very high order during his time. His labors -were certainly onerous enough without adding musical composition. The -records of the electoral court which have been described and in part -reproduced in the preceding chapter, exhibit him conducting the music -of chapel, theatre and "Toxal," examining candidates for admission -into the electoral musical service, reporting upon questions referred -to him by the privy council and the like, and all this in addition to -his services as bass singer, a position which gave him the principal -bass parts and solos to sing both in chapel and theatre. Wegeler -records a tradition that in Gassmann's operetta "L'Amore Artigiano" -and Monsigny's "Deserteur" he was "admirable and received the highest -applause." If this be true it proves no small degree of enterprise on -his part as chapelmaster and of well-conserved powers as a singer; for -these two operas were first produced, the one in Vienna, the other in -Paris, in 1769, when Beethoven had already entered his fifty-eighth -year. - -The words of Demmer in his petition of January 23, 1773, "the bass -singer van Beethoven is incapacitated and can no longer serve as such," -naturally suggest the thought that the old gentleman's appearance -as _Brunoro_ in Lucchesi's "L'Inganno scoperto" in May, 1773, was a -final compliment to his master, the Elector, upon his birthday. He did -not live to celebrate another; the death of "Ludwig van Beethoven, -Hoffkapellmeister," is recorded at Bonn under date of December 24, -1773--one day after the sixty-first anniversary of his baptism in -Antwerp. - -CHAPELMASTER VAN BEETHOVEN'S TRIALS - -At home the good man had his cross to bear. His wife, Josepha, who with -one exception had buried all her children, and possibly on that very -account, became addicted to the indulgence of an appetite for strong -drink, was at the date of her husband's death living as a boarder in a -cloister at Cologne. How long she had been there does not appear, but -doubtless for a considerable period. The son, too, was married, but -though near was not in his father's house. The separation was brought -about by his marriage, with which the father was not agreed. The house -in which the chapelmaster died, and which he occupied certainly as -early as 1765, was that next north of the so-called Gudenauer Hof, -later the post-office in the neighboring Bonngasse, and bore the number -386. The chapelmaster appears, upon pretty good evidence, to have -removed hither from the Fischer house in the Rheingasse, where he is -said to have lived many years and even to have carried on a trade in -wine, which change of dwelling may have taken place in 1767. - -When one recalls the imposing style of dress at the era the short, -muscular man, with dark complexion and very bright eyes, as Wegeler -describes him[8] and as a painting by Courtpainter Radoux, still in -possession of his descendants in Vienna, depicts him, presents quite an -imposing picture to the imagination. - -Of the early life of Johann van Beethoven there are no particulars -preserved except such as are directly or indirectly conveyed in the -official documents. Such of these papers as came from his own hand, if -judged by the standard of our time, show a want of ordinary education; -but it must not be forgotten that the orthography of the German -language was not then fixed; nor that many a contemporary of his, who -boasted a university education, or who belonged to the highest ranks -of society, wrote in a style no better than his. This is certain: -that after he had received an elementary education he was sent to the -_Gymnasium_, for as a member of the lowest class (_infima_) of that -institution he took part in September, 1750, as singer in the annual -school play which it was the custom of the _Musae Bonnenses_ to give. -It would seem, therefore, that his good voice and musical gifts were -appreciated at an early period. Herein, probably, is also to be found -the reason why his stay at the gymnasium was not of long duration. -The father had set him apart for service in the court music, and -himself, as appears from the statements already printed, undertook his -instruction; he taught him singing and clavier playing. Whether or not -he also taught him violin playing, in which he was "capable," remains -uncertain. In 1752, at the age of 12, as can be seen from his petition -of March, 1756, and his father's of 1764, he entered the chapel as -soprano. According to Gottwald's report of 1756 he had served "about -2 years"; the contradiction is probably explained by an interruption -caused by the mutation of his voice. At the age of 16, he received his -_decretum_ as "accessist" on the score of his skill in singing and his -experience already acquired, including his capability on the violin, -which was the basis of the decree of April 24, 1764, granting him a -salary of 100 rth. per annum. - -So, at the age of 22, the young man received the promise of a salary, -and at 24 obtained one of 100 thalers. In 1769, he received an increase -of 25 fl., and 50 fl. more by the decree of April 3, 1772. He had, -moreover, an opportunity to gain something by teaching. Not only did -he give lessons in singing and clavier playing to the children of -prominent families of the city, but he also frequently was called on to -prepare young musicians for service in the chapel. Thus Demmer, says -the memorandum heretofore given, "paid 6 rth. to young Mr. Beethoven -for 3 months"; and a year later the following resolve of the privy -council was passed: - - _Ad Suppl._ Joan Beethoven - - The demands of the suppliant having been found to be correct, the - Electoral Treasury is commanded to satisfy the debt by the usual - withdrawal of the sum from the salary of the defendant. - - Bonn, May 24, 1775. - - Attest. P. - -which probably refers to a debt contracted by one of the women of the -court chapel. A few years later, as we have seen, he seems to have -been intrusted with the training of Johanna Helena Averdonck, whom he -brought forward as his pupil in March, 1778, and the singer Gazzenello -was his pupil before she went elsewhere. It was largely his own fault -that the musically gifted man was unfortunate in both domestic and -official relations. His intemperance in drink, probably inherited from -his mother but attributed by old Fischer to the wine trade in which -his father embarked, made itself apparent at an early date, and by -yielding to it more and more as he grew older he undoubtedly impaired -his voice and did much to bring about his later condition of poverty. -How it finally led to a catastrophe we shall see later. According to -the testimony of the widow Karth, he was a tall, handsome man, and wore -powdered hair in his later years. Fischer does not wholly agree with -her: "of medium height, longish face, broad forehead, round nose, broad -shoulders, serious eyes, face somewhat scarred, thin pigtail." Three -and a half years after obtaining his salary of 100 th. he ventured to -marry. Heinrich Kewerich, the father of his wife, was head cook in -that palace at Ehrenbreitstein in which Clemens danced himself out of -this world, but he died before that event took place.[9] His wife, as -the church records testify, was Anna Clara Daubach. Her daughter Maria -Magdalena, born December 19, 1746, married a certain Johann Laym, -valet of the Elector of Treves, on January 30, 1763. On November 28, -1765, the husband died, and Maria Magdalena was a widow before she had -completed her 19th year. In a little less than two years the marriage -register of St. Remigius, at Bonn, was enriched by this entry: - -THE PARENTS OF THE COMPOSER - - _12ma 9bris. Praevia Dispensatione super 3bus denuntiationibus - copulavi D. Joannem van Beethoven, Dni. Ludovici van Beethoven - et Mariae Josephae Poll conjugum filium legitimum, et Mariam - Magdalenam Keferich viduam Leym ex Ehrenbreitstein, Henrici - Keferich et annae clarae Westorffs filiam legitimam. Coram - testibus Josepho clemente Belseroski et philippo Salomon._ - -That is, Johann van Beethoven has married the young widow Laym. - -How it came that the marriage took place in Bonn instead of the home of -the bride we are told by Fischer. Chapelmaster van Beethoven was not -at all agreed that his son should marry a woman of a lower station in -life than his own. He did not continue his opposition against the fixed -determination of his son; but it is to be surmised that he would not -have attended a ceremony in Ehrenbreitstein, and hence the matter was -disposed of quickly in Bonn. After the wedding the young pair paid a -visit of a few days' duration to Ehrenbreitstein. - -CHARACTER OF MME. VAN BEETHOVEN - -Fischer describes Madame van Beethoven as a "handsome, slender person" -and tells of her "rather tall, longish face, a nose somewhat bent -(_gehoeffelt_, in the dialect of Bonn), spare, earnest eyes." Caecilia -Fischer could not recall that she had ever seen Madame van Beethoven -laugh; "she was always serious." Her life's vicissitudes may have -contributed to this disposition:--the early loss of her father, and of -her first husband, and the death of her mother scarcely more than a -year after her second marriage. It is difficult to form a conception -of her character because of the paucity of information about her. -Wegeler lays stress upon her piety and gentleness; her amiability -and kindliness towards her family appear from all the reports; -nevertheless, Fischer betrays the fact that she could be vehement -in controversies with the other occupants of the house. "Madame van -Beethoven," Fischer continues, "was a clever woman; she could give -converse and reply aptly, politely and modestly to high and low, and -for this reason she was much liked and respected. She occupied herself -with sewing and knitting. They led a righteous and peaceful married -life, and paid their house-rent and baker's bills promptly, quarterly, -and on the day. She[10] was a good, a domestic woman, she knew how to -give and also how to take in a manner that is becoming to all people -of honest thoughts." From this it is fair to assume that she strove -to conduct her household judiciously and economically; whether or not -this was always possible in view of the limited income, old Fischer -does not seem to have been informed. She made the best she could of -the weaknesses of her husband without having been able to influence -him; her care for the children in externals was not wholly sufficient. -Young Ludwig clung to her with a tender love, more than to the father, -who was "only severe"; but there is nothing anywhere to indicate that -she exerted an influence upon the emotional life and development of -her son, and in respect of this no wrong will be done her if the -lower order of her culture be taken into consideration. Nor must it -be forgotten that in all probability she was naturally delicate and -that her health was still further weakened by her domestic troubles -and frequent accouchements. The "quiet, suffering woman," as Madame -Karth calls her, died in 1787 of consumption at the age of 40 years. -Long years after in Vienna Beethoven was wont, when among his intimate -friends, to speak of his "excellent" (_vortreffliche_) mother.[11] - -At the time when Johann van Beethoven married, there was quite a colony -of musicians, and other persons in the service of the court, in the -Bonngasse, as that street is in part named which extends from the -lower extremity of the market-place to the Cologne gate. Chapelmaster -van Beethoven had left the house in the Rheingasse and lived at No. -386. In the adjoining house, north, No. 387, lived the musical family -Ries. Farther down, the east house on that side of the way before the -street assumes the name Koelnerstrasse was the dwelling of the hornist, -afterward publisher, Simrock. Nearly opposite the chapelmaster's the -second story of the house No. 515 was occupied (but not till after -1771) by the Salomons; the parterre and first floor by the owner of -the house, a lace-maker or dealer in laces, named Clasen. Of the two -adjoining houses the one No. 576 was the dwelling of Johann Baum, a -master locksmith, doubtless the Jean Courtin, "serrurier," of the Court -Calendar for 1773. In No. 617 was the family Hertel, twelve or fifteen -years later living under the Beethovens in the Wenzelgasse, and not far -off a family, Poll, perhaps relations of Madame Beethoven the elder. -Conrad Poll's name is found in the Court Calendars of the 1770's as -one of the eight Electoral "Heiducken" (footmen). In 1767 in the rear -of the Clasen house, north[12] there was a lodging to let; and there -the newly married Beethovens began their humble housekeeping. Their -first child was a son, Ludwig Maria, baptized April 2, 1769, whose -sponsors, as may be read in the register of St. Remigius parish, were -the grandfather Beethoven and Anna Maria Lohe, wife of Jean Courtin, -the next-door neighbor. This child lived but six days. In two years the -loss of the parents was made up by the birth of him who is the subject -of this biography. - -FOOTNOTES: - -[5] In Fetis' "Biographie universelle" (new ed.) several of these names -are misprinted. They are corrected here from Mr. Jacobs' letter to A. -W. T. - -[6] Thayer's account of this period in the life of Beethoven's -grandfather has here been extended from an article by the Chevalier -L. de Burbure, published in the "Biographie nationale publiee par -l'Academie Royale des sciences, des lettres et des beaux arts de -Belgique." Tome II. p. 105. (Brussels, 1868.) From this it further -appears that two other members of the Antwerp branch of the family were -devoted to the fine arts, viz.: Peter van Beethoven, painter, pupil -of Abr. Genoel, jr., and Gerhard van Beethoven, sculptor, accepted in -the guild of St. Luke about 1713, Director Vollmer, of Brussels, in a -communication to Dr. Deiters gave information of a branch of the family -in Mechlin and of still another in Brabant where, in the village of -Wambeke, there was a cure van Beethoven who must either have died or -been transferred between 1729 and 1732. - -[7] The original entry is printed in full in the German edition of this -biography. - -[8] "The grandfather was a man short of stature, muscular, with -extremely animated eyes, and was greatly respected as an artist." -Fischer's description is different, but Wegeler is the more trustworthy -witness of the two. - -[9] The church records at Ehrenbreitstein say that he died August -2, 1759, in Molzberg, at the age of 58; his funeral took place -in Ehrenbreitstein. A Frau Eva Katharina Kewerich, who died at -Ehrenbreitstein on October 10, 1753, at the age of 89 years, was -probably his mother. - -[10] Some notes by Fischer contain the characteristic addition: "Madame -van Beethoven once remarked that the most necessary things, such as -house-rent, the baker, shoemaker and tailor must first be paid, but she -would never pay drinking debts." - -[11] In the collection of Beethoven relics in the Beethoven House in -Bonn there is a portrait which is set down as that of Beethoven's -mother. The designation, however, rests only on uncertain tradition and -lacks authoritative attestation. It is certainly difficult to see in it -the representation of a consumptive woman only 40 years old. Moreover, -it is strange that Beethoven should have sent from Vienna for the -portrait of his grandfather and not for that of his dearly loved mother -had one been in existence. It is only because of a resemblance between -this picture and another that the belief exists that portraits of both -of the parents of Beethoven are in existence. In 1890 two oil portraits -were found in a shed in Cologne and restored by the painter Kempen, who -recognized in them the handiwork of the painter Beckenkamp, who, like -Beethoven's mother, was born in Ehrenbreitstein, was a visitor at the -Beethoven home in Bonn and died in Cologne in 1828. The female portrait -agrees with that in Bonn; they are life-size, finely executed pictures, -but they are certainly not Beethoven's parents. Enough has been said -about the portrait of the mother. In the case of that of the father -the first objection is that it also lacks authentication. Fischer's -description does not wholly fit the picture; the old man would not -have forgotten the protruding lower lip. But the entire expression of -the face, serious, it is true, but fleshy and vulgar, and the gray -perruque, do not conform to what we know of the easy-going musician. It -will be difficult, too, to trace any resemblance of expression between -it and the familiar one of Beethoven from which a conclusion might be -drawn. So long as proofs are wanting, scientific biography will have -no right to accept the portraits as those of Beethoven's parents. -Reproductions of them may be found in the "Musical Times" of London, -December 15, 1892. - -[12] The house is now owned by the Beethoven-Haus Verein, and -maintained as a Beethoven museum. - - - - -Chapter III - - The Childhood of Beethoven--An Inebriate Grandmother and - a Dissipated Father--The Family Homes in Bonn--The Boy's - Schooling--His Music Teachers--Visits Holland with his Mother. - - -THE DATE OF BEETHOVEN'S BIRTH - -There is no authentic record of Beethoven's birthday. Wegeler, on the -ground of custom in Bonn, dates it the day preceding the ceremony of -baptism--an opinion which Beethoven himself seems to have entertained. -It is the official record of this baptism only that has been preserved. -In the registry of the parish of St. Remigius the entry appears as -follows: - - _Parentes_: - _D: Joannes van - Beethoven & Helena - Keverichs, conjuges_ - - _Proles_: - _17ma Xbris. - Ludovicus_ - - _Patrini_: - _D: Ludovicus van - Beethoven & - Gertrudis Muellers - dicta Baums_ - -The sponsors, therefore, were Beethoven's grandfather the chapelmaster, -and the wife of the next-door neighbor, Johann Baum, secretary at the -electoral cellar. The custom obtaining at the time in the Catholic -Rhine country not to postpone the baptism beyond 24 hours after the -birth of a child, it is in the highest degree probable that Beethoven -was born on December 16, 1770.[13] - -Of several certificates of baptism the following is copied in full for -the sake of a remark upon it written by the master's own hand: - - _Department de Rhin et Moselle - Mairie de Bonn._ - - _Extrait du Registre de Naissances de la Paroisse - de St. Remy a Bonn._ - - _Anno millesimo septingentesimo septuagesimo, de decima septima - Decembris baptizatus est Ludovicus. Parentes D: Joannes van - Beethoven et Helena[14] Keverichs, conjuges. Patrini, D: Ludovicus - van Beethoven et Gertrudis Muellers dicta Baums._ - - _Pour extrait conforme - delivre a la Mairie de Bonn._ - _Bonn le 2 Juin, 1810._ - [_Signatures and official seals._] - -On the back of this paper Beethoven wrote: - - "Es scheint der Taufschein nicht richtig, - 1772 da noch ein Ludwig vor mir. Eine Baumgarten - war glaube ich mein Pathe. - - Ludwig van Beethoven."[15] - -The composer, then, even in his fortieth year still believed the -correct date to be 1772, which is the one given in all the old -biographical notices, and which corresponds to the dates affixed to -many of his first works, and indeed to nearly all allusions to his -age in his early years. Only by keeping this fact in mind, can the -long list of chronological contradictions, which continually meet the -student of his history during the first half of his life, be explained -or comprehended. Whoever examines the original record of baptism in -the registry at Bonn, sees instantly that the certificate, in spite of -Beethoven, is correct; but all possible doubt is removed by the words -of Wegeler: - - Little Louis clung to this grandfather ... with the greatest - affection, and, young as he was when he lost him, his early - impressions always remained lively. He liked to speak of his - grandfather with the friends of his youth, and his pious and - gentle mother, whom he loved much more than he did his father, who - was only severe, was obliged to tell him much of his grandfather. - -Had 1772 been the correct date the child could never have retained -personal recollections of a man who died on December 24, 1773. A -survey of the whole ground renders the conclusion irresistible that at -the time when the boy began to attract notice by his skill upon the -pianoforte and by the promise of his first attempts in composition, -his age was purposely falsified, a motive for which may perhaps be -found in the excitement caused in the musical world by the then recent -career of the Mozart children, and in the reflection that attainments -which in a child of eight or ten years excite wonder and astonishment -are considered hardly worthy of special remark in one a few years -older. There is, unfortunately, nothing known of Johann van Beethoven's -character which renders such a trick improbable. Noteworthy is it that, -at first, the falsification rarely extends beyond one year; and, also, -that in an official report in 1784 the correct age is given. Here an -untruth could not be risked, nor be of advantage if it had been. - -Dr. C. M. Kneisel, who championed the cause of the house in the -Bonngasse in a controversy conducted in the "Koelnische Zeitung" in -1845, touching the birthplace of Beethoven, remarks that the mother -"was, as is known, a native of the Ehrenbreitstein valley and separated -from her relatives; he (Johann van Beethoven) was without relatives and -in somewhat straitened circumstances financially. What, then, was more -natural than that he should invite his neighbor, Frau Baum, a respected -and well-to-do woman, _in whose house the baptismal feast was held_, to -be sponsor for his little son?" This last fact indicates clearly the -narrowness of the quarters in which the young couple dwelt. Does it -not also hint that the grandfather was now a solitary man with no home -in which to spread the little feast? Let Johann van Beethoven himself -describe the pecuniary condition in which he found himself upon the -death of his father: - - Most Reverend Archbishop, - Most Gracious Elector and Lord, Lord. - - Will Your Electoral Grace graciously be pleased to hear that my - father has passed away from this world, to whom it was granted to - serve his Electoral Grace Clemens August and Your Electoral Grace - and gloriously reigning Lord Lord 42 years, as chapelmaster with - great honor, whose position I have been found capable of filling, - but nevertheless I would not venture to offer my capacity to Your - Electoral Grace, but since the death of my father has left me in - needy circumstances my salary not sufficing and I compelled to - draw on the savings of my father, my mother still living and in a - cloister at a cost of 60 rth. for board and lodging each year and - it is not advisable for me to take her to my home. Your Electoral - Grace is therefore humbly implored to make an allowance from the - 400 rth. vacated for an increase of my salary so that I may not - need to draw upon the little savings and my mother may receive the - pension graciously for the few years which she may yet live, to - deserve which high grace it shall always be my striving. - - Your Electoral Grace's - Most humble and obedient - Servant and musicus jean van Beethoven. - -There is something bordering on the comic in the coolness of the hint -here given that the petitioner would not object to an appointment as -his father's successor, especially when it is remembered that Lucchesi -and Mattioli were already in Bonn and the former had sufficiently -proved his capacity by producing successful operas, both text and -music, for the Elector's delectation. The hint was not taken; what -provision was granted him, however, may be seen from a petition of -January 8, 1774, praying for an addition to his salary from that made -vacant by the death of his father, and a pension to his mother who is -kept at board in a cloister. A memorandum appears on the margin to the -effect that the Elector graciously consents that the widow, so long as -she remains in the cloister, shall receive 60 rth. quarterly. Another -petition of a year later has been lost, but its contents are indicated -in the response, dated June 5, 1775, that Johann van Beethoven on the -death of his mother shall have the enjoyment of the 60 rth. which had -been granted her. The death of the mother followed a few months later -and was thus announced in the "Intelligenzblatt" of Bonn on October 3, -1775: "Died, on September 30, Maria Josepha Pals (_sic_), widow van -Beethoven, aged 61 years." In a list of salaries for 1776 (among the -papers at Duesseldorf) for the "Musik Parthie" the salary of Johann van -Beethoven is given at 36 rth. 45 alb. payable quarterly. The fact of -the great poverty in which he and his family lived is manifest from -the official documents (which confirm the many traditions to that -effect) and from the more important recollections of aged people of -Bonn brought to light in a controversy concerning the birthplace of -the composer. For instance, Dr. Hennes, in his unsuccessful effort to -establish the claims of the Fischer house in the Rheingasse, says: "The -legacy left him (Johann van Beethoven) by his father did not last long. -That fine linen, which, as I was told, could be drawn through a ring, -found its way, piece by piece, out of the house; even the beautiful -large portrait showing the father wearing a tasseled cap and holding a -roll of music, went to the second-hand shop." This is an error, though -the painting may have gone for a time to the pawnbroker. - -From the Bonngasse the Beethovens removed, when, is uncertain, to a -house No. 7 or No. 8 on the left as one enters the Dreieckplatz in -passing from the Sternstrasse to the Muensterplatz. They were living -there in 1774, for the baptism of another son on the 8th of April of -that year is recorded in the register of the parish of St. Gangolph, -to which those houses belonged. This child's name was Caspar Anton -Carl, the first two names from his sponsor the Minister Belderbusch, -the third from Caroline von Satzenhofen, Abbess of Vilich. Was this -condescension on the part of the minister and the abbess intended to -soothe the father under the failure of his hopes of advancement? From -the Dreieckplatz the Beethovens migrated to the Fischer house, No. 934 -in the Rheingasse, so long held to be the composer's birthplace and -long thereafter distinguished by a false inscription to that effect. -Whether the removal took place in Ludwig's fifth or sixth year is not -known; but at all events it was previous to the 2nd of October, 1776, -for upon that day another son of Johann van Beethoven was baptized in -the parish of St. Remigius by the name of Nicholas Johann. Dr. Hennes -in his letter to the "Koelnische Zeitung" lays much stress upon the -testimony of Caecilia Fischer. He says: "the maiden lady of 76 years, -Caecilia Fischer, still remembers distinctly to have seen little Louis -in his cradle and can tell many anecdotes about him, etc." The mistake -is easily explained without supposing any intentional deception:--62 -years afterwards she mistook the birth of Nicholas Johann for that of -Ludwig. According to Fischer's report the family removed from this -house in 1776 for a short time to one in the Neugasse, but returned -again to the house in the Rheingasse after the palace fire in 1777. -One thought which suggests itself in relation to these removals of -Johann van Beethoven may, perhaps, be more than mere fancy: that in -expectation of advancement in position upon the death of his father he -had exchanged the narrow quarters of the lodging in the rear of the -Clasen house for the much better dwelling in the Dreieckplatz; but upon -the failure of his hopes had been fain to seek a cheaper place in the -lower part of the town down near the river. - -THE BOY BEETHOVEN'S EARLY STUDY - -There is nothing decisive as to the time when the musical education -of Ludwig van Beethoven began, nor any positive evidence that he, -like Handel, Haydn or Mozart, showed remarkable genius for the art -at a very early age. Schlosser has something on this point, but he -gives no authorities, while the particulars which he relates could not -possibly have come under his own observation. Mueller[16] had heard -from Franz Ries and Nicholas Simrock that Johann van Beethoven gave -his son instruction upon the pianoforte and violin "in his earliest -childhood.... To scarcely anything else did he hold him." In the -dedication of the pianoforte sonatas (1783) to the Elector, the boy -is made to say: "Music became my first youthful pursuit in my fourth -year," which might be supposed decisive on the point if his age were -not falsely given on the title-page. This much is certain: that after -the removal to the Fischer house the child had his daily task of -musical study and practice given him and in spite of his tears was -forced to execute it. "Caecilia Fischer," writes Hennes (1838), "still -sees him, a tiny boy, standing on a little footstool in front of the -clavier to which the implacable severity of his father had so early -condemned him. The patriarch of Bonn, Head Burgomaster Windeck, will -pardon me if I appeal to him to say that he, too, saw the little Louis -van Beethoven in this house standing in front of the clavier and -weeping." To this writes Dr. Wegeler: - - I saw the same thing. How? The Fischer house was, perhaps still - is, connected by a passage-way in the rear with a house in the - Giergasse, which was then occupied by the owner, a high official - of the Rhenish revenue service, Mr. Bachen, grandfather of Court - Councillor Bachen of this city. The youngest son of the latter, - Benedict, was my schoolmate, and on my visits to him the doings - and sufferings of Louis were visible from the house. - -It must be supposed that the father had seen indications of his -son's genius, for it is difficult to imagine such an one remaining -unperceived; but the necessities of the family with the failure of the -petition for a better salary--sent in just at the time when the Elector -was so largely increasing his expenditures for music by the engagement -of Lucchesi and Mattioli and in other ways--are sufficient reasons for -the inflexible severity with which the boy was kept at his studies. The -desire to say something new and striking on the part of many who have -written about Beethoven has led to such an admixture of fact and fancy -that it is now very difficult to separate them. One (Schlosser) tells -his readers that "the greatest joy of the lad was when his father took -him upon his knees and permitted him to accompany a song on the clavier -with his tiny fingers," while others tell the tale of his childhood -in a manner to convey the idea that the father was a pitiless tyrant, -the boy a victim and a slave--an error which a calm consideration of -what is really known of the facts in the case at once dispels. There -is but one road to excellence, even for the genius of a Handel or a -Mozart--unremitted application. To this young Ludwig was compelled, -sometimes, no doubt, through the fear or the actual infliction of -punishment for neglect; sometimes, too, the father, whose habits were -such as to favor a bad interpretation of his conduct, was no doubt -harsh and unjust. And such seems to be the truth. At any rate, the boy -at an early date acquired so considerable a facility upon the clavier -that his father could have him play at court and when he was seven -years old produce him with one of his pupils at a concert in Bonn. -Here is the announcement of the concert as it was reproduced in the -"Koelnische Zeitung" of December 18, 1870, from the original: - - AVERTISSEMENT - - To-day, March 26, 1778, in the musical concert-room in the - Sternengasse the Electoral Court Tenorist, Beethoven, will have - the honor to produce two of his scholars, namely, Mlle. Averdonck, - Court Contraltist, and his little son of six years. The former - will have the honor to contribute various beautiful arias, the - latter various clavier concertos and trios. He flatters himself - that he will give complete enjoyment to all ladies and gentlemen, - the more since both have had the honor of playing to the greatest - delight of the entire Court. - - Beginning at five o'clock in the evening. - - Ladies and gentlemen who have not subscribed will be charged a - florin. Tickets may be had at the aforesaid Akademiesaal, also of - Mr. Claren auf der Bach in Muehlenstein. - -Unfortunately we learn nothing concerning the pieces played by the boy -nor of the success of his performance. That the violin as well as the -pianoforte was practised by him is implicitly confirmed by the terms -in which Schindler records his denial of the truth of the well-known -spider story: "The great Ludwig refused to remember any such incident, -much as the tale amused him. On the contrary, he said it was more to be -expected that everything would have fled from his scraping, even flies -and spiders." - -PAUCITY OF INTELLECTUAL TRAINING - -The father's main object being the earliest and greatest development -of his son's musical genius so as to make it a "marketable commodity," -he gave him no other school education than such as was afforded in -one of the public schools. Fischer says he first attended a school in -the Neugasse taught by a man named Huppert[17] and thence went to the -Muensterschule. Among the lower grade schools in Bonn was the so-called -Tirocinium, a Latin school, which prepared pupils for the gymnasium but -was not directly connected with it, but had its own corps of teachers, -like the whole educational system of the period, under the supervision -of the Academic Council established by Max Friedrich in 1777. The -pupils learned, outside of the elementary studies (arithmetic and -writing are said to have been excluded), to read and write Latin up to -an understanding of Cornelius Nepos. Johann Krengel, a much respected -pedagogue, was teacher at the time and was appointed municipal -schoolmaster in 1783 by the Academic Council. In 1786 he transferred -the school to the Bonngasse. To this school young Beethoven was sent; -when, is uncertain. His contemporary and schoolfellow Wurzer, Electoral -Councillor and afterwards president of the Landgericht, relates the -following in his memoirs:[18] - - One of my schoolmates under Krengel was Luis van Beethoven, whose - father held an appointment as court singer under the Elector. - Apparently his mother was already dead at the time,[19] for Luis - v. B. was distinguished by uncleanliness, negligence, etc. Not a - sign was to be discovered in him of that spark of genius which - glowed so brilliantly in him afterwards. I imagine that he was - kept down to his musical studies from an early age by his father. - -Wurzer entered the gymnasium in 1781; Beethoven did not. This, -therefore, must have been the time at which all other studies were -abandoned in favor of music. In what manner his education was otherwise -pieced out is not to be learned. The lack of proper intellectual -discipline is painfully obvious in Beethoven's letters throughout his -life. In his early manhood he wrote a fair hand, so very different from -the shocking scrawl of his later years as to make one almost doubt the -genuineness of autographs of that period; but in orthography, the use -of capital letters, punctuation and arithmetic he was sadly deficient -all his life long. He was still able to use the French tongue at a -later period, and of Latin he had learned enough to understand the -texts which he composed; but even as a schoolboy his studies appear to -have been made second to his musical practice with which his hours out -of school were apparently for the most part occupied. He was described -by Dr. Mueller as "a shy and taciturn boy, the necessary consequence of -the life apart which he led, observing more and pondering more than -he spoke, and disposed to abandon himself entirely to the feelings -awakened by music and (later) by poetry and to the pictures created -by fancy." Of those who were his schoolfellows and who in after years -recorded their reminiscences of him, not one speaks of him as a -playfellow, none has anecdotes to relate of games with him, rambles on -the hills or adventures upon the Rhine and its shores in which he bore -a part. Music and ever music; hence the power of clothing his thoughts -in words was not developed by early culture, and the occasional bursts -of eloquence in his letters and recorded conversations are held not to -be genuine, because so seldom found. As if the strong mind, struggling -for adequate expression, should not at times break through all barriers -and overcome all obstacles![20] Urged forward thus by the father's -severity, by his tender love for his mother and by the awakening of his -own tastes, the development of his skill and talents was rapid; so much -so that in his ninth year a teacher more competent than his father was -needed. - -BEETHOVEN AND VAN DEN EEDEN - -The first to whom his father turned was the old court organist van den -Eeden, who had been in the electoral service about fifty years and had -come to Bonn before the arrival there of Ludwig van Beethoven, the -grandfather. One can easily imagine his willingness to serve an old -and deceased friend by fitting his grandson to become his successor; -and this might account for Schlosser's story that at first he taught -him gratis, and that he continued his instructions at the command and -expense of the Elector. The story may or may not be true, but nothing -has been discovered in the archives at Duesseldorf confirming the -statement; in fact concerning the time, the subjects and the results -of van den Eeden's instruction we are thrown largely upon conjecture. -"In his eighth year," says Maeurer in his notices, "Court Organist -van den Eeden took him as a pupil; nothing has been learned of his -progress." This, if Maeurer was correct in stating his age, would have -been about 1778. It is after this that Maeurer refers to his study under -Pfeiffer. Independently of all this Fischer says: "His father not being -able to teach him more in music, and suspecting that he had talent -for composition, took him at first to an aged master named Santerrini -who instructed him for a while; but the father thought little of this -teacher, did not consider him the right man and desired a change." -This desire resulted in securing Pfeiffer through the mediation of -Grossmann. There was no musician Santerrini in the court chapel, but an -actor, named Santorini, was a member of Grossmann's troupe; he cannot -be considered in this connection. There is evidently a confusion of -names, and the whole context, especially the reference to the "aged -master," shows that no other than van den Eeden was meant by the -teacher who gave instruction for a short time before Pfeiffer. - -Schlosser does not say that this instruction was on the organ and -it is unlikely that the boy, who was destined for a more systematic -instruction in pianoforte playing, was put at the organ at so early -an age. It was a deduction, probably, from the fact that van den -Eeden was an organist and that later Beethoven displayed a great deal -of dexterity upon that instrument. It is noteworthy that Wegeler -(p. 11) says nothing definite as to whether or not Beethoven took -lessons from van den Eeden; he merely thought it likely, because he -knew no one else in Bonn from whom Beethoven could have learned the -technical handling of the organ. But there were several such in Bonn -irrespective of Neefe. Schindler makes certainty out of Wegeler's -conjecture and relates that Beethoven often spoke of the old organist -when discoursing upon the proper position and movement of the body -and hands in organ and pianoforte playing, he having been taught to -hold both calm and steady, to play in the connected style of Handel -and Bach. This may have been correct so far as pianoforte playing is -concerned; but Schindler had little knowledge of Beethoven's Bonn -period, and the possibility of a confusion of names is not excluded -even on the part of Beethoven himself, who received hints from several -organists. Maeurer, after speaking of Pfeiffer, continues as follows: -"Van den Eeden remained his only teacher in thorough-bass. As a man of -seventy he sent the boy Louis, between eleven and twelve years old, to -accompany the mass and other church music on the organ. His playing -was so astonishing that one was forced to believe he had intentionally -concealed his gifts. While preluding for the _Credo_ he took a theme -from the movement and developed it to the amazement of the orchestra so -that he was permitted to improvise longer than is customary. That was -the opening of his brilliant career." Maeurer seems to know nothing of -Neefe when he says that van den Eeden was Beethoven's only teacher in -thorough-bass. What he says, too, about the lad's performance at the -organ as substitute obviously rests upon a confounding of van den Eeden -with another of Beethoven's organ teachers--most likely Neefe. - -It is our conjecture that van den Eeden taught the boy chiefly and -perhaps exclusively pianoforte playing, he being a master in that art; -but his influence was small. It must be remembered that van den Eeden -was a very old man, as whose successor Neefe had been chosen in 1781, -and who died in June, 1782. Nowhere does he, like the other teachers -of Beethoven, disclose individual traits; he is a totally colorless -picture in the history of Beethoven's youth. Nor does it appear that -there was any intimacy between him and the Beethoven family, since -otherwise he would not have been missing in the notices of Fischer, -who does not even know his name. The judgment of the father that his -instruction was inefficient was probably correct. - -OTHER TEACHERS OF THE BOY BEETHOVEN - -A fitter master, it was thought, was obtained in Tobias Friedrich -Pfeiffer, who came to Bonn in the summer of 1779, as tenor singer in -Grossmann and Helmuth's theatrical company. Maeurer, the violoncellist, -in some reminiscences of that period communicated to this work by -Professor Jahn, says that Pfeiffer was a skillful pianist and gave the -boy lessons, but not at any regular hours. Often when he came with -Beethoven, the father, from the wine-house late at night, the boy was -roused from sleep and kept at the pianoforte until morning;--a course -not particularly favorable to his progress at school, but one which -may be readily credited in the light of what is known of Pfeiffer and -Johann Beethoven, and one, moreover, which would cause the lessons -to make an enduring impression upon the memory. There is some reason -to think that the former was an inmate of the latter's family, which -adds probability to the story. Although Pfeiffer was in Bonn but one -year, Wegeler affirms that "Beethoven owed most of all to this teacher, -and was so appreciative of the fact that he sent him financial help -from Vienna through Simrock." To what extent Wegeler's opinion as to -Beethoven's obligations is correct, it would be difficult to decide; -but the utter improbability that a single year's lessons from this -man would profit a boy eight and a half to nine and a half years old, -more than those from any other of his teachers, much longer and -systematically continued, is manifest. About this time the young court -musician Franz Georg Rovantini lived in the same house with Beethoven. -He was the son of a violinist Johann Conrad Rovantini who had been -called to Bonn from Ehrenbreitstein and who died in 1766. He was -related to the Beethoven family. The young musician was much respected -and sought after as teacher. According to the Fischer document the -boy Beethoven was among his pupils, taking lessons on the violin and -viola. But these lessons, too, came to an early end; Rovantini died on -September 9, 1781, aged 24. - -A strong predilection for the organ was awakened early in the -lad and he eagerly sought opportunities to study the instrument, -apparently even before he became Neefe's pupil. In the cloister of the -Franciscan monks at Bonn there lived a friar named Willibald Koch, -highly respected for his playing and his expert knowledge of organ -construction. We have no reason to doubt that young Ludwig sought him -out, received instruction from him and made so much progress that -Friar Willibald accepted him as assistant. In the same way he made -friends with the organist in the cloister of the Minorites and "made an -agreement" to play the organ there at 6 o'clock morning mass. It would -seem that he felt the need of familiarity with a larger organ than that -of the Franciscans. On the inside of the cover of a memorandum book -which he carried to Vienna with him is found the note: "Measurements -(_Fussmass_) of the Minorite pedals in Bonn." Plainly he had kept an -interest in the organ. Still another tradition is preserved in a letter -to the author from Miss Auguste Grimm, dated September, 1872, to the -effect that Heinrich Theisen, born in 1759, organist at Rheinbreitbach -near Honneck on the Rhine, studied the organ in company with Beethoven -under Zenser, organist of the Muensterkirche at Bonn, and that the lad -of ten years surpassed his fellow student of twenty. The tradition -says that already at that time Ludwig composed pieces which were too -difficult for his little hands. "Why, you can't play that, Ludwig," his -teacher is said to have remarked, and the boy to have replied: "I will -when I am bigger." - -When Beethoven's studies with van den Eeden began and ended, -whether they were confined to the organ or pianoforte, or partook -of both--these are undecided points. It does not appear that any -instruction in composition was given him until he became the pupil -of Neefe. In the _facsimile_ which follows the part devoted to -thorough-bass in the so-called "Studien," the composer says: "Dear -Friends: I took the pains to learn this only that I might write the -figures readily and later instruct others; for myself I never had -to learn how to avoid errors, for from my childhood I had so keen a -sensibility that I wrote correctly without knowing it had to be so, -or could be otherwise." This lends plausibility, at least, to another -anecdote related by Maeurer concerning an alleged precocious composition -by Beethoven: - -THE STORY OF A FIRST COMPOSITION - - About this time the English Ambassador to the Elector's court, - named Kressner, who had extended help to the Beethoven family, - living scantily on a salary of 400 fl. [?], died. Louis composed - a funeral cantata to his memory--his first composition. He handed - his score to Lucchesi and asked him to correct the errors. - Lucchesi gave it back with the remark that he could not understand - it, and therefore could not comply with his request, but would - have it performed. At the first rehearsal there was great - astonishment at the originality of the composition, but approval - was divided; after a few rehearsals the approbation grew and the - piece was performed with general applause. - -George Cressener came to Bonn in the autumn of 1755, and died there -January 17, 1781, in the eighty-first year of his age. The "about this -time" in Maeurer's story agrees, therefore, well enough with that date; -it is, however, a suspicious circumstance that Maeurer had left the -service and returned to Cologne in the Spring of 1780 and, therefore, -was not eye-witness to the fact; and another that the circumstance -was not remembered by other members of the court chapel, not even by -Franz Ries, nor by Neefe, who, though not then a member, was already -in Bonn. "In 1780," continues Maeurer, "Beethoven got acquainted with -Zambona, who called his attention to his neglected education, gave -him lessons daily in Latin, Louis continuing a year (in six weeks he -read Cicero's letters!)--also logic, French and Italian--until Zambona -left Bonn in order to become bookkeeper for Bartholdy in Muehlheim." In -the "Geheime Staats-Conferenz Protocollen," May 20, 1787, one reads: -"Stephan Zambona prays to be appointed, _Kammerportier_, etc.," to -which is appended the remark: "the request not granted." Zambona is a -name, too, which, half a dozen years later, often appears in the Bonn -"Intelligenzblatt," as that of a shopkeeper in the Market Place of that -town. If the story of the cantata be doubtful, that of these private -studies on the part of a boy in Beethoven's position, only in his tenth -year and a schoolboy then if ever, like Hamlet's possible dreams in the -sleep of death, must "give us pause." - -Mother and son undertook a voyage to Holland in the beginning of the -winter of 1781. The widow Karth, one of the Hertel family, born in 1780 -and still living in Bonn in 1861, passed her childhood in the house No. -462 Wenzelgasse in the upper story of which the Beethovens then lived. -One of her reminiscences is in place here. She distinctly remembered -sitting, when a child, upon her own mother's knee, and hearing Madame -van Beethoven--"a quiet, suffering woman"--relate that when she went -with her little boy Ludwig to Holland it was so cold on the boat -that she had to hold his feet in her lap to prevent them from being -frostbitten; and also that, while absent, Ludwig played a great deal -in great houses, astonished people by his skill and received valuable -presents. The circumstance of the cold feet warmed in the mother's lap, -is precisely one to fasten itself in the memory of a child and form a -point around which other facts might cluster.[21] - -Another incident related in connection with this journey to -Holland--not as a fact, but as one which she had heard spoken of in her -childhood--and one very difficult to comprehend, is, that some person, -whether an envious boy or a heartless adult she could not tell, drew a -knife across the fingers of Ludwig to disable him from playing! - -FOOTNOTES: - -[13] In one of Beethoven's conversation books his nephew writes on -December 15, 1823: "To-day is the 15th of December, the day of your -birth, but I am not sure whether it is the 15th or 17th, inasmuch as we -can not depend on the certificate of baptism and I read it only once -when I was still with you in January." The nephew, it will be observed, -does not appeal to a family tradition but to the baptismal certificate -and the uncertainty, therefore, is with reference to the date of -baptism, not of birth. Hence the deduction which Kalischer makes -("Vossische Zeitung," No. 17, 1891) that Beethoven was born on December -15. Hesse calls to witness a clerk employed in Simrock's establishment -with whom Beethoven had business transactions, and who had written on -the back of the announcement of Beethoven's death, "L. v. Beethoven was -born on December 16, 1770." - -[14] The mistake in the mother's name is sufficiently explained by the -use of Lena as the contraction of both Helena and Magdalena. - -[15] "The baptismal certificate seems to be incorrect, since there was -a Ludwig born before me. A Baumgarten was my sponsor, I believe. Ludwig -van Beethoven." - -[16] "Allg. Mus.-Ztg.," May 23. 1827. - -[17] There was no teacher of this name in Bonn at the time. There was a -Rupert, however, who may have been the one meant by Fischer. - -[18] These memoirs are in manuscript. They were formerly in the -possession of Dr. Bodifee of Bonn, later in the Town Hall. - -[19] Error; Beethoven's mother did not die until 1787, long after he -had left school. - -[20] Thayer's characterization of the joyless boyhood of Beethoven -may submit to a slight modification, at least so far as his childhood -is concerned, without violence to the verities of history. Fischer -would have us believe that the lad took part with his brother Carl -in boyish capers which were not always of a harmless character. In a -letter to Simrock, Court Councillor Krupp relates: "My father, who -died in 1847, was a youthful friend and schoolmate of Ludwig and Carl -van Beethoven, and distantly related to the godmother of the former. -Thursdays were holidays for the schoolboys, and the brothers Beethoven, -L. and C., were then wont to come to the house of my grandparents, No. -28 Bonngasse (now belonging to my sister and me), and amuse themselves, -among other things, with target shooting. There was a wall between -the garden of our house and the gardens of the adjoining houses in -the Wenzelgasse against which the target was placed at which the boys -shot arrows; a hit in the centre brought forth a _Stueber_ (about 4 -pfennigs) for the lucky marksman. Garden and wall are now (1890) in -the same condition as then. In the evening the Beethoven brothers went -home through the Gudenauergaesschen. The family lived at the time in the -Wenzelgasse back of our house." Here is an inaccuracy, for Ludwig van -Beethoven no longer went to school when the Beethoven family changed -their house in the Rheingasse for that in the Wenzelgasse--which was -probably about 1785. The letter continues: "Ludwig's father treated him -harshly, especially when he was intoxicated, and sometimes shut him up -in the cellar." - -[21] There seems to have been no knowledge on the part of Beethoven's -biographers of this visit to Holland until Thayer brought the incident -to notice. It is, therefore, highly significant that the Fischer -family also recalled the circumstance and, besides, knew what brought -it about. The sister of young Rovantini, who died in September, 1781, -was employed as governess in Rotterdam, and on receiving intelligence -of the death of her brother came to Bonn, together with her mistress -(whose name has not been preserved), to visit his grave. For a month -she was an inmate of the Beethoven house; there was a good deal of -music-making and some excursions to neighboring places of interest, -including Coblenz. The visitors invited the Beethoven family to make a -trip to Holland. Inasmuch as Johann van Beethoven could not get away, -the mother went with the lad, and, a party of five, they embarked upon -the voyage. This must have been in October or November, 1781, which -agrees with the story of the extreme cold encountered on the voyage. -They remained a considerable time, but whether or not Ludwig gave -a concert as he had intended, is not known. Despite the attentions -showered upon him by the wealthy lady from Rotterdam and the many -honors, the pecuniary results were disappointing. To Fischer's question -how he had fared Beethoven is reported to have answered: "The Dutch are -skinflints (_Pfennigfuchser_); I'll never go to Holland again." - - - - -Chapter IV - - Beethoven a Pupil of Neefe--His Talent and Skill Put to Use--First - Efforts at Composition--Johann van Beethoven's Family--Domestic - Tribulations. - - -Christian Gottlob Neefe succeeded the persons mentioned as Beethoven's -master in music. When this tutorship began and ended, and whether or -not it be true that the Elector engaged and paid him for his services -in this capacity, as affirmed by divers writers--here again positive -evidence is wanting. Neefe came to Bonn in October, 1779; received the -decree of succession to the position of Court Organist on February 15, -1781, and was thus permanently engaged in the Elector's service. The -unsatisfactory nature of the earlier instruction, as well as the high -reputation of Neefe, placed in the strongest light before the Bonn -public by those proceedings which had compelled him to remain there, -would render it highly desirable to Johann van Beethoven to transfer -his son to the latter's care. It would create no surprise should proof -hereafter come to light that this change was made even before the -issue of the decree of February 15, 1781;--that even then the pupil -was profiting by the lessons of the zealous Bachist. Whether this was -so or not, it was more than ever necessary that the boy's talents -should be put to profitable use, for the father found his family still -increasing. The baptism of a daughter named Anna Maria Franciska after -her sponsors Anna Maria Klemmers, _dicta_ Kochs, and Franz Rovantini, -court musician, is recorded in the St. Remigius register February 23, -1779, and her death on the 27th of the same month. The baptism of -August Franciscus Georgius van Beethoven--Franz Rovantini, _Musicus -Aulicus_ and Helene Averdonk, _patrini_, follows nearly two years -later--January 17, 1781. There is no minister of State now to lend -his name to a child of Johann van Beethoven, nor any lady abbess. -Rovantini, one of the youngest members of the orchestra (relative -and friend of the family), and a Frau Kochs, the young contralto, -whose musical education the father had superintended, take their -places--another indication that the head of the family is gradually -sinking in social position. - -It is Schlosser who states that "the Elector urged Neefe to make it his -particular care to look after the training of the young Beethoven." How -much weight is to be attached to this assertion of a man who hastily -threw a few pages together soon after the death of the composer, and -who begins by adopting the old error of 1772 as the date of his birth, -and naming his father "Anton," may safely be left to the reader. That -the story may possibly have some foundation in truth is not denied; but -the probabilities are all against it. Just in these years Max Friedrich -is busy with his tric-trac, his balls, his new operettas and comedies, -and with his notion of making the theatre a school of morals. The -truth seems to be (and it is the only hypothesis that suggests itself, -corresponding to the established facts), that Johann van Beethoven had -now determined to make an organist of his son as the surest method of -making his talents productive. The appointment of Neefe necessarily -destroyed Ludwig's hope of being van den Eeden's successor; but Neefe's -other numerous employments would make an assistant indispensable, -and to this place the boy might well aspire. It will be seen in the -course of the narrative that Beethoven never had a warmer, kinder and -more valuable friend than Neefe proved throughout the remainder of -his Bonn life; that, in fact, his first appointment was obtained for -him through Neefe, although this is the first hint yet published that -the credit does not belong to a very different personage. What, then, -so natural, so self-evident as that Neefe, foreseeing the approaching -necessity of some one to take charge of the little organ in the chapel -at times when his duties to the Grossmann company would prevent him -from officiating in person, should gladly undertake the training of the -remarkable talents of van den Eeden's pupil with no wish for any other -remuneration than the occasional services which the youth could render -him? - -NEEFE'S INFLUENCE ON BEETHOVEN - -Dr. Wegeler remarks: "Neefe had little influence upon the instruction -of our Ludwig, who frequently complained of the too severe criticisms -made on his first efforts in composition." The first of these -assertions is evidently an utter mistake. In 1793 Beethoven himself, -at all events, thought differently: "I thank you for the counsel -which you gave me so often in my progress in my divine art. If I ever -become a great man yours shall be a share of the credit. This will -give you the greater joy since you may rest assured," etc. Thus he -wrote to his old teacher. As to the complaint of harsh criticism it -may be remarked that Neefe, reared in the strict Leipsic school, must -have been greatly dissatisfied with the direction which the young -genius was taking under the influences which surrounded him, and that -he should labor to change its course. He was still a young man, and -in his zeal for his pupil's progress may well have criticized his -childish compositions with a severity which, though no more than just -and reasonable, may have so contrasted with injudicious praise from -other quarters as to wound the boy's self-esteem and leave a sting -behind; especially if Neefe indulged in a tone at all contemptuous, a -common fault of young men in like cases. Probably, in some conversation -upon this point Beethoven may have remarked to Wegeler that Neefe had -criticized him in his childhood rather too severely. - -But to return from the broad field of hypothesis to the narrow path of -facts. "On this day, June 20, 1782," Neefe writes of himself and the -Grossmann company, "we entered upon our journey to Muenster, whither -the Elector also went. The day before my predecessor, Court Organist -van den Eeden, was buried; I received permission, however, to leave my -duties in the hands of a vicar and go along to Westphalia and thence -to the Michaelmas fair at Frankfort." The Duesseldorf documents prove -that this vicar was Ludwig van Beethoven, now just eleven and a half -years of age. In the course of the succeeding winter, Neefe prepared -that very valuable and interesting communication to "Cramer's Magazine" -which has been so largely quoted. In this occurs the first printed -notice of Beethoven, one which is honorable to head and heart of its -author. He writes, under date of March 2, 1783: - - Louis van Beethoven, son of the tenor singer mentioned, a boy - of eleven years and of most promising talent. He plays the - clavier very skilfully and with power, reads at sight very well, - and--to put it in a nutshell--he plays chiefly "The Well-Tempered - Clavichord" of Sebastian Bach, which Herr Neefe put into his - hands. Whoever knows this collection of preludes and fugues in all - the keys--which might almost be called the _non plus ultra_ of our - art--will know what this means. So far as his duties permitted, - Herr Neefe has also given him instruction in thorough-bass. He is - now training him in composition and for his encouragement has had - nine variations for the pianoforte, written by him on a march--by - Ernst Christoph Dressler--engraved at Mannheim. This youthful - genius is deserving of help to enable him to travel. He would - surely become a second Wolfgang Amadeus Mozart were he to continue - as he has begun. - -This allusion to Mozart, who had not then produced those immortal works -upon which his fame now principally rests, speaks well for the insight -of Neefe and renders his high appreciation of his pupil's genius the -more striking. Had this man then really so little influence upon its -development as Wegeler supposed? - -That C. P. E. Bach's works were included in Neefe's course of -instruction is rendered nearly certain by the following facts: he was -himself a devout student of them; the only reference to his father -made by Beethoven in all the manuscripts examined for this work, an -official document or two excepted, is upon an unfinished copy of one of -Bach's cantatas in these words: "Written by my dear father;"[22] and -one of the works most used by him in compiling his "Materialien fuer -Contrapunkt" in 1809 was Bach's "Versuch ueber die wahre Art das Clavier -zu Spielen." The unlucky remark of Wegeler, founded, too, possibly upon -some expression of Beethoven's in a moment of spleen, but certainly -not in justice, has cast a shadow upon the relation between Neefe and -his pupil. Writer after writer has copied without examining it. Does -it bear examination? Possibly, if it be supposed to relate only to -execution upon the pianoforte and organ; but in no other case. It is -self-evident that serious study in the severe school of the Bachs was -necessary to counteract the influence of the light and trivial music of -the Bonn stage upon the young genius; and to Neefe the credit of seeing -this and acting accordingly must be given. The reader's attention -is called particularly to the words "He is now training him in -composition, and for his encouragement has had nine variations for the -pianoforte written by him on a march by Dressler engraved at Mannheim," -in Neefe's notice of Beethoven above cited, and the date of the article -from which it is taken--March 2, 1783. Is it not perfectly clear -that these variations have been recently composed, and very recently -printed? Yet upon the title stands, "Par un jeune amateur, Louis van -Beethoven, age de dix ans." If this were a solitary case of apparent -discrepancy between the boy's age and the year given it would attract -and deserve no notice; but it is one of many and adds its weight to the -evidence of that falsification already spoken of.[23] - -A second work belonging to this period is a two-part fugue in D for the -organ.[24] - -BEETHOVEN AS NEEFE'S ASSISTANT - -To return to the young organist, who, since the publication of -Wegeler's "Notizen," has always been supposed to have been placed at -that instrument by the Elector Max Franz in the year 1785, as a method -of giving him pecuniary aid without touching his feelings of pride and -independence. The place of assistant to Neefe was no sinecure; although -not involving much labor, it brought with it much confinement. The -old organ had been destroyed by the fire of 1777, and a small chamber -instrument still supplied its place. It was the constantly recurring -necessity of being present at the religious services which made the -position onerous. - - On all Sundays and regular festivals (says the Court Calendar) - high mass at 11 a.m. and vespers at 3 (sometimes 4) p.m. The - vespers will be sung throughout in _Capellis solemnibus_ by the - musicians of the electoral court, the middle vespers will be - sung by the court clergy and musicians chorally as far as the - _Magnificat_, which will be performed musically. On all Wednesdays - in Lent the _Miserere_ will be sung by the chapel at 5 p.m. and - on all Fridays the _Stabat mater_. Every Saturday at 3 p.m. the - Litanies at the altar of Our Lady of Loretto. Every day throughout - the year two masses will be read, the one at 9, the other at - 11--on Sundays the latter at 10. - -Such a programme gave the organist something at least to do, and when -Neefe left Bonn for Muenster, June 20, 1782, he left his pupil no easy -task. Before the close of the theatrical season of the next winter -(1782-'83) the master was obliged to call upon the boy for still -farther assistance. "In the winter of 1784," writes the widow Neefe, -"my husband of blessed memory was temporarily entrusted with the -direction of the church music as well as other music at court while the -Electoral Chapelmaster L. was absent on a journey of several months." -The date is wrong, for Lucchesi's petition for leave of absence was -granted April 26, 1783. Thus overwhelmed with business, Neefe could -no longer conduct at the pianoforte the rehearsals for the stage, -and Ludwig van Beethoven, now 12 years old, became also "cembalist -in the orchestra." In those days every orchestra was provided with a -harpsichord or pianoforte, seated at which the director guided the -performance, playing from the score. Here, then, was in part the -origin of that marvellous power, with which in later years Beethoven -astonished his contemporaries, of reading and playing the most -difficult and involved scores at first sight. The position of cembalist -was one of equal honor and responsibility. Handel and Matthison's duel -grew out of the fact that the former would not leave the harpsichord on -a certain occasion before the close of the performance. Gassmann placed -the young Salieri at the harpsichord of the Imperial Opera House as -the best possible means of training him to become the great conductor -that he was. This was the high place of honor given to Haydn when in -London. In Ludwig van Beethoven's case it was the place in which he, -as Mosel says of Salieri, "could make practical use of what he learned -from books and scores at home." Moreover, it was a place in which he -could, even in boyhood, hear to satiety the popular Italian, French -and German operas of the day and learn to feel that something higher -and nobler was necessary to touch the deeper feelings of the heart; a -place which, had the Elector lived ten years longer, might have given -the world another not merely great but prolific, nay inexhaustible, -operatic composer. The cembalist's duties doubtless came to an end with -the departure of the Elector for Muenster in May or June, and he then -had time for other pursuits, of which composition was one. A song, -"Schilderung eines Maedchens," by him was printed this year in Bossler's -"Blumenlese fuer Liebhaber," and a Rondo in C for pianoforte, anonymous, -which immediately follows, was also of his composition. A more -important work, which before the close of the year was published by -Bossler with a magniloquent dedication to Max Friedrich, was the three -sonatas for pianoforte, according to the title, if true, "composed by -Ludwig van Beethoven, aged 11 years."[25] The reader can judge whether -or not the 11 should be 12. - -To turn for a moment to the Beethoven family matters. This summer -(1783) had brought them some sorrow again. The child Franz Georg, now -just two and a half years old, died August 16th. This was another -stroke of bad fortune which not only wounded the heart but added to -the pecuniary difficulties of the father, who was now losing his -voice and whose character is described in an official report made the -next summer by the words "of tolerable conduct." If the duties of -Neefe during the last season had been laborious, in the coming one, -1783-'84, they were still more arduous. It was the first under the new -contract by which the Elector assumed all the costs of the theatre, -and a woman, Mme. Grossmann, had the direction. It was all-important -to singers, actors and whoever was concerned that the result of the -experiment should be satisfactory to their employer; and as the opera -was more to his taste than the spoken drama, so much the more difficult -was Neefe's task. Besides his acting as chapelmaster in the place of -Lucchesi, still absent, there was "every forenoon rehearsal of opera," -as Mme. Grossmann wrote to Councillor T., at which, of course, Neefe -had to be present. There was ever new music to be examined, arranged, -copied, composed--what not?--all which he must attend to; in short, he -had everything to do which could be imposed upon a theatrical music -director with a salary of 1,000 florins. It therefore became a busy -time for his young assistant, who still had no recognition as member -of the court chapel, not even as "accessist"--the last "accessist" -organist was Meuris (1778)--and consequently no salary from the court. -But he had now more than completed the usual year of probation to -which candidates were subjected, and his talents and skill were well -enough known to warrant his petition for an appointment. The petition -has not been discovered; but the report made upon it to the privy -council has been preserved, together with the following endorsement: -"High Lord Steward Count von Salm, referring to the petition of Ludwig -van Beethoven for the position of Assistant Court Organist, is of the -humble opinion that the grace ought to be bestowed upon him, together -with a small compensation." This endorsement is dated "Bonn, February -29, 1784." The report upon the petition is as follows: - -APPOINTED ASSISTANT COURT ORGANIST - - Most Reverend Archbishop and Elector, - Most Gracious Lord, Lord. - - Your Electoral Grace has graciously been pleased to demand a - dutiful report from me on the petition of Ludwig van Beethoven to - Your Grace under date the 15th inst. - - Obediently and without delay (I report) that suppliant's father - was for 29 years, his grandfather for 46, in the service of - Your Most Reverend Electoral Grace and Your Electoral Grace's - predecessors; that the suppliant has been amply proved and found - capable to play the court organ as he has done in the absence - of Organist Neefe, also at rehearsals of the plays and elsewhere - and will continue to do so in the future; that Your Grace has - graciously provided for his care and subsistence (his father no - longer being able to do so). It is therefore my humble judgment - that for these reasons the suppliant well deserves to have - graciously bestowed upon him the position of assistant at the - court organ and an increase of remuneration. Commending myself to - the good will of Your Most Reverend Electoral Grace I am Your Most - Reverend Grace's - - most humble and obedient servant - - Sigismund Altergraff zu - Salm und Reifferscheid. - - Bonn, February 23, 1784. - -The action taken is thus indicated: - - _Ad Sup._ - - Ludwig van Beethoven. - - On the obedient report the suppliant's submissive prayer, - granted. (_Beruhet._) - - Bonn, February 29, 1784. - -Again, on the cover: - - _Ad sup._ - - Lud. van Beethoven, - Granted. (_Beruhet._) - - Sig. Bonn, February 29, 1784. - -The necessity of the case, the warm recommendation of -Salm-Reifferscheid, very probably, too, the Elector's own knowledge -of the fitness of the candidate, and perhaps the flattery in the -dedication of the sonatas--for these were the days when dedications -but half disguised petitions for favor--were sufficient inducements -to His Transparency at length to confirm the young organist in the -position which Neefe's kindness had now for nearly two years given -him. Opinions differ as to the precise meaning of the word _Beruhet_ -(translated "granted" in the above transcripts); but this much is -certain: Beethoven was not appointed assistant organist in 1785 by Max -Franz at the instance of Count Waldstein, but at the age of 13 in the -spring of 1784 by Max Friedrich, and upon his own petition supported by -the influence of Neefe and of Salm-Reifferscheid. - -The appointment was made, but the salary had not been determined on -when an event occurred which wrought an entire change in the position -of theatrical affairs at Bonn:--the Elector died on April 15, and the -theatrical company was dismissed with four weeks' wages. There was no -longer a necessity for a second organist; and fortunate it was for -the assistant that his name came before Max Friedrich's successor (in -the reports soon to be copied) as being a regular member of the court -chapel, although "without salary." Lucchesi returned to Bonn; Neefe -had nothing to do but play his organ, cultivate his garden outside the -town and give music lessons. It was long before such a conjunction of -circumstances occurred as would have led the economical Max Franz to -appoint an organist adjunct. Happy was it, therefore, that one of the -deceased Elector's last acts secured young Beethoven the place. - -EARLY EFFORTS AT COMPOSITION - -The excellent Frau Karth, born in 1780, could not recall to memory any -period of her childhood down to the death of Johann van Beethoven, -when he and his family did not live in the lodging above that of her -parents. This fact, together with the circumstance that no mention is -made of the Beethovens in the account of the great inundation of the -Rhine in February, 1782, when all the families dwelling in the Fischer -house of the Rheingasse were rescued in boats from the windows of the -first story, added to the strong probability that Beethoven's position -was but the first formal step of the regular process of confirming an -appointment already determined upon;--these points strongly suggest -the idea that to Ludwig's advancement his father owed the ability to -dwell once more in a better part of the town, i.e., in the pleasant -house No. 462 Wenzelgasse. The house is very near the Minorite church, -which contained a good organ, concerning the pedal measurements of -which, as we have seen, Beethoven made a memorandum in a note-book -which he carried with him to Vienna.[26] In the "Neuen Blumenlese fuer -Klavierliebhaber" of this year, Part I, pp. 18 and 19, appeared a Rondo -for Pianoforte, in A major, "dal Sig^{re} van Beethoven"[27]; and Part -II, p. 44, the Arioso "An einen Saeugling, von Hrn. Beethoven."[28] "Un -Concert pour le Clavecin ou Fortepiano compose par Louis van Beethoven -age de douze ans," 32 pp. manuscript written in a boy's hand, may also -belong to this year[29]; and, judging by the handwriting, to the -period may also be assigned a movement in three parts of four pages, -formerly in the Artaria collection, without title, date or remark of -any kind.[30] - -The widow Karth perfectly remembered Johann van Beethoven as a tall, -handsome man with powdered head. Ries and Simrock described Ludwig to -Dr. Mueller "as a boy powerfully, almost clumsily built."[31] How easily -fancy pictures them--the tall man walking to chapel or rehearsal with -the little boy trotting by his side, through the streets of Bonn, and -the gratified expression of the father as the child takes the place and -performs the duties of a man! - -FOOTNOTES: - -[22] "Morgengesang am Schoepfungstage." - -[23] As given by Nottebohm in his catalogue (p. 154) the title of -the original publication of the Variations by Goetz of Mannheim ran -as follows: "_Variations pour le Clavecin sur une Marche de Mr. -Dressler, composees et Dediees a son Excellence Madame la Comtesse de -Wolfmetternich, nee Baronne d'Assebourg, par un jeune amateur Louis -van Beethoven, age de dix ans. 1780._" Inasmuch as Nottebohm's Notes -on Thayer's "Chronologisches Verzeichniss" do not give the date 1780, -it was probably appended by mistake. In the _delle Sinfonie, etc., che -si trovanno in manoscritto nella officina de Breitkopf in Lipsia_, -under the compositions of 1782, 1783 and 1784: _Variations da Louis -van Beethoven, age de dix ans, Mannheim_, with the theme in notation. -The Countess Wolff-Metternich, to whom the variations are dedicated, -was the wife of Count Ignaz von Wolff-Metternich, "Konferenzmeister" -and president of the High Court of Appeals, who died in Bonn, March -15, 1790. Ernst Christoph Dressler, composer of the theme varied by -Beethoven, was an opera singer in Cassel. - -[24] The Bagatelles for Pianoforte, Op. 33. included by Thayer in his -MSS. and his "Chronologisches Verzeichniss" as also belonging to this -period on the strength of their superscription on a manuscript copy, -"Louis van Beethoven ... 1782," were, as Nottebohm has shown, not -composed at this time. One of them was composed in 1802 and another -sketched between 1799 and 1801. See Nottebohm ("Zweite Beethoveniana," -p. 250). Nottebohm conjectures that the organ fugue was composed at his -trial for the post of second court organist. In view of the fact that -his age was falsified by his father at this time, it is likely that the -work was composed in 1783. - -[25] Title of the original publication: "Drei Sonaten fuer Klavier, dem -Hochwuerdigsten Erzbischofe und Kurfuersten zu Koeln, Maximilian Friedrich -meinem gnaedigsten Herrn gewidmet und verfertigt von Ludwig van -Beethoven, alt eilf Jahr." Beethoven wrote on a copy of the sonatas: -"These Sonatas and the Variations of Dressler are my first works." He -probably meant his first published works. See Thayer's "Chronologisches -Verzeichniss," p. 2, 183. - -[26] The editor has here thought it advisable to permit Thayer's -original text to stand in the body of the book, although Dr. Deiters -made a radical correction in his revision of the first volume of the -biography. On the basis of the Fischer manuscript Dr. Deiters relates -that the Beethoven family lived in the house in the Rheingasse at the -time of the inundation; that Beethoven's mother sought to stay the -alarm of the inmates with encouraging words, but at the last had to -make her escape with the others into the Giergasse over boards and down -ladders. Admitting that there are many inaccuracies in the recital, Dr. -Deiters nevertheless accepts it in this particular and conjectures that -Beethoven lived in the house in the Rheingasse until 1785. - -[27] B. and H. Ges. Ausg. Serie 18, No. 196. - -[28] B. and H. Ges. Ausg. Serie 23, No. 229. - -[29] The manuscript contains the solo part complete with the orchestral -preludes and interludes in transcription for pianoforte. There are -indications that it was scored for small orchestra--strings, flutes and -horns only. The composition was long unknown. Thayer included it in his -"Chronologisches Verzeichniss" under No. 7, giving the themes. Guido -Adler edited it at a much later date, and it has been published in the -supplement to the collected works of Beethoven. - -[30] Nottebohm conjectured that the movement referred to by Thayer was -that for a musical clock, No. 29, in Thayer's chronological catalogue, -there described as a duo. Dr. Deiters thinks that it was a fragment of -a composition for pianoforte and violin, No. 131 in the catalogue of -the Artaria collection. It contains suggestions of Beethoven's style, -but the manuscript is a copy, not an autograph, and its authenticity is -not proven. - -[31] In the Fischer MS.: "Short of stature, broad shoulders, short -neck, large head, round nose, dark brown complexion; he always bent -forward slightly when he walked. In the house he was called der Spagnol -(the Spaniard)." - - - - -Chapter V - - Maria Theresia--Appearance and Character of Elector Max - Franz--Musical Culture in the Austrian Imperial Family--A Royal - Violinist--His Admiration for Mozart--His Court Music. - - - Maria Theresia was a tender mother, much concerned to see all her - children well provided for in her lifetime and as independent as - possible of her eldest son, the heir to the throne. This wish - had already been fulfilled in the case of several of them.... - The youngest son, Maximilian (born in Vienna, December 8, 1756), - was already chosen coadjutor to his paternal uncle, Duke Karl of - Lorraine, Grand Master of the Teutonic Order. But to provide a - more bountiful and significant support, Prince Kaunitz formulated - a plan which pleased the maternal heart of the monarch, and whose - execution was calculated to extend the influence of the Court of - Vienna in the German Empire. It was to bestow more ecclesiastical - principalities upon the Archduke Maximilian. His eyes fell - first upon the Archbishopric and Electorate of Cologne and the - Archbishopric and Principality of Muenster. These two countries - had one and the same Regent, Maximilian Friedrich, descended - from the Suabian family of Koenigseck-Rothenfels, Counts of the - Empire. In view of the advanced age of this ruler his death did - not seem far distant; but it was thought best not to wait for - that contingency, but to secure the right of succession at once - by having the Archduke elected Coadjutor in Cologne and Muenster. - Their possession was looked upon as a provision worthy of the son - of an Empress-Queen. As Elector and Lord of the Rhenish shore, - simultaneously co-director of the Westphalian Circuit (a dignity - associated with the archbishopric of Muenster), he could be useful - to his house, and oppose the Prussian influence in the very part - of Germany where it was largest. - -Thus Dohm begins the seventh chapter of his "Denkwuerdigkeiten" -where, in a calm and passionless style, he relates the history of -the intrigues and negotiations which ended in the election of Maria -Theresia's youngest son on August 7, 1780, as coadjutor to the Elector -of Cologne and, on the 16th of the same month, to that of Muenster, and -secured him the peaceful and immediate succession when Max Friedrich's -functions should cease. The news of the election at Cologne reached -Bonn on the same day about 1 o'clock p. m. The Elector proceeded at -once to the Church of the Franciscans (used as the chapel since -the conflagration of 1777), where a "musical 'Te Deum'" was sung, -while all the city bells were ringing. Von Kleist's regiment fired a -triple salvo, which the cannon on the city walls answered. At noon a -public dinner was spread in the palace, one table setting 54, another -24 covers. In the evening at 8-1/2 o'clock, followed the finest -illumination ever seen in Bonn, which the Elector enjoyed riding about -in his carriage. After this came a grand supper of 82 covers, then -a masked ball "to which every decently clad subject as well as any -stranger was admitted, and which did not come to an end till nearly 7 -o'clock." - -MAX FRANZ, THE NEW ELECTOR - -Max Franz was in his twenty-eighth year when he came to Bonn. He was of -middle stature, strongly built and already inclining to that corpulence -which in his last years made him a prodigy of obesity. If all the -absurdities of his eulogists be taken for truth, the last Elector of -Cologne was endowed with every grace of mind and character that ever -adorned human nature. In fact, however, he was a good-looking, kindly, -indolent, somewhat choleric man; fond of a joke; affable; a hater of -stiff ceremony; easy of access; an honest, amiable, conscientious -ruler, who had the wisdom and will to supply his own deficiencies with -enlightened and skilful ministers, and the good sense to rule, through -their political foresight and sagacity, with an eye as much to the -interests of his subjects as his own. - -In his boyhood he was rather stupid. Swinburne dismisses him in two -lines: "Maximilian is a good-natured, neither here-nor-there kind of -youth." The brilliant, witty, shrewdly observant Mozart wrote to his -father (Nov. 17, 1781): "To whom God gives an office he also gives an -understanding. This is really the case with the Archduke. Before he -became a priest he was much wittier and more intellectual and talked -less, but more sensibly. You ought to see him now! Stupidity looks out -of his eyes; he talks eternally, always in falsetto; he has a swollen -neck--in a word, the man is completely transformed." His mother had -supplied him with the best instructors that Vienna afforded, and -had sent him travelling pretty extensively for an archduke in those -days. One of his journeys was to visit his sister Marie Antoinette -in Paris, where his awkwardness and breaches of etiquette caused as -much amusement to the anti-Austrian party as they did annoyance to the -Queen, and afterwards to his brother Joseph, when they came to his ears. - -In 1778 he was with Joseph in the campaign in Bavaria. An injury to his -knee, caused by a fall of his horse, is the reason alleged for his -abandonment of a military career; upon which he was prevailed upon, -so the "Historisches Taschenbuch" (II, Vienna, 1806) expresses it, to -become a candidate for the Coadjutorship of Cologne. If he had to be -"prevailed upon" to enter the church, the more to his credit was the -course he pursued when once his calling and election were sure. - -The rigid economy which he introduced at court immediately after his -accession in 1784 gave rise to the impression that he was penurious. -It may be said in his defence that the condition of the finances -required retrenchment and reform; that he was simple in his tastes and -cared nothing for show and magnificence, except upon occasions when, -in his opinion, the electoral dignity required them. Then, like his -predecessors, he was lavish. His personal expenses were not great, and -he waited until his revenues justified it before he indulged to any -great extent his passion for the theatre, music and dancing (stout as -he was, he was a passionate dancer), and his table. He was, through -the nature of his physical constitution, an enormous eater, though his -drink was only water. - -The influence of a ruler upon the tone and character of society in a -small capital is very great. A change for the better had begun during -the time of Max Friedrich, but under his successor a new life entered -Bonn. New objects of ambition were offered to the young men. The church -and cloister ceased to be all in all. One can well understand how -Wegeler in his old age, as he looked back half a century to the years -when he was student and professor--and _such_ a half-century, with its -revolutionary and Napoleonic wars, its political, religious and social -changes!--should write ("Notizen," p. 59): "In fact, it was a beautiful -and in many ways active period in Bonn, so long as the genial Elector, -Max Franz, Maria Theresia's youngest son and favorite, reigned there." -How strongly the improved tone of society impressed itself upon the -characters of the young is discernible in the many of them who, in -after years, were known as men of large and liberal ideas and became -distinguished as jurists, theologians and artists, or in science and -letters. These were the years of Beethoven's youth and early manhood; -and though his great mental powers were in the main exercised upon -his art, there is still to be observed through all his life a certain -breadth and grandeur in his intellectual character, owing in part, no -doubt, to the social influences under which it was developed. - -It is highly honorable to the young Max Franz that he refused to avail -himself of a privilege granted him in a Papal bull obtained for him -by his mother--that of deferring the assumption of priestly vows for -a period of ten years--but chose rather, as soon as he had leisure -for the step, to enter the seminary in Cologne to fit himself for -consecration. He entered November 29, rigidly submitted himself to all -the discipline of the institution for the period of eight days, when, -on December 8, the nuntius, Bellisoni, ordained him sub-deacon; after -another eight days, on the 16th, deacon; and on the 21st, priest; -thus showing that if there be no royal road to mathematics, there -is a railway with express train for royal personages in pursuit of -ecclesiastical science. Returning to Bonn, he read his first mass on -Christmas eve in the Florian Chapel. - -The cause of science and education the Elector had really at -heart. In 1785 he had established a botanic garden; now he opened -a public reading room in the palace library and sent a message to -the theological school in Cologne, that if the improved course of -instruction adopted in Austria was not introduced, he should found -other seminaries. On the 26th of June he was present at the opening of -a normal school; and on August 9th came the decree raising the Bonn -Hochschule to the rank of a university by authority of an Imperial -diploma. - -Upon the suppression of the Jesuits in 1774, Max Friedrich devoted -their possessions and revenues to the cause of education. New -professorships were established in the gymnasium and in 1777 an -"Academy" was formed. This was the first step; the second was to found -an independent institution called the Lyceum; and at his death an -application was before the Emperor for a university charter. Max Franz -pushed the matter, obtained the charter from his brother, and Monday, -the 20th of November, 1786, was the day appointed for the solemn -inauguration of the new institution. The Court Calendar for the next -year names six professors of theology, six of jurisprudence, civil -and ecclesiastical, four of medicine, and ten of philology and other -branches of learning. In later editions new names are added; in that of -1790, Wegeler is professor of midwifery. - -Though economical, Max Franz drew many a man of superior abilities--men -of letters and artists--to Bonn; and but for the bursting of the storm -which was even then gathering over the French border, his little -capital might well have had a place in German literary history not -inferior to that of Weimar. Nor are instances wanting in which he gave -generous aid to young talent struggling with poverty; though that he -did so much for Beethoven as is usually thought is, at least, doubtful. - -This man, not a genius, not overwhelmingly great mentally, nor, on -the other hand, so stupid as the stories told of his boyhood seem to -indicate, but honest, well-meaning, ready to adopt and enforce wise -measures devised by skilful ministers; easy, jocose and careless -of appearances, very fond of music and a patron of letters and -science,--this man, to whom in that period of vast intellectual -fermentation the Index Expurgatorius was a dead letter, gave the tone -to Bonn society. - -A GIFTED IMPERIAL FAMILY - -That solid musical education which she had received from her father, -Maria Theresia bestowed upon her children, and their attainments in the -art seem to have justified the time and labor spent. In 1749, at the -age of seven and six, Christina and Maria Elizabeth took part in one -of the festive musical pieces; Marie Antoinette was able to appreciate -Gluck and lead the party in his favor in later years at Paris. Joseph -is as much known in musical as in civil and political history. When -Emperor he had his daily hour of music in his private apartments, -playing either of several instruments or singing, according to the whim -of the moment; and Maximilian, the youngest, acquired a good degree of -skill both in singing and in the treatment of his favorite instrument, -the viola. Beethoven once told Schindler that the Elector thought very -highly of Mattheson. In his reminiscences of a visit to Vienna in -1783, J. F. Reichardt gives high praise to the musical interest, skill -and zeal of Emperor Joseph and his brother Archduke Maximilian, and a -writer in "Cramer's Magazine," probably Neefe, tells of a "remarkable -concert" which took place at court in Bonn on April 5, 1786, at which -the Elector played the viola, Duke Albrecht the violin, "and the -fascinating Countess Belderbusch the clavier most charmingly." - -Maximilian had become personally acquainted with Mozart in Salzburg in -1775, where the young composer had set Metastasio's "Il Re pastore" -to music to be performed in his honor (April 23rd); from which time, -to his credit be it said, he ever held the composer and his music in -kindest remembrance. When in 1781 Mozart determined to leave his brutal -Archbishop of Salzburg and remain in Vienna, the Archduke showed at all -events a desire to aid him. - - Yesterday (writes the composer November 17, 1781) the Archduke - Maximilian summoned me to him at 3 o'clock in the afternoon. - When I entered he was standing before a stove in the first room - awaiting me. He came towards me and asked if I had anything to - do to-day? "Nothing, Your Royal Highness, and if I had it would - always be a grace to wait upon Your Royal Highness." "No; I do not - wish to constrain anyone." Then he said that he was minded to - give a concert in the evening for the Court of Wurtemberg. Would I - play something and accompany the aria? I was to come to him again - at 6 o'clock. So I played there yesterday. - - Mozart was everything to him (continues Jahn); he signalized him - at every opportunity and said, if he were Elector of Cologne, - Mozart would surely be his chapelmaster. He had also suggested to - the Princess (of Wurtemberg) that she appoint Mozart her music - teacher, but received the reply that if it rested with her she - would have chosen him; but the Emperor--"for him there is nobody - but Salieri!" cries out Mozart peevishly--had recommended Salieri - because of the singing, and she had to take him, for which she was - sorry. - -Jahn gives no reason why Mozart was not engaged for Bonn. Perhaps he -would have been had Lucchesi resigned in consequence of the reduction -of his salary; but he kept his office of chapelmaster and could not -well be dismissed without cause. Mattioli's resignation was followed by -the call of Joseph Reicha to the place of concertmaster; but for Mozart -no vacancy occurred at that time. Maximilian was in Vienna during most -of the month of October, 1785, and may have desired to secure Mozart in -some way, but just at that time the latter was, as his father wrote, -"over head and ears busy with the opera 'Le Nozze di Figaro.'" Old -Chapelmaster Bono could not live much longer; which gave him hope, -should the opera succeed, of obtaining a permanent appointment in -Vienna; and, in short, his prospects seemed just then so good that -his determination--if he should really receive an offer from the -Elector--to remain in the great capital rather than to take his young -wife so far away from home and friends as the Rhine then was, and, in a -manner, bury himself in a small town where so few opportunities would -probably be given him for the exercise of the vast powers which he was -conscious of possessing, need not surprise us. - -Was it the good or the ill fortune of the boy Beethoven that Mozart -came not to Bonn? His marvellous original talents were thus left to -be developed without the fostering care of one of the very greatest -of musical geniuses, and one of the profoundest of musical scholars; -but on the other hand it was not oppressed, perhaps crushed, by daily -intercourse with that genius and scholarship. - -Maximilian, immediately after reaching Bonn as Elector, ordered full -and minute reports to be made out concerning all branches of the -administration, of the public and court service and of the cost of -their maintenance. Upon these reports were based his arrangements for -the future. Those relating to the court music are too important and -interesting to be overlooked, for they give us details which carry -us instantly into the circle which young Beethoven has just entered -and in which, through his father's connection with it, he must from -earliest childhood have moved. They are three in number, the first -being a list of all the individuals constituting the court chapel; the -second a detailed description of the singers and players, together with -estimates of their capabilities; the third consists of recommendations -touching a reduction in salaries. A few paragraphs may be presented -here as most intimately connected with significant personages in our -history; they are combined and given in abstract from the first two -documents. Among the tenors we find - -FATHER AND SON IN THE COURT CHAPEL - - J. van Beethoven, age 44, born in Bonn, married; his wife is 32 - years old, has three sons living in the electorate, aged 13, 10 - and 8 years, who are studying music, has served 28 years, salary - 315 fl. "His voice has long been stale, has been long in the - service, very poor, of fair deportment and married." - -Among the organists: - - Christian Gottlob Neefe, aged 36, born at Chemnitz; married, his - wife is 32, has served 3 years, was formerly chapelmaster with - Seiler; salary 400 fl. "Christian Neffe, the organist, in my - humble opinion might well be dismissed, inasmuch as he is not - particularly versed on the organ, moreover is a foreigner, having - no _Meritten_ whatever and of the Calvinistic religion." - - Ludwig van Beethoven, aged 13, born at Bonn, has served 2 years, - no salary. "Ludwig Betthoven, a son of the Betthoven sub No. 8, - has no salary, but during the absence of the chapelmaster Luchesy - he played the organ; is of good capability, still young, of good - and quiet deportment and poor." - -One of the items of the third report, proposing reductions of salaries -and removals, has a very special interest as proving that an effort was -made to supplant Neefe and give the post of court organist to young -Beethoven. It reads: - - _Item._ If Neffe were to be dismissed another organist would have - to be appointed, who, if he were to be used only in the chapel - could be had for 150 florins, the same is small, young, and a son - of a court _musici_, and in case of need has filled the place for - nearly a year very well. - -The attempt to have Neefe dismissed from the service failed, but a -reduction of his salary to the pittance of 200 florins had already -led him to look about him to find an engagement for himself and wife -in some theatre, when Maximilian, having become acquainted with his -merits (notwithstanding his Calvinism), restored his former allowance -by a decree dated February 8, 1785. When Joseph Reicha came to Bonn in -Mattioli's place is still undetermined with exactness; but a decree -raising him from the position of concertmaster to that of concert -director, and increasing his salary to 1,000 florins, bears date June -28, 1785. In the general payroll of this year Reicha's salary is stated -to be 666 thalers 52 alb., "tenorist Beethoven's" 200 th., "Beethoven -jun." 100 th. - - - - -Chapter VI - - Beethoven Again--The Young Organist--A First Visit - to Vienna--Death of Beethoven's Mother--Sympathetic - Acquaintances--Dr. Wegeler's "Notizen"--Some Questions of - Chronology. - - -Schindler records--and on such points his testimony is good--that he -had heard Beethoven attribute the marvellous development of Mozart's -genius in great measure to the "consistent instruction of his father," -thus implying his sense of the disadvantages under which he himself -labored from the want of regular and systematic musical training -through the period of his childhood and youth.[32] It is, however, by -no means certain that had Ludwig van Beethoven been the son of Leopold -Mozart, he would ever have acquired that facility of expression which -enabled Wolfgang Mozart to fill up the richest and most varied scores -almost as rapidly as his pen could move, and so as hardly to need -correction--as if the development of musical idea was to him a work of -mere routine, or perhaps, better to say, of instinct. _Poeta nascitur, -non fit_, not only in respect to his thoughts but to his power of -clothing them in language. Many a man of profoundest ideas can never -by any amount of study and practice acquire the art of conveying them -in a lucid and elegant manner. On the other hand there are those whose -thoughts never rise above the ordinary level, but whose essays are -very models of style. Handel said of the elder Telemann, that he could -compose in eight parts as easily as he (Handel) could write a letter; -and Handel's own facility in composition was something astonishing. -Beethoven, on the contrary, as his original scores prove, earned his -bread by the sweat of his brow. But no amount of native genius can -compensate for the want of thorough training. If, therefore, it be true -that nature had in some degree limited his powers of expressing his -musical as well as his intellectual ideas, so much greater was the need -that, at the age which he had now reached, he should have opportunity -to prosecute uninterruptedly a more profound and systematic course of -study. Hence, the death of Maximilian Friedrich, which must have seemed -to the Beethovens at first a sad calamity, proved in the end a blessing -in disguise; for while it did not deprive the boy of the pecuniary -benefits of the position to which he had just been appointed, it gave -him two or three years of comparative leisure, uninterrupted save by -his share of the organist's duties, for his studies, which there is -every reason to suppose he continued under the guidance of his firm -friend Neefe. - -These three years were a period of theatrical inactivity in Bonn. -For the carnival season of 1785, the Elector engaged Boehm and his -company, then playing alternately at Cologne, Aix-la-Chapelle and -Duesseldorf. This troupe during its short season may have furnished -the young organist with valuable matter for reflection, for in the -list of newly studied pieces, from October 1783 to the same month -1785--thus including the engagement in Bonn--are Gluck's "Alceste" -and "Orpheus," four operas of Salieri (the "Armida" among them), -Sarti's "Fra due Litiganti" and "L'Incognito" in German translation, -Holzbauer's "Guenther von Schwarzburg" and five of Paisiello's operas. -These were, says the report in the "Theater-Kalender" (1786), "in -addition to the old and familiar French operettas, 'Zemire et Azor,' -'Sylvain,' 'Lucile,' 'Der Praechtige,' 'Der Hausfreund,' etc., etc." -The three serious Vienna operas, "Alceste," "Orpheus" and "Armida," -in such broad contrast to the general character of the stock pieces -of the Rhenish companies, point directly to Maximilian and the Bonn -season. The elector of Hesse-Cassel, being then in funds by the sale -of his subjects to George III for the American Revolutionary War just -closed, supported a large French theatrical company, complete in the -three branches of spoken and musical drama and ballet. Max Franz, upon -his return from Vienna in November, 1785, spent a few days in Cassel, -and, upon the death of the Elector and the dismissal of the actors, a -part of this company was engaged to play in Bonn during January and -February, 1786. The performances were thrice a week, Monday, Wednesday -and Saturday, and, with but two or three exceptions, consisted of a -comedy, followed by a light opera or operetta. The list contains eight -of Gretry's compositions, three by Desaides, two by Philidor, and one -each by Sacchini, Champein, Pergolesi, Gossec, Frizieri, Monsigny and -Schwarzendorf (called Martini)--all of light and pleasing character, -and enjoying then a wide popularity not only in France but throughout -the Continent. - -Meantime Grossmann had left Frankfort and with Klos, previously a -manager in Hamburg, had formed a new company for the Cologne, Bonn and -Duesseldorf stages. This troupe gave the Carnival performances in 1787, -confining them, so far as appears, to the old round of familiar pieces. - -Each of these companies had its own music director. With Boehm was -Mayer, composer of the "Irrlicht" and several ballets; with the French -company Jean Baptiste Rochefort was "music-master"; and Grossmann -had recently engaged Burgmueller, of the Bellomo company, composer of -incidental music for "Macbeth." Hence, during these years, Neefe's -public duties extended no farther than his service as organist, for -Lucchesi and Reicha relieved him from all the responsibilities of the -church and concert-room. - -That the organ service was at this time in part performed by the -assistant organist is a matter of course; there is also an anecdote, -related by Wegeler on the authority of Franz Ries, which proves it. On -Tuesday, Friday and Saturday of Holy Week, portions of the Lamentations -of Jeremiah were included in the chapel service, recited by a single -voice, accompanied on the pianoforte (the organ being interdicted) to -the familiar Gregorian chant tune. - -THE BOY ORGANIST CONFOUNDS A SINGER - -On one occasion, in the week ending March 27, 1785, the vocalist was -Ferdinand Heller, too good a musician to be easily disconcerted, the -accompanist Ludwig van Beethoven, now in his fifteenth year. While the -singer delivered the long passages of the Latin text to the reciting -note the accompanist might indulge his fancy, restricted only by the -solemnity fitted to the service. Wegeler relates that Beethoven - - asked the singer, who sat with unusual firmness in the tonal - saddle, if he would permit him to throw him out, and utilized - the somewhat too readily granted permission to introduce so wide - an excursion in the accompaniment while persistently striking - the reciting note with his little finger, that the singer got so - bewildered that he could not find the closing cadence. Father - Ries, the first violinist, then Music Director of the Electoral - Chapel, still living, tells with details how Chapelmaster - Lucchesi, who was present, was astonished by Beethoven's playing. - In his first access of rage Heller entered a complaint against - Beethoven with the Elector, who commanded a simpler accompaniment, - although the spirited and occasionally waggish young prince was - amused at the occurrence. Schindler adds that Beethoven in his - last years remembered the circumstance, and said that the Elector - had "reprimanded him very graciously and forbidden such clever - tricks in the future." - -The date is easily determined: In Holy Week, 1784, neither Maximilian -nor Lucchesi was in Bonn; in 1786 Beethoven's skill would no longer -have astonished the chapelmaster. Of the other characteristic anecdotes -related of Beethoven's youth there is not one which belongs to this -period (May, 1784-April, 1787), although some have been attributed to -it by previous writers. - -Nothing is to be added to the record already made except that, on -the authority of Stephan von Breuning, the youth was once a pupil of -Franz Ries on the violin, which must have been at this time; that, -according to Wegeler, his composition of the song "Wenn Jemand eine -Reise thut"[33] fell in this period, and that he wrote three pianoforte -quartets, the original manuscript of which bore the following title: -"Trois Quatuors pour Clavecin, violino, viola e basso. 1785. Compose -par (de L.) Louis van Beethoven, age 13 ans."[34] The reader will -remark and understand the discrepancy here between the date and the -author's age. Were these quartets intended for publication and for -dedication to Max Franz, as the sonatas had been for Max Friedrich? -During their author's life they never saw the light, but their -principal themes, even an entire movement, became parts of future -works. They were published in 1832 by Artaria and appear as Nos. 75 and -77, Series 10, in the Complete Works. - -One family event is recorded in the parish register of St. -Remigius--the baptism of Maria Margaretha Josepha, daughter of Johann -van Beethoven, on May 5, 1786. - -There is a letter from Bonn, dated April 8, 1787, in "Cramer's -Magazine" (II, 1385), which contains a passing allusion to Beethoven. -It affords another glimpse of the musical life there: - - Our residence city is becoming more and more attractive for - music-lovers through the gracious patronage of our beloved - Elector. He has a large collection of the most beautiful music - and is expending much every day to augment it. It is to him, - too, that we owe the privilege of hearing often virtuosi on - various instruments. Good singers come seldom. The love of music - is increasing greatly among the inhabitants. The pianoforte is - especially liked; there are here several _Hammerclaviere_ by Stein - of Augsburg, and other correspondingly good instruments.... The - youthful Baron v. Gudenau plays the pianoforte right bravely, and - besides young Beethoven, the children of the chapelmaster deserve - to be mentioned because of their admirable and precociously - developed talent. All of the sons of Herr v. Mastiaux play the - clavier well, as you already know from earlier letters of mine. - -"This young genius deserves support to enable him to travel," wrote -Neefe in 1783. In the springtime of 1787 the young "genius" was at -length enabled to travel. Whence or how he obtained the means to -defray the expenses of his journey, whether aided by the Elector or -some other Maecenas, or dependent upon the small savings from his -salary and--hardly possible--from the savings from his music lessons -painfully and carefully hoarded for the purpose, does not appear. The -series of papers at Duesseldorf is at this point broken; so that not -even the petition for leave of absence has been discovered. The few -indications bearing on this point are that he had no farther aid from -the Elector than the continued payment of his salary. What is certain -is that the youth, now sixteen, but passing for a year or two younger, -visited Vienna, where he received a few lessons from Mozart (Ries, in -"Notizen," page 86); that his stay was short, and that on his way home -he was forced to borrow some money in Augsburg. - -When he made the journey is equally doubtful. Schindler was told by -some old acquaintances of Beethoven "that on the visit two persons only -were deeply impressed upon the lifelong memory of the youth of sixteen -years: the Emperor Joseph and Mozart." If the young artist really had -an interview with the Emperor it must have occurred before the 11th -of April, or after the 30th of June, for those were the days which -began and ended Joseph's absence from Vienna upon his famous tour to -the Crimea with the Russian Empress Catharine; if before that absence, -then Beethoven was at least three months in the Austrian capital and -had left Bonn before the date of Neefe's letter to "Cramer's Magazine"; -in which case how could the writer in speaking of his young colleague -have omitted all mention of the fact? How, too, could so important a -circumstance have been unknown to or forgotten by Dr. Wegeler and have -found no place in his "Notizen," which moreover, were prepared under -the eyes of both Franz Ries and Madame von Breuning? It will soon be -seen that Beethoven was again in Bonn before July 17--a date which -admits the bare possibility of the reported meeting with Joseph after -his return from Russia. - -If an opinion, which, indeed, is little more than a conjecture, may -be hazarded in relation with this visit, it is this: that if at any -time the missing archives of Maximilian's court should come to light -it will be found that not until after the busy week for organists -and chapelmusicians ending with Easter was leave of absence granted -to Beethoven; and that, too, with no farther pecuniary aid from the -Elector than possibly a quarter or two of his salary in advance. In -1787, Easter Monday fell upon the 9th of April, the day after the date -of Neefe's letter. Making due allowance of time for the necessary -preparations for so important a journey, as in those days it was from -Bonn to Vienna, it may be reasonably conjectured that some time in May -the youth reached the latter city. - -Let another conjecture find place here: it is that Johann van Beethoven -had not yet abandoned the hope of deriving pecuniary profit from the -precocity of his son's genius; that he still expected the boy, after -replacing his hard organ-style of playing by one more suited to the -character of the pianoforte, to make his dream of a wonder-child in -some degree a reality. Hence--at what fearful cost to the father in his -poverty we know not--Ludwig is sent to the most admirable pianist, the -best teacher then living, Mozart. - -BEETHOVEN'S INTRODUCTION TO MOZART - -But enough of conjecture. The oft-repeated anecdote of Beethoven's -introduction to Mozart is stripped by Prof. Jahn of Seyfried's -superlatives and related in these terms: - - Beethoven, who as a youth of great promise came to Vienna in - 1786 (?)[35], but was obliged to return to Bonn after a brief - sojourn, was taken to Mozart and at that musician's request played - something for him which he, taking it for granted that it was a - show-piece prepared for the occasion, praised in a rather cool - manner. Beethoven observing this, begged Mozart to give him a - theme for improvization. He always played admirably when excited - and now he was inspired, too, by the presence of the master whom - he reverenced greatly; he played in such a style that Mozart, - whose attention and interest grew more and more, finally went - silently to some friends who were sitting in an adjoining room, - and said, vivaciously, "Keep your eyes on him; some day he will - give the world something to talk about." - -Ries ("Notizen," p. 86) merely says: "During his visit to Vienna he -received some instruction from Mozart, but the latter, as Beethoven -lamented, never played for him." Contrary to the conjecture above -mentioned as to Johann van Beethoven's object in sending his son to -Vienna, it seems, from the connection in which Ries introduces this -remark, that the instruction given by Mozart to the youth was confined -to composition. The lessons given were few--a fact which accounts for -the circumstance that no member of Mozart's family in after years, -when Beethoven had become world-renowned, has spoken of them. - -If it be considered that poor Mozart lost his beloved father on May 28, -1787, and that his mind was then fully occupied with his new operatic -subject, "Don Giovanni," it will not be thought strange that he did -not exhibit his powers as a pianist to a youth just beginning with -him a course of study in composition, especially as the pupil, in his -eyes, was a little, undersized boy of 14--as there is every reason to -believe. That pupil's power of handling a theme, since Mozart probably -knew nothing of his five years' practice at the organ and in the -theatre, may well have surprised him; but in execution as a pianist he -probably stood far, far below the master when at the same age, below -the little Hummel (at that very time an inmate of Mozart's family), -and certainly below Cesarius Scheidl (forgotten name!) aged ten, who -had played a pianoforte concerto between the parts of an oratorio no -longer ago than the preceding 22nd of December in the grand concert of -the "Society of Musicians." Had not Beethoven's visit been so abruptly, -unexpectedly and sorrowfully brought to an end, he would, doubtless, -have had nothing to regret on the score of his master's playing. - -In some written talks to Beethoven in the years of his deafness, still -preserved, are found two allusions at least made by his nephew to this -personal acquaintance with Mozart. In the first case the words are -these: "You knew Mozart; where did you see him?" In the other, two or -three years later: "Was Mozart a good pianoforte player? It was then -still in its infancy." Of course Beethoven's replies are wanting; and -herewith is exhausted all that, during the researches for this work, -has been found relating to his first visit in Vienna. The Vienna -newspapers of the time contained notices of the "wonder-children" -Hummel and Scheidl, but none whatever of Beethoven. - -ACQUAINTANCES IN AUGSBURG - -That the youth in passing through Augsburg must have become acquainted -with the pianoforte-maker Stein and his family is self-evident. There -is something in a conversation-book which seems to prove this, and -also to add evidence to the falsification of his age. It is this: in -the spring of 1824 Andreas Streicher and his wife--the same Stein's -"Maedl"--whose appearance at the pianoforte when a child of eight -and a half years is so piquantly described by Mozart, called upon -Beethoven on their way from Vienna into the country. A few sentences -of the conversation, written in the hand of the composer's nephew, -are preserved. The topic for a time is the packing of movables and -Beethoven's removal into country lodgings for the summer; and at -length they come upon the instruments manufactured by Streicher; after -which Carl writes: "Frau von Streicher says that she is delighted that -at 14 years of age you saw the instruments made by her father and -now see those of her son." True, it may be said that this refers to -Beethoven's knowledge of the Stein "Hammerclaviere" then in Bonn; but -to any one thoroughly conversant with the subject these words are, like -Iago's "trifles light as air," confirmation strong of the other view. -His introduction to the family of the advocate Dr. Schaden in Augsburg, -is certain. Reichardt was in that city in 1790 and wrote of Frau -Nanette von Schaden as being of all the women he knew, those of Paris -not excepted, far and away the greatest pianoforte player, not excelled -perhaps, by any virtuoso in skill and certainty; also a singer with -much expression and excellent declamation--"in every respect an amiable -and interesting woman." The earliest discovered letter of Beethoven -to Schaden, and dated Bonn, September 15, 1787, proves the friendship -of the Schadens for him and fully explains the causes of his sudden -departure from Vienna and the abrupt termination of his studies with -Mozart. - - I can easily imagine what you must think of me, and I can not deny - that you have good grounds for an unfavorable opinion. I shall - not, however, attempt to justify myself, until I have explained - to you the reasons why I hope my apologies will be accepted. I - must tell you that from the time I left Augsburg my cheerfulness - as well as my health began to decline; the nearer I came to my - native city the more frequent were the letters from my father - urging me to travel with all possible speed, as my mother was - not in a favorable state of health. I therefore hurried forward - as fast as I could, although myself far from well. My longing - once more to see my dying mother overcame every obstacle and - assisted me in surmounting the greatest difficulties. I found my - mother still alive but in the most deplorable state; her disease - was consumption, and about seven weeks ago, after much pain and - suffering, she died. She was such a kind, loving mother to me, - and my best friend. Ah, who was happier than I when I could still - utter the sweet name, mother, and it was heard? And to whom can - I now speak it? Only to the silent image resembling her evoked - by the power of the imagination. I have passed very few pleasant - hours since my arrival here, having during the whole time been - suffering from asthma, which may, I fear, eventually develop into - consumption; to this is added melancholy--almost as great an evil - as my malady itself. Imagine yourself in my place, and then I - shall hope to receive your forgiveness for my long silence. You - showed me extreme kindness and friendship by lending me three - Carolins in Augsburg, but I must entreat your indulgence for a - time. My journey cost me a great deal, and I have not the smallest - hopes of earning anything here. Fate is not propitious to me in - Bonn. - - Pardon my detaining you so long with my chatter; it was necessary - for my justification. - - I do entreat you not to deprive me of your valuable friendship; - nothing do I wish so much as in some degree to become worthy of - your regard. - - I am, with the highest respect - Your most obedient servant and friend, - L. v. Beethoven, - Court Organist to the Elector of Cologne.[36] - -DEATH OF BEETHOVEN'S MOTHER - -The Bonn "Intelligenzblatt" supplies a pendant to this sad -letter:--"1787, July 17. Died, Maria Magdalena Koverich (_sic_), named -van Beethoven, aged 49 years."[37] When Ferdinand Ries, some thirteen -years later, presented his father's letter of introduction to Beethoven -in Vienna, the latter "read the letter through" and said: "I cannot -answer your father just now; but do you write to him that I have not -forgotten how my mother died. He will be satisfied with that." "Later," -adds Ries, "I learned that, the family being greatly in need, my father -had been helpful to him on this occasion in every way." - -A petition of Johann van Beethoven, offered before the death of his -wife, describing his pitiable condition and asking aid from the -Elector, has not been discovered; but the substance of it is found in a -volume of "Geheime Staats-Protocolle" for 1787 in form following: - - July 24, 1787 - - Your Elec. Highness has taken possession of this petition. - - Court Musician makes obedient representation that he has got into - a very unfortunate state because of the long-continued sickness of - his wife and has already been compelled to sell a portion of his - effects and pawn others and that he no longer knows what to do for - his sick wife and many children. He prays for the benefaction of - an advance of 100 rthlr. on his salary. - -No record is found in the Duesseldorf archives of any grant of aid -to the distressed family; hence, so far as now appears, the only -successful appeal for assistance was made to Franz Ries, then a young -man of 32 years, who generously aided in "every way" his unfortunate -colleague. Where then was the Breuning family? Where Graf Waldstein? -To these questions the reply is that Beethoven was still unknown to -them--a reply which involves the utter rejection of the chronology -adopted by Dr. Wegeler, in his "Notizen," of that part of the -composer's life. This mistake, if indeed it prove to be such, is one -which has been adopted without hesitation by all who have written upon -the subject. The reader here, for the first time, finds Wegeler's -account of Beethoven's higher intellectual development and his -introduction into a more refined social circle placed after, instead of -before, the visit to Vienna; and his introduction to the Breunings and -Waldstein dated at the time when the youth was developing into the man, -and not at a point upon the confines of childhood and youth. - -This demands some explanation. - -DR. WEGELER'S CHRONOLOGY CORRECTED - -The history of Beethoven's Bonn life would be so sadly imperfect -without the "Notizen" of Dr. Wegeler, which bear in every line such -an impress of perfect candor and honesty, that they can be read only -with feelings of gratefullest remembrance of their author and with -fullest confidence in their authenticity. But no more in his case than -in others can the reminiscences of an aged man be taken as conclusive -evidence in regard to facts and occurrences of years long since past, -when opposed to contemporary records, or involving confusion of dates. -Some slight lapse of memory, misapprehension, or unlucky adoption of -another's mistake, may lead astray and be the abundant source of error. -Still, it is only with great diffidence and extreme caution that one -can undertake to correct an original authority so trustworthy as Dr. -Wegeler. Such corrections must be made, however; for only by this can -many a difficulty be removed. An error in the Doctor's chronology might -easily be occasioned by the long accepted false date of Beethoven's -birth, insensibly influencing his recollections; and certainly when Dr. -Wegeler, Madame von Breuning and Franz Ries, all alike venerable in -years as in character, sit together discussing in 1837-8 occurrences -of 1785-8, with nothing to aid their memories or control their -reminiscences but an old Court Calendar or two, they may well to -some extent have confounded times and seasons in the vague and misty -distance of so many years; the more easily because the error is one -of but two or three years at most. Bearing upon the point in question -is the fact that Frau Karth--who distinctly remembers the death of -Madame van Beethoven--has no recollections of the young Breunings and -Waldstein until after that event. - -Some words of Dr. Wegeler in an unprinted letter to Beethoven (1825): -"inasmuch as the house of my mother-in-law was more your domicile than -your own, especially after you lost your noble mother," seem to favor -the usually accepted chronology: but if Beethoven was thus almost a -member of the Breuning family as early as 1785 or 1786, how can the -tone of the letter to Dr. Schaden be explained? Or how account for the -fact, that, when he reached Bonn again and found his mother dying, -and his father "in a very unfortunate state" and "compelled to sell -a portion of his effects and pawn others and knew not what to do," -it was to Franz Ries he turned for aid? The good Doctor is certainly -mistaken as to the time when Beethoven found Maecenases in the Elector -and Waldstein; why not equally so in relation to the Breuning family? - -If, now, his own account of his intimacy with the young musician--given -in the preface to the "Notizen"--be examined, it will be found to -strengthen what has just been said: "Born in Bonn in 1765, I became -acquainted in 1782 with the twelve years old lad, who, however, was -already known as an author, and lived in most intimate association -with him uninterruptedly until September, 1787" (and still he could -forget that friend's absence in Vienna only a few months before), -"when, to finish my medical studies, I visited the Vienna schools -and institutions. After my return in October, 1789, we continued to -live together in an equally cordial association until Beethoven's -later departure for Vienna towards the close of 1792, whither I also -emigrated in October, 1794." - -For more than two years, then, and just at this period, Dr. Wegeler was -not in Bonn. Let still another circumstance be noted: Nothing has been -discovered, either in the "Notizen" or elsewhere, which necessarily -implies that Wegeler himself intimately knew the Breunings until after -his return from Vienna in 1789; moreover, in those days, when the -distinctions of rank were so strongly marked, it is, to say the least, -exceedingly improbable, that the son of an immigrant Alsatian shoemaker -should have obtained entree upon the supposed terms of intimacy in a -household in which the oldest child was some six years younger than -himself, and which belonged to the highest social, if not titled rank, -until he by the force of his talents, culture, and high character, had -risen to its level. That, after so rising, the obscurity of his birth -was forgotten and the only daughter became his wife, is alike honorable -to both parties. It is unnecessary to pursue the point farther; the -reader, having his attention drawn to it, will observe for himself the -many less prominent, but strongly corroborating circumstances of the -narrative, which confirm the chronology adopted in it. At all events -it must stand until new and decisive facts against it be found.[38] - -A YEAR OF SADNESS AND GLOOM - -"My journey cost me a great deal, and I have not the smallest hope -of earning anything here. Fate is not propitious to me in Bonn." In -poverty, ill, melancholy, despondent, motherless, ashamed of and -depressed by his father's ever increasing moral infirmity, the boy, -prematurely old from the circumstances in which he had been placed -since his eleventh year, had yet to bear another "sling and arrow of -outrageous fortune." The little sister, now a year and a half old--but -here is the notice from the "Intelligenzblatt":--"Died, November 25, -Margareth, daughter of the Court Musician Johann van Beethoven, aged -one year." And so faded the last hope that the passionate tenderness -of Beethoven's nature might find scope in the purest of all relations -between the sexes--that of brother and sister. - -Thus, in sadness and gloom, Beethoven's seventeenth year ended. - -FOOTNOTES: - -[32] Czerny also related that Beethoven had spoken to him of the harsh -treatment and insufficient instruction received from his father. "But," -he added, "I had talent for music." From a note by Otto Jahn. Also see -Cock's "Musical Miscellany." - -[33] "Urian's Reise um die Welt." Op. 52, No. 1, published in 1805. - -[34] The manuscript formerly owned by Artaria is now (1907) in the -possession of Dr. E. Prieger in Bonn. The figure indicating the -composer's age was first written "14" and then changed. - -[35] In the first edition of Jahn's "Mozart" the date is given as -here. In later editions it was corrected in accordance with Thayer's -suggestion to 1787. - -[36] Lady Wallace's translation, amended. The letter is preserved in -the Beethoven-Haus Museum in Bonn. - -[37] The age of Beethoven's mother at the time of her death is here -incorrectly given. It should be 40. - -[38] Thayer's correction of Dr. Wegeler's account of Beethoven's first -acquaintance with the family von Breuning was sharply criticized by a -grandson of Wegeler in an article published in the _Coblenzer Zeitung_ -of May 20, 1890. Thayer preserved Karl Wegeler's article in the library -copy of his biography, and had he lived to revise his work he would -undoubtedly either have corrected his assertions or confirmed them. -According to Dr. Wegeler (this is the younger Wegeler's argument, -in brief), Beethoven had been introduced to the von Breuning family -at least as early as 1785, and in that circle had already met Count -Waldstein, who had aided him in securing his first salary as Court -Organist. The "Notizen" do not fix the dates, though they imply that -the occurrences took place before 1785. As to the statement of the -Widow Karth, Wegeler urges that the testimony of a child five years old -could have no weight as against that of persons of mature age, and that -an acquaintance might well exist without intercourse in the Beethoven -dwelling. The letter to Dr. Schaden, the product of a melancholy mood, -does not preclude the possibility that Beethoven had received help -from another source, especially since great care had to be exercised -in extending succor to him lest his sensibilities be hurt. Certain -it is that Wegeler, who did not go to Vienna till 1787, had been a -faithful friend and helper in the period of Beethoven's destitution, -as was proved by a thitherto unpublished letter of Beethoven to -Wegeler, in which the former expressly stated that the latter had known -him, Beethoven, almost since childhood. If the von Breuning family -were really not on hand at the time of Beethoven's trouble, the fact -might be explained by their annual sojourn in the country, which was -generally of considerable duration. Thayer's assumption that Wegeler -himself did not get intimately acquainted with the von Breunings until -after his return from Vienna (in 1789) is at variance with the family -recollections, which presented him as a young student (therefore before -1787) and with him Beethoven at the time when they became visitors at -the house. Weakness of memory on the part of a man so intellectually -fresh and vigorous as Dr. Wegeler was in 1838 (he died ten years -later) was not to be assumed; least of all can Dr. Wegeler have erred -concerning the beginning of his acquaintance with the family from -which he got his wife. Finally, the intimate terms of friendship which -existed between Beethoven and Eleonore von Breuning could be fully -explained only on the theory of a childhood acquaintance. - -In the first edition of Thayer's biography (1866) Dr. Deiters printed -the text bearing on this question as it is given above without note or -comment. In the revised edition of Volume I (1901), he reproduced the -original text in the body of the page but appended a footnote in which, -while asserting that an authority like Thayer ought not to be opposed -except "with great diffidence and extreme caution" (to use Thayer's -words referring to Dr. Wegeler), he nevertheless upheld the contention -of Dr. Wegeler's grandson. He says: "The definite assertion of Wegeler -that he made the acquaintance of Beethoven as early as 1782, which -is supported by Beethoven's own words, 'you knew me almost since my -childhood,' is not to be shaken. As little can it be questioned that -Wegeler had been introduced in the Breuning house as a student before -his departure for Vienna (according to Gerhard von Breuning before his -acquaintance with Beethoven began); here Dr. Wegeler could not have -made an error. Concerning his bringing Beethoven to the house he gives -no date; the year 1785 is not mentioned in the "Notizen." On page 45, -however, it is stated that Stephan von Breuning "lived in closest -affiliation with him (Beethoven) from his tenth year till his death." -Stephan was born August 17, 1774 (_Vide_ "Aus dem Schwarzspanierhause," -page 6); this would indicate the year 1784. Wegeler's remark, -"especially after you lost your noble mother," makes it clear as day -that a close friendship existed before the death of Beethoven's mother." - - - - -Chapter VII - - The von Breuning Family--Beethoven Brought Under Refining - Influences--Count Waldstein, His Maecenas--The Young Musician is - Forced to Become Head of the Family. - - -In 1527, the year in which the administration of the office of -_Hochmeister_ of the Teutonic Order was united with that of the -_Deutschmeister_, whose residence had already been fixed at Mergentheim -in 1525, this city became the principal seat of the order. From -1732 to 1761 Clemens Augustus was _Hoch- und Deutschmeister_ of the -order; according to the French edition of the Court Calendar of 1761, -Christoph von Breuning was _Conseiller d'Etat et Referendaire_, having -succeeded his father-in-law von Mayerhofen in the office. - -BEETHOVEN'S FRIENDS: THE VON BREUNINGS - -Christoph von Breuning had five sons: Georg Joseph, Johann Lorenz, -Johann Philipp, Emanuel Joseph and Christoph. Lorenz became chancellor -of the Archdeanery of Bonn, and the _Freiadliges Stift_ at Neuss; after -the death of his brother Emanuel he lived in Bonn so that, as head of -the family, he might care for the education of the latter's children. -He died there in 1796. Johann Philipp, born 1742 at Mergentheim, became -canon and priest at Kerpen, a place on the old highway from Cologne -to Aix-la-Chapelle, where he died June 12, 1831. Christoph was court -councillor at Dillingen. - -Emanuel Joseph continued in the electoral service at Bonn; at the early -age of 20 years he was already court councillor (_Conseiller actuel_). -He married Helene von Kerich, born January 3, 1750, daughter of Stephan -von Kerich, physician to the elector. Her brother, Abraham von Kerich, -canon and scholaster of the archdeanery of Bonn, died in Coblenz in -1821. A high opinion of the intellect and character of Madame von -Breuning is enforced upon us by what we learn of her influence upon -the youthful Beethoven. Court Councillor von Breuning perished in a -fire in the electoral palace on January 15, 1777. The young widow (she -had barely attained her 28th year), continued to live in the house of -her brother, Abraham von Kerich, with her three children, to whom was -added a fourth in the summer of 1777. Immediately after the death of -the father, his brother, the canon Lorenz von Breuning, changed his -residence from Neuss to Bonn and remained in the same house as guardian -and tutor of the orphaned children. These were: - -1. Christoph, born May 13, 1771, a student of jurisprudence at Bonn, -Goettingen and Jena, municipal councillor in Bonn, notary, president of -the city council, professor at the law school in Coblenz, member of the -Court of Review in Cologne, and, finally, _Geheimer Ober-Revisionsrath_ -in Berlin. He died in 1841. - -2. Eleonore Brigitte, born April 23, 1772. On March 28, 1802, she was -married to Franz Gerhard Wegeler of Beul-an-der-Ahr, and died on June -13, 1841, at Coblenz. - -3. Stephan, born August 17, 1774. He studied law at Bonn and Goettingen, -and shortly before the end of the electorship of Max Franz was -appointed to an office in the Teutonic Order at Mergentheim. In the -spring of 1801 he went to Vienna, where he renewed his acquaintance -with Beethoven. They had simultaneously been pupils of Ries in violin -playing. The Teutonic Order offering no chance of advancement to a -young man, he was given employment with the War Council and became -Court Councillor in 1818. He died on June 4, 1827. His first wife -was Julie von Vering, daughter of Ritter von Vering, a military -physician; she died in the eleventh month of her wedded life. He then -married Constanze Ruschowitz, who became the mother of Dr. Gerhard von -Breuning, born August 28, 1813, author of "Aus dem Schwarzspanierhause." - -4. Lorenz (called Lenz, the posthumous child), born in the summer of -1777, studied medicine and was in Vienna in 1794-97 simultaneously with -Wegeler and Beethoven. He died on April 10, 1798 in Bonn.[39] - -Madame von Breuning, who died on December 9, 1838, after a widowhood of -61 years, lived in Bonn until 1815, then in Kerpen, Beul-an-der-Ahr, -Cologne and finally with her son-in-law, Wegeler, in Coblenz. - -The acquaintance between Beethoven and Stephan von Breuning may have -had some influence in the selection of the young musician as pianoforte -teacher for Eleonore and Lorenz,[40] an event (in consideration of -circumstances already detailed and of the ages, real and reputed, -of pupils and master) which may be dated at the close of the year -1787, and which was, perhaps, the greatest good that fate, now become -propitious, could have conferred upon him; for he was now so situated -in his domestic relations, and at such an age, that introduction into -so highly refined and cultivated a circle was of the highest value to -him both morally and intellectually. The recent loss of his mother -had left a void in his heart which so excellent a woman as Madame -von Breuning could alone in some measure fill. He was at an age when -the evil example of his father needed a counterbalance; when the -extraordinary honors so recently paid to science and letters at the -inauguration of the university would make the strongest impression; -when the sense of his deficiencies in everything but his art would -begin to be oppressive; when his mental powers, so strong and healthy, -would demand some change, some recreation, from that constant strain in -the one direction of music to which almost from infancy they had been -subjected; when not only the reaction upon his mind of the fresh and -new intellectual life now pervading Bonn society, but his daily contact -with so many of his own age, friends and companions now enjoying -advantages for improvement denied to him, must have cost him many a -pang; when a lofty and noble ambition might be aroused to lead him -ever onward and upward; when, the victim of a despondent melancholy, -he might sink into the mere routine musician, with no lofty aims, -no higher object than to draw from his talents means to supply his -necessities and gratify his appetites. - -There must have been something very engaging in the character of the -small, pockmarked youth, or he could not have so won his way into the -affections of the Widow von Breuning and her children. In his "Notizen" -Wegeler writes: - - In this house reigned an unconstrained tone of culture in spite - of youthful wilfulness. Christoph von Breuning made early - essays in poetry, as was the case (and not without success) - with Stephan von Breuning much later. The friends of the family - were distinguished by indulgence in social entertainments which - combined the useful and the agreeable. When we add that the family - possessed considerable wealth, especially before the war, it will - be easy to understand that the first joyous emotions of Beethoven - found vent here. Soon he was treated as one of the children of - the family, spending in the house not only the greater part of - his days, but also many nights. Here he felt that he was free, - here he moved about without constraint, everything conspired to - make him cheerful and develop his mind. Being five years older - than Beethoven I was able to observe and form a judgment on these - things. - -It must not be forgotten that besides Madame von Breuning and her -children the scholastic Abraham von Kerich and the canon Lorenz von -Breuning were members of the household. The latter especially seems -to have been a fine specimen of the enlightened clergy of Bonn who, -according to Risbeck, formed so striking a contrast to the priests -and monks of Cologne; and it is easy to trace Beethoven's life-long -love for the ancient classics--Homer and Plutarch at the head--to -the time when the young Breunings would be occupied with them in the -original under the guidance of their accomplished tutor and guardian. -The uncle, Philipp von Breuning, may also have been influential in the -intellectual progress of the young musician, for to him at Kerpen "the -family von Breuning and their friends went annually for a vacation of -five or six weeks. There, too, Beethoven several times spent a few -weeks right merrily, and was frequently urged to play the organ," as -Wegeler tells us in the "Notizen." There let him be left enjoying -and profiting by his intimacy with that family, and returning their -kindness in some measure by instructing Eleonore and Lenz in music, -while a new friend and benefactor is introduced. - -COUNT WALDSTEIN'S ARRIVAL IN BONN - -Emanuel Philipp, Count Waldstein and Wartemberg von Dux, and his wife, -a daughter of Emanuel Prince Lichtenstein, were parents of eleven -children. The fourth son was Ferdinand Ernst Gabriel, born March 24, -1762. Uniting in his veins the blood of many of the houses of the -Austrian Empire, there was no career, no line of preferment open to -younger sons of titled families, which was not open to him, or to which -he might not aspire. It was determined that he should seek activity -in the Teutonic Order, of which Max Franz was Grand Master. According -to the rules and regulations of the order, the young nobleman came to -Bonn to pass his examinations and spend his year of novitiate. Could -the time of his arrival there be determined with certainty, the date -would have a most important bearing either to confirm or disprove the -chronological argument of some of our earlier pages; but one may well -despair of finding so unimportant an event as the journey of a young -man of 25 from Vienna to the Rhine anywhere upon record. One thing -bearing directly upon this point may be read in the "Wiener Zeitung" -of July 2, 1788. A correspondent in Bonn says that on "the day before -yesterday," i.e., June 17, 1788, "our gracious sovereign, as Hoch- und -Deutschmeister, gave the accolade with the customary ceremonies to the -Count von Waldstein, who had been accepted in the Teutonic Order." -Allowing for the regular year of novitiate, the Count was certainly in -Bonn before the 17th of June, 1787. - -The misfortune of two unlucky Bohemian peasants, strange as it may -seem, gives us, after the lapse of a century, a satisfactory solution -of the difficulty. Some one reports in the "Wiener Zeitung" of May, 19, -1787, that on the 4th of that month two peasant houses were destroyed -by fire in the village of Likwitz belonging to Osegg, and adds: "Count -Ferdinand von Waldstein, moved by a noble spirit of humanity, hurried -from Dux, took charge of affairs and was to be found wherever the -danger was greatest." It was between May 4 and June 17, 1787, that -Waldstein parted from his widowed mother and journeyed to the place of -his novitiate. His name may easily have become known to Wegeler before -the latter's departure from Bonn for Vienna.[41] Here follows what the -good doctor says of the Count--to what degree correct or mistaken, the -reader can determine for himself: - - The first, and in every respect the most important, of the - Maecenases of Beethoven was Count Waldstein, Knight of the Teutonic - Order, and (what is of greater moment here) the favorite and - constant companion of the young Elector, afterwards Commander of - the Order at Virnsberg and Chancellor of the Emperor of Austria. - He was not only a connoisseur but also a practitioner of music. - He it was who gave all manner of support to our Beethoven, whose - gifts he was the first to recognize worthily. Through him the - young genius developed the talent to improvise variations on - a given theme. From him he received much pecuniary assistance - bestowed in such a way as to spare his sensibilities, it being - generally looked upon as a small gratuity from the Elector. - - Beethoven's appointment as organist, his being sent to Vienna by - the Elector, were the doings of the Count. When Beethoven at a - later date dedicated the great and important Sonata in C major, - Op. 53, to him, it was only a proof of the gratitude which lived - on in the mature man. It is to Count Waldstein that Beethoven owed - the circumstance that the first sproutings of his genius were not - nipped; therefore we owe this Maecenas Beethoven's later fame. - -Frau Karth remembered distinctly the 17th of June upon which Waldstein -entered the order, the fact being impressed upon her mind by a not very -gentle reminder from the stock of a sentinel's musket that the palace -chapel was no place for children on such an occasion. She remembered -Waldstein's visits to Beethoven in the years following in his room in -the Wenzelgasse and was confident that he made the young musician a -present of a pianoforte. - -To save his line from extinction the Count obtained a dispensation from -his vows and married (May 9, 1812) Maria Isabella, daughter of Count -Rzewski. A daughter, Ludmilla, was born to him; but no son. He died on -August 29, 1823, and the family of Waldsteins of Dux disappears. While -all that Wegeler says of this man's kindness in obtaining the place of -organist for Beethoven and of his influence upon his musical education -is one grand mistake,[42] there is no reason whatever to doubt that -those qualities which made the youth a favorite with the Breunings, -added to his manifest genius, made their way to the young count's -heart and gained for Beethoven a zealous, influential and active -friend. Still, in June, 1778, Waldstein possessed no such influence as -to render a petition for increase of salary, offered by his protege, -successful. That document has disappeared, but a paper remains, dated -June 5, concerning the petition, which is endorsed "Beruhet." Whatever -this word may here mean it is certain that Ludwig's salary as organist -remained at the old point of 100 thalers, which, with the 200 received -by his father, the three measures of grain and the small sum that he -might earn by teaching, was all that Johann van Beethoven and three -sons, now respectively in their eighteenth, fifteenth and twelfth -years, had to live upon; and therefore so much the more necessity for -the exercise of Waldstein's generosity. - -LUDWIG THE HEAD OF THE FAMILY - -After the death of the mother, says Frau Karth, a housekeeper was -employed and the father and sons remained together in the lodgings in -the Wenzelgasse. Carl was intended for the musical profession; Johann -was put apprentice to the court apothecary, Johann Peter Hittorf. -Two years, however, had hardly elapsed when the father's infirmity -compelled the eldest son, not yet nineteen years of age, to take the -extraordinary step of placing himself at the head of the family. One of -Stephan von Breuning's reminiscences shows how low Johann van Beethoven -had sunk: viz., that of having seen Ludwig furiously interposing to -rescue his intoxicated father from an officer of police. - -Here again the petition has disappeared, but its contents are -sufficiently made known by the terms of the decree dated November 20, -1789: - - His Electoral Highness having graciously granted the prayer of - the petitioner and dispensed henceforth wholly with the services - of his father, who is to withdraw to a village in the electorate, - it is graciously commanded that he be paid in accordance with - his wish only 100 rthr. of the annual salary which he has had - heretofore, beginning with the approaching new year, and that the - other 100 thlr. be paid to the suppliant's son besides the salary - which he now draws and the three measures of grain for the support - of his brothers. - -It is probable that there was no intention to enforce this decree -in respect of the withdrawal of the father from Bonn, and that this -clause was inserted _in terrorem_ in case he misbehaved himself; for -he continued, according to Frau Karth, to dwell with his children, and -his first receipt, still preserved, for the reduced salary is dated -at Bonn--a circumstance, however, which alone would prove little or -nothing. - -FOOTNOTES: - -[39] Dr. Deiters, differing with Thayer on the subject of the date of -the beginning of the intimacy between Beethoven and the von Breuning -family, omitted in the revised version of the Beethoven biography the -author's comments on the brief biographical data concerning the sons, -which were as follows: "These dates, communicated by Dr. Gerhard, son -of Stephan von Breuning, prove a singular inaccuracy in Wegeler's -remark ('Nachtrag zur Notizen,' page 26): 'Lenz, as the youngest of the -three brothers, was nearest to Beethoven in age.'" Of Stephan he says: -"Inasmuch as he had lived in intimate association with Beethoven from -his tenth year up to his death." Many a proof of this general fact will -hereafter appear; but whether this "intimate association" began quite -so early is a question. The two were at the same time pupils of Franz -Ries on the violin, and they may well have become acquainted in 1785 -or 1786; but it was not favorable to extreme intimacy that four years' -difference existed in their ages; and that the one was but a schoolboy -while the other was already an organist, an author and accustomed to -move among men. - -[40] Gerhard von Breuning would have it appear from a statement on -page 6 of his book "Aus dem Schwarzspanierhause," that Beethoven was -recommended to the von Breunings by Wegeler. - -[41] Dr. Wegeler's grandson, in his criticism of Thayer's assertions -concerning the date of the beginning of the acquaintance between -Beethoven and the von Breunings, falls foul of even this ingenious -demonstration, saying that the incident of the conflagration might have -taken place when Count Waldstein was at home visiting his mother. He -could not believe that the Count had spent all of the first 24 years -of his life at Dux in "idyllic solitude," and argued that he might -have visited Bonn _for the first time_ at an earlier date than 1787. -Dr. Deiters held that the point was well taken; as if there was no -alternative for the young count between "idyllic solitude" at Dux and a -sojourn at Bonn! - -[42] Thus in Mr. Thayer's original manuscript. Dr. Deiters omitted the -remark in his revision, but it is here permitted to stand along with -other controverted matters. - - - - -Chapter VIII - - The National Theatre of Max Franz--Beethoven's Artistic - Associates--Practical Experience in the Orchestra--The - "Ritterballet"--The Operatic Repertory of Five Years. - - -OPERA UNDER ELECTOR MAX FRANZ - -Early in the year 1788, the mind of the Elector, Max Franz, was -occupied with the project for forming a company of _Hofschauspieler;_ -in short, with the founding of a National Theatre upon the plan adopted -by his predecessor in Bonn and by his brother Joseph in Vienna. His -finances were now in order, the administration of public affairs in -able hands and working smoothly, and there was nothing to hinder -him from placing both music and theatre upon a better and permanent -footing; which he now proceeded to do. The Klos troupe, which had left -Cologne in March, played for a space in Bonn, and on its dispersal -in the summer several of its better actors were engaged and added to -others who had already settled in Bonn. The only names which it is -necessary to mention here are those of significance in the history of -Beethoven. Joseph Reicha was director; Neefe, pianist and stage-manager -for opera; in the orchestra were Franz Ries and Andreas Romberg -(violin), Ludwig van Beethoven (viola), Bernard Romberg (violoncello), -Nicolaus Simrock (horn) and Anton Reicha (flute). A comparison of the -lists of the theatrical establishment with that of the court chapel as -printed in the Court Calendars for 1778 and the following years, shows -that the two institutions were kept distinct, though the names for the -greater part appear in both. Some of the singers in the chapel played -in the theatrical orchestra, while certain of the players in the chapel -sang upon the stage. Other names appear in but one of the lists. - -As organist the name of Beethoven appears still in the Court Calendar, -but as viola player he had a place in both the orchestras. Thus, -for a period of full four years, he had the opportunity of studying -practically orchestral compositions in the best of all schools--the -orchestra itself. This body of thirty-one members, under the energetic -leadership of Reicha, many of them young and ambitious, some already -known as virtuosos and still keeping their places in musical history as -such, was a school for instrumental music such as Handel, Bach, Mozart -and Haydn had not enjoyed in their youth; that its advantages were -improved both by Beethoven and others of the younger men, all the world -knows. - -One fact worthy of note in relation to this company is the youth of -most of the new members engaged. Maximilian seems to have sought -out young talent, and when it proved to be of true metal, gave it -a permanent place in his service, adopted wise measures for its -cultivation, and thus laid a foundation upon which, but for the -outbreak of the French Revolution, and the consequent dispersion of his -court, would in time have risen a musical establishment, one of the -very first in Germany. - -This is equally true of the new members of his orchestra. Reicha -himself was still rather a young man, born in 1757. He was a virtuoso -on the violoncello and a composer of some note; but his usefulness was -sadly impaired by his sufferings from gout. The cousins Andreas and -Bernhard Romberg, Maximilian had found at Muenster and brought to Bonn. -They had in their boyhood, as virtuosos upon their instruments--Andreas -violin, Bernhard 'cello--made a tour as far as Paris, and their -concerts were crowned with success. Andreas was born near Muenster in -1767, and Ledebur ("Tonkuenstler Berlins") adopts the same year as the -date also of Bernhard's birth. They were, therefore, three years older -than Beethoven and now just past 21. Both were already industrious and -well-known composers and must have been a valuable addition to the -circle of young men in which Beethoven moved. The decree appointing -them respectively Court Violinist and Court Violoncellist is dated -November 19, 1790. - -Anton Reicha, a fatherless nephew of the concertmaster, born at Prague, -February 27, 1770, was brought by his uncle to Bonn. He had been -already for some years in that uncle's care and under his instruction -had become a good player of the flute, violin and pianoforte. In Bonn, -Reicha became acquainted with Beethoven, who was then organist at -court. "We spent fourteen years together," says Reicha, "united in a -bond like that of Orestes and Pylades, and were continually side by -side in our youth. After a separation of eight years we saw each other -again in Vienna, and exchanged confidences concerning our experiences." -At the age of 17 composing orchestral and vocal music for the Electoral -Chapel, a year later flautist in the theatre, at nineteen both flautist -and violinist in the chapel and so intimate a friend of Beethoven, who -was less than a year his junior--were Reicha's laurels no spur to the -ambition of the other? - -The names of several of the performers upon wind-instruments were -new names in Bonn, and the thought suggests itself that the Elector -brought with him from Vienna some members of the _Harmoniemusik_ which -had won high praise from Reichardt, and it will hereafter appear that -such a band formed part of the musical establishment in Bonn--a fact -of importance in its bearing upon the questions of the origin and date -of various known works both of Beethoven and of Reicha, and of no less -weight in deciding where and how these men obtained their marvellous -knowledge of the powers and effects of this class of instruments. - -The arrangements were all made in 1788, but not early enough to admit -of the opening of the theatre until after the Christmas holidays, -namely, on the evening of January 3, 1789. The theatre had been altered -and improved. An incendiary fire threatened its destruction the day -before, but did not postpone the opening. The opening piece was -"Der Baum der Diana" by Vincenzo Martin. It may be thought not very -complimentary to the taste of Maximilian that the first season of his -National Theatre was opened thus, instead of with one of Gluck's or -Mozart's masterpieces. It suffices to say that he, in his capacity of -Grand Master of the Teutonic Order, had spent a good part of the autumn -at Mergentheim and only reached Bonn on his return on the last day of -January. Hence he was not responsible for that selection. - -The season which opened on January 3, 1789, closed on May 23. Within -this period the following operas were performed, Beethoven taking -part in the performances as a member of the orchestra: "Der Baum der -Diana" (_L'Arbore di Diana_), Martin; "Romeo und Julie," Georg Benda; -"Ariadne" (duo-drama by Georg Benda); "Das Maedchen von Frascati" (_La -Frascatana_), Paisiello; "Julie," Desaides; "Die drei Paechter" (_Les -trois Fermiers_), Desaides; "Die Entfuehrung aus dem Serail," Mozart; -"Nina," Dalayrac; "Trofonio's Zauberhoehle" (_La grotta di Trofonio_), -Salieri; "Der eifersuechtige Liebhaber" (_L'Amant jaloux_), Gretry; "Der -Schmaus" (_Il Convivo_), Cimarosa; "Der Alchymist," Schuster; "Das -Blendwerk" (_La fausse Magie_), Gretry. - -The second season began October 13, 1789, and continued until February -23, 1790. On the 24th of February news reached Bonn of the death of -Maximilian's brother, the Emperor Joseph II, and the theatre was -closed. The repertory for the season comprised "Don Giovanni," Mozart -(which was given three times); "Die Colonie" (_L'Isola d'Amore_), -Sacchini; "Der Barbier von Sevilla" (_Il Barbiere di Siviglia_), -Paisiello; "Romeo und Julie," Georg Benda; "Die Hochzeit des Figaro" -(_Le Nozze di Figaro_), Mozart (given four times); "Nina," Dalayrac; -"Die schoene Schusterin," Umlauf; "Ariadne," Georg Benda; "Die Pilgrimme -von Mecca," Gluck; "Der Koenig von Venedig" (_Il Re Teodoro_), -Paisiello; "Der Alchymist," Schuster; "Das listige Bauernmaedchen" -(_La finta Giardiniera_), Paisiello; "Der Doktor und Apotheker," -Dittersdorf. A letter to the "Berliner Annalen des Theaters" mentions -three operas which are not in the list of the theatrical calendar -and indicates that the theatre was opened soon after receipt of the -intelligence of the death of Joseph, and several pieces performed, -among them _Il Marchese Tulipano_ by Paisiello. The writer also -mentions performances of Anfossi's (or Sarti's) _Avaro inamorato_, -Pergolese's _Serva padrona_ and _La Villanella di spirito_, composer -unmentioned, by an Italian company headed by Madame Bianchi. - -The third season began October 23, 1790, and closed on March 8, 1791. -Between the opening and November 27, performances of the following -musical-dramatic works are recorded: "Koenig Theodor in Venedig" (_Il -Re Teodoro_), Paisiello; "Die Wilden" (_Azemia_), Dalayrac; "Der -Alchymist," Schuster; "Kein Dienst bleibt unbelohnt," (?); "Der Barbier -von Sevilla," Paisiello; "Die schoene Schusterin," Umlauf; "Lilla," -Martini; "Die Geitzigen in der Falle," Schuster; "Nina," Dalayrac; -"Dr. Murner," Schuster. On March 8, the season closed with a ballet by -Horschelt, "Pyramus und Thisbe." The reporter in the "Theaterkalender" -says: - - On Quinquagesima Sunday (March 6) the local nobility performed - in the Ridotto Room a characteristic ballet in old German - costume. The author, His Excellency Count Waldstein, to whom the - composition and music do honor, had shown in it consideration for - the chief proclivities of our ancestors for war, the chase, love - and drinking. On March 8, all the nobility attended the theatre in - their old German dress and the parade made a great, splendid and - respectable picture. It was also noticeable that the ladies would - lose none of their charms, were they to return to the costumes of - antiquity. - -Before proceeding with this history a correction must be made in this -report: the music to the "Ritterballet," which was the characteristic -ballet referred to, was not composed by Count Waldstein but by -Ludwig van Beethoven. We shall recur to it presently. Owing to a -long-continued absence of the Elector, the principal singers and the -greater part of the orchestra, the fourth season did not begin till -the 28th of December, 1791. Between that date and February 20, 1792, -the following musical works were performed: "Doktor und Apotheker," -Dittersdorf; "Robert und Caliste," Guglielmi; "Felix," Monsigny; "Die -Dorfdeputirten," Schubauer; "Im Trueben ist gut Fischen" (_Fra due -Litiganti, il Terzo gode_), Sarti; "Das rothe Kaeppchen," Dittersdorf; -"Lilla," Martini; "Der Barbier von Sevilla," Paisiello; "Ende gut, -Alles gut," music by the Electoral Captain d'Antoin; "Die Entfuehrung -aus dem Serail," Mozart; "Die beiden Savoyarden" (_Les deux petits -Savoyards_), Dalayrac. - -OPERAS AT BONN IN 1792 - -The fifth season began in October, 1792. Of the nine operas given -before the departure of Maximilian and the company to Muenster in -December, "Die Muellerin" by De la Borde, "Koenig Axur in Ormus" by -Salieri, and "Hieronymus Knicker" by Dittersdorf, were the only ones -new to Bonn; and in only the first two of these could Beethoven have -taken part, unless at rehearsals; for at the beginning of November he -left Bonn--and, as it proved, forever. Probably Salieri's masterpiece -was his last opera within the familiar walls of the Court Theatre of -the Elector of Cologne. - -Beethoven's eighteenth birthday came around during the rehearsals for -the first season, of this theatre; his twenty-second just after the -beginning of the fifth. During four years (1788-1792) he was adding -to his musical knowledge and experience in a direction wherein he has -usually been represented as deficient--as active member of an operatic -orchestra; and the catalogue of works performed shows that the best -schools of the day, save that of Berlin, must have been thoroughly -mastered by him in all their strength and weakness. Beethoven's -titanic power and grandeur would have marked his compositions under -any circumstances; but it is very doubtful if, without the training of -those years in the Electoral "Toxal, Kammer und Theater" as member of -the orchestra, his works would have so abounded in melodies of such -profound depths of expression, of such heavenly serenity and repose and -of such divine beauty as they do, and which give him rank with the two -greatest of melodists, Handel and Mozart. - - - - -Chapter IX - - Gleanings of Musical Fact and Anecdote--Haydn in Bonn--A Rhine - Journey--Abbe Sterkel--Beethoven Extemporises--Social and - Artistic Life in Bonn--Eleonore von Breuning--The Circle of - Friends--Beethoven Leaves Bonn Forever--The Journey to Vienna. - - -As a pendant to the preceding sketches of Bonn's musical history a -variety of notices belonging to the last three years of Beethoven's -life in his native place are here brought together in chronological -order. Most of them relate to him personally, and some of them, through -errors of date, have been looked upon hitherto as adding proofs of the -precocity of his genius. - -Prof. Dr. Wurzer communicated to the "Koelnische Zeitung" of August 30, -1838, the following pleasant anecdote: - - In the summer of the year 1790 or 1791 I was one day on business - in Godesberger Brunnen. After dinner Beethoven and another young - man came up. I related to him that the church at Marienforst (a - cloister in the woods behind Godesberg) had been repaired and - renovated, and that this was also true of the organ, which was - either wholly new or at least greatly improved. The company begged - him to give them the pleasure of letting them hear him play on - the instrument. His great good nature led him to grant our wish. - The church was locked, but the prior was very obliging and had it - unlocked for us. B. now began to play variations on themes given - him by the party in a manner that moved us profoundly; but what - was much more significant, poor laboring folk who were cleaning - out the debris left by the work of repair, were so greatly - affected by the music that they put down their implements and - listened with obvious pleasure. _Sit ei terra levis!_ - -JOSEPH HAYDN'S VISIT TO BONN - -The greatest musical event of the year (1790) in Bonn occurred just at -its close--the visit of Joseph Haydn, on his way to London with Johann -Peter Salomon, whose name so often occurs in the preliminary chapters -of this work. Of this visit, Dies has recorded Haydn's own account: - - In the capital, Bonn, he was surprised in more ways than one. He - reached the city on Saturday [Christmas, December 25] and set - apart the next day for rest. On Sunday, Salomon accompanied - Haydn to the court chapel to listen to mass. Scarcely had the two - entered the church and found suitable seats when high mass began. - The first chords announced a product of Haydn's muse. Our Haydn - looked upon it as an accidental occurrence which had happened only - to flatter him; nevertheless it was decidedly agreeable to him - to listen to his own composition. Toward the close of the mass a - person approached and asked him to repair to the oratory, where - he was expected. Haydn obeyed and was not a little surprised when - he found that the Elector, Maximilian, had had him summoned, took - him at once by the hand and presented him to the virtuosi with the - words: "Here I make you acquainted with the Haydn whom you all - revere so highly." The Elector gave both parties time to become - acquainted with each other, and, to give Haydn a convincing proof - of his respect, invited him to dinner. This unexpected invitation - put Haydn into an embarrassing position, for he and Salomon had - ordered a modest little dinner in their lodgings, and it was too - late to make a change. Haydn was therefore fain to take refuge - in excuses which the Elector accepted as genuine and sufficient. - Haydn took his leave and returned to his lodgings, where he was - made aware in a special manner of the good will of the Elector, at - whose secret command the little dinner had been metamorphosed into - a banquet for twelve persons to which the most capable musicians - had been invited. - -Was the young musician one of these "most capable musicians"? Sunday -evening, March 6th, came the performance of Beethoven's music to the -"Ritterballet" before noticed; but without his name being known. -Bossler's "Musikalische Correspondenz" of July 13, 1791, contains -a list of the "Cabinet, Chapel and Court Musicians of the Elector -of Cologne." Names designated by an asterisk were "solo players -who may justly be ranked with virtuosi"; two asterisks indicated -composers. Four names only--those of Joseph Reicha, Perner and the -two Rombergs--have the two stars; Beethoven has none. "Hr. Ludwig van -Beethoven plays pianoforte concertos; Hr. Neefe plays accompaniments -at court and in the theatre and at concerts.... Concertante violas are -played by virtuoso violinists"--that is all, except that we learn that -the Elector is losing interest in the instrument on which Beethoven -played in the orchestra: "His Electoral Highness of Cologne seldom -plays the viola nowadays, but finds amusement at the pianoforte with -operas, etc., etc." - -At Mergentheim, the capital of the Teutonic Order, a grand meeting of -commanders and knights took place in the autumn of 1791, the Grand -Master Maximilian Francis presiding, and the sessions continuing from -September 18 to October 20, as appears from the records at Vienna. The -Elector's stay there seems to have been protracted to a period of at -least three months. During his visit there of equal length two years -before, time probably dragged heavily, so this time ample provision -was made for theatrical and musical amusement. Among the visiting -theatrical troupes was one called the "Haeusslersche Gesellschaft," -which played in summer at Nuremberg, in winter in Muenster and -Eichstaedt. The entrepreneur was Baron von Bailaux, the chapelmaster -Weber, the elder; and among the personnel were Herr Weber, the younger, -and Madame Weber. From Max Weber's biography of his father it appears -that these Webers were the brother and sister-in-law of Carl Maria von -Weber, then a child of some five years. "The troupe," says the reporter -of the "Theater-Kalender," "performs the choicest pieces and the -grandest operas." So the father, Franz Anton von Weber, must have found -himself at length in his own proper element, and still more so a year -later, when he himself became the manager. - -This company for a time migrated to Mergentheim and resumed the title -of "Kurfuerstliches Hoftheater." Beethoven soon came thither also. Did -he, when in after years he met Carl Maria von Weber, remember him as a -feeble child at Mergentheim? Had his intercourse there with Fridolin -von Weber, pupil of Joseph Haydn, any influence upon his determination -soon after to become also that great master's pupil? - -AN EXPEDITION UP THE RHINE - -Simonetti, Maximilian's favorite and very fine tenor concert-singer, -and some twenty-five members of the electoral orchestra, with Franz -Ries as conductor--Reicha was too ill--including Beethoven, the two -Rombergs and the fine octet of wind-instruments, formed an equally -ample provision for the strictly musical entertainments. Actors, -singers, musicians--Simonetti and the women-singers excepted--most -of them still young, all in their best years and at the age for its -full enjoyment, made the journey in two large boats up the Rhine and -Main. Before leaving Bonn the company assembled and elected Lux king -of the expedition, who in distributing the high offices of his court -conferred upon Bernhard Romberg and Ludwig van Beethoven the dignity -of, and placed them in his service as, kitchen-boys--scullions. It -was the pleasantest season of the year for such a journey, the summer -heats being tempered by the coolness of the Rhine and the currents of -air passing up and down the deep gorge of the river. Vegetation was at -its best and brightest, and the romantic beauty of its old towns and -villages had not yet suffered either by the desolations of the wars -soon to break upon them or by the resistless and romance-destroying -march of "modern improvement." Coblenz and Mayence were still capitals -of states, and the huge fortress Rheinfels was not yet a ruin. When -Risbeck passed down the Rhine ten years before, his boat "had a mast -and sail, a flat deck with a railing, comfortable cabins with windows -and some furniture, and in a general way in style was built like a -Dutch yacht." In boats like this, no doubt, the jolly company made the -slow and, under the circumstances, perhaps, tedious journey against the -current of the "arrowy Rhine." But a glorious time and a merry they -had of it. Want of speed was no misfortune to them, and in Beethoven's -memory the little voyage lived bright and beautiful and was to him "a -fruitful source of loveliest visions." - -The Bingerloch was then held to be a dangerous, as it certainly was -a difficult pass for boats ascending; for here the river, suddenly -contracted to half its previous width, plunged amid long lines of -rugged rocks into the gorge. So, leaving the boats to their conductors, -the party ascended to the Niederwald; and there King Lux raised -Beethoven to a higher dignity in his court--Wegeler does not state what -it was--and confirmed his appointment by a diploma, or letters patent, -dated on the heights above Ruedesheim. To this important document was -attached by thread ravelled from a sail, a huge seal of pitch, pressed -into the cover of a small box, which gave to the instrument a right -imposing look--like the Golden Bull at Frankfort. This diploma from the -hand of his comic majesty was among the articles taken by the possessor -to Vienna where Wegeler saw it, still carefully preserved, in 1796. - -At Aschaffenburg on the Main was the large summer palace of the -Electors of Mainz; and here dwelt Abbe Sterkel, now a man of 40 -years; a musician from his infancy, one of the first pianists of all -Germany and without a rival in this part of it, except perhaps Vogler -of Mannheim. His style both as composer and pianist had been refined -and cultivated to the utmost, both in Germany and Italy, and his -playing was in the highest degree light, graceful, pleasing--as Ries -described it to Wegeler, "somewhat ladylike." Ries and Simrock took -the young Romberg and Beethoven to pay their respects to the master, -"who, complying with the general request, sat himself down to play. -Beethoven, who up to this time," says Wegeler, "had not heard a great -or celebrated pianoforte player, knew nothing of the finer nuances in -the handling of the instrument; his playing was rude and hard. Now he -stood with attention all on a strain by the side of Sterkel"; for this -grace and delicacy, if not power of execution, which he now heard were -a new revelation to him. After Sterkel had finished, the young Bonn -concertplayer was invited to take his place at the instrument; but he -naturally hesitated to exhibit himself after such a display. The shrewd -Abbe, however, brought him to it by a pretence of doubting his ability. - -BEETHOVEN'S MEETING WITH STERKEL - -A year or two before, Chapelmaster Vincenzo Righini, a colleague of -Sterkel in the service of the Elector of Mayence, had published "Dodeci -Ariette," one of which, "Vieni (Venni) Amore," was a melody with -five vocal variations, to the same accompaniment. Beethoven, taking -this melody as his theme, had composed, dedicated to the Countess of -Hatzfeld and published twenty-four variations for the pianoforte upon -it. Some of these were very difficult, and Sterkel now expressed his -doubts if their author could himself play them. His honor thus touched, -"Beethoven played not only these variations so far as he could remember -them (Sterkel could not find them), but went on with a number of -others no less difficult, all to the great surprise of the listeners, -perfectly, and in the ingratiating manner that had struck him in -Sterkel's playing."[43] - -Once in Mergentheim the merry monarch and his jolly subjects had other -things to think of and seem to have made a noise in the world in -more senses than one. At all events Carl Ludwig Junker, Chaplain at -Kirchberg, the residence of Prince Hohenlohe, heard of them and then -went over to hear them. Junker was a dilettante composer and the author -of some half-dozen small works upon music--musical almanacs published -anonymously, and the like, all now forgotten save by collectors, as -are his pianoforte concertos--but at that time he was a man of no -small mark in the musical world of Western Germany. He came over -to Mergentheim, was treated with great attention by the Elector's -musicians, and showed his gratitude in a long letter to Bossler's -"Correspondenz" (November 23, 1791), in which superlatives somewhat -abound, but which is an exquisite piece of gossip and gives the -liveliest picture that exists of the "Kapelle." We have room for only a -portion of it: - - Here I was also an eye-witness to the esteem and respect in which - this chapel stands with the Elector. Just as the rehearsal was to - begin Ries was sent for by the Prince, and upon his return brought - a bag of gold. "Gentlemen," said he, "this being the Elector's - name-day he sends you a present of a thousand thalers." And again, - I was eye-witness of this orchestra's surpassing excellence. - Herr Winneberger, Kapellmeister at Wallenstein, laid before it - a symphony of his own composition, which was by no means easy - of execution, especially for the wind-instruments, which had - several solos _concertante_. It went finely, however, at the first - trial, to the great surprise of the composer. An hour after the - dinner-music the concert began. It was opened with a symphony of - Mozart; then followed a recitative and air sung by Simonetti; - next, a violoncello concerto played by Herr Romberger [Bernhard - Romberg]; fourthly, a symphony by Pleyel; fifthly, an air by - Righini, sung by Simonetti; sixthly, a double concerto for violin - and violoncello played by the two Rombergs; and the closing piece - was the symphony of Winneberger, which had very many brilliant - passages. The opinion already expressed as to the performance - of this orchestra was confirmed. It was not possible to attain - a higher degree of exactness. Such perfection in the _pianos_, - _fortes_, _rinforzandos_--such a swelling and gradual increase of - tone and then such an almost imperceptible dying away, from the - most powerful to the lightest accents--all this was formerly to - be heard only in Mannheim. It would be difficult to find another - orchestra in which the violins and basses are throughout in such - excellent hands.... The members of the chapel, almost without - exception, are in their best years, glowing with health, men of - culture and fine personal appearance. They form truly a fine - sight, when one adds the splendid uniform in which the Elector has - clothed them--red, and richly trimmed with gold. - - I heard also one of the greatest of pianists--the dear, good - Bethofen, some compositions by whom appeared in the Spires - "Blumenlese" in 1783, written in his eleventh year. True, he - did not perform in public, probably the instrument here was not - to his mind. It is one of Spath's make, and at Bonn he plays - upon one by Steiner. But, what was infinitely preferable to me, - I heard him extemporize in private; yes, I was even invited to - propose a theme for him to vary. The greatness of this amiable, - light-hearted man, as a virtuoso, may in my opinion be safely - estimated from his almost inexhaustible wealth of ideas, the - altogether characteristic style of expression in his playing, and - the great execution which he displays. I know, therefore, no one - thing which he lacks, that conduces to the greatness of an artist. - I have heard Vogler upon the pianoforte--of his organ playing I - say nothing, not having heard him upon that instrument--have often - heard him, heard him by the hour together, and never failed to - wonder at his astonishing execution; but Bethofen, in addition to - the execution, has greater clearness and weight of idea, and more - expression--in short, he is more for the heart--equally great, - therefore, as an _adagio_ or _allegro_ player. Even the members of - this remarkable orchestra are, without exception, his admirers, - and all ears when he plays. Yet he is exceedingly modest and free - from all pretension. He, however, acknowledged to me, that, upon - the journeys which the Elector had enabled him to make, he had - seldom found in the playing of the most distinguished virtuosos - that excellence which he supposed he had a right to expect. His - style of treating his instrument is so different from that usually - adopted, that it impresses one with the idea, that by a path - of his own discovery he has attained that height of excellence - whereon he now stands. - - Had I acceded to the pressing entreaties of my friend Bethofen, to - which Herr Winterberger added his own, and remained another day - in Mergentheim, I have no doubt he would have played to me hours; - and the day, thus spent in the society of these two great artists, - would have been transformed into a day of the highest bliss. - -There is one passage in this exceedingly valuable and interesting -letter which, in the present state of knowledge of Beethoven's youth, -is utterly inexplicable. It is this: "Yet he is exceedingly modest and -free from all pretension. He, however, acknowledged to me that upon the -journeys which the Elector had enabled him to make, he had seldom found -in the playing of the most distinguished virtuosos that excellence -which he supposed he had a right to expect." What were the journeys? -Who can tell? - -There is but one more to add to these musical reminiscences of that -period--another visit of Joseph Haydn, who, having changed the plan -of his route, returned in July _via_ Bonn from London to Vienna. -The electoral orchestra gave him a breakfast at Godesberg and there -Beethoven laid before him a cantata "which received the particular -attention of Haydn, who encouraged its author to continue study." It is -not improbable that the arrangements were in part now made under which -the young composer became a few months later the pupil of the veteran. - -Many a eulogy has been written upon Max Franz for his supposed -protection of, and favors granted to, the young Beethoven. It has, -however, already been made clear that except the gracious reprimand at -the time when the singer Heller was made the subject of the boy's joke, -all the facts and anecdotes upon which those eulogies are based belong -to a much later than the supposed period. The appointment of Beethoven -as Chamber Musician (1789) was no distinguishing mark of favor. Half a -dozen other youths of his age shared it with him. His being made Court -Pianist was a matter of course; for whom had he as a rival? Had he been -in any great degree a favorite of the Elector, what need had there been -of his receiving from Waldstein, as Wegeler states, "much pecuniary -assistance bestowed in such a way as to spare his sensibilities, it -being generally looked upon as a small gratuity from the Elector?" One -general remark may be made here which has a bearing upon this point, -namely: that Beethoven's dedications of important works throughout his -life were, as a rule, made to persons from whom he had received, or -from whom he had hopes of receiving, pecuniary benefits. Indeed, in one -notable case where such a dedication produced him nothing, he never -forgot nor forgave the omission. Had he felt that Maximilian was in any -single instance really generous toward him, why did he never dedicate -any work to him? Why in all the correspondence, private memoranda and -recorded conversations, which have been examined for this work, has -Beethoven never mentioned him either in terms of gratitude, or in -any manner whatever? All idea that his relations to the Elector were -different from those of Bernhard Romberg, Franz Ries or Anton Reicha, -must be given up. He was organist, pianist, member of the orchestra; -and for these services received his pay like others. There is no proof -of more, no indication of less. - -But with Waldstein, the case was otherwise. The young count, eight -years older than Beethoven, coming direct from Vienna, where his family -connections gave him access to the salons of the very highest rank of -the nobility, was thoroughly acquainted with the noblest and best that -the imperial capital could show in the art of music. Himself more than -an ordinary dilettante, he could judge of the youth's powers and became -his friend. We have seen that he used occasionally to go to the modest -room in the Wenzelgasse, that he even employed Beethoven to compose his -"Ritterballet" music, and we shall see, that he foretold the future -eminence of the composer and that the name, Beethoven, would stand -next those of Mozart and Haydn on the roll of fame. Waldstein's name, -too, is in Beethoven's roll of fame; it stands in the list of those to -whom important works are dedicated. The dedication of the twenty-four -variations on "Venni Amore" to the Countess Hatzfeld indicates, if -it does not prove, that Beethoven's deserts were neither unknown nor -unacknowledged at her house. - -At that time the favorite places of resort for the professors of -the new university and for young men whose education and position -at court or in society were such as to make them welcome guests, -was the house on the Market-place now known as the Zehrgarten; and -there, says Frau Karth, Beethoven was in the habit of going. A large -portion of this house was let in lodgings, and it is said that Eugene -Beauharnais, with his wife and children, at one time occupied the -first floor. Its mistress was the Widow Koch who spread also a table -for a select company of boarders. Her name, too, often appears in the -"Intelligenzblatt" of Bonn in advertisements of books and music. Of her -three children, a son and two daughters, the beautiful Barbara--the -Babette Koch mentioned in a letter of Beethoven's--was the belle of -Bonn. Wegeler's eulogy of her ("Notizen," p. 58) contains the names of -several members of that circle whom, doubtless, the young composer so -often met at the house. - -BARBARA KOCH; ELEONORE VON BREUNING - - She was a confidential friend of Eleonore von Breuning, a lady - who of all the representatives of the female sex that I met - in a rather active and long life came nearest the ideal of a - perfect woman--an opinion which is confirmed by all who had the - good fortune to know her well. She was surrounded not only by - young artists like Beethoven, the two Rombergs, Reicha, the twin - brothers Kuegelchen and others, but also by the intellectual men - of all classes and ages, such as D. Crevelt, Prof. Velten, who - died early, Fischenich, who afterward became Municipal Councillor, - Prof. Thaddaeus Dereser, afterward capitular of the cathedral, - Wrede, who became a bishop, Heckel and Floret, secretaries of - the Elector, Malchus, private secretary of the Austrian minister - von Keverberg, later Government Councillor of Holland, Court - Councillor von Bourscheidt, Christian von Breuning and many others. - -About the time Beethoven left Bonn for Vienna, the wife of Count -Anton von Belderbusch, nephew of the deceased minister of that -name, had deserted her husband for the embraces of a certain Baron -von Lichtenstein, and Babette Koch was engaged as governess and -instructress of the motherless children. In process of time Belderbusch -obtained a divorce (under the French law) from his adulterous wife and -married the governess, August 9, 1802. - -BEETHOVEN IN THE BREUNING HOUSE - -But it was in the Breuning house that Beethoven enjoyed and profited -most. The mother's kindness towards him gave her both the right and -the power to urge and compel him to the performance of his duties; and -this power over him in his obstinate and passionate moods she possessed -in a higher degree than any other person. Wegeler gives an anecdote -in point: Baron Westphal von Fuerstenberg, until now in the service -of the Elector, was appointed minister to the Dutch and Westphalian -Circuit and to the courts of Cologne and Treves, his headquarters -being at Bonn. He resided in the large house which is now occupied by -the post-office, directly behind the statue of him who was engaged as -music teacher in the count's family. The Breuning house was but a few -steps distant diagonally across a corner of the square. Here Madame -von Breuning was sometimes compelled to use her authority and force -the young man to go to his lessons. Knowing that she was watching him -he would go, _ut iniquae mentis asellus_, but sometimes at the very -door would turn back and excuse himself on the plea that to-day it was -impossible to give a lesson--to-morrow he would give two; to which, as -upon other occasions when reasoning with him was of no avail, the good -lady would shrug her shoulders with the remark: "He has his _raptus_ -again," an expression which the rapt Beethoven never forgot. Most -happy was it for him that in Madame von Breuning he had a friend who -understood his character thoroughly, who cherished affection for him, -who could and did so effectually act as peace-maker when the harmony -between him and her children was disturbed. Schindler is a witness that -just for this phase of her motherly care Beethoven, down to the close -of life, was duly grateful. - - In his later days he still called the members of this family his - guardian angels of that time and remembered with pleasure the - many reprimands which he had received from the lady of the house. - "She understood," said he, "how to keep insects off the flowers." - By insects he meant certain friendships which had already begun - to threaten danger to the natural development of his talent and - a proper measure of artistic consciousness by awakening vanity - in him by their flatteries. He was already near to considering - himself a famous artist, and therefore more inclined to give heed - to those who encouraged him in his illusions than such as set - before him the fact that he had still to learn everything that - makes a master out of a disciple. - -This is well said, is very probable in itself, and belongs in the -category of facts as to which Schindler is a trustworthy witness. - -Stephan von Breuning became so good a violinist as to play occasionally -in the electoral orchestra. As he grew older, and the comparative -difference in age between him and Beethoven lessened, the acquaintance -between them became one of great intimacy. Frau Karth says he was a -frequent visitor in the Wenzelgasse, and she had a lively recollection -of "the noise they used to make with their music" in the room overhead. -Lenz, the youngest of the Breunings, was but fifteen when his teacher -left Bonn, but a few years after he became a pupil of Beethoven again -in Vienna and became a good pianist. For him the composer seems to have -cherished a warm affection, one to which the seven years' difference -in their ages gave a peculiar tenderness. It has been supposed that -Beethoven at one time indulged a warmer feeling than mere friendship -for Eleonore von Breuning; but this idea is utterly unsupported by -anything which has been discovered during the inquiries made for this -work. - -Beethoven's remarkable powers of improvising were often exhibited at -the Breuning house. Wegeler has an anecdote here: - - Once when Beethoven was improvising at the house of the Breunings - (on which occasions he used frequently to be asked to characterize - in the music some well-known person) Father Ries was urged to - accompany him upon the violin. After some hesitation he consented, - and this may have been the first time that two artists improvised - a duo. - -Beethoven had in common with all men of original and creative genius -a strong repugnance to the drudgery of forcing the elements of his -art into dull brains and awkward fingers; but that this repugnance -was "extraordinary," as Wegeler says, does not appear. A Frau von -Bevervoerde, one of his Bonn pupils, assured Schindler that she never -had any complaint to make of her teacher in respect to either the -regularity of his lessons or his general course of instruction. Nor is -there anything now to be gathered from the traditions at Vienna which -justifies the epithet. Ries's experience is not here in point, for his -relations to Beethoven were like those of little Hummel to Mozart. -He received such instruction gratis as the master in leisure moments -felt disposed to give. There was no pretence of systematic teaching at -stated hours. The occasional neglect of a lesson at Baron Westphal's, -as detailed in the anecdote above given, may be explained on other -ground than that of extraordinary repugnance to teaching. Beethoven -was, in 1791-'92, just at the age when the desire for distinction -was fresh and strong; he was conscious of powers still not fully -developed; his path was diverse from that of the other young men with -whom he associated and who, from all that can be gathered now on the -subject, had little faith in that which he had chosen. He must have -felt the necessity of other instruction, or, at all events, of better -opportunities to compare his powers with those of others, to measure -himself by a higher standard, to try the effect of his compositions in -another sphere, to satisfy himself that his instincts as a composer -were true and that his deviations from the beaten track were not wild -and capricious. Waldstein, we know from Wegeler (and this is confirmed -by his own words), had faith in him and his works, and it will be seen -that another, Fischenich, had also. But what would be said of him and -his compositions in the city of Mozart, Haydn, Gluck? To this add the -restlessness of an ambitious youth to whom the routine of duties, which -must long since in great measure have lost the charm of novelty, had -become tedious, and the natural longing of young men for the great -world, for a wider field of action, had grown almost insupportable. - -BEETHOVEN'S SWEETHEARTS IN BONN - -Or Beethoven's _raptus_ may just then have had a very different origin; -Jeannette d'Honrath, or Fraeulein Westerhold, was perhaps the innocent -cause--two young ladies whose names are preserved by Wegeler of the -many for whom he says his friend at various times indulged transient, -but not the less ardent, passions. The former was from Cologne, whence -she occasionally came to Bonn to pass a few weeks with Eleonore von -Breuning. - - "She was a beautiful, vivacious blond, of good education," says - Wegeler, "and amiable disposition, who enjoyed music greatly and - possessed an agreeable voice; wherefore she several times teased - our friend by singing a song, familiar at the time, beginning: - - 'Mich heute noch von dir zu trennen - Und dieses nicht verhindern koennen, - Ist zu empfindlich fuer mein Herz!' - - for the favored rival was the Austrian recruiting officer in - Cologne, Carl Greth, who married the young lady and died on - October 15, 1827, as Field Marshal General, Commander of the 23rd - Regiment of Infantry and Commandant at Temesvar."[44] - -The passion for Miss d'Honrath was eclipsed by a subsequent fancy -for a Fraeulein von Westerhold. The Court Calendars of these years -name "Hochfuerstlich Muensterischer Obrist-Stallmeister, Sr. Excellenz -der Hochwohlgeborne Herr Friedrich Rudolph Anton, Freyherr von -Westerhold-Giesenberg, kurkoelnischer und Hochstift-Muensterischer -Geheimrath." This much betitled man, according to Neefe (Spazier's -"Berlin. Mus. Zeitung"), - - played the bassoon himself and maintained a fair band among his - servants, particularly players of wind-instruments. He had two - sons, one of whom was a master of the flute, and two daughters. - The elder daughter--the younger was still a child--Maria Anna - Wilhelmine, was born on July 24, 1774, married Baron Friedrich - Clemens von Elverfeldt, called von Beverfoede-Werries, on April 24, - 1792, and died on November 3, 1852. She was an excellent pianist. - In Muenster, Neefe heard "the fiery Mad. von Elverfeldt play a - difficult sonata by Sardi (not Sarti) with a rapidity and accuracy - that were marvellous." - -It is not surprising that Beethoven's talent should have met with -recognition and appreciation in this musical family. He became the -young woman's teacher, and as the chief equerry Count Westerhold had -to accompany the Elector on his visits to Muenster, where, moreover, he -owned a house, there is a tradition in the family that young Beethoven -went with them before the young lady's marriage in 1790. She it was -with whom Beethoven was now in love. He had the disease violently, nor -did he "let concealment, like a worm i' th' bud," feed upon his cheek. -Forty years afterward Bernhard Romberg had anecdotes to relate of this -"Werther love." - -The strong doubt that any such feeling for Eleonore von Breuning was -ever cherished by Beethoven has already been expressed. The letters to -her from Vienna printed by Wegeler, and other correspondence still in -manuscript, confirm this doubt by their general tone; but that a really -warm friendship existed between them and continued down to the close -of his life, with a single interruption just before he left Bonn, of -the cause of which nothing is known, so much is certain. Among the few -souvenirs of youthful friendship which he preserved was the following -compliment to him on his twentieth birthday, surrounded by a wreath of -flowers: - - -ZU B'S GEBURTSTAG VON SEINER SCHUeLERIN. - - Glueck und langes Leben - Wuensch ich heute dir; - Aber auch daneben - Wuensch ich etwas mir! - - Mir in Ruecksicht deiner - Wuensch ich deine Huld, - Dir in Ruecksicht meiner - Nachsicht und Geduld. - - 1790 - - Von Ihrer Freundin u. Schuelerin - Lorchen von Breuning.[45] - -Another was a silhouette of Fraeulein von Breuning. Referring to -Beethoven's allusion to this in a letter to Wegeler (1825) the latter -says: "In two evenings the silhouettes of all the members of the von -Breuning family and more intimate friends of the house, were made by -the painter Neesen of Bonn. In this way I came into the possession of -that of Beethoven which is here printed. Beethoven was probably in his -sixteenth year at the time";--far more probably in his nineteenth, the -reader will say. - -To the point of Beethoven's susceptibility to the tender passion let -Wegeler again be cited: - - The truth as I learned to know it, and also my brother-in-law - Stephan von Breuning, Ferdinand Ries, and Bernhard Romberg, is - that there was never a time when Beethoven was not in love, - and that in the highest degree. These passions, for the Misses - d'Honrath and Westerhold, fell in his transition period from youth - to manhood, and left impressions as little deep as were those - made upon the beauties who had caused them. In Vienna, at all - events so long as I lived there, Beethoven was always in love and - occasionally made a conquest which would have been very difficult - if not impossible for many an Adonis. - -A review of some of the last pages shows that for the most part after -1789 the life of Beethoven was a busy one, but that the frequent -absences of the Elector, as recorded in the newspapers of the day, left -many a period of considerable duration during which, except for the -meetings of the orchestra for rehearsal and study, he had full command -of his time. Thus he had plenty of leisure hours and weeks to devote -to composition, to instruction in music, for social intercourse, for -visits to Kerpen and other neighboring places, for the indulgence of -his strong propensity to ramble in the fields and among the mountains, -for the cultivation in that beautiful Rhine region of his warm passion -for nature. - -The new relations to his father and brothers, as virtual head of the -family, were such as to relieve his mind from anxiety on their account. -His position in society, too, had become one of which he might justly -be proud, owing, as it was, to no adventitious circumstances, but -simply to his genius and high personal character. Of illness in those -years we hear nothing, except Wegeler's remark ("Notizen," 11): "When -the famous organist Abbe Vogler played in Bonn (1790 or 1791) I sat -beside Beethoven's sickbed"; a mere passing attack, or Wegeler would -have vouchsafed it a more extended notice in his subsequent remarks -upon his friend's health. Thus these were evidently happy years, in -spite of certain characteristic and gloomy expressions of Beethoven -in letters hereafter to be given, and years of active intellectual, -artistic and moral development. - -THE SUGGESTION OF HAYDN AS TEACHER - -The probability that in July, 1792, it had been proposed to Haydn to -take Beethoven as a pupil has been mentioned; but it is pretty certain -that the suggestion did not come from the Elector, who, there is little -doubt, was in Frankfort at the coronation of his nephew Emperor Franz -(July 14) at the time of Haydn's visit. The indefatigable Karajan[46] -is unable to determine precisely when the composer left London or -reached Vienna; but it is known he was in the former city after July -1st and in the latter before August 4th. Whatever arrangements may have -been made between the pupil and master, they were subject to the will -of the Elector, and here Waldstein may well have exerted himself to his -protege's advantage. At all events, the result was favorable and the -journey determined upon. Perhaps, had Haydn found Maximilian in Bonn, -he might have taken the young man with him; as it was, some months -elapsed before his pupil could follow. - -Some little space must be devoted to the question, whence the pecuniary -resources for so expensive a journey to and sojourn in Vienna were -derived. The good-hearted Neefe did not forget to record the event in -very flattering terms when he wrote next year in Spazier's "Berliner -Musik-Zeitung": - - In November of last year Ludwig van Beethoven, assistant court - organist and unquestionably now one of the foremost pianoforte - players, went to Vienna _at the expense of our Elector_ to Haydn - in order to perfect himself under his direction more fully in the - art of composition. - -In a note he adds: - - Inasmuch as this L. v. B. according to several reports is said to - be making great progress in art and owes a part of his education - to Herr Neefe in Bonn, to whom he has expressed his gratitude - in writing, it may be well (Herr N's modesty interposing no - objection) to append a few words here, since, moreover, they - redound to the credit of Herr B.: "I thank you for your counsel - very often given me in the course of my progress in my divine art. - If ever I become a great man, yours will be some of the credit. - This will give you the greater pleasure, since you can remain - convinced, etc." - -THE LIMIT OF MAXIMILIAN'S FAVOR - -"At the expense of our Elector"--so says Neefe; so, too, Fischenich -says of Beethoven "whom the Elector has sent to Haydn in Vienna." -Maximilian, then, had determined to show favor to the young musician. -This idea is confirmed by Beethoven's noting, in the small memorandum -book previously referred to, the reception soon after reaching Vienna -of 25 ducats and his disappointment that the sum had not been a -hundred. (A receipt for his salary, 25 th. for the last quarter of -this year, still in the Duesseldorf archives, is dated October 22, and -seems at first sight to prove an advance per favor; but many others -in the same collection show that payments were usually made about the -beginning of the second month of each quarter.) There is also a paper -in the Duesseldorf collection, undated, but clearly only a year or two -after Beethoven's departure, by which important changes are made in -the salaries of the Elector's musicians. In this list Beethoven does -not appear among those paid from the _Landrentmeisterei_ (i.e., the -revenues of the state), but is to receive from the _Chatouille_ (privy -purse) 600 florins--a sum equivalent to the hundred ducats which he had -expected in vain. It is true these changes were never carried out, but -the paper shows the Elector's intentions. - -With such facts before us, how is Beethoven to be relieved of the -odium of ingratitude to his benefactor? By the circumstance that, for -anything that appears, the good intentions of the Elector--excepting -in an increase of salary hereafter to be noted, and the transmission of -the 25 ducats--were never carried out; and the young musician, after -receiving his quarterly payment two or three times, was left entirely -dependent upon his own resources. Maximilian's justification lies in -the sea of troubles by which he was so soon to be overwhelmed. - -That the 100 ducats were not advanced to Beethoven before leaving Bonn -is easily accounted for. In October, 1792, the French revolutionary -armies were approaching the Rhine. On the 22nd they entered Mayence; -on the 24th and 25th the archives and funds of the court at Bonn -were packed up and conveyed down the Rhine. On the 31st the Elector, -accompanied by the Prince of Neuwied, reached Cleve on his first flight -from his capital. It was a time of terror. All the principal towns of -the Rhine region, Treves, Coblenz, etc., even Cologne, were deserted -by the higher classes of the inhabitants. Perhaps it was owing to this -that Beethoven obtained permission to leave Bonn for Vienna just then -instead of waiting until the approaching theatrical and musical season -had passed. But with the treasury removed to Duesseldorf, he had to -content himself with just sufficient funds to pay his way to Vienna and -the promise of more to be forwarded thither. - -Beethoven's departure from Bonn called forth lively interest on the -part of his friends. The plan did not contemplate a long sojourn in -the Austrian capital; it was his purpose, after completing his studies -there, to return to Bonn and thence to go forth on artistic tours.[47] -This is proved by an autograph album dating from his last days in -Bonn, which some of his intimate friends, obviously those with whom -he was wont to associate at the Zehrgarten, sent with him on his way, -now preserved in the Imperial Library at Vienna. The majority of the -names are familiar to us, but many which one might have expected to -find, notably those of the musicians of Bonn, are missing. Eleonore von -Breuning's contribution was a quotation from Herder: - - Freundschaft, mit dem Guten, - Waechset wie der Abendschatten, - Bis des Lebens Sonne sinkt.[48] - - Bonn, den 1. November Ihre wahre Freundin Eleonore - 1792 Breuning. - -Most interesting of all the inscriptions in the album, however, is -that of Count Waldstein, which was first published by Schindler (Vol. -I, p. 18) from a copy procured for him by Aloys Fuchs. It proves how -great were the writer's hopes, how strong his faith in Beethoven: - - Dear Beethoven! You are going to Vienna in fulfillment of your - long-frustrated wishes. The Genius of Mozart is mourning and - weeping over the death of her pupil. She found a refuge but no - occupation with the inexhaustible Haydn; through him she wishes to - form a union with another. With the help of assiduous labor you - shall receive _Mozart's spirit from Haydn's hands_. - - Your true friend - Waldstein. - - Bonn, October 29, 1792. - -The dates in the album prove that Beethoven was still in Bonn on -November 1, 1792, and indicate that it was the last day of his sojourn -there. In Duten's "Journal of Travels," as translated and augmented by -John Highmore, Gent. (London, 1782)--a Baedeker's or Murray's handbook -of that time--the post-road from Bonn to Frankfort-on-the-Main is laid -down as passing along the Rhine _via_ Andernach to Coblenz, and thence, -crossing the river at Ehrenbreitstein, _via_ Montabaur, Limburg, -Wuerges and Koenigstein;--corresponding to the route advertised in the -"Intelligenzblatt" a few years later--time 25 hours, 43 minutes. - -THE JOURNEY TO VIENNA - -This was the route taken by Beethoven and some unknown companion. -Starting from Bonn at 6 a.m. they would, according to Dutens and -Highmore, dine at Coblenz about 3 p.m. and be in Frankfort about 7 next -morning. - -The first three pages of the memorandum book above cited contain a -record of the expenses of this journey as far as Wuerges. One of the -items is this: "Trinkgeld (_pourboire_) at Coblenz because the fellow -drove like the devil right through the Hessian army at the risk of -a cudgelling, one small thaler." This army marched from Coblenz on -November 5; but on the same day a French corps, having advanced from -Mayence beyond Limburg, took possession of Weilburg. The travellers -could not, therefore, have journeyed through Limburg later than the -night of the 3rd. We conclude, then, that it was between November 1st -and 3rd that Beethoven bade farewell to Bonn, and at Ehrenbreitstein -saw Father Rhine for the last time. - -The temptation is too strong to be resisted to add here the contents of -the three pages of the memorandum book devoted to this journey, and the -reasonings--fancies, if the reader prefers the term--drawn from them, -upon which is founded the assertion that Beethoven had a travelling -companion. This is probable in itself, and is confirmed by, first, two -handwritings; second, the price paid for post-horses (thus, the first -entry is for a station and a quarter at 50 _Stueber_, the regular price -being one florin, or 40 _Stueber_ per horse for a single passenger; -there were, therefore, two horses and 10 _Stueber_ extra per post for -the second passenger); third, the word "us" in the record of the -_Trinkgeld_ at Coblenz; fourth, the accounts cease at Wuerges, but they -would naturally have been continued to Vienna had they been noted down -by Beethoven from motives of economy; fifth, the payment of 2 fl. for -dinner and supper is certainly more than a young man, not overburdened -with money, would in those days have spent at the post-house. - -We may suppose, then, that the companions have reached the end of their -journey in common, and sit down to compute and divide the expenses. -Beethoven hands his blank-book to his friend, who writes thus: - - (Page 1) From Bonn to Remagen, 1-1/4 Stat, at 50 Stbr. 3 fl. - From Remag. to Andernach, 1-1/2 St. 3.45 - Tip 45 - Tolls 45 - From Andernach to Coblenz, 1 St. 3. - Tips to Andernach 50 - " to Coblenz - Tolls to Andernach 42 - Tolls to Coblenz - -These last three items are not carried out, and Beethoven now takes the -book and adds the items of the "Tolls to Andernach" thus: - - Sinzig 7 St(ueber) Reinicke 5 St. - Preissig 10 St. Norich 4-1/2 St. - -These 26 Stueber, changed into Kreutzers, make up the 42 in the column -above. On the next page he continues: - - (Page 2) Coblenz, tolls 30 x - Rothehahnen (Red Cocks) 24 x - Coblenz to Montebaur 2 rthlr. and 1/2 d - Tolls for Coblenz 48 x - Tip because the fellow drove like the devil right - through the Hessian army at the risk of a - cudgelling one small thaler - Ate dinner 2 fl. - Post from Montebaur to Limburg 3 fl. 57 x - 10 x road money - 15 x " " - - (Page 3) Supper 2 fl. - in Limburg 12 Batzen - Tips 14 x - Grease money 14 x - Tip for postillion 1 fl. - -The other hand now writes: - - The same money for meals and tips, besides 12 x - road money to Wirges. - -The entries of the second and third pages are now changed into florin -currency and brought together, making 22 fl. and 14 x; add the expenses -on the first page to this sum and we have a total of about 35 fl. from -Bonn to Wuerges for two young men travelling day and night, and no doubt -as economically as was possible. - -The next entries are by Beethoven's hand in Vienna, and we are left -to imagine his arrival in Frankfort and his departure thence _via_ -Nuremberg, Regensburg, Passau and Linz in the public post-coach for -Vienna. Proof will be found hereafter that he was in that city on or -before November 10th, and that Schindler (Vol. I, p. 19) therefore -confounds this journey with that of 1787, and is all wrong when he says -"they travelled very slowly and the money which they had taken along -was exhausted before they had traversed half the journey." - -FOOTNOTES: - -[43] Wegeler's story of the meeting between Beethoven and Sterkel is -confirmed in every detail by a letter from N. Simrock to Schindler, a -copy of which was found among the posthumous papers of Thayer. - -[44] In one of the Beethoven conversation books, _anno_ 1823, may -be read in Schindler's handwriting: "Captain v. Greth's address, -Commandant in Temesvar." - -[45] From the Fischoff Manuscript. The verbal play can scarcely be -given in English rhymed couplets. The sentiment is: "Happiness and -long life I wish you to-day, but something do I crave for myself from -you--your regard, your forbearance and your patience." - -[46] "J. Haydn in London," page 53. - -[47] Neefe relates that on his second visit to England, Haydn had -contemplated taking Beethoven with him. - -[48] "Friendship, with that which is good, grows like the evening -shadow till the setting of the sun of life." - - - - -Chapter X - - Beethoven's Creative Activity in Bonn--An Inquiry into the Genesis - of Many Compositions--The Cantatas on the Death of Joseph II and - the Elevation of Leopold II--Songs, the "Ritterballet," the Octet - and Other Chamber Pieces. - - -But for the outbreak of the French Revolution, Bonn seems to have been -destined to become a brilliant centre of learning and art. Owing to -the Elector's taste and love for music, that art became--what under -the influence of Goethe poetry and drama were in Weimar--the artistic -expression and embodiment of the intellectual character of the time. -In this art, among musicians and composers, Beethoven, endowed with a -genius whose originality has rarely if ever been surpassed, "lived, -moved and had his being." His official superiors, Lucchesi, Reicha, -Neefe, were indefatigable in their labors for the church, the stage -and the concert-room; his companions, Andreas Perner, Anton Reicha, -the Rombergs, were prolific in all the forms of composition from -the set of variations to even the opera and oratorios; and in the -performance of their productions, as organist, pianist and viola -player, he, of course, assisted. The trophies of Miltiades allowed no -rest to Themistocles. Did the applause bestowed upon the scenes, duos, -trios, quartets, symphonies, operas of his friends awaken no spirit of -emulation in him? Was he contented to be the mere performer, leaving -composition to others? And yet what a "beggarly account" is the list of -compositions known to belong to this period of his life![49] Calling -to mind the activity of others, particularly Mozart, developed in -their boyhood, and reflecting on the incentives which were offered -to Beethoven in Bonn, one may well marvel at the small number and the -small significance of the compositions which preceded the Trios Op. 1, -with which, at the age of 24 years, he first presented himself to the -world as a finished artist. But a change has come over the picture in -the progress of time. Not only are the beginnings of many works which -he presented to the world at a late day as the ripe products of his -genius to be traced back to the Bonn period; fate has also made known -to us compositions of his youth which, for a long time, were lost -in whole or in part, and which, in connection with the three great -pianoforte quartets of 1785, not only disclose a steady progress, but -also discover the self-developed individual artist at a much earlier -date than has heretofore been accepted. Now that we are again in -possession of the cantatas and other fruits of the Bonn period, or have -learned to know them better as such, we are able to free ourselves -from the old notion which presented Beethoven as a slowly and tardily -developed master. - -CANTATA ON THE DEATH OF JOSEPH II - -The most interesting of Beethoven's compositions in the Bonn period -are unquestionably the cantatas on the death of Joseph II and the -elevation of Leopold II. Beethoven did not bring them either to -performance or publication; they were dead to the world. Nottebohm -called attention to the fact that manuscript copies of their scores -were announced in the auction catalogue of the library of Baron de -Beine in April, 1813. It seems probable that Hummel purchased them at -that time; at any rate, after his death they found their way from his -estate into the second-hand bookshop of List and Francke in Leipsic, -where they were bought in 1884 by Armin Fridmann of Vienna. Dr. Eduard -Hanslick acquainted the world with the rediscovered treasures in a -feuilleton published in the "Neue Freie Presse" newspaper of Vienna -on May 13, 1884, and the funeral cantata was performed for the first -time at Vienna in November, 1884, and at Bonn on June 29, 1885.[50] -Both cantatas were then included in the Complete Works of Beethoven -published by Breitkopf and Haertel. The "Cantata on the Death of Joseph -the Second, composed by L. van Beethoven," was written between March -and June, 1790. The Emperor died on February 20th, and the news of his -death reached Bonn on February 24th. The Lesegesellschaft at once -planned a memorial celebration, which took place on March 19th. At a -meeting held to make preparations for the function on February 28, -Prof. Eulogius Schneider (who delivered the memorial address) expressed -the wish that a musical feature be incorporated in the programme and -said that a young poet had that day placed a poem in his hands which -only needed a setting from one of the excellent musicians who were -members of the society or a composer from elsewhere. Beethoven's -most influential friends, at the head of them Count Waldstein, were -members of the society. Here, therefore, we have beyond doubt the story -of how Beethoven's composition originated. The minutes of the last -meeting for preparation, held on March 17, state that "for various -reasons the proposed cantata cannot be performed." Among the various -reasons may have been the excessive difficulty of the parts for the -wind-instruments which, according to Wegeler, frustrated a projected -performance at Mergentheim; though it is also possible that Beethoven, -who was notoriously a slow worker, was unable to complete the music in -the short time which was at his disposal. The text of the cantata was -written by Severin Anton Averdonk, son of an employee of the electoral -Bureau of Accounts, and brother of the court singer Johanna Helene -Averdonk, who, in her youth, was for a space a pupil of Johann van -Beethoven. Beethoven set the young poet's ode for solo voice, chorus -and orchestra without trumpets and drums. Brahms, on playing through -the score, remarked: "It is Beethoven through and through. Even if -there were no name on the title-page none other than that of Beethoven -could be conjectured." The same thing may be said of the "Cantata -on the Elevation of Leopold II to the Imperial Dignity, composed by -L. V. Beethoven." Leopold's election as Roman Emperor took place on -September 30, 1790, his coronation on October 9, when Elector Max Franz -was present at Frankfort. This gives us a hint as to the date of the -composition. Whether or not the Elector commissioned it cannot be said. -Averdonk was again the poet. The two cantatas mark the culmination -of Beethoven's creative labors in Bonn; they show his artistic -individuality ripened and a sovereign command of all the elements which -Bonn was able to teach him from a technical point of view. - -OTHER WORKS OF THE BONN PERIOD - -Two airs for bass voice with orchestral accompaniment are, to judge -by the handwriting, also to be ascribed to about 1790. The first is -entitled "'Pruefung des Kuessens' ('The Test of Kissing'), V. L. V. -Beethowen." The use of the "w" instead of the "v" in the spelling of -the name points to an early period for the composition. The text of -the second bears the title, "Mit Maedeln sich vertragen," and was taken -by Beethoven from the original version of Goethe's "Claudine von Villa -Bella." Paper, handwriting and the spelling of the name of the composer -indicate the same period as the first air. The two compositions -remained unknown a long time, but are now to be had in the Supplement -to the Complete Works published by Breitkopf and Haertel. - -To these airs must be added a considerable number of songs as fruits -of Beethoven's creative labors in Bonn. The first of these, "Ich, der -mit flatterndem Sinn," was made known by publication in the Complete -Works. A sketch found among sketches for the variations on "Se vuol -ballare," led Nottebohm to set down 1792 as the year of its origin. Of -the songs grouped and published as Op. 52 the second, "Feuerfarbe," -belongs to the period of transition from Bonn to Vienna. On January 26, -1793, Fischenich wrote to Charlotte von Schiller: "I am enclosing with -this a setting of the 'Feuerfarbe' on which I should like to have your -opinion. It is by a young man of this place whose musical talents are -universally praised and whom the Elector has sent to Haydn in Vienna. -He proposes also to compose Schiller's 'Freude,' and indeed strophe -by strophe. Ordinarily he does not trouble himself with such trifles -as the enclosed, which he wrote at the request of a lady." From this -it is fair to conclude that the song was finished before Beethoven's -departure from Bonn. Later he wrote a new postlude, which is found -among _motivi_ for the Octet and the Trio in C minor. Of the other -songs in Op. 52 the origin of several may be set down as falling in -the Bonn period. That of the first, "Urian's Reise um die Welt," we -have already seen. Whether or not these songs, which met with severe -criticism in comparison with other greater works of Beethoven, were -published without Beethoven's knowledge, is doubtful.[51] Probability -places the following songs in the period of transition, or just before -it: "An Minna," sketched on a page with "Feuerfarbe," and other works -written out in the early days of the Vienna period; a drinking-song, -"to be sung at parting," "Erhebt das Glas mit froher Hand," to judge -by the handwriting, an early work, presumably _circa_ 1787; "Elegie -auf den Tod eines Pudels"; "Die Klage," to be placed in 1790, inasmuch -as the original manuscript form appears simultaneously with sketches -of the funeral cantata; "Wer ist ein freier Mann?", whose original -autograph in the British Museum bears the inscription "ipse fecit -L. v. Beethoven," and must be placed not later than 1790, while a -revised form is probably a product of 1795, and to a third Wegeler -appended a different text, "Was ist des Maurer's Ziel?" published in -1806; the "Punschlied" may be a trifle older; the autograph of "Man -strebt die Flamme zu verhehlen," in the possession of the Gesellschaft -der Musikfreunde, which has been placed in the year 1792, bears in -Beethoven's handwriting the words "pour Madame Weissenthurn par Louis -van Beethoven." Madame Weissenthurn was a writer and actress, and from -1789 a member of the company of the Burgtheater in Vienna, and it is -more than likely that Beethoven did not get acquainted with her till he -went to Vienna, although she was born on the Rhine. - -Turn we now to the instrumental works which date back to the Bonn -period. The beginning is made with the work which, in a manner, -first brought Beethoven into close relationship with the stage--the -"Ritterballet," produced by the nobility on Carnival Sunday, March 6, -1791, and which, consequently, cannot have been composed long before, -say in 1790 or 1791. The ballet was designed by Count Waldstein in -connection with Habich, a dancing-master from Aix-la-Chapelle. Of -the contents of the piece we know nothing more than is contained in -the report from Bonn printed three chapters back, namely, that it -illustrated the predilection of the ancient Germans for war, the -chase, love and drinking; the music, being without words, can give -us no further help. It consists of eight short numbers, designed to -accompany the pantomime: 1, March; 2, German Song;[52] 3, Hunting Song; -4, Romance; 5, War Song; 6, Drinking Song; 7, German Dance; 8, Coda. -It was intended that the music should be accepted as Waldstein's and, -therefore, Beethoven never published it. - -It seems as if the last year of Beethoven's sojourn in Bonn was -especially influential in the development of his artistic character -and ability. Of the works of 1792, besides trifles, there were two -of larger dimensions which, if we were not better advised, would -unhesitatingly be placed in the riper Vienna period. The autograph of -the Octet for wind-instruments, published after the composer's death -and designated at a later date as Op. 103, bears the inscription -"Parthia in Es" (above this, "dans un Concert"), "Due Oboe, Due -Clarinetti, Due Corni, Due Fagotti di L. v. Beethoven." From a sketch -which precedes suggestions for the song "Feuerfarbe," Nottebohm -concludes that the Octet was composed in 1792, or, at the latest -in 1793. In the latter case it would be a Viennese product. It is -improbable, however, that Beethoven found either incentive or occasion -soon after reaching Vienna to write a piece of this character, and -it is significant that in his later years he never returned to a -combination of eight instruments. But there was an incentive in Bonn -in the form of the excellent dinner-music of the Elector described by -Chaplain Junker, which was performed by two oboes, two clarinets, two -horns and two bassoons. It may be set down as a fruit of 1792, his last -year in Bonn. For the same combination of instruments, Beethoven also -composed a Rondino in E-flat, published in 1829 by Diabelli, probably -from the posthumous manuscript. From the autograph Nottebohm argued -that it was written in Bonn, and what has been said of the origin of -the Octet applies also to the Rondino. The autograph of a little duet -in G for two flutes bears the inscription: "For Friend Degenharth by L. -v. Beethoven. August 23rd, 1792, midnight." - -We are lifted to a higher plane again by a work which in invention -and construction surpasses the compositions already mentioned and -still to be mentioned in the present category, and discloses the fully -developed Beethoven as we know him--the Trio in E-flat, for violin, -viola and violoncello, Op. 3. Its publication was announced by Artaria -in February, 1797. According to Wegeler, Beethoven was commissioned -by Count Appony in 1795 to write a quartet. He made two efforts, but -produced first a Trio (Op. 3), and then a Quintet (Op. 4). We know -better the origin of the latter work now; but Wegeler is also mistaken -about the origin of the Trio; it was a Bonn product. Here the proof: - -At the general flight from Bonn, whether the one at the end of October -or that of December 15, 1793, the Elector ordered his chaplain, Abbe -Clemens Dobbeler, to accompany an English lady, the Honourable Mrs. -Bowater, to Hamburg. "While there," says William Gardiner in his "Music -and Friends," III, 142, "he was declared an emigrant and his property -was seized. Luckily he placed some money in our (English) government -funds, and his only alternative was to proceed to England." Dobbeler -accompanied Mrs. Bowater to Leicester. She, - - having lived much in Germany, had acquired a fine taste in music; - and as the Abbe was a very fine performer on the violin, music - was essential to fill up this irksome period (while Mrs. Bowater - lived in lodgings before moving into old Dolby Hall). My company - was sought with that of two of my friends to make up occasionally - an instrumental quartett.... Our music consisted of the Quartetts - of Haydn, Boccherini, and Wranizky. The Abbe, who never travelled - without his violin, had luckily put into his fiddle-case a Trio - composed by Beethoven, just before he set off, which thus, in - the year 1793, found its way to Leicester. This composition, so - different from anything I had ever heard, awakened in me a new - sense, a new delight in the science of sounds.... When I went - to town (London) I enquired for the works of this author, but - could learn nothing more than that he was considered a madman - and that his music was like himself. However, I had a friend in - Hamburg through whom, although the war was raging at the time, I - occasionally obtained some of these inestimable treasures. - -THE TRIO FOR STRINGS, OP. 3 - -What trio was this so praised by the enthusiastic Englishman? On the -last page but one of Gardiner's "Italy, her Music, Arts and People" he -writes, speaking of his return down the Rhine: - - Recently we arrived at Bonn, the birthplace of Beethoven. About - the year 1786, my friend the Abbe Dobler, chaplain to the Elector - of Cologne, first noticed this curly, blackheaded boy, the son - of a tenor singer in the cathedral. Through the Abbe I became - acquainted with the first production of this wonderful composer. - How great was my surprise in playing the viola part to his Trio in - E-flat, so unlike anything I had ever heard. It was a new sense - to me, an intellectual pleasure which I had never received from - sounds. - -Again, in a letter to Beethoven, Gardiner says, "Your Trio in E-flat -(for violin, viola and bass)." To all but the blind this narrative -pours a flood of light upon the whole question.[53] - -There come up now for consideration the compositions in which -Beethoven's principal instrument, the pianoforte, is employed. They -carry us back a space, and to the earliest examples we add a related -composition for violin. - -It was a part of Beethoven's official duty to play pianoforte before -the Elector, and it may therefore easily be imagined that after his -first boyish attempt in 1784, he would continue to compose concertos -and parts of concertos for the pianoforte and orchestra, and not wait -until 1795, when he publicly performed the "entirely new" concerto -in B-flat. Quite recently the world has learned of a first movement -for a pianoforte concerto in D, concerning which the first report -was made by Guido Adler in 1888, and which was performed in Vienna -on April 7, 1889, and then incorporated, as edited by Adler, in the -supplement to the Complete Works. It was discovered in copy, solo and -orchestra parts, in the possession of Joseph Bezeczny, the head of an -educational institution for the blind in Prague, and the handwriting -is his. Immediately after its first performance its authenticity was -questioned by Dr. Paumgartner, who called attention to its Mozartian -characteristics, but failed to advance any reason for doubting the -testimony of so thorough a musical scholar as Adler. The latter had -emphasized the resemblances to Mozart's works, which, indeed, are -too obvious to escape attention; but for a long time after 1785, -especially after Beethoven met Mozart personally in Vienna, the former -was completely in the latter's thrall, and that his music should -occasionally be reminiscent of his model is not at all singular. Such -reminiscences are to be found in the quartets of 1785 and the trio for -pianoforte and wind-instruments. It is safe to assume that the movement -was written, as Adler suggests, in the period 1788-1793, perhaps before -rather than after 1790, and that Beethoven attached little value to it -and laid it permanently aside. - -A companion-piece to this movement is the fragment of a Concerto for -Violin in C major, of which the autograph is in the archives of the -Gesellschaft der Musikfreunde in Vienna, the handwriting of which -indicates that it belongs to the early Vienna if not the Bonn period. -That it is a first transcription is indicated by the fact that there -are many erasures and corrections. The fragment contains 259 measures, -embracing the orchestral introduction, the first solo passage, the -second _tutti_ and the beginning of the free fantasia for the solo -instrument; it ends with the introduction of a new transition _motif_ -which leads to the conjecture that the movement was finished and that -the missing portion has been lost.[54] - -A Trio in E-flat for Pianoforte, Violin and Violoncello, found among -Beethoven's posthumous papers, was published in 1836 by Dunst in -Frankfort-on-the-Main. On the original publication its authenticity was -certified to by Diabelli, Czerny and Ferdinand Ries, and it was stated -that the original manuscript was in the possession of Schindler; -Wegeler verified the handwriting as that of Beethoven. Schindler -cites Beethoven's utterance that he had written the work at the age -of 15 years and described it as one of his "highest strivings in the -free style of composition," which was either a misunderstanding of -Schindler's or a bit of irony on the part of Beethoven. Nearer the -truth, at any rate, is a remark in Graeffer's written catalogue of -Beethoven's works: "Composed _anno_ 1791, and originally intended for -the three trios, Op. 1, but omitted as too weak by Beethoven." Whether -or not this observation rests on an authentic source is not stated.[55] - -Whether or not the Pianoforte Trios, Op. 1, were composed in Bonn may -be left without discussion here, since we shall be obliged to recur -to the subject later. The facts about them that have been determined -beyond controversy are, that they were published in 1795; were not -ready in their final shape in 1794; and were already played in the -presence of Haydn in 1793. - -OTHER WORKS COMPOSED IN BONN - -The Variations in E-flat for Pianoforte, Violin and Violoncello, which -were published in 1804 by Hofmeister in Leipsic as Op. 44, apparently -belong to the last year of Beethoven's life in Bonn. Nottebohm found -a sketch of the work alongside one of the song "Feuerfarbe," which -fact points to the year 1792; Beethoven in a letter to the publisher -appears not to have laid particular store by it, a circumstance easily -understood in view of the great works which had followed the youthful -effort. - -Besides these compositions, a Trio for Pianoforte, Flute and -Bassoon,[56] concerning which all the information which we have -came from the catalogue of Beethoven's effects sold at auction, has -recently been published. It is No. 179 in the catalogue, where it -is described as a composition of the Bonn period. On the autograph, -preserved in Berlin, the title, placed at the end, is "Trio concertante -a clavicembalo, flauto, fagotto, composto da Ludovico van Beethoven -organista di S. S. (illegible word), cologne." The designation of the -composer as organist, etc., fixes the place of its origin, and the -handwriting indicates an early date. - -Among the papers found in Beethoven's apartments after his death, was -the manuscript of a Sonata in B-flat for Pianoforte and Flute, which -passed into the hands of Artaria. It is not in Beethoven's handwriting, -and the little evidence of its authenticity is not convincing.[57] - -It is more than likely that the Variations for Pianoforte and Violin on -Mozart's "Se vuol ballare" ought to be assigned to the latter part of -the Bonn period. They were published in July, 1793, with a dedication -to Eleonore von Breuning, to whom Beethoven sent the composition -with a letter dated November 2, 1793.[58] The dedication leads to -the presumption that the work was carried to Vienna in a finished -state and there subjected to only the final polish. The postscript -to the letter to Fraeulein von Breuning betrays the reason for the -hurried publication: Beethoven wanted to checkmate certain Viennese -pianists whom he had detected copying peculiarities of his playing -in improvisation which he suspected they would publish as their own -devices. - -Besides the pieces already mentioned, Beethoven wrote the following -works for pianoforte in Bonn: - -1. A Prelude in F minor.[59] According to a remark on a printed copy -shown to be authentic, Beethoven wrote it when he was 15 year old, that -is, in 1786 or, the question of his age not being determined at the -time, 1787. The prelude is, as a matter of fact, a fruit of his studies -in the art of imitation; and the initiative, probably, came from Bach's -Preludes. - -2. Two Preludes through the Twelve Major Keys for Pianoforte or Organ; -published by Hoffmeister in 1803 as Op. 39. Obviously exercises written -for Neefe while he was Beethoven's teacher in composition. - -3. Variations on the arietta "Venni Amore," by Righini, in D -major--"Venni Amore," not "Vieni"; the arietta begins: "Venni Amore nel -tuo regno, ma compagno del Timor." Righini gave his melody a number of -vocal variations. Beethoven republished his in Vienna in 1801 through -Traeg (Complete Works, Series 17, No. 178); composed about 1790 and -published in Mannheim in 1791. They were inscribed to Countess Hatzfeld -(_nee_ Countess de Girodin), who has been praised in this book as an -eminent pianist. The story of the encounter between Beethoven and -Sterkel in which these variations figure has also been told. Beethoven -had a good opinion of them; Czerny told Otto Jahn that he had brought -them with him to Vienna and used them to "introduce" himself. - -PIANOFORTE VARIATIONS AND A SONATA - -Two books of variations are to be adjudged to the Bonn period because -of their place of publication and other biographical considerations. -They are the Variations in A major on a theme from Dittersdorf's -opera "Das rothe Kaeppchen" ("Es war einmal ein alter Mann") and the -Variations for four hands on a theme by Count Waldstein. Both sets were -published by Simrock in Bonn, the first of Beethoven's compositions -published in his native town. They were not published until 1794, but -according to a letter to Simrock, dated August 2, 1794, the latter -had received the first set a considerable time before, and Beethoven -had held back the corrections while the other was already printed. -Beethoven's intimate association with Waldstein in Bonn is a familiar -story, but we hear nothing of it in the early Viennese days. The -variations on a theme of his own seem likely to have been the product -of a wish expressed by the Count. That Beethoven seldom wrote for four -hands, and certainly not without a special reason, is an accepted -fact.[60] - -Another presumably Bonnian product which has come down to us only as a -fragment is the Sonata in C major for Pianoforte, published in 1830 -by Dunst in Frankfort, with a dedication to Eleonore von Breuning. It -is probably the sonata which Beethoven, according to the letter to -be given presently, had promised to his friend and which was fully -sketched at the time. There would be no doubt of the fact that the -sonata was written in Bonn if the presumption that the letter was -written in Bonn were true; but even as it is, the fact that the letter -says that it had been promised "long ago" indicates a pre-Viennese -origin. All that is certain is that Eleonore von Breuning received -it from Beethoven in 1796. In the copy sent to the publisher eleven -measures at the end of the _Adagio_ were lacking. These were supplied -by Ferdinand Ries in the manner of Beethoven. There can scarcely be a -doubt that Beethoven finished the _Adagio_, and it can be assumed that -he also composed a last movement, which has been lost. - -Concerning the Rondo in C major published in Bossler's "Blumenlese" of -1783, we have already spoken.[61] - -It is a striking fact to any one who has had occasion to examine -carefully the chronology of publication of Beethoven's works, that up -to nearly the close of 1802 whatever appeared under his name was worthy -of that name; but that then, in the period of the second, third and -fourth symphonies, of the sonatas. Op. 47, 53, 57 and of "Leonore," to -the wonder of the critics of that time serial advertisements of the -"Kunst- und Industrie-Comptoir" in Vienna announce the Trios, Op. 30 -and the seven Bagatelles, Op. 33; in another the "Grand Sinfonie," Op. -36, and the Variations on "God save the King"; on May 15, 1805, the -Waldstein Sonata and the Romance, Op. 50; and on June 16 the songs. -Op. 52, which the "Allgemeine Mus. Zeitung" describes as "commonplace, -poor, weak, in part ridiculous stuff." Ries solves the enigma when he -writes ("Notizen," 124) that all trifles, many things which he never -intended to publish because he deemed them unworthy of his name, were -given to the world through the agency of his brother. In this manner -the world was made acquainted with songs which he had written long -before he went to Vienna from Bonn. Even little compositions which he -had written in albums were filched and published. - -But even if the widest latitude be given to the judgment in selecting -from the publications of these years' works belonging to the Bonn -period, still what an exceedingly meagre list is the aggregate -of Beethoven's compositions from his twelfth to the end of his -twenty-second year! Mozart's, according to Koechel, reach at that age -293; Handel completed his twentieth year, February 23, 1705; on the -twenty-fifth his second opera "Nero" was performed. And what had he not -previously written! - -This apparent lack of productiveness on the part of Beethoven has been -noticed by other writers. One has disputed the fact and is of opinion -that the composer in later years destroyed the manuscripts of his youth -to prevent the possibility of injury to his fame by their posthumous -publication. But this explanation is nonsense, as every one knows who -has had an opportunity to examine the autograph collections in Vienna -and there to remark with what scrupulous care even his most valueless -productions were preserved by their author in all his migrations from -house to house and from city to country throughout his Vienna life. - - Beethoven attached absolutely no value to his autographs; after - they had once been engraved they generally were piled on the floor - in his living room or an anteroom among other pieces of music. - I often brought order into his music, but when Beethoven hunted - for anything, everything was sent flying in disorder. At that - time I might have carried away the autograph manuscripts of all - the pieces which had been printed, or had I asked him for them he - would unquestionably have given them to me without a thought. - -These words of Ries are confirmed by the small number of autographs -of printed works in the auction catalogue of Beethoven's posthumous -papers--most of them having remained in the hands of the publishers or -having been lost, destroyed or stolen. - -WORKS TAKEN TO VIENNA FROM BONN - -Another author has endeavored to supply the vacuum by deducing the -chronology of Beethoven's works from their form, matter or general -character as viewed by his eyes, referring all which seem to him below -the standard of the composer at any particular period to an earlier -one; and a very comical chronology he makes of it. His success -certainly has not been such as to induce any attempt of the kind -here; and yet that he is right in the general fact is the hypothesis -which the following remarks are conceived to establish as truth. -Schindler--who is often very positive on the ground that what he does -not know cannot be true--in introducing his chronological table of -Beethoven's works, published from 1796 to 1800, remarks: "It may be -asserted with positiveness that none of the works catalogued below were -composed before 1794"; upon which point the assertion is ventured that -Schindler is thoroughly mistaken and that many of the works published -by Beethoven during the first dozen years of his Vienna life were taken -thither from Bonn. They doubtless were more or less altered, amended, -improved, corrected, but nevertheless belong as compositions to those -years when "Beethoven played pianoforte concertos, and Herr Neefe -accompanied at Court in the theatre and in concerts." While the other -young men were trying their strength upon works for the orchestra and -stage, the performance of which would necessarily give them notoriety, -the Court Pianist would naturally confine himself mostly to his own -instrument and to chamber music--to works whose production before a -small circle in the salons of the Elector, Countess Hatzfeld and others -would excite little if any public notice. But here he struck out so -new, and at that time so strange a path that no small degree of praise -is due to the sagacity of Count Waldstein, who comprehended his aims, -felt his greatness and encouraged him to trust to and be guided by his -own instincts and genius. - -That Beethoven also tried his powers in a wider field we know from -the two cantatas, the airs in "Die schoene Schusterin" and the -"Ritterballet." Carl Haslinger in Vienna also possessed an orchestral -introduction to the second act of an unnamed opera which may as well be -referred to the Bonn period as to any other; and it is not by any means -a wild suggestion that he had tried his strength in other concertos for -pianoforte and full orchestra than that of 1784. As to the compositions -for two, six or eight wind-instruments there was little if any danger -of mistake in supposing them to have been written for the Elector's -"Harmonie-Musik." But this is wandering from the point; to establish -which the following remarks are in all humility submitted: - -CREATIVE INDUSTRY IN BONN - -I. If a list be drawn up of Beethoven's compositions published between -1795 and December, 1802, with the addition of other works known to have -been composed in those years, the result will be nearly as follows -(omitting single songs and other minor pieces): symphonies, 2; ballet -("Prometheus"), 1; sonatas (solo and duo), 32; romances (violin and -orchestra), 2; serenade, 1; duos (clarinet and bassoon), 3; sets of -variations, 15; sets of dances, 5; "Ah! perfido" and "Adelaide," 2; -pianoforte concertos, 3; trios (pianoforte and other instruments), 9; -quartets, 6; quintets, 3; septet, 1; pianoforte rondos, 3; marches -(for four hands), 3; oratorio ("Christus"), 1; an aggregate of 92 -compositions in eight years or ninety-six months. And most of them -such compositions! That Beethoven was a remarkable man all the -world knows; but that he could produce at this rate, study operatic -composition with Salieri, sustain, nay, increase his reputation as -a pianoforte virtuoso, journey to Prague, Berlin and other places, -correct proof-sheets for his publishers, give lessons and yet find time -to write long letters to friends, to sleep, to eat, drink and be merry -with companions of his own age--this is, to say the least, "a morsel -difficult of digestion." The more so from the fact that at the very -time when he began to devote himself more exclusively to composition -such marvellous fertility suddenly ceased. The inference is obvious. - -II. When Neefe, in 1798, calls Beethoven "beyond controversy one of the -foremost pianoforte players," it excites no surprise. Ten years before -he had played the most of Bach's "Well-Tempered Clavichord" and had now -long held the offices of Second Court Organist and Concerto Player; but -what sufficient reason could Waldstein have had for his faith that this -pianist, by study and perseverance, would yet be able to seize and hold -the sceptre of Mozart? And upon what grounds, too, could Fischenich, on -January 26, 1793, write as he did to Charlotte von Schiller from Bonn -(see _ante_) and add, "I expect something perfect from him, for so far -as I know him he is wholly devoted to the great and sublime.... Haydn -has written here that he would soon put him at grand operas and soon be -obliged to quit composing." - -Note the date of this--January 26, 1793. Haydn must have written some -time before this, when Beethoven could not have been with him more than -six or eight weeks. Did the master found his remark upon what he had -seen in his pupil or upon the compositions which his pupil had placed -before him? Wegeler has printed an undated and incomplete letter of -Beethoven to Eleonore von Breuning, certainly, however, not later than -the spring of 1794, which was accompanied by a set of variations and -a rondo for pianoforte and violin. Do the following passages in this -letter indicate anything? - - I have a great deal to do or I would before this have transcribed - the sonata _which I promised you long ago_. It is a mere sketch in - my manuscript and it would be a difficult task even for the clever - and practised Paraquin to copy it. You can have the rondo copied - and return the score to me. It is the only one of my things which - is, in a manner, suitable to you. - -May these words not be paraphrased thus: "As to the sonata which I -played at your house and of which I promised you a copy--it is in my -manuscript hardly more than a sketch, so that I could not trust it to a -copyist, not even to Paraquin, and I have not had leisure to transcribe -it myself." And, finally, the closing lines of a short article in the -"Jahrbuch der Tonkunst fuer Wien und Prag," 1776--which notice was not -written later than the spring of 1795, nine or ten months before the -publication of the Sonatas Op. 2--are pregnantly suggestive: "We have -a number of beautiful sonatas by him, amongst which the last ones -particularly distinguish themselves." These works were, therefore, -well-known in manuscript even at the time when he was busy with his -studies under Haydn and Albrechtsberger. - -III. If in spite of the above it still be objected that the _opera_ 1 -to 15, or 20, as you please, are of a character beyond the powers of -Beethoven during his Bonn life, who _knows_ this to be a fact? Has such -an objection any other basis than a mere prejudice? - -EVIDENCES OF EARLY ACTIVITY - -A fanciful theory has exhibited Beethoven to us as a rude, undeveloped -genius, who, being transferred to Vienna and schooled two years by -Haydn and Albrechtsberger, then began with the Trios Op. 1, wrought -his way upward in eight years through the twenty-three compositions of -_opera_ 2 to 14 in a geometrical progression to the first pianoforte -concertos, the ballet "Prometheus" and the Symphony in C! It is, -however, known that in March, 1795, Beethoven played his Pianoforte -Concerto in B-flat in Vienna, shortly afterward published the Trios, -Op. 1, and in 1796 composed the two sonatas for pianoforte and -violoncello in Berlin. A young man who at the age of 24 or 25 could -give the public two such concertos could hardly have been such a rough -diamond only three or four years before. - -IV. However convincing the preceding propositions may seem to the -ordinary reader, the critical student of musical history justly demands -something more. It is not enough for him to know that Op. 19 was -composed before the publication of Op. 1; that Op. 2 is in part made -up from the Pianoforte Quartets of 1785; that the Quintet Op. 4 is an -arrangement of the "Parthia" in E-flat for wind-instruments afterwards -published as Op. 103, and is now proved to belong to the Bonn period, -and that a whole movement of the funeral cantata found its way into -"Fidelio"--the argument is to him like an arch without its keystone -until one or more of the important works be named specifically as Bonn -compositions and proved to be such.[62] - -FOOTNOTES: - -[49] The discoveries made after Thayer completed and printed his first -volume in German (1866), largely inspired by his labors, have made -a thorough revision of this chapter imperative. In all that follows -the editor has accepted the statement of facts made by Dr. Deiters in -his revised version of the first volume published in 1901, but, in -pursuance of his plan as set forth in the introduction, has omitted -that which seemed to him more or less inconsequential, as well as that -which belongs in the field of analysis and criticism. - -[50] There have been a few performances of this cantata in Austria -and Germany since its publication. It was given at a concert of -the Beethoven Association in New York on March 16, 1920, under the -direction of Mr. Sam Franko, with an English paraphrase of the text -by the Editor of this biography, designed to rid it of its local -application and some of its bombast and make its sentiment applicable -to any heroic emancipator. - -[51] See Vol. II, p. 210, of the first German edition of this work. -Ries says, on page 124 of the "Notizen," apropos of the posthumous -manuscripts: "All such trifles and things which he never meant to -publish, as not considering them worthy of his name, were secretly -brought into the world by his brothers. Such were the songs published -when he had attained the highest degree of fame, composed years before -at Bonn, previous to his departure for Vienna; and in like manner other -trifles, written for albums, etc., were secretly taken from him and -published." - -[52] The subject of the German Song was used by Beethoven later in a -sonata. - -[53] The Trio in E-flat was not published until 1797. It is therefore -obvious that the music which Abbe Dobbeler carried with him to England -must have been a manuscript copy. Dr. Deiters, accepting without -attempt at contradiction Thayer's proof of its origin at a period not -later than 1792, nevertheless puts forth the conjecture that the work -may have been revised and reconstructed at a later date in Vienna, as -was the case with other compositions. It is not to be supposed, he -urges, that Beethoven, enjoying the celebrity that he did in 1797, -would have published then with an opus number a production of his youth -without first subjecting it to a thorough revision. Moreover, his -earlier chamber compositions were in three movements, the minuet having -been added for the first time in the Octet. It was scarcely conceivable -that he should have simultaneously conceived a work in six movements -unless he had had a Mozart model in his mind. But why not? We have seen -from the story of the music admired at the court of Vienna from which -the Elector came that the serenade form was in favor there. The Sonata -for Pianoforte and Violoncello which Artaria announced in May, 1807, is -an arrangement of this Trio, but it was not made by Beethoven. - -[54] Josef Hellmesberger, of Vienna, completed the movement, utilizing -the existing _motivi_, and the piece was published by Friedrich -Schreiber. - -[55] Dr. Deiters points out as characteristics of this Trio which -indicate that it was not written by Beethoven at the age of 15, but -long after the pianoforte quartets, the freedom in invention and -development, the large dimensions of the free fantasia portion, -its almost imperceptible return to the principal theme, and the -introduction of a coda in the first movement. _Motivi_ from this -movement recur in later works, for instance, the Sonata in F minor, Op. -2, and the Pianoforte Concerto in C major. Beethoven seems to have used -the designation "Scherzo" in it for the first time. - -[56] The combination of instruments in this piece led Dr. Deiters -to conjecture that it may have been composed for the family von -Westerhold. Count von Westerhold played the bassoon, his son the flute, -and his daughter the pianoforte. - -[57] Dr. Deiters points out that Thayer, in transcribing the themes of -this Trio, overlooked a _Largo_, which made the movements number four -instead of three as given in the Chronological Catalogue. The existence -of four movements added to the doubtful authenticity in the eyes of the -German editor. - -[58] This letter will appear later. The Variations are published -in Series 12, No. 103, of the Complete Edition. In a catalogue of -Breitkopf and Haertel of 1793, they are designated Op. 1; also in a -catalogue in 1794 of Geyl and Hedler's. It is plain from a passage in -the letter to Eleonore von Breuning ("I never would have written it -in this way," etc.) that the Coda did not receive its definitive form -until just before publication. Thayer was of the opinion when he wrote -Vol. I of this work, that it had been appended in Vienna. - -[59] It was published in 1805 by the Kunst- und Industriecomptoir -of Vienna. Complete Works, Series 18, No. 195; _cf._ Nottebohm's -"Beethoven's Studien," p. 6. - -[60] In the Fall of 1919, announcement was made by the newspapers -that French investigators had discovered in the British Museum four -thitherto unknown Beethoven autographs amongst manuscripts purchased by -Julian Marshall. The editor of the second edition of Koechel's "Thematic -Catalogue of Mozart's Works" had seen the manuscripts and included two -of them as authentic Mozart compositions and two as probably such in -the supplement to that work. They were a Trio in D, for pianoforte, -violin and violoncello (two pages of the first _Allegro_ missing, -listed as K, No. 52a); three pieces for pianoforte, four hands, a -_Gavotte_ in F, an _Allegro_ in B-flat, and a _Marcia lugubre_ in -C minor (six measures), No. 71a; a _Rondo_ in B-flat, to which the -editor assigned the year 1786, No. 511a; and a _Menuet_ in C, for -orchestra, the first of a set composed by Beethoven in 1795, which M. -Chantavoine published in 1903 under the title "Douze Menuets inedits -pour Orchestre. L. van Beethoven. OEuvres posthumes. Au Menestrel." -Theodore Wyzewa and Georges de St. Foix made a study of the manuscripts -and discussed them in "Le Guide Musical" of December, 1919, January -and February, 1920. They were then set down as "pseudo-Mozarts." M. -Charles Malherbe declared that none of the compositions was in Mozart's -hand, and M. de St. Foix, after further consideration of the internal -evidence, declared them all to be indubitably by Beethoven and gave -his reasons in an essay published in "The Musical Quarterly" (New York -and Boston, G. Schirmer) of April, 1920. He told the history of the -manuscripts as follows: "They had been presented by the Emperor of -Austria to the Sultan Abdul Aziz. The latter, who probably cared very -little for these relics of the 18th century, presented them in turn -to his musical director, Guatelli Pasha. An English collector, Julian -Marshall, purchased them from the Pasha's son, W. Guatelli Bey, and -when, later on, the British Museum acquired the Marshall Collection -these manuscripts went over into its possession." - -The _Gavotte_ was played at a concert of the Beethoven Association in -New York in January, 1920, by Madame Samaroff and Harold Bauer, being -inserted as a movement in the Sonata in A major for four hands, Op. -6. Mr. Bauer also made an arrangement for two hands which has been -published by G. Schirmer. - -[61] The discoveries which have been made since Thayer wrote his first -volume have very effectually disproved the old belief touching the -sterility of the Bonn period. The inquiry which might still be pursued -now is whether or not other compositions which have been attributed to -a later period may not also have been composed, or at least projected -and sketched, in Bonn. The point of view has changed, but what Thayer -wrote over half a century ago is still so largely pertinent that it is -here given in the body of the text with only such modifications as were -necessary to bring it into harmony with the rest of the chapter. - -[62] Thayer proceeds from this point to give the reasons for his belief -that the Trios Op. 1 and 3 were written in Bonn. The origin of Op. 1 -will be discussed hereafter; that of the latter has just been made -clear by the story of Mrs. Bowater and Abbe Dobbeler. - - - - -Chapter XI - - Beethoven in Vienna--Personal Details--Death of His Father--Minor - Expenditures and Receipts--Studies with Albrechtsberger and - Salieri. - - -BEETHOVEN SETTLES DOWN IN VIENNA - -It would be pleasant to announce the arrival of Ludwig van Beethoven in -Vienna with, so to speak, a grand flourish of trumpets, and to indulge -the fancy in a highly-colored and poetic account of his advent there; -but, unluckily, there is none of that lack of data which is favorable -to that kind of composition; none of that obscurity which exalts one to -write history as he would have it and not as it really was. The facts -are too patent. Like the multitude of studious youths and young men who -came thither annually to find schools and teachers, this small, thin, -dark-complexioned, pockmarked, dark-eyed, bewigged young musician of -22 years had quietly journeyed to the capital to pursue the study of -his art with a small, thin, dark-complexioned, pockmarked, black-eyed -and bewigged veteran composer. In the well-known anecdote related by -Carpani of Haydn's introduction to him, Anton Esterhazy, the prince, is -made to call the composer "a Moor." Beethoven had even more of the Moor -in his looks than his master. His front teeth, owing to the singular -flatness of the roof of his mouth, protruded, and, of course, thrust -out his lips; the nose, too, was rather broad and decidedly flattened, -while the forehead was remarkably full and round--in the words of -the late Court Secretary, Maehler, who twice painted his portrait, a -"bullet." - -"Beethoven," wrote Junker, "confessed that in his journeys he had -seldom found in the playing of the most distinguished virtuosos that -excellence which he supposed he had a right to expect." He now had an -opportunity to make his observations upon the pianists and composers -at the very headquarters, then, of German music, to improve himself by -study under the best of them and, by and by, to measure his strength -with theirs. He found very soon that the words of the poet were here -also applicable: - -"'Tis distance lends enchantment to the view," and did not find--now -Mozart was gone--"what he supposed he had a right to expect." For the -present, however, we have to do but with the young stranger in a large -city, seeking lodgings, and making such arrangements for the future as -shall not be out of due proportion to the limited pecuniary means at -his command. If the minute details which here follow should seem to be -too insignificant in themselves, the bearing they have upon some other -future questions must justify their introduction. - -Turning again to the memorandum book, the first entries which follow -the notes of the journey from Bonn to Wuerges are merely of necessities -to be supplied--"wood, wig-maker, coffee, overcoat, boots, shoes, -pianoforte-desk, seal, writing-desk, pianoforte-money" and something -illegible followed by the remark: "All beginning with next month." The -next page gives a hint as to the day of his arrival. It contains the -substance of two advertisements in the "Wiener Zeitung" of pianofortes -for sale, one near the Hohen Markt and two "im Kramerschen Breihaus No. -257 im Schlossergassel, am Graben." The latter appears _for the last -time_ on the 10th of November; Beethoven was, therefore, then in Vienna. - -But he intends to cultivate the Graces as well as the Muses. The next -page begins with this: "Andreas Lindner, dancing-master, lives in the -Stoss am Himmel, No. 415," to which succeeds a note, evidently of money -received from the Elector, possibly in Bonn but more likely in Vienna: -"25 ducats received of which, expended on November (?) half a sovereign -for the pianoforte, or 6 florins, 40 kreutzer--2 florins were of my -own money." The same page also shows him in the matter of his toilet -preparing even then for entrance into society: "Black silk stockings, -1 ducat; 1 pair of winter silk stockings, 1 florin, 40 kreutzers; -boots, 6 florins; shoes, 1 florin, 30 kreutzers." But these expenses in -addition to his daily necessities are making a large inroad upon his -"25 ducats received"; and on page 7 we read: "On Wednesday the 12th of -December, I had 15 ducats." (The 12th of December fell upon Wednesday -in the year 1792.) Omitting for the present what else stands upon page -7, here are the interesting contents of page 8--and how suggestive and -pregnant they are: "In Bonn I counted on receiving 100 ducats here; but -in vain. I have got to equip myself completely anew." - -Several pages which follow contain what, upon inspection, proves -evidently to be his monthly payments from the time when "all was to -begin next month," of which the first may be given as a specimen: -"House-rent, 14 florins; pianoforte, 6 florins, 49 kreutzers; eating, -each time 12 kreutzers; meals with wine 6 and one-half florins; 3 -kreutzers for B. and H.; it is not necessary to give the housekeeper -more than 7 florins, the rooms are so close to the ground."[63] - -DEATH OF JOHANN VAN BEETHOVEN - -Beethoven was hardly well settled in his lodgings, the novelty of his -position had scarcely begun to wear off under the effect of habit, -when startling tidings reached him from Bonn of an event to cloud -his Christmas holidays, to weaken his ties to his native place, to -increase his cares for his brothers and make an important change in -his pecuniary condition. His father had suddenly died--"1792, Dec. 18, -_obiit_ Johannes Beethoff," says the death-roll of St. Remigius parish. -The Elector-Archbishop, still in Muenster, heard this news also and -consecrated a joke to the dead man's memory. On the 1st of January, -1793, he wrote a letter to Court Marshal von Schall in which these -words occur: - - The revenues from the liquor excise have suffered a loss in the - deaths of Beethoven and Eichhoff. For the widow of the latter, - provision will be made if circumstances allow in view of his 40 - years of service--in the electoral kitchen. - -Franz Ries was again to befriend Beethoven and act for him in his -absence, and the receipt for his first quarter's salary (25 th.) is -signed "F. Ries, in the name of Ludwig Beethoven," at the usual time, -namely the beginning of the second month of the quarter, February 4. -But the lapse of Johann van Beethoven's pension of 200 thalers, was -a serious misfortune to his son, particularly since the 100 ducats -were not forthcoming. The correspondence between Beethoven and Ries -not being preserved it can only be conjectured that the latter took -the proper steps to obtain that portion of the pension set apart by -the electoral decree for the support of the two younger sons; but in -vain, owing to the disappearance of the original document; and that, -receiving information of this fact, Beethoven immediately sent from -Vienna the petition which follows, but which, as is mostly the case -with that class of papers in the Bonn archives, is without date: - - Several years ago Your Serene Electoral Highness was graciously - pleased to retire my father, the tenor singer van Beethoven, from - service, and to set aside 100 thalers of his salary to me that I - might clothe, nourish and educate my two younger brothers and also - pay the debts of my father. - - I was about to present this decree to Your Highness's Revenue - Exchequer when my father urgently begged me not to do so inasmuch - as it would have the appearance in the eyes of the public as if - he were incapable of caring for his family, adding that he would - himself pay me the 25 thalers quarterly, which he always did. - - When, however, on the death of my father (in December of last - year) I wished to make use of Your Highness's grace by presenting - the above-mentioned gracious decree I learned to my terror, that - my father had misapplied (_unterschlagen_ = to embezzle) the same. - - In most obedient veneration I therefore pray Your Electoral - Highness for the gracious renewal of this decree and that Your - Highness's Revenue Exchequer be directed to pay over to me the sum - graciously allowed to me due for the last quarter at the beginning - of last February. - - Your Electoral and Serene Highness's - Most obedient and faithful - Lud. v. Beethoven; Court Organist. - -The petition was duly considered by the Privy Council and with the -result indicated by the endorsement: - - - _ad sup._ of the Court Organist L. van Beethoven - - ... "The 100 reichsthaler which he is now receiving annually is - increased by a further 100 reichsthaler in quarterly payments - beginning with January 1st, from the 200 rth. salary vacated - by the death of his father; he is further to receive the three - measures of grain graciously bestowed upon him for the education - of his brothers." The Electoral Court Chancellory will make the - necessary provisions. Attest p. - -The order to the exchequer followed on May 24th, and on June 15th, -Franz Ries had the satisfaction of signing receipts--one for 25 -thalers for January, February and March, and one for 50 thalers for -the second quarter of the year; but from this time onward no hint has -yet been discovered that Beethoven ever received anything from the -Elector or had any resources but his own earnings and the generosity -of newly-found friends in Vienna. These resources were soon needed. -The remark that two florins of the payment towards the pianoforte were -out of his own money proves that he possessed a small sum saved up by -degrees from lesson-giving, from presents received and the like; but -it could not have been a large amount, while the 25 ducats and the -above recorded receipts of salary were all too small to have carried -him through the summer of 1793. Here is the second of his monthly -records of necessary and regular expenses in farther proof of this: -"14 florins house-rent; 6 fl. 40 x, pianoforte; meals with wine, 15 -fl. and a half;--(?), 3 florins; maid, 1," the sum total being as -added by himself "11 ducats and one-half florin." And yet at the end -of the year there are entries that show that he was not distressed for -money. For instance: "the 24th October, i.e., reckoning from November -1st, 112 florins and 30 kreutzer"; "2 ducats for a seal; 1 florin, 25 -kreutzers, copyist"; "Tuesday and Saturday from 7 to 8. Sunday from 11 -to 12, 3 florins"; and the final entry not later in date than 1794 is: -"3 carolins in gold, 4 carolins in crown thalers and 4 ducats make 7 -carolins and 4 ducats and a lot of small change." - -In what manner Beethoven was already in 1794 able to remain "in Vienna -without salary until recalled," to quote the Elector's words, will -hereafter appear with some degree of certainty; but just now he claims -attention as pupil of Haydn and Albrechtsberger. The citations made in -a previous chapter from the letters of Neefe and Fischenich prove how -strong an impression Beethoven's powers, both as virtuoso and composer, -had made upon Joseph Haydn immediately after his reaching Vienna; and -no man then living was better able to judge on such points. But whether -the famous chapelmaster, just returned from his English triumphs, -himself a daring and successful innovator and now very busy with -compositions in preparation for his second visit to London, was the man -to guide the studies of a headstrong, self-willed and still more daring -musical revolutionist was, _a priori_, a very doubtful question. The -result proved that he was not. - -BEETHOVEN'S STUDIES WITH HAYDN - -The memorandum book has a few entries which relate to Haydn. On page 7, -that which contains the 15 ducats on the 12th of October, 1792, there -is a column of numerals, the first of which reads, "Haidn 8 groschen"; -the other twelve, except a single "1," all "2"; and on the two pages -which happen to have the dates of October 24 and 29, 1793, are these -two entries: "22 x, chocolate for Haidn and me"; "Coffee, 6 x for Haidn -and me." These notes simply confirm what was known from other sources, -namely, that Beethoven began to study with Haydn very soon after -reaching Vienna and continued to be his pupil until the end of the year -1793.[64] They indicate, also, that the scholar, whatever feelings he -may have indulged towards the master in secret, kept on good terms with -him, and that their private intercourse was not confined to the hours -devoted to lessons in Haydn's room in the Hamberger house, No. 992 on -the (no longer existing) Wasserkunstbastei. - -Concerning the course of study during that year, nothing can be added -to the words of Nottebohm ("Allg. Mus. Zeitung," 1863-1864), founded -upon a most thorough examination of all the known manuscripts and -authorities which bear upon this question. Of the manuscripts Nottebohm -says: "They are exercises in simple counterpoint on six plain chants -in the old modes.... He must have written more." But what? On this -point there are no indications to be found. It may be accepted with -considerable certainty that the contrapuntal exercises were preceded -by an introductory, though probably brief, study of the nature of -consonances and dissonances. For this the last chapter of the first -book of Fux's "Gradus ad Parnassum" might have served. - - But this (adds Nottebohm) would not have sufficed to fill the - entire period. In view of Haydn's predilection for Fux's system it - is not conceivable that there were preliminary exercises, say in - the free style or in the modern keys; there remains, therefore, no - alternative but to go back further and opine that the study with - Haydn began with the theory of harmony and exercises in which the - system of Philipp Emanuel Bach might have been used. - -"It is certain," says Schindler, "that Beethoven's knowledge of the -science of harmony at the time when he began his study with Haydn -did not go beyond thoroughbass." The correctness of this opinion of -Schindler may be safely left to the judgment of the reader. The fact -seems to be that Beethoven, conscious of the disadvantages attending -the want of thorough systematic instruction, distrustful of himself -and desirous of bringing to the test many of his novel and cherished -ideas, had determined to accomplish a complete course of contrapuntal -study, and thus renew, revise and reduce to order and system the -great mass of his previous scientific acquirements. He would, at all -events, thoroughly know and understand the _regular_ that he might with -confidence judge for himself how far to indulge in the _irregular_. To -this view, long since adopted, the results of Nottebohm's researches -add credibility. It explains, also, how a young man, too confident -in the soundness of his views to be willing to alter his productions -because they contained passages and effects censured by those about him -for being other than those of Mozart and Haydn, was yet willing, with -the modesty of true genius, to shut them up in his writing-desk until, -through study and observation, he could feel himself standing upon the -firm basis of sound knowledge and then retain or exclude, according to -the dictates of an enlightened judgment. - -Beethoven, however, very soon discovered that also in Haydn, as a -teacher, he had "not found that excellence which he supposed he had a -right to expect." Ries remembered a remark made by him on this point: -"Haydn had wished that Beethoven might put the word, 'Pupil of Haydn,' -on the title of his first works. Beethoven was unwilling to do so -because, as he said, though he had had some instruction from Haydn -he had never learned anything from him." Still more in point is the -oft-repeated story of Johann Schenk's kindness to Beethoven, related by -Seyfried in Graefer's and Schilling's lexica and confirmed by Schindler, -which, when divested of its errors in dates, may be related thus: -Among Beethoven's earliest acquaintances in Vienna was the Abbe Joseph -Gelinek, one of the first virtuosos then in that city and an amazingly -fruitful and popular composer of variations. It was upon him that Carl -Maria von Weber, some years afterwards, wrote the epigram: - - Kein Thema auf der Welt verschonte dein Genie, - Das simpelste allein--Dich selbst--variirst du nie! - - "No theme on earth escaped your genius airy,-- - The simplest one of all--yourself--you never vary." - -Czerny told Otto Jahn that his father once met Gelinek tricked out in -all his finery. "Whither?" he inquired. "I am asked to measure myself -with a young pianist who is just arrived; I'll use him up." A few days -later he met him again. "Well, how was it?" "Ah, he is no man; he's a -devil. He will play me and all of us to death. And how he improvises!" -According to Czerny, Gelinek remained a sworn enemy to Beethoven. - -It was in Gelinek's lodgings that Schenk heard Beethoven improvise for -the first time, - - a treat which recalled lively recollections of Mozart. With many - manifestations of displeasure, Beethoven, always eager to learn, - complained to Gelinek that he was never able to make any progress - in his contrapuntal studies under Haydn, since the master, too - variously occupied, was unable to pay the amount of attention - which he wanted to the exercises he had given him to work out. - Gelinek spoke on the subject with Schenk and asked him if he did - not feel disposed to give Beethoven a course in composition. - Schenk declared himself willing, with ready courtesy, but only - under two conditions: that it should be without compensation - of any kind and under the strict seal of secrecy. The mutual - agreement was made and kept with conscientious fidelity. - -Thus far Seyfried; we shall now permit Schenk to tell his own story:[65] - - In 1792, His Royal Highness Archduke Maximilian, Elector of - Cologne, was pleased to send his charge Louis van Beethoven to - Vienna to study musical composition with Haydn. Towards the end of - July, Abbe Gelinek informed me that he had made the acquaintance - of a young man who displayed extraordinary virtuosity on the - pianoforte, such, indeed, as he had not observed since Mozart. In - passing he said that Beethoven had been studying counterpoint with - Haydn for more than six months and was still at work on the first - exercise; also that His Excellency Baron van Swieten had earnestly - recommended the study of counterpoint and frequently inquired of - him how far he had advanced in his studies. As a result of these - frequent incitations and the fact that he was still in the first - stages of his instruction, Beethoven, eager to learn, became - discontented and often gave expression to his dissatisfaction to - his friend. Gelinek took the matter much to heart and came to me - with the question whether I felt disposed to assist his friend - in the study of counterpoint. I now desired to become better - acquainted with Beethoven as soon as possible, and a day was fixed - for me to meet him in Gelinek's lodgings and hear him play on the - pianoforte. - - BEETHOVEN'S IMPROVISATIONS - - Thus I saw the composer, now so famous, for the first time and - heard him play. After the customary courtesies he offered to - improvise on the pianoforte. He asked me to sit beside him. Having - struck a few chords and tossed off a few figures as if they were - of no significance, the creative genius gradually unveiled his - profound psychological pictures. My ear was continually charmed - by the beauty of the many and varied motives which he wove - with wonderful clarity and loveliness into each other, and I - surrendered my heart to the impressions made upon it while he gave - himself wholly up to his creative imagination, and anon, leaving - the field of mere tonal charm, boldly stormed the most distant - keys in order to give expression to violent passions.... - - The first thing that I did the next day was to visit the still - unknown artist who had so brilliantly disclosed his mastership. - On his writing desk I found a few passages from his first lesson - in counterpoint. A cursory glance disclosed the fact that, brief - as it was, there were mistakes in every key. Gelinek's utterances - were thus verified. Feeling sure that my pupil was unfamiliar with - the preliminary rules of counterpoint, I gave him the familiar - textbook of Joseph Fux, "Gradus ad Parnassum," and asked him - to look at the exercises that followed. Joseph Haydn, who had - returned to Vienna towards the end of the preceding year,[66] - was intent on utilizing his muse in the composition of large - masterworks, and thus laudably occupied could not well devote - himself to the rules of grammar. I was now eagerly desirous to - become the helper of the zealous student. But before beginning - the instruction I made him understand that our cooperation would - have to be kept secret. In view of this I recommended that he - copy every exercise which I corrected in order that Haydn should - not recognize the handwriting of a stranger when the exercise - was submitted to him. After a year, Beethoven and Gelinek had a - falling out for a reason that has escaped me; both, it seemed to - me, were at fault. As a result Gelinek got angry and betrayed my - secret. Beethoven and his brothers made no secret of it longer. - - I began my honorable office with my good Louis in the beginning - of August, 1792,[67] and filled it uninterruptedly until May, - 1793,[67] by which time he finished double counterpoint in the - octave and went to Eisenstadt. If His Royal Highness had sent his - charge at once to Albrechtsberger his studies would never have - been interrupted and he would have completed them. - -Here follows a passage, afterward stricken out by Schenk, in which he -resents the statement that Beethoven had finished his studies with -Albrechtsberger. This would have been advisable, but if it were true, -Gelinek as well as Beethoven would have told him of the fact. "On the -contrary, he admitted to me that he had gone to Herr Salieri, Royal -Imperial Chapelmaster, for lessons in the free style of composition." -Then Schenk continues: - - About the middle of May he told me that he would soon go with - Haydn to Eisenstadt and stay there till the beginning of winter; - he did not yet know the date of his departure. I went to him at - the usual hour in the beginning of June but my good Louis was no - longer to be seen. He left for me the following little billet - which I copy word for word: - - "Dear Schenk! - - It was not my desire to set off to-day for Eisenstadt. I should - like to have spoken with you again. Meanwhile rest assured of - my gratitude for the favors shown me. I shall endeavor with all - my might to requite them. I hope soon to see you again, and - once more to enjoy the pleasure of your society. Farewell and - - do not entirely forget - your - Beethoven." - - It was my intention only briefly to touch upon my relations with - Beethoven; but the circumstances under which, and the manner in - which I became his guide in musical composition constrained me to - be somewhat more explicit. For my efforts (if they can be called - efforts) I was rewarded by my good Louis with a precious gift, - viz.: a firm bond of friendship which lasted without fading till - the day of his death. - - Written in the summer of 1830. - -A chronological difficulty is presented by Schenk's story of the -cessation of the instruction. There can be no doubt that it began -towards the beginning of August, 1793, as confirmed by the distinct -utterance of Schenk (who errs in the year, however), particularly -by the statement that the study with Haydn had already endured six -months. Schenk's instruction is said to have lasted till the end of -May, 1794, and the definitive mention of the month makes an error -improbable. But at this time Haydn was already long in England, while -Schenk's narrative represents Beethoven as saying that he intended -going to Eisenstadt with Haydn; moreover, Beethoven was already -Albrechtsberger's pupil and as such was no longer in need of secret -help. Nevertheless, the continuance of the relations with Schenk is -easily possible and they were not likely to be interrupted so long as -Beethoven remained in Vienna; this is indicated by the reference to -double counterpoint, which Beethoven did not study under Haydn but with -Albrechtsberger; also Schenk's intimation that if the Elector had sent -his charge "at once" to Albrechtsberger shows that instruction with the -latter had already begun. The letter to Schenk, though cast in friendly -terms, can nevertheless be interpreted as a declination of further -services, a breaking off of the relationship between teacher and pupil, -for which the journey to Eisenstadt was a welcome excuse. But we learn -only from Schenk that Beethoven was to make the journey with Haydn, and -he may have been mistaken in this as he was in the year. It is very -conceivable that Beethoven had received an invitation to visit him -from Prince Esterhazy, who must surely have got acquainted with him -in Vienna. He who is unwilling to accept this, must place the letter -and the journey in the last months of 1793, which is in every respect -improbable. - -BEETHOVEN'S RELATIONS WITH HAYDN - -The relations between Haydn and his pupil did not long continue truly -cordial; yet Beethoven concealed his dissatisfaction and no break -occurred. Thoughtless and reckless of consequences, as he often -in later years unfortunately exhibited himself when indulging his -wilfulness, he was at this time responsible to the Elector for his -conduct, and Haydn, moreover, was too valuable and influential a -friend to be wantonly alienated. So, whatever feelings he cherished in -secret, he kept them to himself, went regularly to his lessons and, as -noted above, occasionally treated his master to chocolate or coffee. -It was, of course, Haydn who took the young man to Eisenstadt, and, -as Neefe tells us, he wished to take him to England. Why was that -plan not carried out? Did Maximilian forbid it? Would Beethoven's -pride not allow him to go thither as Haydn's pupil? Did zeal for his -contrapuntal studies prevent it? Or had his relations to the Austrian -nobility already become such as offered him higher hopes of success -in Vienna than Haydn could propose in London? Or, finally, was it his -ambition rather to make himself known as Beethoven the composer than as -Beethoven the pianoforte virtuoso? Pecuniary reasons are insufficient -to account for the failure of the plan; for Haydn, who now knew the -London public, could easily have removed all difficulty on that score. -Neefe's letter was written near the end of September, 1793, when -already "a number of reports" had reached Bonn "that Beethoven had made -great progress in his art." These "reports," we know from Fischenich, -came in part from Haydn himself. Add to that the wish to take his -pupil with him to England--which was certainly the highest compliment -he could possibly have paid him--and the utter groundlessness of -Beethoven's suspicions that Haydn "was not well-minded towards him," -as Ries says in his "Notizen" (page 85), is apparent. Yet these -suspicions, added to the reasons above suggested, sufficiently explain -the departure of the master for London without the company of his -pupil, who now (January, 1794) was transferred to Albrechtsberger. - -In the pretty extensive notes copied from the memorandum book already -so much cited, there are but two which can with any degree of certainty -be referred to a date later than 1793. One of them is this: - - Schuppanzigh, 3 times a W. (Week?) - Albrechtsberger, 3 times a W. (Week?) - -The necessary inference from this is that Beethoven began the year 1794 -with three lessons a week in violin-playing from Schuppanzigh (unless -the youth of the latter should forbid such an inference) and three in -counterpoint from the most famous teacher of that science. Seyfried -affirms that the studies with the latter continued "two complete years -with tireless persistency." The coming narrative will show that other -things took up much of Beethoven's attention in 1795, and that before -the close of that year, if not already at its beginning, his course -with Albrechtsberger ended.[68] - -STUDIES WITH ALBRECHTSBERGER - -The instruction which Beethoven received from Albrechtsberger (and -which was based chiefly on the master's "Anweisung zur Komposition") -began again with simple counterpoint, in which Beethoven now -received more detailed directions than had been given by Haydn. -Albrechtsberger wrote down rules for him, Beethoven did the same and -worked out a large number of exercises on two plain-song melodies -which Albrechtsberger then corrected according to the rules of strict -writing. There followed contrapuntal exercises in free writing, -in imitation, in two-, three- and four-part fugue, choral fugue, -double counterpoint in the different intervals, double fugue, triple -counterpoint and canon. The last was short, as here the instruction -ceased. Beethoven worked frequently in the immediate presence and -with the direct cooperation of Albrechtsberger. The latter labored -with obvious conscientiousness and care, and was ever ready to aid -his pupil. If he appears at times to have been given over to minute -detail and conventional method, it must be borne in mind that rigid -schooling in fixed rules is essential to the development of an -independent artist, even if he makes no use of them, and that it is -only in this manner that freedom in workmanship can be achieved. Of -this the youthful Beethoven was aware and every line of his exercises -bears witness that he entered into his studies with complete interest -and undivided zeal.[69] This was particularly the case in his exercises -in counterpoint and imitation, where he strove to avoid errors, and -their beneficial results are plainly noticeable in his compositions. -Several of the compositions written after the lessons, disclose how "he -was led from a predominantly figurative to a more contrapuntal manner -of writing." There is less of this observable in the case of fugue, in -which the instruction itself was not free from deficiencies; and the -pupil worked more carelessly. The restrictive rules occasionally put -him out of conceit with his work; "he was at the age in which, as a -rule, suggestion and incitation are preferred to instruction," and his -stubborn nature played an important role in the premises. However, it -ought to be added that he was also at an age when his genial aptness -in invention and construction had already found exercise in other -directions. Even though he did not receive thorough education in fugue -from Albrechtsberger, he nevertheless learned the constituent elements -of the form and how to apply them. Moreover, in his later years he -made all these things the subjects of earnest and devoted study -independent of others; and in the compositions of his later years he -returned with special and manifest predilection to the fugued style. -Nothing could be more incorrect than to emphasize Beethoven's lack of -theoretical education. If, while studying with Albrechtsberger, but -more particularly in his independent compositions, Beethoven ignored -many of the strict rules, it was not because he was not able to apply -them, but because he purposely set them aside. Places can be found in -his exercises in which the rules are violated; but the testimony of -the ear acquits the pupil. Rules are not the objects of themselves, -they do not exist for their own sake, and in despite of all artistic -systems; it is the reserved privilege of the evolution of art-means and -prescient, forward genius to point out what in them is of permanent -value, and what must be looked upon as antiquated. Nature designed -that Beethoven should employ music in the depiction of soul-states, to -emancipate melody and express his impulses in the free forms developed -by Ph. Em. Bach, Mozart, Haydn and their contemporaries. In this -direction he had already disclosed himself as a doughty warrior before -the instruction in Vienna had its beginning, and it is very explicable -that to be hemmed in by rigid rules was frequently disagreeable to him. -He gradually wearied of "creating musical skeletons." But all the more -worthy of recognition, yea, of admiration, is the fact that the young -composer who had already mounted so high, should by abnegation of his -creative powers surrender himself to the tyranny of the rules and find -satisfaction in conscientious practice of them. - -Nottebohm summed up his conclusions from the investigations which he -made of Beethoven's posthumous papers thus: prefacing that, after 1785, -Beethoven more and more made the manner of Mozart his own, he continues: - -WHAT BEETHOVEN LEARNED - - The instruction which he received from Haydn and Albrechtsberger - enriched him with new forms and media of expression and these - effected a change in his mode of writing. The voices acquired - greater melodic flow and independence. A certain opacity took - the place of the former transparency in the musical fabric. Out - of a homophonic polyphony of two or more voices, there grew a - polyphony that was real. The earlier obbligato accompaniment gave - way to an obbligato style of writing which rested to a greater - extent on counterpoint. Beethoven has accepted the principle of - polyphony; his part-writing has become purer and it is noteworthy - that the compositions written immediately after the lessons are - among the purest that Beethoven ever composed. True, the Mozart - model still shines through the fabric, but we seek it less in the - art of figuration than in the form and other things which are - only indirectly associated with the obbligato style. Similarly, - we can speak of other influences--that of Joseph Haydn, for - instance. This influence is not contrapuntal. Beethoven built - upon his acquired and inherited possessions. He assimilated the - traditional forms and means of expression, gradually eliminated - foreign influences and, following the pressure of his subjective - nature with its inclination towards the ideal, he created his own - individual style. - -As is known, Seyfried in his book entitled "Ludwig van Beethoven's -Studien im Generalbasse," which appeared in 1832, gathered together all -that was to be found in the way of exercises, excerpts from textbooks, -etc., in Beethoven's posthumous papers and presented them in so -confused and arbitrary a manner that only the keenness and patience of -a Nottebohm could point the way through the maze; Seyfried would have -us believe that the entire contents of his book belonged to the studies -under Albrechtsberger. - - It will require no waste of words, says Nottebohm (p. 198), to - prove the incompatibility of such a claim with the results of our - investigations. As a matter of fact, only the smallest portion - of the "Studies" can be traced back to the instruction which - Beethoven received from Albrechtsberger. The greater part had - nothing to do with this instruction and, aside from the changes - made, belongs to the other labors. In the smaller portion Seyfried - made things as easy for himself as possible. Of Beethoven's - exercises he took only such as he found cleanly copied or legibly - written, and omitted those which were difficult to decipher - because of many corrections. This is the explanation of the fact - that Seyfried did not include a single exercise in strict simple - counterpoint. If all the passages bearing on the course followed - under Albrechtsberger were brought together and all the errors - made in the presentation overlooked, we should still have but a - fragmentary and faulty reflection of that study. Neither need - we enter upon a discussion of the marginal notes attributed to - Beethoven which so plentifully besprinkle Seyfried's book. The - fact is that in all the manuscripts which belong to the studies - under Albrechtsberger not one of the "sarcastically thrown out" - marginal notes is to be found. The glosses which do appear as - Beethoven's ... are of a wholly different character from those - printed by Seyfried. They show that Beethoven was deeply immersed - and interested in the matter. It would, indeed, be inexplicable - what could have persuaded Beethoven to continue study with a - teacher with whom, as Seyfried would have us believe, he was in - conflict already at the beginning of simple counterpoint. He had - it in his power to discontinue his studies at any moment. - -A doubt has been hinted above whether Beethoven's studies under -Albrechtsberger were continued beyond the beginning of the year 1795. -If all these exercises in counterpoint, fugue and canon, and all -those excerpts from Fux, C. P. E. Bach, Tuerk, Albrechtsberger, and -Kirnberger, which Seyfried made the basis of his "Studien"--and mingled -in a confusion inextricable by any one possessing less learning, -patience, sagacity and perseverance than Nottebohm--had already -belonged to the period of his pupilage, their quantity alone, taken in -connection with the writer's other occupations, would indeed preclude -such a doubt; but knowing that perhaps the greater portion of those -manuscripts belongs to a period many years later, and considering the -great facility in writing which Beethoven had already acquired before -coming to Vienna, there seems to be no indication of any course of -study which might not easily be completed during the one year with -Haydn (and Schenk) and one year with Albrechtsberger. Schoenfeld, in -the "Jahrbuch der Tonkunst fuer Wien und Prag," supposes that Beethoven -was still the pupil of the latter at the time when he wrote, which -was in the spring of 1795. His words are: "An eloquent proof of his -[Beethoven's] real love of art is the circumstance that he has placed -himself in the hands of our immortal Haydn, in order to be initiated -into the sacred mysteries of composition. This great master has, in -his absence, turned him over to our great Albrechtsberger." There is -nothing decisive in this; and yet it is all that appears to confirm -the "two years" of Seyfried; while on the other hand Wegeler, who, -during all the year 1795, was much with Beethoven, has nowhere in his -"Notizen" any allusion whatever to his friend as being still a student -under a master. - -Referring to the number of pages (160) of exercises and the three -lessons a week, Nottebohm calculates the period of instruction to have -been about fifteen months. Inasmuch as among the exercises in double -counterpoint in the tenth there is found a sketch belonging to the -second movement of the Trio, Op. 1, No. 2, which Trio was advertised -as finished on May 9th, 1795, it follows that the study was at or -near its end at that date. The conclusion of his instruction from -Albrechtsberger may therefore be set down at between March and May, -1795. - -INSTRUCTION FROM SALIERI - -The third of Beethoven's teachers in Vienna was the Imperial -Chapelmaster Anton Salieri; but this instruction was neither systematic -nor confined to regular hours. Beethoven took advantage of Salieri's -willingness "to give gratuitous instruction to musicians of small -means." He wanted advice in vocal composition, and submitted to Salieri -some settings of Italian songs which the latter corrected in respect -of verbal accent and expression, rhythm, metrical articulation, -subdivision of thought, mood, singableness, and the conduct of the -melody which comprehended all these things. Having himself taken -the initiative in this, Beethoven devoted himself earnestly and -industriously to these exercises, and they were notably profitable in -his creative work. "Thereafter [also in his German songs] he treated -the text with much greater care than before in respect of its prosodic -structure, as also of its contents and the prescribed situation," -and acquired a good method of declamation. That Salieri's influence -extended beyond the period in which Beethoven's style developed -itself independently cannot be asserted, since many other and varied -influences made themselves felt later. - -This instruction began soon after Beethoven's arrival in Vienna and -lasted in an unconstrained manner at least until 1802; at even a -later date he asked counsel of Salieri in the composition of songs, -particularly Italian songs. According to an anecdote related by Czerny, -at one of these meetings for instruction Salieri found fault with a -melody as not being appropriate to the air. The next day he said to -Beethoven: "I can't get your melody out of my head." "Then, Herr von -Salieri," replied Beethoven, "it cannot have been so utterly bad." -The story may be placed in the early period; but it appears from a -statement by Moscheles that Beethoven still maintained an association -with Salieri in 1809. Moscheles, who was in Vienna at this time, found -a note on Salieri's table which read: "The pupil Beethoven was here!" - -Ries, speaking of the relations between Haydn, Albrechtsberger and -Salieri as teachers and Beethoven as pupil, says: "I knew them all -well; all three valued Beethoven highly, but were also of one mind -touching his habits of study. All of them said Beethoven was so -headstrong and self-sufficient (_selbstwollend_) that he had to -learn much through harsh experience which he had refused to accept -when it was presented to him as a subject of study." Particularly -Albrechtsberger and Salieri were of this opinion; "the dry rules of the -former and the comparatively unimportant ones of the latter concerning -dramatic composition (according to the Italian school of the period) -could not appeal to Beethoven." It is now known that the "dry rules" of -Albrechtsberger could make a strong appeal to Beethoven as appertaining -to theoretical study, and that the old method of composition to which -he remained true all his life always had a singular charm for him as a -subject of study and investigation. - -Here, as in many other cases, the simple statement of the difficulties -suggests their explanation. Beethoven the pupil may have honestly and -conscientiously followed the precepts of his instructors in whatever -he wrote in that character; but Beethoven the composer stood upon his -own territory, followed his own tastes and impulses, wrote and wrought -subject to no other control. He paid Albrechtsberger to teach him -counterpoint--not to be the censor and critic of his compositions. And -Ries's memory may well have deceived him as to the actual scope of the -strictures made by the old master, and have transferred to the pupil -what, fully thirty years before, had been spoken of the composer. - -As has been mentioned, Beethoven's relations with Salieri at a later -date were still pleasant; the composer dedicated to the chapelmaster -the three violin sonatas, Op. 12, which appeared in 1799. Nothing is -known of a dedication to Albrechtsberger. According to an anecdote -related by Albrechtsberger's grandson Hirsch, Beethoven called him a -"musical pedant"; yet we may see a remnant of gratitude toward his -old teacher in Beethoven's readiness to take an interest in his young -grandson. - -We have now to turn our attention to Beethoven's relations to Viennese -society outside of his study. - -FOOTNOTES: - -[63] Beethoven's first lodgings were in an attic-room which he -soon exchanged for a room on the ground floor of a house No. 45 -Alsterstrasse occupied by one Strauss, a printer. The house now on the -site is No. 30. Another occupant of the house was Prince Lichnowsky, -who soon after took him into his lodgings. He remained in this house -until May, 1795. - -[64] Or the beginning of 1794, since Haydn left Vienna on January 19, -of that year. - -[65] The excerpt from Schenk's autobiography which follows was -communicated to Thayer by Otto Jahn and included in the appendix to -Vol. II of the original edition of this biography. The present editor -has followed Dr. Deiters in his presentation of the case in Vol. I of -the revised edition. - -[66] Haydn, according to Wurzbach, returned to Vienna on July 24, 1792. - -[67] Schenk is in error as to both dates. He means, of course, 1793 and -1794. - -[68] The investigations of Nottebohm, in "Beethoven's Studien" and -"Beethoveniana," have been relied on in the compilation of the story of -the study under Albrechtsberger, which takes the place of the original -narrative by Thayer. - -[69] Once Beethoven writes an unprepared seventh-chord with a -suspension on the margin of an exercise and adds the query: "Is it -allowed?" - - - - -Chapter XII - - Music in Vienna in 1793--Theatre, Church and Concert-Room--A - Music-Loving Nobility--The Esterhazys, Kinsky, Lichnowsky, von - Kees and van Swieten--Composers: Haydn, Kozeluch, Foerster and - Eberl. - - -OPERA AND CONCERTS IN VIENNA - -The musical drama naturally took the first place in the musical life -of Vienna at this period. The enthusiasm of Joseph II for a national -German opera, to which the world owed Mozart's exquisite "Entfuehrung," -proved to be but short-lived, and the Italian _opera buffa_ resumed -its old place in his affections. The new company engaged was, however, -equal to the performance of "Don Giovanni" and "Figaro" and Salieri's -magnificent "Axur." Leopold II reached Vienna on the evening of March -13, 1790, to assume the crown of his deceased brother, but no change -was, for the present, made in the court theatre. Indeed, as late as -July 5 he had not entered a theatre, and his first appearance at the -opera was at the performance of "Axur," September 21, in the company -of his visitor King Ferdinand of Naples; but once firmly settled on -the imperial throne, Joseph's numerous reforms successfully annulled, -the Turkish war brought to a close and his diverse coronations happily -ended, the Emperor gave his thoughts to the theatre. Salieri, though -now but forty-one years of age, and rich with the observation and -experience of more than twenty years in the direction of the opera, -was, according to Mosel, graciously allowed, but according to other -and better authorities, compelled, to withdraw from the operatic -orchestra and confine himself to his duties as director of the sacred -music in the court chapel and to the composition of one operatic work -annually, if required. The "Wiener Zeitung" of January 28, 1792, -records the appointment of Joseph Weigl, Salieri's pupil and assistant, -now twenty-five years old, "as Chapelmaster and Composer to the Royal -Imperial National Court Theatre with a salary of 1,000 florins." The -title Composer was rather an empty one. Though already favorably known -to the public, he was forbidden to compose new operas for the court -stage. To this end famous masters were to be invited to Vienna. A first -fruit of this new order of things was the production of Cimarosa's -"Il Matrimonio segreto," February 7, 1792, which with good reason so -delighted Leopold that he gave the performers a supper and ordered -them back into the theatre and heard the opera again _da capo_. It was -among the last of the Emperor's theatrical pleasures; he died March -1st, and his wife on the 15th of May following. Thus for the greater -part of the time from March 1 to May 24, the court theatres were shut; -and yet during the thirteen months ending December 15, 1792, Italian -opera had been given 180 times--134 times in the Burg and 46 times in -the Kaernthnerthor-Theater--and ballet 163 times; so that, as no change -for the present was made, there was abundance in these branches of the -art for a young composer, like Beethoven, to hear and see. All accounts -agree that the company then performing was one of uncommon excellence -and its performances, with those of the superb orchestra, proved the -value of the long experience, exquisite taste, unflagging zeal and -profound knowledge of their recent head, Salieri. Such as Beethoven -found the opera in the first week of November, 1792, such it continued -for the next two years--exclusively Italian, but of the first order. - -A single stroke of extraordinary good fortune--a happy accident is -perhaps a better term--had just now given such prosperity to a minor -theatrical enterprise that in ten years it was to erect and occupy the -best playhouse in Vienna and, for a time, to surpass the Court Theatre -in the excellence and splendor of its operatic performances. We mean -Schikaneder's Theater auf der Wieden; but in 1793 its company was mean, -its house small, its performances bad enough. - -Schikaneder's chapelmaster and composer was John Baptist Henneberg; -the chapelmaster of Marinelli, head of another German company in the -Leopoldstadt, was Wenzel Mueller, who had already begun his long list -of 227 light and popular compositions to texts magical or farcical. -Some two weeks after Beethoven's arrival in Vienna, on November 23rd, -Schikaneder announced, falsely, the one-hundredth performance of "Die -Zauberfloete," an opera the success of which placed his theatre a few -years later upon a totally different footing, and brought Beethoven -into other relations to it than those of an ordinary visitor indulging -his comical taste, _teste_ Seyfried, for listening to and heartily -enjoying very bad music. - -The leading dramatic composers of Vienna, not yet named, must receive -a passing notice. Besides Cimarosa, who left Vienna a few months -later, Beethoven found Peter Dutillieu, a Frenchman by birth but an -Italian musician by education and profession, engaged as composer for -the Court Theatre. His "Il Trionfo d'Amore" had been produced there -November 14, 1791, and his "Nanerina e Padolfino" had lately come upon -the stage. Ignaz Umlauf, composer of "Die schoene Schusterin" and other -not unpopular works, had the title of Chapelmaster and Composer to -the German Court Opera, and was Salieri's substitute as chapelmaster -in the sacred music of the Court Chapel. Franz Xavier Suessmayr, so -well known from his connection with Mozart, was just now writing for -Schikaneder's stage; Schenk for Marinelli's and for the private stages -of the nobility; and Paul Wranitzky, first violinist and so-called -Musikdirektor in the Court Theatre, author of the then popular "Oberon" -composed for the Wieden stage, was employing his very respectable -talents for both Marinelli and Schikaneder. - -The church music of Vienna seems to have been at a very low -point in 1792 and 1793. Two composers, however, whose names are -still of importance in musical history, were then in that city -devoting themselves almost exclusively to this branch of the art; -Albrechtsberger, Court Organist, but in a few months (through the death -of Leopold Hoffmann, March 17, 1793) to become musical director at St. -Stephen's; and Joseph Eybler (some five years older than Beethoven), -who had just become _Regens chori_ in the Carmelite church, whence he -was called to a similar and better position in the Schottische Kirche -two years later. - -Public concerts, as the term is now understood, may be said not to have -existed, and regular subscription concerts were few. Mozart gave a few -series of them, but after his death there appears to have been no one -of sufficient note in the musical world to make such a speculation -remunerative. Single subscription concerts given by virtuosos, and -annual ones by some of the leading resident musicians, of course, took -place then as before and since. The only real and regular concerts were -the four annual performances in the Burgtheater, two at Christmas and -two at Easter, for the benefit of the musicians' widows and orphans. -These concerts, established mainly by Gassmann and Salieri, were never -exclusive in their programmes--oratorio, symphony, cantata, concerto, -whatever would add to their attraction, found place. The stage was -covered with the best musicians and vocalists of the capital and the -superb orchestra was equally ready to accompany the playing of a Mozart -or of an ephemeral _Wunderkind_. Risbeck was told ten years before that -the number taking part in orchestra and chorus had even then on some -occasions reached 400--a statement, however, which looks much like -exaggeration. - -Very uncommon semi-private concerts were still kept up in 1793. The -reader of Mozart's biography will remember that in 1782 this great -composer joined a certain Martin in giving a series of concerts during -the morning hours in the Augarten Hall, most of the performers being -dilettanti and the music being furnished from the library of von Kees. -These concerts found such favor that they were renewed for several -years and generally were twelve in number. - - Ladies of even the highest nobility permitted themselves to be - heard. The auditorium was extremely brilliant and everything was - conducted in so orderly and decent a fashion that everybody was - glad to support the institute to the best of his energies. The - receipts from the chief subscription were expended entirely on the - cost of the concerts. Later Herr Rudolph assumed the direction. - ("Allg. Mus. Zeitung," III, 45.) - -This man, still young, and a fine violin-player, was the director when -Beethoven came to Vienna, and the extraordinary spectacle was still to -be seen of princes and nobles following his lead in the performance of -orchestral music to an audience of their own class at the strange hours -of from 6 to 8 in the morning! - -From the above it appears that Vienna presented to the young musician -no preeminent advantages either in opera, church-music or its public -concerts. Other cities equalled the Austrian capital in the first -two, and London was then far in advance of all in the number, variety -and magnificence of the last. It was in another field that Vienna -surpassed every competitor. As Gluck twenty years before had begun -the great revolution in operatic music completed by Mozart, so Haydn, -building on the foundation of the Bachs and aided by Mozart, was -effecting a new development of purely instrumental music which was -yet to reach its highest stage through the genius and daring of the -youth now his pupil. The example set by the Austrian family through -so many generations had produced its natural effect, and a knowledge -of and taste for music were universal among the princes and nobles -of the empire. Some of the more wealthy princes, like Esterhazy, -maintained musical establishments complete even to the Italian opera; -others were contented with hearing the mass sung in their house-chapel -to an orchestral accompaniment; where this was impossible, a small -orchestra only was kept up, often composed of the officials and -servants, who were selected with regard to their musical abilities; -and so down to the band of wind-instruments, the string quartet, and -even to a single organ-player, pianist or violinist. What has been -said in a former chapter of music as a quasi-necessity at the courts -of the ecclesiastical princes, applies in great measure to the secular -nobility. At their castles and country-seats in the summer, amusement -was to be provided for many an otherwise tedious hour; and in their -city residences during the winter they and their guests could not -always feast, dance or play at cards; and here, too, music became a -common and favored recreation. At all events, it was the fashion. -Outside the ranks of the noble-born, such as by talents, high culture -or wealth occupied high social positions, followed the example and -opened their salons to musicians and lovers of music, moved thereto for -the most part by a real, rarely by a pretended, taste for the art--in -either case aiding and encouraging its progress. Hence, an enormous -demand for chamber music, both vocal and instrumental, especially -the latter. The demand created the supply by encouraging genius and -talent to labor in that direction; and thus the Austrian school of -instrumental music soon led the world, as in the previous generation -the demand for oratorios in England gave that country the supremacy in -that branch of art. - -During certain months of the year, Vienna was filled with the greatest -nobles, not only of the Austrian states, but of other portions of the -German Empire. Those who spent their time mostly in their own small -courts came up to the capital but for a short season; others reversed -this, making the city their usual residence and visiting their estates -only in summer. By the former class many a once (if not still) famous -composer in their service was thus occasionally for short periods -brought to the metropolis--as Mozart by the brutal Archbishop of -Salzburg, and Haydn by Prince Esterhazy. By the latter class many of -the distinguished composers and virtuosos resident in the city were -taken into the country during the summer to be treated as equals, to -live like gentlemen among gentlemen. Another mode of encouraging the -art was the ordering or purchasing of compositions; and this not only -from composers of established reputation, as Haydn, Mozart, C. P. E. -Bach, but also from young and as yet unknown men; thus affording a -twofold benefit--pecuniary aid and an opportunity of exhibiting their -powers. - -The instrumental virtuosos, when not permanently engaged in the -service of some prince or theatre, looked in the main for the reward -of their studies and labors to the private concerts of the nobility. -If at the same time they were composers, it was in such concerts that -they brought their productions to a hearing. The reader of Jahn's -biography of Mozart will remember how much even he depended upon this -resource to gain the means of support for himself and family. Out of -London, even so late as 1793, there can hardly be said to have existed -a "musical public," as the term is now understood, and in Vienna -at least, with its 200,000 inhabitants, a virtuoso rarely ventured -to announce a concert to which he had not already a subscription, -sufficient to ensure him against loss, from those at whose residences -he had successfully exhibited his skill. Beethoven, remaining "in -Vienna without salary until recalled" by Max, found in these resources -and his pupils an ample income. - -But this topic requires something more than the above general remarks. -Some twelve years previous to Beethoven's coming to Vienna, Risbeck, -speaking of the art in that capital, had written: - -ORCHESTRAS OF THE GREAT NOBLES - - Musicians are the only ones (artists) concerning whom the nobility - exhibit taste. Many houses maintain private bands for their own - delectation, and all the public concerts prove that this field of - art stands in high respect. It is possible to enlist four or five - large orchestras here, all of them incomparable. The number of - real virtuosos is small, but as regards the orchestral musicians - scarcely anything more beautiful is to be heard in the world. - -TITLED MUSIC-LOVERS IN VIENNA - -How many such orchestras were still kept up in 1792-'93 it is, -probably, now impossible to determine. Those of Princes Lobkowitz, -Schwarzenberg and Auersperg may safely be named. Count Heinrich von -Haugwitz and doubtless Count Batthyany brought their musicians with -them when they came to the capital for "the season." The Esterhazy -band, dismissed after the death of Haydn's old master, seems not yet to -have been renewed. Prince Grassalkowitz (or Kracsalkowitz) had reduced -his to a band of eight wind-instruments--oboes, clarinets, bassoons, -horns--a kind of organization then much in vogue. Baron Braun had one -to play at dinner as at the supper in "Don Giovanni"--an accessory to -the scene which Mozart introduced out of his own frequent experience. -Prince Karl Lichnowsky and others retained their own players of string -quartets. - -The grandees of the Bohemian and Moravian capitals--Kinsky, Clamm, -Nostiz, Thun, Buquoi, Hartig, Salm-Pachta, Sporck, Fuenfkirchen, -etc.--emulated the Austrian and Hungarian nobles. As many of them had -palaces also in Vienna, and most, if not all, spent part of the year -there, bringing with them a few of the more skilful members of their -orchestras to execute chamber music and for the nucleus of a band -when symphonies, concertos and grand vocal works were to be executed, -they also added their contingent to the musical as well as to the -political and fashionable life of the metropolis. The astonishingly -fruitful last eight years of Mozart's life falling within the period -now under contemplation, contributed to musical literature compositions -wonderfully manifold in character and setting an example that forced -other composers to leave the beaten track. Haydn had just returned -from his first stay in London, enriched with the pregnant experience -acquired during that visit. Van Swieten had gained during his residence -in Berlin appreciation of and love for the works of Handel, Bach and -their schools, and since his return to Vienna, about 1778, had exerted, -and was still exerting, a very powerful and marked influence upon -Vienna's musical taste. - -Thus all the conditions precedent for the elevation of the art were -just at this time fulfilled at Vienna, and in one department--that of -instrumental music--they existed in a degree unknown in any other city. -The extraordinary results as to the quantity produced in those years -may be judged from the sale-catalogue (1779) of a single music-dealer, -Johann Traeg, which gives of symphonies, symphonies-concertantes and -overtures (the last being in a small minority) the extraordinary -number of 512. The music produced at private concerts given by the -nobility ranged from the grand oratorios, operas, symphonies, down to -variations for the pianoforte and to simple songs. Leading musicians -and composers, whose circumstances admitted of it, also gave private -concerts at which they made themselves and their works known, and to -which their colleagues were invited. Prince Lobkowitz, at the time -Beethoven reached Vienna, was a young man of twenty years. He was born -on December 7, 1772, and had just married, on August 2, a daughter of -Prince Schwarzenberg. He was a violinist of considerable powers and so -devoted a lover of music and the drama, so profuse a squanderer of his -income upon them, as in twenty years to reduce himself to bankruptcy. -Precisely Beethoven's supposed age, the aristocrat of wealth and power -and the aristocrat of talent and genius became exceedingly intimate, -occasionally quarrelling and making up their differences as if -belonging by birth to the same sphere. - -The reigning Prince Esterhazy was that Paul Anton who, after the death -of his father on February 25, 1790, broke up the musical establishment -at Esterhaz and gave Haydn relief from his thirty years of service. -He died on January 22, 1794, and was succeeded by his son Nicholas, -a young man just five years older than Beethoven. Prince Nicholas -inherited his grandfather's taste for music, reengaged an orchestra, -and soon became known as one of the most zealous promoters of Roman -Catholic church-music. The best composers of Vienna, including -Beethoven, wrote masses for the chapel at Esterhaz, where they were -performed with great splendor. - -Count Johann Nepomuk Esterhazy, "of the middle line zu Frakno," was a -man of forty-five years, a good performer upon the oboe, and (which is -much to his credit) had been a firm friend and patron of Mozart. - -Of Count Franz Esterhazy, a man of thirty-five years, Schoenfeld, -in his "Jahrbuch der Tonkunst," thus speaks: "This great friend of -music at certain times of the year gives large and splendid concerts -at which, for the greater part, large and elevated compositions are -performed--particularly the choruses of Handel, the 'Sanctus' of -Emanuel Bach, the 'Stabat Mater' of Pergolese, and the like. At these -concerts there are always a number of the best virtuosos." - -It was not the present Prince Joseph Kinsky (who died in 1798 in his -forty-eighth year) who at a later period became a distinguished patron -of Beethoven, but his son Ferdinand Johann Nepomuk, then a bright boy -of eleven years, born on December 4, 1781, upon whose youthful taste -the strength, beauty and novelty of that composer's works made a deep -impression. Prince Carl Lichnowsky, the pupil and friend of Mozart, had -a quartet concert at his dwelling every Friday morning. The regularly -engaged musicians were Ignaz Schuppanzigh, son of a professor in the -Real-Schule, and a youth at this time of sixteen years (if the musical -lexica are to be trusted), first violin; Louis Sina, pupil of Foerster, -also a very young man, second violin; Franz Weiss, who completed -his fifteenth year on January 18, 1793, viola; and Anton Kraft, or -his son Nicholas, a boy of fourteen years (born December 18, 1778), -violoncello. It was, in fact, a quartet of boy virtuosos, of whom -Beethoven, several years older, could make what he would. - -The Prince's wife was Marie Christine, twenty years of age, one of -those "Three Graces," as Georg Foerster called them, daughters of that -Countess Thun in whose house Mozart had found such warm friendship and -appreciation, and whose noble qualities are so celebrated by Burney, -Reichardt and Foerster. The Princess, as well as her husband, belonged -to the better class of amateur performers upon the pianoforte. - -Court Councillor von Kees, Vice-President of the Court of Appeals of -Lower Austria, was still living. He was, says Gyrowetz, speaking of a -period a few years earlier, "recognized as the foremost music-lover -and dilettante in Vienna; and twice a week he gave in his house -society concerts at which were gathered together the foremost virtuosos -of Vienna, and the first composers, such as Joseph Haydn, Mozart, -Dittersdorf, Hoffmeister, Albrechtsberger, Giarnovichi and so on. -Haydn's symphonies were played there." In Haydn's letters to Madame -Genzinger the name of von Kees often occurs--the last time in a note of -August 4, 1792, which mentions that the writer is that day to dine with -the Court Councillor. This distinguished man left on his death (January -5, 1795) a very extensive collection of music. - -Gottfried, Freiherr van Swieten, son of Maria Theresia's famous Dutch -physician, says Schoenfeld, is, - -VAN SWIETEN AND HIS INFLUENCE - - as it were, looked upon as a patriarch of music. He has taste only - for the great and exalted. He himself many years ago composed - twelve beautiful symphonies ("stiff as himself," said Haydn). When - he attends a concert our semi-connoisseurs never take their eyes - off him, seeking to read in his features, not always intelligible - to every one, what ought to be their opinion of the music. Every - year he gives a few large and brilliant concerts at which only - music by the old masters is performed. His preference is for the - Handelian manner, and he generally has some of Handel's great - choruses performed. As late as last Christmas (1794) he gave such - a concert at Prince von Paar's, at which an oratorio by this - master was performed. - -Neukomm told Prof. Jahn that in concerts, "if it chanced that a -whispered conversation began, His Excellency, who was in the habit of -sitting in the first row of seats, would rise solemnly, draw himself up -to his full height, turn to the culprits, fix a long and solemn gaze -upon them, and slowly resume his chair. It was effective, always." He -had some peculiar notions of composition; he was, for instance, fond -of imitations of natural sounds in music and forced upon Haydn the -imitation of frogs in "The Seasons." Haydn himself says: - - This entire passage in imitation of a frog did not flow from my - pen. I was constrained to write down the French croak. At an - orchestral performance this wretched conceit soon disappears, but - it cannot be justified in a pianoforte score. Let the critics be - not too severe on me. I am an old man and cannot revise all this - again. - -But to van Swieten, surely, is due the credit of having founded in -Vienna a taste for Handel's oratorios and Bach's organ and pianoforte -music, thus adding a new element to the music there. The costs of the -oratorio performances were not, however, defrayed by him, as Schoenfeld -seems to intimate. They were met by the association called by him into -being, and of which he was perpetual secretary, whose members were the -Princes Liechtenstein, Esterhazy, Schwarzenberg, Auersperg, Kinsky, -Trautmannsdorf, Sinsendorf, and the Counts Czernin, Harrach, Erdoedy and -Fries; at whose palaces as well as in van Swieten's house and sometimes -in the great hall of the Imperial Royal Library the performances were -given at midday to an audience of invited guests. Fraeulein Martinez, -who holds so distinguished a place in Burney's account of his visit -to Vienna--that pupil of Porpora at whose music-lessons the young -Joseph Haydn forty years before had been employed as accompanist--still -flourished in the Michael's House and gave a musical party every -Saturday evening during the season. - - Court Councillor and Chamber Paymaster von Meyer (says Schoenfeld) - is so excellent a lover of music that his entire personnel in the - chancellary is musical, among them being such artists as a Raphael - and a Hauschka. It will readily be understood, therefore, that - here in the city as well as at his country-seat there are many - concerts. His Majesty the Emperor himself has attended some of - these concerts. - -These details are sufficient to illustrate and confirm the remarks -made above upon Vienna as the central point of instrumental music. Of -the great number of composers in that branch of the art whom Beethoven -found there, a few of the more eminent must be named. - -FAMOUS COMPOSERS IN VIENNA - -Of course, Haydn stood at the head. The next in rank--_longo -intervallo_--was Mozart's successor in the office of Imperial Chamber -Composer, Leopold Kozeluch, a Bohemian, now just forty years of age. -Though now forgotten and, according to Beethoven, "miserabilis," he -was renowned throughout Europe for his quartets and other chamber -music. A man of less popular repute but of a solid genius and -acquirements far beyond those of Kozeluch, whom Beethoven greatly -respected and twenty-five years later called his "old master," was -Emanuel Aloys Foerster, a Silesian, now forty-five years of age. His -quintets, quartets and the like ranked very high, but at that time -were known for the most part only in manuscript. Anton Eberl, five -years the senior of Beethoven, a Viennese by birth, had composed -two operettas in the sixteenth year of his age which were produced -at the Kaernthnerthor-Theater, one of which gained the young author -the favor of Gluck. He seems to have been a favorite of Mozart and -caught so much of the spirit and style of that master as to produce -compositions which were printed by dishonest publishers under Mozart's -name, and as his were sold throughout Europe. In 1776 he accompanied -the Widow Mozart and her sister, Madame Lange, the vocalist, in the -tour through Germany, gaining that reputation in other cities which -he enjoyed at home, both as pianist and composer. His force was in -instrumental composition, and we shall hereafter see him for a moment -as a symphonist bearing away the palm from Beethoven! - -Johann Vanhall, whose name was so well known in Paris and London that -Burney, twenty years before, sought him out in his garret in a suburb -of Vienna, was as indefatigable as ever in production. Gerber says in -his first Lexicon (1792) that Breitkopf and Haertel had then fifty of -his symphonies in manuscript. His fecundity was equal to that of Haydn; -his genius such that all his works are now forgotten. It is needless to -continue this list. - -One other fact illustrating the musical tastes and accomplishments of -the higher classes of the capital may be added. There were, during -the winter 1792-93, ten private theatres with amateur companies in -activity, of which the more important were in the residences of the -nobles Stockhammer, Kinsky, Sinsendorf and Strassaldo, and of the -bookseller Schrambl. Most of these companies produced operas and -operettas. - - - - -Chapter XIII - - Beethoven in Society--Concerts--Wegeler's - Recollections--Compositions--The First Trios--Sonatas Dedicated to - Haydn--Variations--Dances for the Ridotto Rooms--Plays at Haydn's - Concert. - - -However quiet and "without observation" Beethoven's advent in Vienna -may have been at that time when men's minds were occupied by movements -of armies and ideas of revolution, he could hardly have gone thither -under better auspices. He was Court Organist and Pianist to the -Emperor's uncle; his talents in that field were well known to the many -Austrians of rank who had heard him in Bonn when visiting there or -when paying their respects to the Elector in passing to and from the -Austrian Netherlands; he was a pupil of Joseph Haydn--a circumstance -in itself sufficient to secure him a hearing; and he was protected -by Count Waldstein, whose family connections were such that he could -introduce his favorite into the highest circles, the imperial house -only excepted. Waldstein's mother was a Liechtenstein; his grandmother -a Trautmannsdorf; three of his sisters had married respectively -into the families Dietrichstein, Crugenburg and Wallis; and by the -marriages of uncles and aunts he was connected with the great houses -Oettingen-Spielberg, Khevenhueller-Melisch, Kinsky, Palfy von Erdoed and -Ulfeld--not to mention others less known. If the circle be extended -by a degree or two it embraces the names Kaunitz, Lobkowitz, Kohary, -Fuenfkirchen, Keglevics and Colloredo-Mansfeld. - -Dr. Burney, in closing his "Present State of Music in Germany," notes -the distinction in the styles of composition and performance in some -of the principal cities of that country, "Vienna being most remarkable -for fire and animation; Mannheim for neat and brilliant execution; -Berlin for counterpoint and Brunswick for taste." Since Burney's tour -(1772) Vienna had the highest example of all these qualities united -in Mozart. But he had passed away, and no great pianist of the first -rank remained; there were extraordinary dilettanti and professional -pianists "of very neat and brilliant execution," but none who possessed -great "fire, animation and invention," qualities still most valued in -Vienna and in which the young Beethoven, with all the hardness and -heaviness of manipulation caused by his devotion to the organ, was -wholly unrivalled. With all the salons in the metropolis open to him, -his success as a virtuoso was, therefore, certain. All the contemporary -authorities, and all the traditions of those years, agree in the fact -of that success, and that his playing of Bach's preludes and fugues -especially, his reading of the most difficult scores at sight and -his extemporaneous performances excited ever new wonder and delight. -Schindler records that van Swieten, after musical performances at his -house, "detained Beethoven and persuaded him to add a few fugues by -Sebastian Bach as an evening blessing," and he preserves a note without -date, though evidently belonging to Beethoven's first years in Vienna, -which proves how high a place the young man had then won in the old -gentleman's favor: - - To Mr. Beethoven in Alstergasse, No. 45, with the Prince - Lichnowsky: If there is nothing to hinder next Wednesday I should - be glad to see you at my home at half past 8 with your nightcap in - your bag. Give me an immediate answer. - - Swieten. - -There is also an entry in the oft-cited memorandum book belonging -in date to October or November, 1793, which may be given in this -connection: "Supped in the evening at Swieten's, 17 pourboire. To the -janitor 4 x for opening the door." - -THE THREE TRIOS, OP. 1 - -But the instant and striking success of Beethoven as virtuoso by no -means filled up the measure of his ambition. He aspired to the higher -position of composer, and to obtain this more was needed than the -performance of variations, however excellent. To this end he selected -the three Trios afterwards published as Op. 1, and brought them -to performance at the house of Prince Lichnowsky. Happily for us, -Beethoven related some particulars concerning this first performance of -these compositions in Vienna to his pupil Ries, who gives the substance -of the story thus: - - It was planned to introduce the first three Trios of Beethoven, - which were about to be published as Op. 1, to the artistic world - at a soiree at prince Lichnowsky's. Most of the artists and - music-lovers were invited, especially Haydn, for whose opinion - all were eager. The Trios were played and at once commanded - extraordinary attention. Haydn also said many pretty things about - them, but advised Beethoven not to publish the third, in C minor. - This astonished Beethoven, inasmuch as he considered the third - the best of the Trios, as it is still the one which gives the - greatest pleasure and makes the greatest effect. Consequently, - Haydn's remark left a bad impression on Beethoven and led him to - think that Haydn was envious, jealous and ill-disposed toward him. - I confess that when Beethoven told me of this I gave it little - credence. I therefore took occasion to ask Haydn himself about - it. His answer, however, confirmed Beethoven's statement; he said - he had not believed that this Trio would so quickly and easily be - understood and so favorably received by the public. - -The Fischoff manuscript says: - - The three Trios for pianoforte, violin and violoncello, Op. 1 - (the pearls of all sonatas), which are in fact his sixth work, - justly excited admiration, though they were performed in only a - few circles. Wherever this was done, however, connoisseurs and - music-lovers bestowed upon them undivided applause, which grew - with the succeeding works as the hearers not only accustomed - themselves to the striking and original qualities of the master - but grasped his spirit and strove for the high privilege of - understanding him. - -More than two years passed by, however, before the composer thought -fit to send these Trios to the press; perhaps restrained by a feeling -of modesty, since he was still a student, perhaps by a doubt as to the -success of compositions so new in style, or by prudence, choosing to -delay their publication until they had been so often performed from -the manuscript as to secure their comprehension and appreciation, and -thus an adequate number of subscribers. In the meantime he prepared -the way for them by publishing a few sets of variations. "Beethoven -had composed variations on themes from Mozart's 'Zauberfloete,' which -he had already sketched in Bonn, and Zmeskall took it upon himself -to submit them to a publisher; but they had only a small sale." (The -Fischoff MS.) This refers doubtless to the Variations "Se vuol ballare" -from "Le Nozze di Figaro," which, having been revised and improved by -a new coda, came out in July, 1793, with a dedication to Eleonore von -Breuning. It was not until the next year that the thirteen variations -upon the theme "Es war einmal ein alter Mann," from Dittersdorf's -"Rothkaeppchen," appeared, and these were followed by those for four -hands on the Waldstein theme, first advertised in January, 1795. - -In fact, Beethoven evidently was in no haste to publish his -compositions. It will presently be seen that he sent the "Se vuol -ballare" variations to press partly at the request of others and partly -to entrap the rival pianists of Vienna. A few years later we shall -find him dashing off and immediately publishing variations on popular -theatrical melodies; but works of greater scope, and especially his -pianoforte concertos, were for the most part long retained in his -exclusive possession. Thus the Pianoforte Concerto in B-flat major, -Op. 18, though supposed by Tomaschek to have been composed at Prague -in 1798, certainly (if Beethoven's own words in a letter to Breitkopf -and Haertel are to be believed) preceded in composition that in C major, -Op. 15, and must, therefore, have been finished at the latest in March, -1795, and was doubtless often played by him at private concerts during -the period now before us. It was not published until 1801. - -Let the reader now recall to mind some of the points previously dwelt -upon: the Fischenich letter of January and Neefe's letter of October, -1793, which record the favorable reports sent to Bonn of Beethoven's -musical progress; his studies with Haydn and Schenk; the cares and -perplexities caused him temporarily by the death of his father, and -the unpleasant circumstances attending that event; his steady success -as a virtuoso; his visit in the summer to Prince Esterhazy; and it is -obvious with what industry and energy he engaged in his new career, -with what zeal and unfaltering activity he labored to make the most of -his opportunities. In one year after leaving Bonn he felt his success -secure, and no longer feared Hamlet's "slings and arrows of outrageous -fortune." This is indicated in a passage ("O, how we shall then rejoice -together," etc.) of the earliest of his Vienna letters which has been -preserved--that letter in which, as Wegeler remarks, "he asked pardon -for much more error than he had committed," and which, though often -reprinted from the "Notizen," is too important and characteristic to be -here omitted. - -BEETHOVEN SUES FOR PARDON - - Vienna, November 2, 93. - - Most estimable Leonore! - My most precious friend! - - Not until I have lived almost a year in the capital do you receive - a letter from me, and yet you were most assuredly perpetually in - my liveliest memory. Often in thought I have conversed with you - and your dear family, though not with that peace of mind which I - could have desired. It was then that the wretched misunderstanding - hovered before me and my conduct presented itself as most - despicable. But it was too late. O, what would I not give could I - obliterate from my life those actions so degrading to myself and - so contrary to my character. True, there were many circumstances - which tended to estrange us, and I suspect that tales whispered - in our ears of remarks made one about the other were chiefly - that which prevented us from coming to an understanding. We both - believed that we were speaking from conviction; whereas it was - only in anger, and we were both deceived. Your good and noble - character, my dear friend, is sufficient assurance to me that - you forgave me long ago. But we are told that the sincerest - contrition consists in acknowledgment of our faults; and to - do this has been my desire. And now let us drop the curtain on - the affair, only drawing from it this lesson--that when friends - quarrel it is much better to have it out face to face than to turn - to a go-between. - - With this you will receive a dedication from me to you concerning - which I only wish that the work were a larger one and more worthy - of you. I was plagued here to publish the little work, and I took - advantage of the opportunity, my estimable E., to show my respect - and friendship for you and my enduring memory of your family. Take - this trifle and remember that it comes from a friend who respects - you greatly. Oh, if it but gives you pleasure, my wishes will - be completely fulfilled. Let it be a reminder of the time when - I spent so many and such blessed hours at your home. Perhaps it - will keep me in your recollection until I eventually return to - you, which, it is true, is not likely to be soon. But how we shall - rejoice then, my dear friend--you will then find in your friend a - happier man, from whose visage time and a kindlier fate shall have - smoothed out all the furrows of a hateful past. - - If you should chance to see B. Koch, please say to her that it is - not nice of her never once to have written to me. I wrote to her - twice and three times to Malchus, but no answer. Say to her that - if she doesn't want to write she might at least urge Malchus to - do so. In conclusion I venture a request; it is this: I should - like once again to be so happy as to own a waistcoat knit of - hare's wool by your hands, my dear friend. Pardon the immodest - request, my dear friend, but it proceeds from a great predilection - for everything that comes from your hands. Privately I may also - acknowledge that a little vanity is also involved in the request; - I want to be able to say that I have something that was given me - by the best and most estimable girl in Bonn. I still have the - waistcoat which you were good enough to give me in Bonn, but it - has grown so out of fashion that I can only treasure it in my - wardrobe as something very precious because it came from you. You - would give me much pleasure if you were soon to rejoice me with a - dear letter from yourself. If my letters should in any way please - you I promise in this to be at your command so far as lies in my - power, as everything is welcome to me which enables me to show how - truly I am - - Your admiring, - true friend - L. v. Beethoven. - - P.S. The V. [variations] you will find a little difficult to play, - especially the trills in the _coda_; but don't let that alarm you. - It is so contrived that you need play only the trill, leaving out - the other notes because they are also in the violin part. I never - would have composed a thing of the kind had I not often observed - that here and there in Vienna there was somebody who, after I had - improvised of an evening, noted down many of my peculiarities, - and made parade of them next day as his own. Foreseeing that - some of these things would soon appear in print, I resolved to - anticipate them. Another reason that I had was to embarrass the - local pianoforte masters. Many of them are my deadly enemies and - I wanted to revenge myself on them, knowing that once in a while - somebody would ask them to play the variations and they would make - a sorry show with them. - -Except Beethoven's memorandum, "Schuppanzigh 3 times each W.; -Albrechtsberger 3 times each W.", which indicates his change of -instructors, there is nothing to be recorded until, probably in May -or June (1794), we come to the fragment of another letter to Eleonore -von Breuning also contained in Wegeler's "Notizen" (p. 60), which -has particular interest both as showing how bitterly his conscience -reproached him for acts inconsistent with the forbearance and command -of temper due to friendship, but in which he ever remained too apt -to indulge, and as adding some implied confirmation of the argument -previously made in relation to the compositions of the Bonn period. In -this letter he acknowledges receipt of a cravat embroidered by Eleonore -and protests that thoughts of her generosity and his unworthiness had -brought him to tears. He continues: "Do pray believe me that little as -I have deserved it, _my friend_ (let me always call you such), I have -suffered much and still suffer from the loss of your friendship.... As -a slight return for your kind recollection of me I take the liberty of -sending these Variations and the Rondo with violin (accompaniment). -I have a great deal to do or I should have transcribed the Sonata I -promised you long ago. It is a mere sketch in manuscript, and to copy -it would be a difficult, etc." The letter is signed: "The friend who -still reveres you, Beethowen" (_sic_).[70] - -In January, 1794, Elector Max had paid a short visit to Vienna, where, -perhaps, it was determined that Beethoven should remain "without salary -until recalled." After the declaration of war by the Empire against -France, the electorate, as a German state, could no longer remain -neutral; and thus it came to pass that in October the victorious French -army marched into Bonn. The Elector fled to Frankfort-on-the-Main, -November 6th, thence to Muenster, while his court and all such as were -obnoxious to the republican authorities dispersed in all directions for -safety. - -One of these fugitives, a young man of twenty-nine years but already -the Rector of the University, to "save his head" hastened away to -Vienna--Dr. Wegeler. He reached that capital in October and found -Beethoven not in the "room on the ground floor" where "it was not -necessary to pay the housekeeper more than 7 florins," but living as -a guest in the family of Prince Karl Lichnowsky; and this explains -sufficiently the cessation of those records of monthly payments before -noticed. - -DR. WEGELER'S REMINISCENCES - -The reminiscences of Wegeler for the period of his stay in Vienna, -excepting those which may be better introduced chronologically in -other connections, may well find place here. They are interesting and -characteristic in themselves and indicate, also, the great change for -the better in Beethoven's pecuniary condition; for a man who keeps a -servant and a horse cannot, if honest, be a sufferer from poverty: - - Carl, Prince of Lichnowsky, Count Werdenberg, Dynast Granson, was - a very great patron, yes, a friend of Beethoven's, who took him - into his house as a guest, where he remained at least a few years. - I found him there toward the end of the year 1794, and left him - there in the middle of 1796. Meanwhile, however, Beethoven had - almost always a home in the country. - - The Prince was a great lover and connoisseur of music. He played - the pianoforte, and by studying Beethoven's pieces and playing - them more or less well, sought to convince him that there was no - need of changing anything in his style of composition, though the - composer's attention was often called to the difficulties of his - works. There were performances at his house every Friday morning, - participated in by four hired musicians--Schuppanzigh, Weiss, - Kraft and another (Link?), besides our friend; generally also an - amateur, Zmeskall. Beethoven always listened with pleasure to the - observations of these gentlemen. Thus, to cite a single instance, - the famous violoncellist Kraft in my presence called his attention - to a passage in the finale of the Trio, Op. 1, No. 3, to the fact - that it ought to be marked "sulla corda G," and the indication 4-4 - time which Beethoven had marked in the finale of the second Trio, - changed to 2-4. Here the new compositions of Beethoven, so far - as was feasible, were first performed. Here there were generally - present several great musicians and music-lovers. I, too, as long - as I lived in Vienna, was present, if not every time, at least - most of the time. - - Here a Hungarian count once placed a difficult composition by - Bach in manuscript before him which he played _a vista_ exactly - as Bach would have played it, according to the testimony of - the owner. Here the Viennese author Foerster once brought him a - quartet of which he had made a clean copy only that morning. In - the second portion of the first movement the violoncello got - out. Beethoven stood up, and still playing his own part sang the - bass accompaniment. When I spoke about it to him as a proof of - extraordinary acquirements, he replied with a smile: "The bass - part _had_ to be so, else the author would have known nothing - about composition." To the remark that he had played a _presto_ - which he had never seen before so rapidly that it must have been - impossible to see the individual notes, he answered: "Nor is - that necessary; if you read rapidly there may be a multitude of - typographical errors, but you neither see nor give heed to them, - so long as the language is a familiar one." - - After the concert the musicians generally stayed to dine. Here - there gathered, in addition, artists and savants without regard to - social position. The Princess Christiane was the highly cultivated - daughter of Count Franz Joseph von Thun, who, a very philanthropic - and respectable gentleman, was disposed to extravagant enthusiasm - by his intercourse with Lavater, and believed himself capable of - healing diseases through the power of his right hand. - -The following undated letter also belongs to the years of Beethoven's -intimate association with Wegeler in Vienna (1794-96). It is -significant of Beethoven's character. Though easily offended and prone -to anger, no sooner was the first ebullition of temper past than he was -so reconciliatory and open to explanation that usually his contrition -was out of all proportion to his fault. For this reason, and because -it presents the friend in a light which provoked a protest from his -modesty, Wegeler was unwilling to make public the entire letter.[71] - -CONFESSION, CONTRITION, PETITION - - Dearest! Best! In what an odious light you have exhibited me to - myself! I acknowledge it, I do not deserve your friendship. You - are so noble, so considerate, and the first time that I ranged - myself alongside of you I fell so far below you! Ah, for weeks - I have displeased my best and noblest friend! You think that I - have lost some of my goodness of heart, but, thank Heaven! it was - no intentional or deliberate malice which induced me to act as I - did towards you; it was my inexcusable thoughtlessness which did - not permit me to see the matter in its true light. O, how ashamed - I am, not only for your sake but also my own. I can scarcely - trust myself to ask for your friendship again. Oh, Wegeler, my - only comfort lies in this, that you have known me almost from my - childhood, and yet, O let me say for myself, I was always good, - and always strove to be upright and true in my actions--otherwise - how could you have loved me? Could I have changed so fearfully - for the worse in such a short time? Impossible; these feelings - of goodness and love of righteousness cannot have died forever - in me in a moment. No, Wegeler, dearest, best, O, venture again - to throw yourself entirely into the arms of your B.; trust in - the good qualities you used to find in him; I will guarantee - that the pure temple of sacred friendship which you erect shall - remain firm forever; no accident, no storm shall ever shake its - foundations--firm--forever--our friendship--pardon--oblivion--a - new upflaming of the dying, sinking friendship--O, Wegeler, do - not reject this hand of reconciliation. Place yours in mine--O, - God!--but no more; I am coming to throw myself in your arms, to - entreat you to restore to me my lost friend. And you will give - yourself to me, your penitent, loving, never-forgetting - - Beethoven again. - - It was only now that I received your letter, because I have just - returned home. - -In this connection Wegeler comes to speak of the outward conditions of -Beethoven: "Beethoven," he says on page 33, - - brought up under extremely restricted circumstances, and as it - were, under guardianship, though that of his friends, did not - know the value of money and was anything but economical. Thus, - to cite a single instance, the Prince's dinner hour was fixed at - 4 o'clock. "Now," said Beethoven, "it is desired that every day - I shall be at home at half-past 3, put on better clothes, care - for my beard, etc.--I can't stand that!" So it happened that he - frequently went to the taverns, since, as has been said, in this - as in all other matters of economy, he knew nothing about the - value of things or of money. The Prince, Wegeler continues, who - had a loud, metallic voice, once directed his serving-man that if - ever he and Beethoven should ring at the same time the latter was - to be first served. Beethoven heard this, and the same day engaged - a servant for himself. In the same manner, once when he took a - whim to learn to ride, which speedily left him, the stable of the - Prince being offered him, he bought a horse. - -Concerning his friend's affairs of the heart, Wegeler had opportunity -to make observations in Vienna. He relates on page 43 that while he was -in the capital Beethoven "was always in love and made many conquests -which would have been difficult if not impossible for many an Adonis." -Beethoven's antipathy to teaching before he left Bonn has already been -noticed. In Vienna he developed a still stronger repugnance to playing -in society when requested to do so. He often complained to Wegeler how -grievously this put him out of sorts, whereupon the latter sought to -entertain him and quiet him by conversation. "When this purpose was -reached," he continues, - - I dropped the conversation, seated myself at the writing table, - and Beethoven, if he wanted to continue the discourse, had to - sit down on the chair before the pianoforte. Soon, still turned - away from the instrument, he aimlessly struck a few chords out of - which gradually grew the most beautiful melodies. Oh, why did I - not understand more of music! Several times I put ruled paper upon - the desk as if without intention, in order to get a manuscript - of his; he wrote upon it but then folded it up and put it in his - pocket! Concerning his playing I was permitted to say but little, - and that only in passing. He would then go away entirely changed - in mood and always come back again gladly. The antipathy remained, - however, and was frequently the cause of differences between - Beethoven and his friends and well-wishers. - -OLD BONN FRIENDS REMEMBERED - -There is still one other reminiscence of Wegeler in the appendix to the -"Notizen" (page 9) worthy of citation. "At one time private lectures -were given in Vienna on Kant, which had been arranged by Adam Schmidt, -Wilhelm Schmidt, Hunczovsky, Goepfert and others. In spite of my urgings -Beethoven refused to attend a single one of them." There is no -reference in Wegeler's "Notizen" to instruction received by Beethoven -from Albrechtsberger. With his old colleague in the Court Orchestra -in Bonn, Nicolaus Simrock, though he was a much older man, Beethoven -remained in touch after his removal to Vienna. Simrock, who was highly -esteemed both as man and musician, had embarked in business as a -music publisher in Bonn. The Variations on a theme from Dittersdorf's -"Rothkaeppchen," were published by him (at the latest in the early -part of 1794), as well as those for pianoforte four hands on a theme -by Count Waldstein (some time in the same year). It is to the latter -composition that the following letter refers: - - Vienna, August 2, 1794. - - Dear Simrock: - - I deserve a little scolding from you for holding back your - Variations so long, but, indeed, I do not lie when I say that I - was hindered from correcting them sooner by an overwhelming amount - of business. You will note the shortcomings for yourself, but I - must wish you joy on the appearance of your engraving, which is - beautiful, clear and legible. Verily, if you keep on thus you - will become chief among cutters, that is, note cutters[72]. In my - former letter I promised to send you something of mine and you - interpreted the remark as being in the language of the cavaliers. - How have I deserved such a title? Faugh! who would indulge in such - language in these democratic days of ours? To free myself from the - imputation as soon as I have finished the grand revision of my - compositions, which will be soon, you shall have something which - you will surely engrave. I have also been looking about me for a - commissioner and have found a right capable young fellow for the - place. His name is Traeg. You have naught to do but to write to - him or me about the conditions which you want to make. He asks of - you one-third _rabate_. The devil take all such bargaining! It is - very hot here. The Viennese fear that they will soon be unable to - eat ice-cream, there having been little cold last winter and ice - being scarce. Many persons of importance have come here and it - was said that a revolution was imminent; but it is my belief that - so long as the Austrian has his dark beer and sausage he will not - revolt. It is said that the suburban gates are to be closed at ten - o'clock at night. The soldiers' guns are loaded with bullets. No - one dares speak aloud for fear of arrest by the police. Are your - daughters grown? Bring one up to be my wife, for if I am to remain - single in Bonn I shall not stay long, of a surety. You also must - be living in fear. How is good Ries? I shall write to him soon for - he can have only an unfavorable opinion of me--but this damned - writing! I cannot get over my antipathy towards it. Have you - performed my piece yet? Write to me occasionally. - - Please send also a few copies of the first Variations. - - Your - Beethoven. - -These "first Variations" obviously are those on the theme from -"Rothkaeppchen"; those referred to in the early part of the letter -the ones on Count Waldstein's theme. The "piece" whose performance -he inquires about is the Octet, and the allusion to it justifies the -belief that it was composed for the wind-instrument players of Bonn who -found no opportunity to play it while Beethoven was still in his native -city. The letter, like that written to Eleonore von Breuning, shows -that Beethoven was still thinking of the possibility or probability of -a return to Bonn. Its cheerful tone discloses a comfortable, satisfied -frame of mind--the mood from which the first Trios proceeded. - -FIRST CONCERT APPEARANCES IN VIENNA - -We return to the chronological record of events. The first of these in -the year 1795, was Beethoven's first appearance in public as virtuoso -and composer. The annual concerts in the Burgtheater established by -Gassmann for the benefit of the widows of the Tonkuenstlergesellschaft -were announced for the evenings of March 29 and 30. The vocal work -selected for performance was an oratorio in two parts, "Gioas, Re -di Giuda," by Antonio Cartellieri; the instrumental, a Concerto for -Pianoforte and Orchestra, composed and played by Ludwig van Beethoven. -Cartellieri was a young man of twenty-three years (born in Danzig, -September 27, 1772) who, a year or two since, had come from Berlin -to study operatic composition with the then greatest living composer -in that field, Salieri. As the direction of these Widow and Orphan -concerts was almost exclusively in the hands of Salieri, one is -almost tempted to think that he may on this occasion have indulged a -pardonable vanity in bringing forward two of his pupils, if we did not -know how strong an attraction the name of Beethoven must have been for -the public which, as yet, had had no opportunity to learn his great -powers except by report. The day of the performance drew near but the -Concerto was not yet written out. "Not until the afternoon of the -second day before the concert did he write the rondo, and then while -suffering from a pretty severe colic which frequently afflicted him. -I [Wegeler] relieved him with simple remedies so far as I could. In -the anteroom sat four copyists to whom he handed sheet after sheet -as soon as it was finished.... At the first rehearsal, which took -place the next day in Beethoven's room, the pianoforte was found to -be half a tone lower than the wind-instruments. Without a moment's -delay Beethoven had the wind-instruments and the others tune to -B-flat instead of A and played his part in C-sharp." Thus Wegeler in -his "Notizen" (pg. 36). But he has confounded two compositions. The -concerto which Beethoven played on March 29, 1795, was not that in C -(Op. 15) which was not yet finished, but, in all probability, that in -B-flat (Op. 19). For the fact that the Concerto in B-flat was composed -before that in C we have the testimony of Beethoven himself, who wrote -to Breitkopf and Haertel on April 22, 1801: "I simply want to call your -attention to the fact that one of my first Concertos will be published -by Hoffmeister, which is not among my best works, and one also by -Mollo which, though composed later, etc." The Concerto in B-flat was -published in 1801 by Hoffmeister and that in C in the same year by -Mollo and Co. in Vienna, the latter a little in advance of the former, -wherefore there need be no surprise at the earlier _opus_ number. - -Beethoven also took part in the second concert on March 30, the -minutes of the Tonkuenstlerschaft recording that he "improvised on the -pianoforte"; and though busily engaged he also embraced an opportunity -to testify to his devotion to the manes of Mozart. On March 31, 1795, -Mozart's widow arranged a performance of "La Clemenza di Tito" in the -Burgtheater. "After the first part," says the advertisement, "Mr. -Ludwig van Beethoven will play a Concerto of Mozart's composition on -the Pianoforte." We opine that this concerto was Mozart's in D minor, -which Beethoven loved especially and for which he wrote cadenzas. - -The Trios, Op. 1, had now become so well known and appreciated in -musical circles as to justify their publication, and accordingly, an -advertisement inviting subscriptions for Ludwig van Beethoven's "three -Grand Trios" appeared in the "Wiener Zeitung" on May 16, 1795. Three -days later a contract was signed by the author and Artaria and Company. -The printed list of subscribers gives 123 names, mostly belonging -to the higher circles, with subscriptions amounting to 241 copies. -As Beethoven paid the publisher but one florin per copy, and the -subscription price was one ducat, he made a handsome profit out of the -transaction.[73] - -FIRST PIANOFORTE TRIOS AND SONATAS - -We must tarry a moment longer with these Trios. That the author is -disposed to place their origin in the Bonn period has already appeared. -Argument in favor of this view can be found in the fact of their -early performance in Vienna, for there can be no reasonable question -of the correctness of Ries's story, for which Beethoven himself was -authority, that they were played at the house of Prince Lichnowsky, in -the presence of Haydn. This performance must have taken place before -January 19, 1794, because on that day Haydn started again for England. -Now, Beethoven's sketches show that he was still working on at least -the second and third of the Trios after 1794, and that they were not -ready for the printer before the end of that year. Further explanation -is offered by the following little circumstances: since Haydn was -present, the performance at Prince Lichnowsky's must have been from -manuscript. In the morning meeting which probably took place only a -short time before the soiree, Beethoven's attention was called to the -desirability of changing in the last movement of the second Trio, the -time-signature from 4-4 to 2-4. Beethoven made the change. From these -facts it may be concluded that after a first there was a final revision -of these Trios and that the former version disappeared or was destroyed -after the latter was made. It has repeatedly been intimated that -the author believes that the rewriting of compositions completed in -Beethoven's early period is farther-reaching than is generally assumed. -The case therefore seems to present itself as follows: Haydn heard the -Trios at Lichnowsky's in their first state; Beethoven then took them -up for revision and in the course of 1794 and the beginning of 1795 -brought them to the state in which we know them. It is not possible to -say positively whether or not the first form, particularly of the first -Trio, dates back to the Bonn period. - -An interesting anecdote connected with these Trios may well find place -here; it is contributed by Madame Mary de Fouche, daughter of Tomkison, -who, in the seventh decade of the nineteenth century, was one of the -more famous pianoforte manufacturers of London: In the early days of -the century, a little society of musicians--J. B. Cramer, the pianist; -F. Cramer, violinist, half-brother of the preceding; J. P. Salomon, -whose name has so often come up in previous chapters of this work; -Bridgetower, a mulatto and celebrated violinist, whose name we shall -meet again; Watts, tenor; Morant, also tenor, who married the great -Dussek's widow; Dahmen, Lindley and Crossdale, violoncellists--was -in the habit of meeting regularly at Mr. Tomkison's to try over and -criticise such new music of the German school as came to the London -dealers. At one of these meetings the new Trios of Beethoven, Op. 1, -were played through, J. B. Cramer at the pianoforte. "This is the man," -he cried, "who is to console us for the loss of Mozart!" According to -the recollection of Cipriani Potter, this was after Cramer had made the -personal acquaintance of Beethoven in Vienna, and had heard him play -there. - -Some other incidents recorded by Wegeler belong to this year. Haydn -reached Vienna upon his return from his second visit to England on -August 20. Beethoven had now ready the three Sonatas, Op. 2, and at one -of the Friday morning concerts at Prince Lichnowsky's he played them -to Haydn, to whom they were dedicated. - - Here (says Wegeler on page 29 of the 'Notizen'), Count Appony - asked Beethoven to compose a quartet for him for a given - compensation, Beethoven not yet having written a piece in this - genre. The Count declared that contrary to custom he did not want - to have exclusive possession of the quartet for half a year before - publication, nor did he ask that it be dedicated to him, etc. In - response to repeated urgings by me, Beethoven twice set about the - task, but the first effort resulted in a grand violin Trio (Op. - 3), the second in a violin Quintet (Op. 4). - -How much mistaken Wegeler was in these concluding statements has -already been indicated. - -The three Pianoforte Sonatas dedicated to Haydn were, therefore, the -second group of compositions which Beethoven considered illustrative of -his artistic ideals and worthy of publication. Nothing can be said with -positiveness touching the time of their origin. Schoenfeld's words in -his "Jahrbuch der Tonkunst von Wien und Prag": "We already have several -of his Sonatas, among which his last are particularly noteworthy," -which were written at least eight months before the Sonatas appeared -in print, lead to the conclusion that the Sonatas were known in Vienna -in manuscript in the spring of 1795. Their appearance in print was -announced in the "Wiener Zeitung" of March 9, 1796. - -Still another anecdote recorded by Wegeler refers to another -composition of this period: "Beethoven was seated in a box at the opera -with a lady of whom he thought much at a performance of 'La Molinara.' -When the familiar _Nel cor piu non mi sento_ was reached the lady -remarked that she had possessed some variations on the theme but had -lost them. In the same night Beethoven wrote the six variations on the -melody and the next morning sent them to the lady with the inscription: -_Variazioni, etc., Perdute par la--ritrovate par Luigi van Beethoven_. -They are so easy that it is likely Beethoven wished that she should be -able to play them at sight." Paisiello's "La Molinara," composed in -1788 for Naples, was performed on March 8, 1794 in the Court Opera, and -again on June 24 and 27, 1795, in the Kaernthnerthor-Theater in Vienna. -Considering the time of the publication of these unpretentious but -genial little variations, their composition may be set down after the -latter performances. At the same period Beethoven wrote variations on -another theme (_Quant' e piu bello_) from the same opera, which were -published before the former and dedicated to Prince Carl Lichnowsky. -It is likely that a few more sets of variations, a form of composition -for which Beethoven had a strong predilection at the time, had -their origin in these early years of Beethoven's life in Vienna. The -Variations in C on the "Menuet a la Vigano" from the ballet "Le Nozze -disturbate," may confidently be assigned to the year 1795. The ballet -was performed for the first time on May 18, 1795, at Schikaneder's -theatre; the Variations are advertised as published on February 27, -1796. - -The Gesellschaft der bildenden Kuenstler had, in the year 1792, -established an annual ball in the Redoutensaal in the month of -November; and Haydn, just then returned covered with glory from -England, composed a set of twelve minuets and twelve German dances for -the occasion. In 1793, the Royal Imperial Composer Kozeluch followed -Haydn's example. In 1794, Dittersdorf wrote the same number of like -dances for the large hall, and Eybler for the small. In view of this -array of great names, and considering that as yet the Trios, Op. -1, were the only works of a higher order than the Variations which -Beethoven had sent to press, the advertisements for the annual ball -to be given upon the 22nd of November, 1795, give a vivid proof of -the high reputation which the young man had gained as a composer now -at the end of his third year in Vienna. These advertisements conclude -thus: "The music for the Minuets and German dances for this ball is -an entirely new arrangement. For the larger room they were written by -the Royal Imperial Chapelmaster Suessmayr; for the smaller room by the -master hand of Mr. Ludwig van Beethoven out of love for the artistic -fraternity." These dances, arranged for pianoforte by Beethoven -himself, came from the press of Artaria a few weeks later, as did also -Suessmayr's; Beethoven's name in the advertisement being in large and -conspicuous type. - -As the year began with the first, so it closed with Beethoven's -second appearance in public as composer and virtuoso; and here is the -advertisement of the performance from the "Wiener Zeitung" of December -16: - -BEETHOVEN PAYS TRIBUTE TO HAYDN - - Next Friday, the 18th instant, Mr. the Chapelmaster Haydn will - give a grand musical concert in the small Redoutensaal, at which - Mad. Tomeoni and Mr. Mombelli will sing. Mr. van Beethoven will - play a Concerto of his composing on the Pianoforte, and three - grand symphonies, not yet heard here, which the Chapelmaster - composed during his last sojourn in London, will be performed. - -One would gladly know what concerto was played.[74] But there was -little public criticism then outside of London and very rarely any -in Vienna. The mere fact of the appearance of Beethoven at his old -master's concert is, however, another proof that too much stress has -been laid upon a hasty word spoken by him to Ries. Haydn wanted that -Beethoven should put "Pupil of Haydn" on the title-page of his first -works. Beethoven was unwilling to do so because, as he said, "though he -had taken some lessons from Haydn he had never learned anything from -him." Nothing could be more natural than for Haydn, knowing nothing -of the studies of his pupil with Schenk, to express such a wish in -relation to the Sonatas dedicated to him, and equally natural that the -author should refuse; but to add to the attractions of the concert was -a very different matter--a graceful and delicate compliment which he -could with pleasure make. - -This chapter may appropriately close with the one important family -event of this year. The father, the mother, two infant brothers and two -infant sisters slept in the churchyard at Bonn; but Ludwig, Caspar and -Johann were never more to look upon their graves. The three brothers -were now reunited. Vienna had become their new home and not one of them -beheld the rushing Rhine again. - -FOOTNOTES: - -[70] Though Thayer fixed the date of this letter in May or June, 1794, -Dr. Deiters believed that it was of a much earlier date; and may, -indeed, have been written before Beethoven went to Vienna. For his -theory Dr. Deiters found a plausible argument in the spelling of the -name with a "w" instead of a "v," and the reiterated references to a -misunderstanding which had long been made right. The letter has no date -or superscription and Wegeler assumed that it was the continuation -of one whose first page had been lost. If the letter was written in -Bonn it would prove that the Rondo (probably that in G for Pianoforte -and Violin, B. and H. Series XII, No. 102) was composed before the -beginning of the Viennese period; which might well be. The Sonata is -probably the unfinished one in C, dedicated to Eleonore von Breuning. - -[71] This was done by Wegeler's grandson, Carl Wegeler, in an essay -published in the "Coblenz Zeitung" on May 20, 1890. - -[72] An early example of Beethoven's fondness for punning. _Stechen_ -means many things in German--among them to sting, stab, tilt in a -tournament, take a trick at cards--as well as to engrave, or cut in -metal. - -[73] The son of Artaria told Nohl that his father had told him that he -got the money to pay Beethoven without the composer's knowledge from -Prince Lichnowsky. - -[74] It was probably that in B-flat. See Nottebohm's "Zweite -Beethoveniana," page 72. - - - - -Chapter XIV - - The Years 1796 and 1797--Beethoven in Prague and Berlin--King - Frederick William II and Prince Louis Ferdinand--Himmel, Fasch and - Zelter--Compositions and Publications. - - -The narrative resumes its course with the year 1796, the twenty-sixth -of Beethoven's life and his fourth in Vienna. If not yet officially, -he was _de facto_ discharged from his obligations to the Elector -Maximilian and all his relations with Bonn and its people were broken -off. Vienna had become his home, and there is no reason to suppose that -he ever afterwards cherished any real and settled purpose to exchange -it for another--not even in 1809 when, for the moment, he had some -thought of accepting Jerome Bonaparte's invitation to Cassel. - -He had now entered his course of contrapuntal study with -Albrechtsberger; he was first of the pianoforte players of the capital -and his name added attraction even to the concert which Haydn, -returning again from his London triumphs, had given to introduce -some of his new works to the Viennese; his "master-hand" was already -publicly recognized in the field of musical composition; he counted -many nobles of the higher ranks in his list of personal friends and -had been, perhaps even now was, a member of Prince Carl Lichnowsky's -family. The change in his pecuniary condition might have thrown a more -equitable temperament than his off its balance. Three years ago he -anxiously noted down the few kreutzers occasionally spent for coffee -or chocolate "fuer Haidn und mich"; now he keeps his own servant and a -horse. His brothers, if at all a burden, were no longer a heavy one. -Carl Caspar, according to the best information now obtainable, soon -gained moderate success in the musical profession and, with probably -some occasional aid from Ludwig both pecuniary and in obtaining pupils, -earned sufficient for his comfortable support; while Johann had secured -a situation in that apothecary shop "Zum Heiligen Geist" which, in -1860, was still to be seen in the Kaernthnerstrasse near the former -site of the gate of that name.[75] His wages were, of course, small and -we shall soon see that Ludwig offers him assistance if needed, though -not to Karl; but Johann's position gradually improved and he was able -in a few years to save enough to enable him, unaided by his brother, to -purchase and establish himself in a business of his own.[76] - -"Fate had become propitious to Beethoven"; and a final citation from -the memorandum book will show in what spirit he was determined to -merit the continuance of Fortune's favor. If we make allowance for the -old error as to his real age, this citation may belong to a period a -year or two later; but may it not be one of those extracts from books -and periodical publications which all his life long he was so fond of -making? This seems to be the more probable supposition. The words are -these: "Courage! In spite of all bodily weaknesses my spirit shall -rule. You have lived 25 years. This year must determine the complete -man. Nothing must remain undone." - -And now let the chronological narrative of events be resumed. As the -year 1795 had ended with a public appearance of Beethoven as pianoforte -player and composer, so also began the year 1796; and, as on a former -occasion in a concert by Haydn, so this time he played at a concert -given by a singer, Signora Bolla, who afterward became famous, in the -Redoutensaal. Again he played a pianoforte concerto. - -MEETING OF FRIENDS IN NUREMBERG - -"In 1796," says Wegeler ("Nachtraege," p. 18), "the two older Breuning -brothers, Christoph and Stephan, find him (Beethoven) at Nuremberg -on a return journey to Vienna. Which journey is not specified. None -of the three having a passport from Vienna they were all detained at -Linz, but soon liberated through my intervention at Vienna." And from -a letter written by Stephan von Breuning to his mother, dated January, -1796, Wegeler quotes: "From Nuremberg, Beethoven travelled all the way -in company with us. The three Bonnians thus attracted the attention -of the police, who thought they had made a wonderful discovery. I do -not believe that there could be a less dangerous man than Beethoven." -Wegeler's suggestion that Beethoven was returning "perhaps from Berlin" -is of course out of the question. But between the date of Haydn's -concert (December 18th) and Stephan von Breuning's letter, if written -towards the end of January, there was ample time, even in those days of -post-coaches, for a journey to Prague and thence across the country -to Mergentheim or Ellingen, at that time the temporary residences of -Elector Maximilian. The necessity of Beethoven's knowing precisely in -what relation he was to stand with the Elector in the future, accounts -sufficiently for his being in Nuremberg at that time, especially if -he had had occasion to visit Prague during the Christmas holidays, -which is not improbable. Dlabacz, in his "Kuenstler-Lexikon," has a -paragraph of which this is a part: "v. Beethoven, a Concertmaster on -the pianoforte. In the year 1795, he gave an academy in Prague at -which he played with universal approval." It is true that Dlabacz may -here record a concert given during Beethoven's stay in the Bohemian -capital some weeks later; but, on the one hand, no other notice of -such a concert has been discovered; and, on the other, the "universal -approval" on this occasion may have been an inducement for him to -return thither so soon. - -At all events, his delay in Vienna after coming from Nuremberg was -short and was doubtless occupied with the last corrections of the -Sonatas, Op. 2, dedicated to Haydn, the six Menuets (second part), the -Variations on the theme from "Le Nozze disturbate" and those on "Nel -cor piu non mi sento," all of which works are advertised in the "Wiener -Zeitung" in the course of the next two months, while their author was -again in Prague or cities farther North. For the following letter we -are indebted to Madame van Beethoven, widow of the composer's nephew, -Carl: - - To my brother Nicholaus Beethoven - - to be delivered at the apothecary shop at the Kaernthner Thor Mr. - von Z.[77] will please hand this letter to the wig-maker who will - care for its delivery. - - Prague, February 19th (1796). - - Dear Brother! - - So that you may at least know where I am and what I am doing - I must needs write you. In the first place I am getting on - well--very well. My art wins for me friends and respect; what more - do I want? This time, too, I shall earn considerable money. I - shall remain here a few weeks more and then go to Dresden, Leipsic - and Berlin. It will probably be six weeks before I shall return. I - hope that you will be more and more pleased with your sojourn in - Vienna; but beware of the whole guild of wicked women. Have you - yet called on Cousin Elss? You might write to me at this place if - you have inclination and time. - - F. Linowsky will probably soon return to Vienna; he has already - gone from here. If you need money you may go to him boldly, for he - still owes me some. - - For the rest I hope that your life will grow continually in - happiness and to that end I hope to contribute something. - Farewell, dear brother, and think occasionally of - - Your true, faithful brother - L. Beethoven. - - Greetings to Brother Caspar. - My address is The Golden Unicorn - on the Kleinseite. - -A debt of gratitude is certainly due Johann van Beethoven for having -carefully preserved this letter for full half a century and leaving it -to his heirs, notwithstanding all the troubles which afterwards arose -between the brothers, since it is hardly more valuable and interesting -for the facts which it states directly than for what it indicates and -suggests more or less clearly. - -A SOJOURN IN PRAGUE AND ITS FRUITS - -It, with other considerations, render it well nigh certain that -Beethoven had now come to Prague with Prince Lichnowsky as Mozart had -done, seven years before, and that upon leaving Vienna he had had -no intention of pursuing his journey farther; but encouraged by the -success thus reported to his brother, he suddenly determined to seek -instruction and experience, pleasure, profit and fame in an extended -tour. Had he projected this journey already in Vienna, how could all -recollection of it have been lost by Wegeler? How could von Breuning -in the letter cited above have omitted all mention of it? Nor is it -possible to think that Beethoven, still so young and still so unknown -outside the Austrian and Bohemian capitals, having so many powerful and -influential friends there, and there only, could at this time have gone -forth to seek elsewhere some permanent position with a fixed salary. -The remarks which have been preserved, made by him in writing or -conversation, expressing a desire for such an appointment, all belong -to a later period, and cannot by any torture of language be made to -refer to this, when he was looking into the future with well-grounded -hopes and serene confidence of advancement in his new home. Vienna -seemed to offer him all his ambition could crave; why should he seek -his fortune beyond her walls? - -It is pleasant to note his care for the welfare of his brother Johann, -which care, doubtless, the other brother did not need. But how could -Prince Lichnowsky have been indebted to Ludwig? - -The musical public of Prague was the same that had so recently honored -itself by its instant and noble appreciation of Mozart, and had given -so glorious a welcome to "Figaro," "Don Giovanni" and "Titus." There -being no royal or imperial court there, and the public amusements being -less numerous than in Vienna, the nobility were thrown more on their -own resources for recreation; and hence, besides the traditional taste -of the Bohemians for instrumental music, their capital was, perhaps, -a better field for the virtuoso than Vienna. No notice of any public -concert given by Beethoven on this visit has been discovered, either in -the newspapers of the time or in the reminiscences of Thomaschek and -others; and "the considerable money" earned "this time" must have been -the presents of the nobility for his performances in their salons, and, -perhaps, for compositions. - -The conception of the aria "Ah, perfido! spergiuro" is generally -associated with Beethoven's sojourn in Prague. The belief rests upon -the fact that upon the cover of a copy which he revised Beethoven -wrote the words "Une grande Scene mise en musique par L. v. Beethoven -a Prague, 1796." On the first page is written: _Recitativo e Aria -composta e dedicata alla Signora Contessa di Clari da L. v. Beethoven_. -The opus number, 46, in this title is in the handwriting of Al. Fuchs, -who owned a copy. Now, on November 21st, 1796, Madame Duschek, the well -known friend of Mozart, at a concert in Leipsic sang "An Italian Scena -composed for Madame Duschek by Beethoven," and it was easy to conclude -that the aria was really written by Beethoven for Madame Duschek. On a -page of sketches preserved in Berlin among others there are sketches -belonging to "Ah, perfido!" which do not agree with the printed page. -On the lower margin of the first page is the remark: _pour Mademoiselle -la Comtesse de Clari_. Nottebohm is led by these things to surmise that -the aria was written in Vienna in 1795, before the visit to Prague. -In any case, we are permitted to associate the date 1796 only with -the completion of the work in Prague; and the purpose may well have -been to have it sung by Madame Duschek, who is thus proved to have -belonged to the circle of Beethoven's friends in Prague. Nevertheless, -the aria was originally intended for the Countess Josephine Clari, a -well known amateur singer who married Count Christian Clam-Gallas in -1797. The scena first appeared in print in the fall of 1805, when it -was published in a collection made by Hoffmeister and Kuehnel. Beethoven -placed it upon the programme of his concert in 1808. - -Another family in which Beethoven was received on the footing of a -friend was that of Appellate Councillor Kanka. Both father and son -were dilettante composers and instrumental players--the father on the -violoncello, the son on the pianoforte. Gerber gives them a place -in his Lexicon. "Miss Jeanette" (the daughter), says the eulogistic -Schoenfeld, "played the pianoforte with great expression and skill." The -son adopted his father's profession, became a distinguished writer on -Bohemian law, and in later years did Beethoven good service as legal -adviser. - -There is in the Artaria collection, a thick fascicle of sketches and -musical fragments from Beethoven's hand in which papers from the Bonn -period down to the close of the century are stitched together in such -disorder as to show that they were thus joined merely for preservation. -One sheet of mere sketches bears, if correctly deciphered, this -inscription: "Written and dedicated to Gr. C. G. as a souvenir of his -stay in P." On the fourth page of the sheet stands "these 4 Bagtalles -by B." with something more illegible. May not some yet unknown -composition of Beethoven be still in the possession of the family -Clam-Gallas? Count Christian and his two daughters are numbered by -Schoenfeld among the fine pianoforte players of Prague, and these few -notices exhaust the information obtained upon this visit of Beethoven -there. His next appearance is in Berlin. No record has been found of -the proposed visit to either Dresden or Leipsic, although his journey, -it would seem, must have taken him through the Saxon capital. - -INCIDENTS OF A VISIT TO BERLIN - -In after years he was fond of talking about his sojourn in Berlin, and -some particulars have thus been preserved. "He played," says Ries, - - several times at court (that of King Frederick William II), where - he played the two grand sonatas with _obbligato_ violoncello, - Op. 5, written for Duport, first violoncellist of the King, and - himself. On his departure he received a gold snuff-box filled - with Louis d'ors. Beethoven declared with pride that it was not - an ordinary snuff-box, but such an one as it might have been - customary to give to an ambassador. - -This king shared his uncle Frederick II's love for music, while -his taste was better and more cultivated. His instrument was the -violoncello, and he often took part in quartets and sometimes in the -rehearsals of Italian operas. He exerted a powerful and enduring -influence for good upon the musical taste of Berlin. It was he -who caused the operas of Gluck and Mozart to be performed there -and introduced oratorios of Handel into the court concerts. His -appreciation of Mozart's genius, and his wish to attach that great -master to his court, are well known; and these facts render credible a -statement with which Carl Czerny closes a description of Beethoven's -extemporaneous playing contributed to Cock's "London Musical -Miscellany" (August 2nd, 1852): - - His improvisation was most brilliant and striking. In whatever - company he might chance to be, he knew how to produce such an - effect upon every hearer that frequently not an eye remained - dry, while many would break out into loud sobs; for there was - something wonderful in his expression in addition to the beauty - and originality of his ideas and his spirited style of rendering - them. After ending an improvisation of this kind he would burst - into loud laughter and banter his hearers on the emotion he had - caused in them. "You are fools!" he would say. Sometimes he would - feel himself insulted by these indications of sympathy. "Who can - live among such spoiled children?" he would cry, and only on - that account (as he told me) he declined to accept an invitation - which the King of Prussia gave him after one of the extemporary - performances above described. - -Chapelmaster Reichardt had withdrawn himself from Berlin two years -before, having fallen into disfavor because of his sympathy with the -French Revolution. Neither Himmel nor Righini, his successors, ever -showed a genius for chamber music of a high order, and, indeed, there -was no composer of reputation in this sphere then living in that -quarter. The young Beethoven by his two sonatas had proved his powers -and the King saw in him precisely the right man to fill the vacancy--no -small proof of superior taste and judgment. What the German expression -was which the translator of Czerny's letter has rendered "accept an -invitation which the King gave him" there is no means of knowing; but -as it stands it can only mean an invitation to enter permanently into -his service. The death of the King the next year, of course, prevented -its being ever renewed. - -Friedrich Heinrich Himmel, five years older than Beethoven, whom -the King had withdrawn from the study of theology and caused to be -thoroughly educated as a musician, first under Naumann in Dresden and -afterwards in Italy, had returned the year before and had assumed his -duties as Royal Pianist and Composer. As a virtuoso on his instrument -his only rival in Berlin was Prince Louis Ferdinand, son of Prince -August and nephew of Frederick II, two years younger than Beethoven and -endowed by nature with talents and genius which would have made him -conspicuous had fortune not given him royal descent. He and Beethoven -became well known to each other and each felt and did full justice to -the other's musical genius and attainments. Now let Ries speak again: - -MEETINGS WITH HIMMEL, FASCH AND ZELTER - - In Berlin he (Beethoven) associated much with Himmel, of whom he - said that he had a pretty talent, but no more; his pianoforte - playing, he said, was elegant and pleasing, but he was not to - be compared with Prince Louis Ferdinand. In his opinion he paid - the latter a high compliment when once he said to him that his - playing was not that of a king or prince but more like that of a - thoroughly good pianoforte player. He fell out with Himmel in the - following manner: One day when they were together Himmel begged - Beethoven to improvise; which Beethoven did. Afterwards Beethoven - insisted that Himmel do the same. The latter was weak enough - to agree; but after he had played for quite a time Beethoven - remarked: "Well, when are you going fairly to begin?" Himmel - had flattered himself that he had already performed wonders; he - jumped up and the men behaved ill towards each other. Beethoven - said to me: "I thought that Himmel had been only preluding a - bit." Afterwards they were reconciled, indeed, but Himmel could - never forgive or forget[78]. They also exchanged letters until - Himmel played Beethoven a shabby trick. The latter always wanted - to know the news from Berlin. This bored Himmel, who at last - wrote that the greatest news from Berlin was that a lamp for the - blind had been invented. Beethoven ran about with the news and - all the world wanted to know how this was possible. Thereupon he - wrote to Himmel that he had blundered in not giving more explicit - information. The answer which he received, but which does not - permit of communication, not only put an end to the correspondence - but brought ridicule upon Beethoven, who was so inconsiderate as - to show it then and there. - -With Carl Friedrich Christian Fasch and Carl Friedrich Zelter he also -made a friendly acquaintance, and twice at least attended meetings of -the Singakademie, which then numbered about 90 voices. The first time, -June 21st, says the "Geschichte der Singakademie": - - A chorale, the first three numbers of the mass and the first six - of the 119th Psalm were sung for him. Hereupon he seated himself - at the pianoforte and played an improvisation on the theme of the - final fugue: "Meine Zunge ruehmt im Wettgesang dein Lob." The last - numbers of "Davidiana" (a collection of versets by Fasch) formed - the conclusion. No biographer has mentioned this visit or even his - sojourn in Berlin. Nor does Fasch pay special attention to it; - but the performance must have pleased, for it was repeated at the - meeting on the 28th. - -The performance of the Society must also have pleased Beethoven, and -with good reason; for Fasch's mass was in sixteen parts and the psalm -and "Davidiana," in part, in eight; and no such music was then to be -heard elsewhere north of the Alps. - -In 1810, Beethoven, speaking of his playing on that occasion, told -Mme. von Arnim (then Elizabeth Brentano) that at the close his hearers -did not applaud but came crowding around him weeping; and added, -ironically, "that is not what we artists wish--we want applause!" -Fasch's simple record of Beethoven's visit is this: - - June 21, 1796. Mr. van Beethoven extemporized on the "Davidiana," - taking the fugue theme from Ps. 119, No. 16.... Mr. Beethoven, - pianist from Vienna, was so accommodating as to permit us to hear - an improvisation. . . . June 28, Mr. van Beethoven was again so - obliging as to play an improvisation for us. - -Early in July, the King left Berlin for the baths of Pyrmont, the -nobility dispersed to their estates or to watering-places, and the -city "was empty and silent." Beethoven, therefore, could have had no -inducement to prolong his stay; but the precise time of his departure -is unknown. Schindler names Leipsic as one of the cities in which, -during this tour, Beethoven "awakened interest and created a sensation -by his pianoforte playing, and, particularly, by his brilliant -improvisation"; but no allusion in any public journal of that or any -subsequent period, not even the faintest tradition, has been discovered -to confirm the evidently erroneous statements. Moreover, Rochlitz in -his account of a visit to the composer in 1822 remarks, "I had not yet -seen Beethoven"; and again, "It was only as a youth that he ... passed -through (Leipsic)." So, until some new discovery be made, this must -also find its place in the long list of Schindler's mistakes. - -Notwithstanding Wegeler's statement ("Notizen," 28) that he left -Beethoven a member of the family of Prince Lichnowsky "in the middle -of 1796," it is as certain as circumstantial evidence can well make -it that the Doctor and Christoph von Breuning had returned to Bonn -before Beethoven reached Vienna again; but Stephan and Lenz were still -there. The former obtained at this time an appointment in the Teutonic -Order, which so many of his ancestors had served, and his name appears -in the published "Calendars of the Order" from 1797 to 1803, both -inclusive, as "Hofrathsassessor." He then soon departed from Vienna to -Mergentheim, whence he wrote (November 23rd) with other matters the -following upon Beethoven to Wegeler and Christoph: - - I do not know whether or not Lenz has written you anything about - Beethoven; but take notice that I saw him in Vienna and that - according to my mind, which Lenz has confirmed, he has become - somewhat staider, or, perhaps I should say, has acquired more - knowledge of humanity through travels (or was it because of the - new ebullition of friendship on his arrival?) and a greater - conviction of the scarceness and value of good friends. A hundred - times, dear Wegeler, he wishes you here again, and regrets nothing - so much as that he did not follow much of your advice. ("Notizen," - page 19.) - -Except this notice of his bearing and demeanor, there is a complete -hiatus in Beethoven's history from his appearance in the Singakademie -until the following November. The so-called Fischoff Manuscript has, -it is true, a story of a "dangerous illness" which was caused by his -own imprudence this summer; but as it is in date utterly irreconcilable -with other known facts, it will receive its due consideration -hereafter. The most plausible suggestion is that coming back, flushed -with victory, with the success of his tour and delighted with the -novelty of travelling at his ease, he made that excursion to Pressburg -and Pesth of which afterwards Ries was informed and made record -("Notizen," page 109), but of which no other account is known. - -ATTEMPTS AT PATRIOTIC MUSIC - -And thus we come to November. This was the year of that astounding -series of victories ending at Arcole, gained by the young French -general Napoleon Bonaparte. The Austrian government and people alike -saw and feared the danger of invasion, a general uprising took place -and volunteer corps were formed in all quarters. For the Vienna corps, -Friedelberg wrote his "Abschiedsgesang an Wiens Buerger beim Auszug -der Fahnen-Division der Wiener Freiwilliger," and Beethoven set it -to music. The original printed edition bears date "November 15, -1795." It does not appear to have gained any great popularity, and -a drinking-song ("Lasst das Herz uns froh erheben") was afterwards -substituted for Friedelberg's text, and published by Schott in Mayence. - -The rapid progress of the French army had caused the Germans in Italy -to become distrustful of the future and to hasten homeward. Among them -were Beethoven's old companions in the Bonn orchestra, the cousins -Andreas and Bernhard Romberg, who in the spring of this year (May -26th), had kissed the hand of the Queen of Naples, daughter of the -Empress Maria Theresia, and then departed to Rome to join another -friend of the Bonn period, Karl Kuegelgen. The three coming north -arrived at Vienna in the autumn; the Rombergs remained there for a -space with Beethoven, while Kuegelgen proceeded to Berlin. Baron von -Braun--not to be mistaken for Beethoven's "first Maecenas" the Russian -Count Browne--had heard the cousins the year before in Munich and -invited them "to give Vienna an opportunity to hear them." There is no -notice of their concert in the Vienna newspapers of the period, and the -date is unknown. From Lenz von Breuning is gleaned an additional fact -which alone gives interest to the concert for us. He writes to Wegeler -in January, 1797--not 1796, as erroneously printed in the appendix to -the "Notizen," page 20--and after the meeting with the von Breunings at -Nuremberg: - - Beethoven is here again;[79] he played in the Romberg concert. He - is the same as of old and I am glad that he and the Rombergs still - get along with each other. Once he was near a break with them; I - interceded and achieved my end to a fair extent. Moreover, he - thinks a great deal of me just now. - -It it clear that the Rombergs, under the circumstances, must have -largely owed their limited success to Beethoven's name and influence. -In February, 1797, they were again in their old positions in -Schroeder's orchestra in Hamburg. - -Beethoven during this winter must be imagined busily engaged with -pupils and private concerts, perhaps also with his operatic studies -with Salieri, certainly with composition and with preparation for and -the oversight of various works then passing through the press; for in -February and April, Artaria advertises the two Violoncello Sonatas, Op. -5, the Pianoforte Sonata for four hands, Op. 6, the Trio, Op. 3, the -Quintet, Op. 4, and the Twelve Variations on a Danse Russe; these last -are the variations which he dedicated to the Countess Browne and which -gave occasion for the anecdote related by Ries illustrating Beethoven's -forgetfulness; for this dedication he had - - received a handsome riding-horse from Count Browne as a gift. - He rode the animal a few times, soon after forgot all about - it and, worse than that, its food also. His servant, who soon - noticed this, began to hire out the horse for his own benefit - and, in order not to attract the attention of Beethoven to the - fact, for a long time withheld from him all bills for fodder. At - length, however, to Beethoven's great amazement he handed in a - very large one, which recalled to him at once his horse and his - neglectfulness. ("Notizen," page 120.) - -On Thursday, April 6, 1797, Schuppanzigh gave a concert, on the -programme of which Beethoven's name figured twice. Number 2 was an -"Aria by Mr. van Beethoven, sung by Madame Tribolet (-Willmann);" No. -3 was "a Quintet for Pianoforte and 4 wind-instruments, played and -composed by Mr. L. v. Beethoven." This was the beautiful Quintet, Op. -16, the time of whose origin is thus more definitely indicated than in -the "Chronologisches Verzeichniss," a fact for which we are indebted to -Nottebohm. - -But the war was renewed and the thoughts of the Viennese were occupied -with matters more serious than the indulgence of their musical taste. -On the 16th of March, Bonaparte forced the passage of the Tagliamento -and Isonzo. During the two weeks following he had conquered the -greater part of Carniola, Carinthia and the Tyrol, and was now rapidly -approaching Vienna. On the 11th of February, Lorenz Leopold Hauschka's -"Gott erhalte unsern Kaiser" with Haydn's music had been sung for the -first time in the theatre and now, when, on April 7th, the Landsturm -was called out, Friedelberg produced his war-song "Ein grosses, -deutsches Volk sind wir," to which Beethoven also gave music. The -printed copy bears date April 14th, suggesting the probability that it -was sung on the occasion of the grand consecration of the banners which -took place on the Glacis on the 17th. Beethoven's music was, however, -far from being so fortunate as Haydn's, and seems to have gained as -little popularity as his previous attempt; but as the preliminaries to -a treaty of peace were signed at Leoben on the 18th, and the armies, so -hastily improvised, were dismissed three weeks afterwards, the taste -for war-songs vanished. - -A QUIET AND UNEVENTFUL PERIOD - -The little that is known of Beethoven's position as a teacher at this -period is very vague and unsatisfactory; enough, however, to render it -sufficiently certain that he had plenty of pupils, many of them young -ladies of high rank who paid him generously. In the triple capacity of -teacher, composer and pianist his gains were large and he was able to -write in May to Wegeler that he was doing well and steadily better. - -It is very possible that the illness mentioned by the Fischoff -Manuscript may have occurred during this summer. There can be little -doubt that the original authority for the statement is Zmeskall, and -therefore the fact of such an attack may be accepted as certain, -but the date--being, as there given, clearly wrong, as well as -the inference that in it lay the original cause of the composer's -subsequent loss of hearing--must be left mainly to conjecture. From May -to November, 1797, Beethoven's history is still a blank and nothing but -the utter silence of Lenz von Breuning in his correspondence with his -family at Bonn on a topic so likely to engage his sympathies as the -dangerous illness of his friend, appears to prevent the filling of this -blank in part by throwing him upon a bed of sickness. True, Lenz may -have written and the letter have been lost or destroyed; or he may have -neglected to write because of his approaching departure from Vienna, -which took place in the autumn. His album, still preserved, has among -its contributors Ludwig and Johann van Beethoven and Zmeskall. Ludwig -wrote as follows: - - Truth exists for the wise, - Beauty for a feeling heart: - They belong to each other. - - Dear, good Breuning; - - Never shall I forget the time which I spent with you in Bonn as - well as here. Hold fast your friendship for me; you will always - find me the same. - - Vienna 1797 - the 1st of October. - Your true friend - L. v. Beethoven. - -They never met again. Lenz died on April 10th of the following year. -In November, Beethoven enjoyed a singular compliment paid him by the -association of the Bildende Kuenstler--a repetition of his minuets and -trios composed two years before for the artists' ball; and on the 23rd -of December, he again contributed to the attractions of the Widows' and -Orphans' Concert by producing the Variations for two Oboes and English -Horn on "La ci darem la mano," played by Czerwenka, Reuter and Teimer. -His publications in 1797, besides those mentioned at the beginning of -the year, were the Twelve Variations for Pianoforte and Violoncello on -the theme from Handel's "Judas Maccabaeus," precise date unknown; the -Pianoforte Sonata, Op. 7; and the Serenade, Op. 8, both advertised by -Artaria and Co., October 7th. Finally, the Rondo in C, Op. 51, No. 1, -published by Artaria with the catalogue number 711. - - * * * * * - -We come to a consideration of the facts touching the compositions of -the years 1796 and 1797. - -THE COMPOSITION OF "ADELAIDE" - -Among the most widely known of these is "Adelaide." The composition -of this song must have been begun in the first half of 1795, if not -earlier, for sketches of it are found among the exercises in double -counterpoint written for Albrechtsberger. Other sheets containing -sketches for "Adelaide" and the setting of Buerger's "Seufzer eines -Ungeliebten" are preserved in the library of the Gesellschaft der -Musikfreunde in Vienna and the British Museum in London. The song was -published by Artaria in 1797, under the title "Adelaide von Matthisson. -Eine Kantate fuer eine Singstimme mit Begleitung des Klaviers. In Musik -gesetzt und dem Verfasser gewidmet von Ludwig van Beethoven." The opus -number 46 was given to it later. In 1800 Beethoven sent a copy of the -song to the poet and accompanied it with the following letter: - - Most honored Sir! - - You are herewith receiving from me a composition which has been - in print for several years, but concerning which you probably, to - my shame, know nothing. Perhaps I can excuse myself and explain - how it came about that I dedicated something to you which came so - warmly from my heart yet did not inform you of the fact, by saying - that at first I was unaware of your place of residence, and partly - also I was diffident, not knowing but that I had been over-hasty - in dedicating a work to you without knowing whether or not it met - with your approval. - - Even now I send you "Adelaide" with some timidity. You know what - changes are wrought by a few years in an artist who is continually - going forward; the greater the progress one makes in art the less - one is satisfied with one's older works. My most ardent wish will - be fulfilled if my musical setting of your heavenly "Adelaide" - does not wholly displease you, and if it should move you soon to - write another poem of its kind, and you, not finding my request - too immodest, should send it to me at once, I will put forth all - my powers to do your beautiful poetry justice. Look upon the - dedication as partly a token of the delight which the composition - of your A. gave me, partly as an evidence of my gratitude and - respect for the blessed pleasure which your poetry has always - given, _and always will_ give me. - - Vienna, August 4th, 1800. - - When playing "Adelaide" sometimes recall - your sincere admirer - - Beethoven. - -Whether or not Matthisson answered this letter is not known; but when -he republished "Adelaide" in the first volume of his collected poems -in 1815, he appended to it a note to this effect: "Several composers -have vitalized this little lyric fantasy with music; but according to -my strong conviction none of them so threw the text into the shade -with his melody as the highly gifted Ludwig van Beethoven in Vienna." -The "Opferlied," the words of which were also written by Matthisson, -is one of the poems to which Beethoven repeatedly recurred. "It seems -always to have presented itself to him as a prayer," says Nottebohm. -Its last words, "The beautiful to the good," were written in autograph -albums even in his later years. The origin of the composition is to -be ascribed to 1795, as Nottebohm enters it in his catalogue. It was -thus possible for Wegeler to know it in 1797, when he put a Masonic -text under the music. It had not yet been published at that time, -however, which fact accounts for the discovery of sketches for it in a -sketchbook of 1798-1799 described by Nottebohm. - -It was not published until later, probably in 1808, when it came with -two other songs from the press of Simrock. Beethoven composed the -poem a second time, utilizing the beginning of his first melody, for -solo, chorus and orchestra (Op. 121b). To this setting we shall recur -hereafter. There is still another song which must be brought into the -story of this period. It is the "Seufzer eines Ungeliebten," with -its two parts based on two independent but related poems by Buerger. -Particular interest attaches to the second part, "Gegenliebe," from -the fact that its melody was used afterward by Beethoven for the -variations in the "Choral Fantasia," Op. 80. Sketches for this melody -are found associated with sketches for "Adelaide" on a sheet in the -archives of the Gesellschaft der Musikfreunde. Nottebohm fixes the year -of the song's origin as 1795. It was first published as late as 1837 -by Diabelli along with the song, "Turteltaube, du klagest," which was -composed much later. The Italian song, "O care selve, o cara felice -liberta" (from Metastasio's "Olimpiade"), entered under number 1264 -in Thayer's "Chronologisches Verzeichniss," appears as a chorus for -three voices at the end of the Albrechtsberger exercises, and hence -may be placed in the year 1795, as is done by Nottebohm, who adds that -it originated simultaneously with the setting of "Wer ist ein freier -Mann?" Here mention must also be made of two arias which Beethoven -wrote for introduction in Umlauf's comic opera "Die schoene Schusterin." -These songs were assigned to the Bonn period in the first edition of -this biography because the opera was performed in Bonn in the years -1789 and 1790. The two songs composed by Beethoven are an arietta, or -rather strophic song, "O welch' ein Leben," for tenor, and an aria, -"Soll ein Schuh nicht druecken?" for soprano. The words of the latter -are in the original libretto. The words of the tenor song, though -not part of the original text, were obviously written for the opera. -The melody was afterward used by Beethoven as a setting for Goethe's -"Mailied," published in 1805, as Op. 52. Both songs, as written for the -opera, were published for the first time in the Complete Edition of -Beethoven's works from the copies preserved in the Berlin Library. - -NUMEROUS PIECES OF CHAMBER MUSIC - -Most important of the instrumental compositions of this period is -the Quintet for Strings, Op. 4, which is frequently set down as an -arrangement (or revised transcription) of the Octet, Op. 103. The -Quintet, however, though it employs the same motivi as the Octet, is an -entirely new work, made so by the radical changes of structure--changes -of register to adapt the themes to the stringed instruments and changes -in the themes themselves. The origin of the Quintet can be placed -anywhere in the period from 1792 (when the Octet was probably begun) to -the beginning of 1797, when the Quintet was advertised as "wholly new." -There is a clue in the Wegeler anecdote already related in connection -with the String Trio, Op. 3, in the chapter of this work devoted to the -works composed in Bonn. In 1795, Count Appony commissioned Beethoven to -compose a quartet, the honorarium being fixed. Wegeler's recollection -was that Beethoven twice undertook the task; but the first effort -resulted in the String Trio and the second in "a quintet (Op. 4)." -There is not sufficient internal evidence to reject the story so far as -it affects the Quintet (the Trio has already been subjected to study), -and from its structure it might well be argued that the composition was -undertaken as a quartet and expanded into a quintet in the hands of -the composer. If Count Appony's commission was given in 1795, the date -of the completion of the Quintet may be set down as 1796. Artaria, who -published the work, advertised it in the "Wiener Zeitung" of February -8th, 1797. - -The two Sonatas for Pianoforte and Violoncello, Op. 5, belong to the -year 1796, and are the fruits of the visit to Berlin. There is no -reason to question Ries's story that Beethoven composed them for Pierre -Duport and played them with him. The dedication to Friedrich Wilhelm -II and the character of the works lend credibility to Ries's account -of their origin. Beethoven played them with Bernhard Romberg in Vienna -at the close of 1796 or beginning of 1797, and they were published -soon afterward, being advertised by Artaria in the "Wiener Zeitung" -of February 8th, 1797. The Twelve Variations on a theme from Handel's -"Judas Maccabaeus," were published by Artaria in 1797, dedicated to the -Princess Lichnowsky, _nee_ Countess Thun. There were no performances -of Handel's oratorios in Vienna at this time, but it is not improbable -that the suggestion for the Variations came from Baron van Swieten. - -Here seems to be the place to refer to the Allegro movement in -sonata-form for viola and violoncello which Beethoven gave the title, -"Duett mit zwei Augenglaesern obbligato von L. v. Beethoven" (Duet -with two Eyeglasses obbligato, by L. v. Beethoven), to be found in -the volume of sketches from this period (1784-1800) which the British -Museum bought from J. N. Kafka in 1875.[80] There ought to be a hint -as to the identity of the two players "with two eyeglasses obbligato." -Here is also the place for the three Duos for Clarinet and Bassoon -first published by Andre in Offenbach. The Sextet for Wind-Instruments -published by Breitkopf and Haertel in 1810 (it received the opus number -71 later), belongs to this period. Sketches for the last movement, -which differ from the ultimate form, however, are found amongst the -sketches for the Pianoforte Sonata, Op. 10, No. 3. The inception of -the Sonata must fall sometime between the middle of 1796 and the -middle of 1798, since the subscription for it was opened in the -beginning of July, 1798, and other works of a similar character were -already completed in 1797. It is, therefore, possible to place the -origin of the earlier movements of the Sextet in an earlier period, -say 1796-97, a proceeding which is confirmed by the circumstance that -the beginning is found before sketches for "Ah, perfido!" (which was -composed in 1796 at the latest), on a sheet of sketches in the Artaria -collection. The Kafka volume of sketches in the British Museum contains -sketches for the minuet and trio of the Sextet, "Ah, perfido!" and the -Pianoforte Sonata, Op. 49, No. 2. This fact also indicates the year -1796. Beethoven let the work lie a long time. It had its first hearing -at a chamber concert for the benefit of Schuppanzigh in April, 1805; -but it was not until 1809 that he gave it out for publication. On -August 3rd of that year he wrote to Breitkopf and Haertel: "By the next -mail-coach you will receive a song, _or perhaps two_, and a sextet for -wind-instruments," and on August 8th: "The sextet is one of my earlier -things and, moreover, was written in a single night--nothing can really -be said of it beyond that it was written by an author who at least has -produced a few better works; yet for many people such works are the -best." The statement that the work was written in a single night must -be taken in a Pickwickian sense, for sketches of it have been found. - -PREDILECTION FOR WIND-INSTRUMENTS - -It is plain that at this time Beethoven had a particular predilection -for wind-instruments. Erich Prieger owned a fragment of a Quintet in -E-flat for Oboe, three Horns and Bassoon, formerly in the possession -of Artaria. The beginning of the first movement is lacking, but can -be supplied from the repetition in the second part. The Adagio is -intact, but there are only a few measures of the Minuet. Influenced, -no doubt, by the performances of such compositions, Beethoven composed -at this time two works for two oboes and English horn. Nottebohm -surmises that they were instigated by a terzetto for two oboes and -English horn composed by a musician named Wendt and performed at a -concert of the Tonkuenstler-Gesellschaft by three brothers, Johann, -Franz and Philipp Teimer, on December 23rd, 1793. One of the two works, -the Trio which was published as Op. 87, is pretty well known, since -it was made accessible to wider circles by arrangements published in -Beethoven's day and with his approval. Artaria published it in April, -1806, without opus number. He also published it for two violins and -viola as Op. 29, and finally as a Sonata for Pianoforte and Violin. -The last transcription was published first, as stated in Thayer's -Catalogue. Nothing of a historical nature is known of the Variations on -"La ci darem" for the same instruments beyond the fact that they were -performed on December 23rd, 1797, at the concert for the benefit of the -Widows and Orphans in the National Court Theatre. On a free page of -the autograph (after the sixth variation) there are some miscellaneous -sketches, among them a motive for the Adagio of Op. 3, another which -was used in the Serenade, Op. 25, and, more remarkable still, a few -measures of "Adelaide," on which he was at work in 1793, and which -appeared in print in 1797. Obviously, the Variations were finished, and -we may set down at the latest the year 1795 for their beginning. - -The Sextet for four stringed instruments and two horns, Op. 81b, also -belongs to this early period and in all likelihood was conceived before -the Sextet for wind-instruments. Sketches for the first two movements -are upon a sheet in the Berlin library by the side of sketches for the -song, "Seufzer eines Ungeliebten." Sketches for this song keep company -with some for "Adelaide." The Sextet is therefore to be credited to -the year 1795, or perhaps 1794. It was published in 1819 by Simrock -in Bonn. In a letter which Beethoven sent to Simrock with the MS. -(but which has been lost) he had written to the publisher, who was an -admirable horn player, that "the pupil had given his master many a hard -nut to crack." As to whether or not, and if so when and where, the -Sextet had been played before being sent to Simrock there is, as yet, -no conclusive evidence. - -The beautiful Quintet in E flat, Op. 16, for Pianoforte and -Wind-instruments, was played at a concert given by Schuppanzigh on -April 6th, 1797, being number 5 on the programme which described it as -"A Quintet for the Fortepiano accompanied by four Wind-Instruments, -played and composed by Mr. Ludwig van Beethoven." It had probably been -completed not long before. Sketches are found in connection with a -remark concerning the Sonata in C minor, Op. 10, No. 1. - -It was in all probability composed between 1794 and the beginning of -1797. In the minutes of a meeting of the Tonkuenstler-Gesellschaft under -date May 10th, 1797, occurs this entry: "On the second day Mr. van -Beethoven produced a Quintet and distinguished himself in the Quintet -and incidentally by an improvisation." The word "dabey" (incidentally) -seems to indicate that he introduced an improvisation in the Quintet -as he did on a later occasion to the embarrassment of the other -players, but to the delight of the listeners. Ries tells the story in -his "Notizen," p. 79. It was at a concert at which the famous oboist -Friedrich Ramm, of Munich, took part. - - In the final Allegro there occur several holds before a resumption - of the theme. At one of these Beethoven suddenly began to - improvise, took the Rondo as a theme and entertained himself and - the others for a considerable space; but not his associates. They - were displeased, and Ramm even enraged (_aufgebracht_). It really - was comical to see these gentlemen waiting expectantly every - moment to go on, continually lifting their instruments to their - lips, then quietly putting them down again. At last Beethoven was - satisfied and dropped again into the Rondo. The entire audience - was delighted. - -Wasielewski doubts the correctness of the story, since there is but -one hold in the Finale. Dr. Deiters thought that Ries confounded the -last with the first movement, in which the clarinet enters after a -_fermata_. The Quintet was published by Mollo in Vienna in 1801, and -was dedicated to Prince Schwarzenberg. It appeared simultaneously in -one arrangement made by Beethoven himself as a Quartet for Pianoforte -and Strings, as Ries expressly declares. Beethoven had nothing to do -with the arrangement as a String Quartet published by Artaria as Op. 75. - -Touching the history of the Serenade for Violin, Viola and Violoncello, -Op. 8, little else is known beyond the fact that its publication was -announced in the "Wiener Zeitung" on October 7th, 1797, by Artaria. Mr. -Shedlock called attention in the "Musical Times" of 1892 (p. 525) to -sketches which appeared along with others of the Pianoforte Concerto -in B-flat, and the Trio, Op. 1, No. 2. That Beethoven valued the work -highly is a fair deduction from the fact that he published it soon -after its composition and authorized the publication of an arrangement -for Pianoforte and Viola which he had revised. This arrangement -received the opus number 42, though probably not from Beethoven. -Hoffmeister in Leipzig, who published it in 1804, under the title -"Notturno pour Fortepiano et Alto arrange d'un Notturno pour Violon, -Alto et Violoncello et revu par l'auteur--OEuvre 42," advertised it -in the "Intelligenzblatt der Zeitschrift fuer die elegante Welt" on -December 17, 1803. It is this arrangement, no doubt, to which Beethoven -referred in a letter to Hoffmeister, dated September 22nd, 1803, in -which he said: "These transcriptions are not mine, though they were -much improved by me in places. Therefore, I am not willing to have -you state that I made them, for that would be a lie and I could find -neither time nor patience for such work." According to the view of Dr. -Deiters, which was shared also by Nottebohm, the Serenade, Op. 25, -also belongs here. It was probably composed before Op. 8. Beethoven -entrusted its publication in the beginning of 1802 to Cappi, who had -just begun business. Then, like Op. 8, it was published by Hoffmeister -as Op. 41, in an arrangement for Pianoforte and Flute (or Violin), -which, no doubt, was included in Beethoven's protest against being set -down as the transcriber. - -A GROUP OF PIANOFORTE SONATAS - -Prominent among the compositions of this time is the Sonata in -E-flat for Pianoforte, Op. 7. The only evidence of the date of its -composition is the announcement of its publication by Artaria in the -"Wiener Zeitung" of October 7th, 1797. There are sketches for the third -movement in the Kafka volume, but they afford no help in fixing a date. -The Sonata is inscribed to the Countess Babette Keglevich, one of -Beethoven's pupils, who afterwards married Prince Innocenz Odescalchi -in Pressburg. Nottebohm quotes the following from a letter written by -a nephew of the Countess: "The Sonata was composed for her when she -was still a maiden. It was one of the hobbies, of which he (Beethoven) -had many, that, living as he did _vis-a-vis_, he came in morning -gown, slippers and tasseled cap (_Zipfelmuetze_) to give her lessons." -Inasmuch as the sketches mentioned belong only to the third movement -and the sheet contains the remark: "diverse 4 bagatelles de inglese -Laendler, etc.," Nottebohm supposes that the movement was originally -intended for one of the Bagatelles and was later incorporated in the -Sonata. It is very probable that the two little Sonatas, Op. 49, belong -to this period. Everybody knows that the second movement of the second -Sonata (the minuet) is based on the same motive as the third movement -of the Septet. That the motive is older in the Sonata than in the -Septet is proved by the fact that sketches for it are found along with -some to "Ah, perfido!" (1795-96) and the Sextet for Wind-instruments, -Op. 71. This circumstance establishes its early origin, say in 1795 -or, at latest, 1796. Nottebohm considers it likely that the first -Sonata was finished at the latest in 1798, certainly before the Sonata -"Pathetique" and the Trio for strings, Op. 9, No. 3. The Sonatas were -ready for publication as early as 1802, in which year brother Carl -offered them to Andre in Offenbach. They were not published until -1805, when they appeared with the imprint of the Bureau d'Arts et -d'Industrie, as appears from an advertisement in the "Wiener Zeitung" -of January l9th, 1805. Here, too, belongs the little Sonata in D for -four hands, Op. 6, published by Artaria in October, 1797, as Nottebohm -surmises. It was probably composed for purposes of instruction. Except -a few trifles (marches, and two sets of variations) Beethoven wrote -nothing more for four hands, though Diabelli offered him 40 ducats for -a four-hand sonata in 1824. - -In the pianoforte compositions of these two years are to be included -the Variations in A on a Russian dance from the ballet "Das -Waldmaedchen," published in April, 1797, and dedicated to the Countess -Browne, _nee_ Bietinghoff. "Das Waldmaedchen," by Traffieri, music by -Paul Wranitzky, was first performed at the Kaernthnerthor-Theater on -September 28, 1796, and was repeated sixteen times the same year. This -fixes the time of the composition of the Variations approximately. They -were probably written before the end of 1796. - -There are a few other compositions brought to light by Nottebohm and -Mandyczewski, which call for notice. No. 299, Series XXV (Supplement), -B. and H. Complete Works, is an Allegretto in C minor, 3/4 time; No. -295 a Bagatelle, also in C minor 3/4, Presto, sketches for which are -associated with those for the C minor Sonata, Op. 10, No. 1. From the -remark: "Very short minuets to the new sonatas. The Presto remains for -that in C minor," written about this time Nottebohm concludes that this -Bagatelle was conceived as an intermezzo in the C minor Sonata, and -that, possibly, the Allegretto had a similar origin.[81] - -A unique place among Beethoven's early works is occupied by the two -pieces for mandolin with pianoforte accompaniment first published in -the Complete Edition. Thayer, who knew of the sketches at Artaria's, -but seems not to have seen the composition recovered by Nottebohm, -which is called Sonatine, associated Beethoven's purpose with -Krumpholz, who was a virtuoso on the mandolin; but Mylich, Amenda's -student companion, may have been in the composer's mind. - -The fact that no compositions for orchestra save the dances for the -Redoutensaal, to be referred to presently, have been preserved, is not -to be taken as conclusive evidence that Beethoven did not venture into -the field of orchestral music in the Bonn and early Vienna days. Such -an assertion is less likely to be made now than before the discovery of -the two Imperial cantatas of 1790. Moreover, Mr. Shedlock's extracts -from the Kafka sketchbook in the British Museum show that Beethoven -tried his youthful hand at a symphony. Among the earliest of the -sketches there is one in C minor marked "Sinfonia," which begins as -follows: - -[Illustration] - -THE "JENA" SYMPHONY AND SOME DANCES - -Nottebohm notes the theme also in his "Zweite Beethoveniana" (p. 577). -Shedlock's contention that out of this theme grew the second movement -of the first Pianoforte Quartet (composed in 1785) is incontestable. -The symphonic sketch is therefore of earlier date than 1785. In -1909, Prof. Fritz Stein, Musical Director of the University of Jena, -announced that in the collection of music of the Academic Concerts, -founded in 1780, he had discovered the complete parts of a symphony in -four movements in C "par Louis van Beethoven." These words are in the -handwriting of the copyist on the second violin part; on the 'cello -part is written: "Symphonie von Beethoven." Dr. Hugo Riemann,[82] -after a glance through the score prepared by Prof. Stein and put at -his disposal, gave it as his opinion that the symphony might well be a -composition by Beethoven. Thematically, he says it suggests partly the -Mannheim school, partly Haydn; the instrumentation is nearer Mozart -than Stamitz or Cannabich. - -Mention of Beethoven's orchestral dances has already been made. -Schindler's remark that the musicians of Vienna "refused citizenship" -to Beethoven's efforts to write Austrian dance music is discredited, -at least so far as Viennese society is concerned, by the success of -his dances composed for the Redoutensaal and the very considerable -number of his waltzes, laendlers, minuets, ecossaises, allemandes and -contra-dances which have been preserved. Only the smaller portion of -these dances have been included in the Complete Edition of Breitkopf -and Haertel. Thus in Series II there are 12 minuets and 12 German -dances; in Series XXV (Supplement), 6 "Laendrische Taenze" for two -violins and bass, 6 German dances for pianoforte and violin, and, for -pianoforte alone, 6 German dances, 6 ecossaises and a few miscellaneous -dances; in Series XVIII (Small Pieces for Pianoforte) there are 6 -minuets and 13 "Laendrische" (1-6 identical with those numbered 7-13 in -Series II, but transcribed). There are many dances as yet unpublished. -For instance, among the Artaria MSS, purchased by Erich Prieger, there -are 12 ecossaises, of which 6 are as yet unknown, also 12 "Deutsche" -for pianoforte and 6 minuets for two violins and bass, which have -never been printed. The three orchestral dances noted by Thayer in the -Thematic Catalogue as No. 290, of the Artaria collection, are Nos. -3, 9 and 11 of the 12 minuets which A. von Perger discovered in the -archives of the Kuenstler-Pensions-Institut in 1872, and which were -published by Hengel in Paris in pianoforte transcription in 1903 and in -score and parts in 1906, edited by Chantavoine. They were composed for -the Kuenstlersocietaet and are now in the Court Library at Vienna. (MS. -16,925.) - -FOOTNOTES: - -[75] It is now No. 16 of the extended Operngasse. - -[76] Czerny described Beethoven's brothers to Otto Jahn as follows: -"Carl: small of stature, red-haired, ugly; Johann: large, dark, a -handsome man and complete dandy." - -[77] "Mr. von Z." is doubtless Zmeskall, who is thus shown to have been -a trusted friend of Beethoven's in 1796. "This time" indicates plainly -that Beethoven had been in Prague before. Through the words: "Greetings -to Brother Caspar" the pen has been heavily drawn, and, if the color of -the ink can be trusted after so many years, it was done at the time of -writing. "F. Linowsky" is Fuerst (Prince) Lichnowsky. - -[78] Beethoven told the story to Mme. von Arnim with the additional -particular that they were walking in Unter den Linden and went thence -into a private room of the principal coffee-house where there was a -pianoforte, for the exhibition of their skill. - -[79] After the journey to Pesth? - -[80] See the articles by J. S. Shedlock in "The Musical Times," June to -December, 1892. Mr. Shedlock made a copy of the duet for Dr. Deiters. - -[81] "Beethoveniana," p. 31. Later Beethoven wanted to give the Sonata -an Intermezzo in C major (Ibid., p. 479), but did not carry out the -intention. - -[82] See Vol. II, p. 60, of the revised edition of "Ludwig van -Beethoven's Leben" by Thayer, 1910. - - - - -Chapter XV - - General Bernadotte--His Connection with the "Heroic" - Symphony--Rival Pianists--J. Woelffl--Dragonetti and - Cramer--Compositions of the Years 1798 and 1799. - - -Early in the year 1798, a political event occurred which demands notice -here from its connection with one of Beethoven's noblest and most -original works--the "Sinfonia Eroica." The singular tissue of error -which, owing to carelessness in observing dates, has been woven in -relation to its origin may be best destroyed by a simple statement of -fact. - -The extraordinary demands made by the French Directory upon the -Austrian government as preliminary to the renewal of diplomatic -intercourse, after the peace of Campo Formio--such as a national palace -and French theatre for the minister and the right of jurisdiction over -all Frenchmen in the Austrian dominions--all of which were rejected -by the Imperial government, had aroused to a high pitch the public -curiosity both as to the man who might be selected for the appointment -and as to the course he might adopt. This curiosity was by no means -diminished by the intelligence that the new minister was Jean Baptiste -Bernadotte, the young general who had borne so important a part in the -recent invasion of Istria. He arrived in Vienna on February 5th, 1798. -The state of the Empress's health, who was delivered of the Archduchess -Maria Clementine on the 1st of March, delayed the private audience -of Bernadotte for the presentation of his credentials to the Emperor -until the second of that month, and his public audience until the 8th -of April. During the festivities of the court, which then took place, -Bernadotte was always present, and a reporter of that day says both the -Emperor and Empress held more conversation with him than with any other -of the "cercle." This familiar intercourse, however, came speedily to -an end; for on the 13th Bernadotte had the rashness to display the -hated tricolor from his balcony and to threaten to defend it by force. -A riot occurred, and it was thought that in the extreme excitement of -popular feeling nothing but the strong detachments of cavalry and -infantry detailed for his protection saved his life--saved it to ascend -the throne of Sweden on the twentieth anniversary of his arrival in -Vienna! - -Since etiquette allowed a foreign minister neither to make nor receive -visits in his public capacity until after his formal reception at -court, the General, during the two months of his stay, except the last -five days, "lived very quietly." Those who saw him praised him as "well -behaved, sedate and modest." In his train was Rudolph Kreutzer, the -great violinist. - -BERNADOTTE AND THE HEROIC SYMPHONY - -Bernadotte had now just entered his 34th year; Kreutzer was in his -32nd; both of them, therefore, in age, as in tastes and acquirements, -fitted to appreciate the splendor of Beethoven's genius and to enjoy -his society. Moreover, as the Ambassador was the son of a provincial -advocate, there was no difference of rank by birth, which could prevent -them from meeting upon equal terms. Under such circumstances, and -remembering that just at that epoch the young General Bonaparte was the -topic of universal wonder and admiration, one is fully prepared for the -statement of Schindler upon the origin of the "Heroic" Symphony: - - The first idea for the symphony is said to have gone out from - General Bernadotte, then French Ambassador in Vienna, who esteemed - Beethoven very highly. This I heard from several of Beethoven's - friends. I was also told so by Count Moritz Lichnowsky (brother - of Prince Lichnowsky), who was often in the society of Bernadotte - with Beethoven.... - -Again in 1823: - - Beethoven had a lively recollection that Bernadotte had really - first inspired him with the idea of the "Eroica" Symphony. - -This is from Schindler's work in its first form. His unfortunate -propensity sometimes to accept the illusions of his fancy for matters -of fact is exhibited in the corresponding passage in his third edition: - - In Bernadotte's salon, which was open to notabilities of all ranks - of life, Beethoven also appeared. He had already made it known - that he was a great admirer of the First Consul of the Republic. - From the General emanated the suggestion that Beethoven celebrate - the greatest hero of his age in a musical composition. It was not - long (!) before the thought had become a deed. (Vol. I, page 101.) - -In proceeding with the history of the Symphony, Schindler extracts -largely from Beethoven's own copy of Schleiermacher's translation of -Plato. That the idea of Bonaparte as First Consul may have influenced -the form and matter of the Symphony, when he came to the labor of its -composition, and that Beethoven may have based for himself a sort of -system of political ethics upon Schleiermacher's Plato--all this is -very possible; but Bernadotte was far away from Vienna before the -consular form of government was adopted at Paris, and the "Sinfonia -Eroica" had been publicly performed at Vienna before the Plato came -from the Berlin press! - -It is certainly to be regretted that so much fine writing by Schindler -and his copyists on this point should be exploded by a date--like -a ship by a single shell; but how could anyone believe that the -much-employed Beethoven, at the age of 27, he who had refused two years -before, even despite Wegeler's urging, to listen to a single private -lecture on Kant, had become in so short a time a Platonic philosopher? - -Let us return to a field where Beethoven was even now more at home -than he ever became in Plato's political philosophy. Salieri had again -engaged him for the "Widows and Orphans" concerts of April 1st and 2nd -at which Haydn's "Seven Last Words" was sung and Beethoven's Pianoforte -Quintet played. Kaiser Franz and the imperial family were present. - -RIVALRY OF BEETHOVEN AND WOeLFFL - -It was now no longer the case that Beethoven was without a rival as -pianoforte virtuoso. He had a competitor fully worthy of his powers; -one who divided about equally with him the suffrages of the leaders in -the Vienna musical circles. In fact the excellencies peculiar to the -two were such and so different, that it depended upon the taste of the -auditor to which he accorded the praise of superiority. Joseph Woelffl -of Salzburg, two years younger than Beethoven, a "wonder-child," who -had played a violin concerto in public at the age of seven years, was -a pupil of Leopold Mozart and Michael Haydn. Being in Vienna, when but -eighteen years old, he was engaged, on the recommendation of Mozart, by -the Polish count Oginsky, who took him to Warsaw. His success there, -as pianoforte virtuoso, teacher and composer, was almost unexampled. -But it is only in his character as pianist that we have to do with him; -and a reference may be made to the general principle, that a worthy -competition is the best spur to genius. When we read in one of his -letters Beethoven's words "I have also greatly perfected my pianoforte -playing," they will cause no surprise; for only by severe industry -and consequent improvement could he retain his high position, in the -presence of such rivals as Woelffl and, a year or two later, J. B. -Cramer. A lively picture of Woelffl by Tomaschek, who heard him in 1799, -in his autobiography sufficiently proves that his party in Vienna was -composed of those to whom extraordinary execution was the main thing; -while Beethoven's admirers were of those who had hearts to be touched. -A parallel between Beethoven and Woelffl in a letter to the "Allgemeine -Musikalische Zeitung" (Vol. I, pp. 24, 25) dated April 22, 1799, just -at the time when the performances of both were topics of general -conversation in musical circles, and still fresh in the memory of all -who had heard them, is in the highest degree apposite to the subject of -this chapter. The writer says: - - Opinion is divided here touching the merits of the two; yet it - would seem as if the majority were on the side of the latter - (Woelffl). I shall try to set forth the peculiarities of each - without taking part in the controversy. Beethoven's playing is - extremely brilliant but has less delicacy and occasionally he - is guilty of indistinctness. He shows himself to the greatest - advantage in improvisation, and here, indeed, it is most - extraordinary with what lightness and yet firmness in the - succession of ideas Beethoven not only varies a theme given him on - the spur of the moment by figuration (with which many a virtuoso - makes his fortune and--wind) but really develops it. Since the - death of Mozart, who in this respect is for me still the _non plus - ultra_, I have never enjoyed this kind of pleasure in the degree - in which it is provided by Beethoven. In this Woelffl fails to - reach him. But W. has advantages in this that, sound in musical - learning and dignified in his compositions, he plays passages - which seem impossible with an ease, precision and clearness - which cause amazement (of course he is helped here by the large - structure of his hands) and that his interpretation is always, - especially in Adagios, so pleasing and insinuating that one can - not only admire it but also enjoy.... That Woelffl likewise enjoys - an advantage because of his amiable bearing, contrasted with the - somewhat haughty pose of Beethoven, is very natural. - -No biography of Beethoven which makes any pretence to completeness, can -omit the somewhat inflated and bombastic account which Seyfried gives -of the emulation between Beethoven and Woelffl. Ignatz von Seyfried at -the period in question was one of Schikaneder's conductors, to which -position he had been called when not quite twenty-one years of age, and -had assumed its duties March 1, 1797. He was among the most promising -of the young composers of the capital, belonged to a highly respectable -family, had been educated at the University, and his personal character -was unblemished. He would, therefore, naturally have access to the -musical salons and his reminiscences of music and musicians in those -years may be accepted as the records of observation. The unfavorable -light which the researches of Nottebohm have thrown upon him as editor -of the so-called "Beethoven Studien" does not extend to such statements -of fact as might easily have come under his own cognizance; and the -passage now cited from the appendix of the "Studien," though written -thirty years after the events it describes, bears all the marks of -being a faithful transcript of the writer's own memories: - - Beethoven had already attracted attention to himself by several - compositions and was rated a first-class pianist in Vienna when - he was confronted by a rival in the closing years of the last - century. Thereupon there was, in a way, a revival of the old - Parisian feud of the Gluckists and Piccinists, and the many - friends of art in the Imperial City arrayed themselves in two - parties. At the head of Beethoven's admirers stood the amiable - Prince Lichnowsky; among the most zealous patrons of Woelffl was - the broadly cultured Baron Raymond von Wetzlar, whose delightful - villa (on the Gruenberg near the Emperor's recreation-castle) - offered to all artists, native and foreign, an asylum in the - summer months, as pleasing as it was desirable, with true British - loyalty. There the interesting combats of the two athletes not - infrequently offered an indescribable artistic treat to the - numerous and thoroughly select gathering. Each brought forward the - latest product of his mind. Now one and anon the other gave free - rein to his glowing fancy; sometimes they would seat themselves - at two pianofortes and improvise alternately on themes which they - gave each other, and thus created many a four-hand Capriccio - which if it could have been put upon paper at the moment would - surely have bidden defiance to time. It would have been difficult, - perhaps impossible, to award the palm of victory to either one - of the gladiators in respect of technical skill. Nature had been - a particularly kind mother to Woelffl in bestowing upon him a - gigantic hand which could span a tenth as easily as other hands - compass an octave, and permitted him to play passages of double - notes in these intervals with the rapidity of lightning. In his - improvisations even then Beethoven did not deny his tendency - toward the mysterious and gloomy. When once he began to revel - in the infinite world of tones, he was transported also above - all earthly things;--his spirit had burst all restricting bonds, - shaken off the yoke of servitude, and soared triumphantly and - jubilantly into the luminous spaces of the higher aether. Now - his playing tore along like a wildly foaming cataract, and the - conjurer constrained his instrument to an utterance so forceful - that the stoutest structure was scarcely able to withstand it; and - anon he sank down, exhausted, exhaling gentle plaints, dissolving - in melancholy. Again the spirit would soar aloft, triumphing over - transitory terrestrial sufferings, turn its glance upward in - reverent sounds and find rest and comfort on the innocent bosom - of holy nature. But who shall sound the depths of the sea? It was - the mystical Sanscrit language whose hieroglyphs can be read only - by the initiated. Woelffl, on the contrary, trained in the school - of Mozart, was always equable; never superficial but always clear - and thus more accessible to the multitude. He used art only as - a means to an end, never to exhibit his acquirements. He always - enlisted the interest of his hearers and inevitably compelled them - to follow the progression of his well-ordered ideas. Whoever has - heard Hummel will know what is meant by this.... - - But for this (the attitude of their patrons) the _proteges_ cared - very little. They respected each other because they knew best how - to appreciate each other, and as straightforward honest Germans - followed the principle that the roadway of art is broad enough for - many, and that it is not necessary to lose one's self in envy in - pushing forward for the goal of fame! - -Woelffl proved his respect for his rival by dedicating to "M. L. -van Beethoven" the pianoforte sonatas, Op. 7, which were highly -commended in the "Allg. Mus. Zeit." of Leipsic of January, 1799. -Another interesting and valuable discussion of Beethoven's powers and -characteristics as a pianoforte virtuoso at this period is contained -in the autobiography of Tomaschek, who heard him both in public and in -private during a visit which Beethoven made again this year to Prague. -Tomaschek was then both in age (he was born on April 17, 1774) and in -musical culture competent to form an independent judgment on such a -subject. - -TOMASCHEK ON BEETHOVEN'S PLAYING - - In the year 1798, says Tomaschek (unfortunately without giving any - clue to the time of the year), in which I continued my juridical - studies, Beethoven, the giant among pianoforte players, came to - Prague. He gave a largely attended concert in the Konviktssaal, at - which he played his Concerto in C major, Op. 15, and the Adagio - and graceful Rondo in A major from Op. 2, and concluded with an - improvisation on a theme given him by Countess Sch... (Schick?), - "Ah tu fosti il primo oggetto," from Mozart's "Titus" (duet No. - 7). Beethoven's magnificent playing and particularly the daring - flights in his improvisation stirred me strangely to the depths - of my soul; indeed I found myself so profoundly bowed down that - I did not touch my pianoforte for several days.... I heard - Beethoven at his second concert, which neither in performance nor - in composition renewed again the first powerful impression. This - time he played the Concerto in B-flat which he had just composed - in Prague.[83] Then I heard him a third time at the home of - Count C., where he played, besides the graceful Rondo from the A - major Sonata, an improvisation on the theme: "Ah! vous dirai-je, - Maman." This time I listened to Beethoven's artistic work with - more composure. I admired his powerful and brilliant playing, - but his frequent daring deviations from one motive to another, - whereby the organic connection, the gradual development of idea - was put aside, did not escape me. Evils of this nature frequently - weaken his greatest compositions, those which sprang from a too - exuberant conception. It is not seldom that the unbiassed listener - is rudely awakened from his transport. The singular and original - seemed to be his chief aim in composition, as is confirmed by - the answer which he made to a lady who asked him if he often - attended Mozart's operas. "I do not know them," he replied, "and - do not care to hear the music of others lest I forfeit some of my - originality." - -The veteran Tomaschek when he wrote thus had heard all the greatest -virtuosos of the pianoforte, who, from the days of Mozart to 1840, had -made themselves famous; and yet Beethoven remained for him still "the -lord of pianoforte players" and "the giant among pianoforte players." -Still, great as he was now when Tomaschek heard him, Beethoven could -write three years later that he had greatly perfected his playing. - -It is only to be added to the history of the year 1798, that it is -the time in which Beethoven fixes the beginning of his deafness. Like -it, the year 1799 offers, upon the whole, but scanty materials to the -biographers of Beethoven--standing in broad contrast to the next and, -indeed all succeeding years, in which their quantity and variety become -a source of embarrassment. - -Two new and valuable, though but passing acquaintances, were made by -Beethoven this year, however--with Domenico Dragonetti, the greatest -contrabassist known to history, and John Baptist Cramer, one of -the greatest pianists. Dragonetti was not more remarkable for his -astounding execution than for the deep, genuine musical feeling which -elevated and ennobled it. He was now--the spring of 1799, so far as -the means are at hand of determining the time--returning to London -from a visit to his native province, and his route taking him to -Vienna he remained there for several weeks. Beethoven and he soon met -and they were mutually pleased with each other. Many years afterwards -Dragonetti related the following anecdote to Samuel Appleby, Esq., of -Brighton, England: "Beethoven had been told that his new friend could -execute violoncello music upon his huge instrument, and one morning, -when Dragonetti called at his room, he expressed his desire to hear a -sonata. The contrabass was sent for, and the Sonata, No. 2, of Op. 5, -was selected. Beethoven played his part, with his eyes immovably fixed -upon his companion, and, in the finale, where the arpeggios occur, was -so delighted and excited that at the close he sprang up and threw his -arms around both player and instrument." The unlucky contrabassists of -orchestras had frequent occasion during the next few years to know that -this new revelation of the powers and possibilities of their instrument -to Beethoven, was not forgotten. - -Cramer, born at Mannheim, 1771, but from early infancy reared -and educated in England, was successively the pupil of the noted -Bensor, Schroeter and Clementi; but, like Beethoven, was in no small -degree self-taught. He was so rarely and at such long intervals on -the Continent that his extraordinary merits have never been fully -understood and appreciated there. Yet for a period of many years in -the first part of the nineteenth century he was undoubtedly, upon the -whole, the first pianist of Europe, The object of his tour in 1799 -was not to display his own talents and acquirements, but to add to -his general musical culture and to profit by his observations upon -the styles and peculiar characteristics of the great pianists of the -Continent. In Vienna he renewed his intercourse with Haydn, whose prime -favorite he had been in England, and at once became extremely intimate -with Beethoven. - -Cramer surpassed Beethoven in the perfect neatness, correctness and -finish of his execution; Beethoven assured him that he preferred his -touch to that of any other player; his brilliancy was astonishing; -but yet taste, feeling, expression, were the qualities which more -eminently distinguished him. Beethoven stood far above Cramer in power -and energy, especially when extemporizing. Each was supreme in his -own sphere; each found much to learn in the perfections of the other; -each, in later years, did full justice to the other's powers. Thus Ries -says: "Amongst the pianoforte players he [Beethoven] had praise for but -one as being distinguished--John Cramer. All others were but little -to him." On the other hand, Mr. Appleby, who knew Cramer well, was -long afterwards told by him, "No man in these days has heard extempore -playing, unless he has heard Beethoven." - -CRAMER'S RECOLLECTIONS OF BEETHOVEN - -Making a visit one morning to him, Cramer, as he entered the anteroom, -heard Beethoven extemporizing by himself, and remained there more -than half an hour "completely entranced," never in his life having -heard such exquisite effects, such beautiful combinations. Knowing -Beethoven's extreme dislike to being listened to on such occasions, -Cramer retired and never let him know that he had so heard him. - -Cramer's widow communicates a pleasant anecdote. At an Augarten Concert -the two pianists were walking together and hearing a performance of -Mozart's pianoforte Concerto in C minor (Koechel, No. 491); Beethoven -suddenly stood still and, directing his companion's attention to -the exceedingly simple, but equally beautiful motive which is first -introduced towards the end of the piece, exclaimed: "Cramer, Cramer! -we shall never be able to do anything like that!" As the theme was -repeated and wrought up to the climax, Beethoven, swaying his body to -and fro, marked the time and in every possible manner manifested a -delight rising to enthusiasm. - -Schindler's record of his conversations upon Beethoven with Cramer -and Cherubini in 1841 is interesting and valuable. He has, however, -left one important consideration unnoticed, namely, that the visits -of those masters to Vienna were five years apart--five years of -great change in Beethoven--a period during which his deafness, too -slight to attract Cramer's attention, had increased to a degree -beyond concealment, and which, joined to his increased devotion to -composition and compulsory abandonment of all ambition as a virtuoso, -with consequent neglect of practice, had affected his execution -unfavorably. Hence the difference in the opinions of such competent -judges as Cramer, describing him as he was in 1799-1800, Cherubini in -1805-6, and two years later Clementi, afford a doubtless just and fair -indication of the decline of Beethoven's powers as a mere pianist--not -extending, however, at least for some years yet, to his extemporaneous -performances. We shall find from Ries and others ample confirmation of -the fact. - -And now let Schindler speak: - - To the warm feeling of Cramer for Beethoven I owe the more - important matters.... Cherubini, disposed to be curt, - characterized Beethoven's pianoforte playing in a single word: - "rough." The gentleman Cramer, however, desired that less offence - be taken at the rudeness of his performance than at the unreliable - reading of one and the same composition--one day intellectually - brilliant and full of characteristic expression, the next freakish - to the verge of unclearness; often confused. (Which is confirmed - by Ries, Czerny and others.) Because of this a few friends - expressed a wish to hear Cramer play several works publicly from - the manuscript. This touched a sensitive spot in Beethoven; his - jealousy was aroused and, according to Cramer, their relations - became strained. - -This strain, however, left no such sting behind it as to diminish -Cramer's good opinion of Beethoven both as man and artist, or hinder -his free expression of it. To this fact the concurrent testimony of -his widow and son, and those enthusiasts for Beethoven Charles Neate, -Cipriani Potter and others who knew Cramer well, bear witness. It was -the conversation of Cramer about Beethoven which induced Potter, after -the fall of Napoleon, to journey to Vienna, to make the acquaintance of -the great master and, if possible, become his pupil. - -Cramer's musical gods were Handel and Mozart, notwithstanding his -life-long love for Bach's clavier compositions; hence the abrupt -transitions, the strange modulations, and the, until then, unheard -passages, which Beethoven introduced ever more freely into his -works--many of which have not yet found universal acceptance--were -to him, as to Tomaschek and so many other of his contemporaries, -imperfections and distortions of compositions, which but for them were -models of beauty and harmonious proportion. He once gave this feeling -utterance with comic exaggeration, when Potter, then a youth, was -extolling some abstruse combinations, by saying: "If Beethoven emptied -his inkstand upon a piece of music paper you would admire it!" - -Upon Beethoven's demeanor in society, Schindler proceeds thus: - -BEETHOVEN'S DEMEANOR IN SOCIETY - - The communications of both (Cramer and Madame Cherubini) agreed - in saying that in mixed society his conduct was reserved, stiff - and marked by artist's pride; whereas among his intimates he was - droll, lively, indeed, voluble at times, and fond of giving play - to all the arts of wit and sarcasm, not always wisely especially - in respect of political and social prejudices. To this the two - were able to add much concerning his awkwardness in taking hold - of such objects as glasses, coffee cups, etc., to which Master - Cherubini added the comment: "Toujours brusque." These statements - confirmed what I had heard from his older friends touching the - social demeanor of Beethoven in general. - -Cramer reached Vienna early in September, and remained there, according -to Schindler, through the following winter; but he does not appear to -have given any public concerts, although, during the first month of -his stay, we learn from a newspaper, he "earned general and deserved -applause by his playing." It is needless to dwell upon the advantages -to Beethoven of constant intercourse for several months with a master -like Cramer, whose noblest characteristics as pianist were the same as -Mozart's, and precisely those in which Beethoven was deficient. - - * * * * * - -Let us pass in review the compositions which had their origin in the -years 1798 and 1799. First of all come the three Trios for stringed -instruments, Op. 9. The exact date of their conception has not yet -been determined, all that is positive being that Beethoven sold them -to Traeg on March 16, 1798, and that the publisher's announcement of -them appeared on July 21st of the same year. The only sketches for the -Trios quoted by Nottebohm show them in connection with a sketch for -the last movement of the "Sonate pathetique," which was published in -1799; but this proves nothing. It may be easily imagined that Beethoven -desired to make more extended use of the experience gained in writing -the Trios, Op. 3, and that he therefore began sketching Op. 9 in 1796 -or 1797. Beethoven dedicated the works to Count Browne in words such -as could hardly have been called forth by the present of a horse. -Perhaps some future investigator will be able to show upon what grounds -Beethoven in the dedication called Count Browne his "first Maecenas," a -title better deserved by Prince Lichnowsky. - -THE FIRST TWO PIANOFORTE CONCERTOS - -The first two concertos for pianoforte call for consideration here, for -it was not until 1798 that they acquired the form in which they are -now known. That the Concerto in B-flat was the earlier of the two has -been proved in a preceding chapter of this volume. It was this Concerto -and not the one in C major (as Wegeler incorrectly reported) that was -played in March, 1795. Wegeler's error was due to the circumstance that -the Concerto in C was published first. Sketches for the Concerto in -B-flat major are found among the exercises written for Albrechtsberger, -sketches for the Sonata in E major (Op. 14, No. 1), and others for -a little quartet movement which was owned by M. Malherbe of Paris; -on this sheet occurs a short exercise with the remark "Contrapunto -all'ottava" which points to the beginning of 1795 or even 1794. The -sketch is an obviously early form of a passage in the free fantasia. -This agrees with the statement that on March 29, 1795, Beethoven played -a new concerto, the key of which is not indicated. It is most likely -that it was this in B-flat, since the one in C did not exist at the -time. Beethoven, it appears, played it a few times afterward in Vienna -and then rewrote it. According to Tomaschek's account he played the -B-flat Concerto (expressly distinguished from that in C) in 1798, again -in Prague. Tomaschek added, "which he had composed in Prague." This is -confounding the original version with the revision, concerning which -Nottebohm gives information in his "Zweite Beethoveniana" on the basis -of sketches which point to 1798. The fact of the revision is proved by -Beethoven's memoranda, such as "To remain as it was," "From here on -everything to remain as it was." The revision of the first movement -was radical, and the entire work was apparently undertaken in view of -an imminent performance, most likely that of Prague in 1798. It was -published by Hoffmeister und Kuehnel and dedicated to Carl Nikl Edlen -von Nikelsberg. - -That the Concerto in C was composed later than that in B-flat has been -proved by Beethoven's testimony as well as other external evidences -and is confirmed by the few remaining sketches analyzed by Nottebohm. -They appear in connection with a sketch for the cadenza for the B-flat -Concerto which, therefore, must have been finished when its companion -was begun. A sketch for a cadenza for the C major Concerto comes after -sketches for the Sonata in D, Op. 10, No. 3, which was published in -1798. This new concerto must, therefore, have been finished. According -to the testimony of Tomaschek he played it in 1798 in the Konviktsaal -in Prague. Schindler says he played it for the first time "in the -spring of 1800 in the Kaernthnerthor-Theater," but this concert is -likely to have been that of April 2nd, 1800, described by Hanslick -in his "Geschichte des Concertwesens in Wien" (p. 127). Schindler -evidently knew nothing of the performance in Prague and a confusion -must be at the bottom of Czerny's statement that the Concerto was -played in the Kaernthnerthor-Theater in 1801. The Concerto in C, -dedicated to the Countess Odescalchi, _nee_ Keglevich, was published -by Mollo in Vienna in 1801. There are three cadenzas for the first -movement of the Concerto, the last two of which call for an extended -compass of the pianoforte and are thus shown to be of later date than -the first. - -To these concertos must be added the Rondo in B-flat for Pianoforte -and Orchestra found unfinished among Beethoven's compositions and -published by Diabelli and Co. in 1829. Sonnleithner, on the authority -of Diabelli, says it was completed by Czerny, who also filled out -the accompaniment. There is no authentic record of the time of its -composition. O. Jahn surmised that it may have been designed for -the Concerto in B-flat. Its contents indicate an earlier period. A -sketch printed by Nottebohm associated with a Romanza for Pianoforte, -Flute and Bassoon, judged by the handwriting, is not of later date -than 1795. E. Mandyczewski compared the original manuscript, now in -the library of the Gesellschaft der Musikfreunde, with the printed -form and decided that the work was completed in plan and _motiri_ -by Beethoven, who, however, did not carry out the cadenzas and only -indicated the passages. The share which Czerny had in it is thus -indicated; he added the cadenzas and extended the pianoforte passages -which Beethoven had only indicated, making them more effective and -brilliant. The use of the high registers of the pianoforte which Czerny -employs somewhat too freely in view of the simple character of the -piece, was not contemplated by Beethoven, who once remarked of Czerny: -"He uses the piccolo too much for me." In Mandyczewski's opinion the -handwriting points to a time before 1800, and the contents indicate -the early Vienna if not the Bonn period. Mandyczewski also thinks that -the romanza-like Andante is palpably a very early composition and -that the correspondence in key and measure with the B-flat Concerto -might indicate that it was originally designed as a part of that work, -a supposition which is strengthened by the fact that the original -manuscript is neither dated nor signed. This internal evidence has -much in its favor, the more since it is not at all obvious what might -have prompted Beethoven to write an independent rondo for concert -use. There is no external evidence; if there were, the conception -of the B-flat Concerto would have to be set at a much earlier date -than has yet been done. The first Vienna sketches for the Concerto, -as Nottebohm shows, prove that the present three movements belonged -together from the beginning. They were, therefore, surely played at the -first performance in 1795. Nottebohm, who repeated Jahn's surmise in -his "Thematisches Verzeichniss," changed his mind after a study of the -sketches and rejected the notion that the rondo had been designed for -the Concerto. Only by assuming an earlier date for the rondo can the -theory be upheld. Attention may here be called to Wegeler's statement -("Notizen," p. 56) that the rondo of the first Concerto (he says, of -course, the Concerto in C) was not composed until the second afternoon -before the performance. There may possibly have been another. This is -not necessarily disproved by the fact that sketches for the present -one were in existence. The question is not settled by the evidence now -before us, but the probabilities are with Mandyczewski. - -Now begins the glorious series of sonatas. The first were the three -(Op. 10) which, though begun in part at an earlier date, were -definitively finished and published in 1798. Eder, the publisher, -opened a subscription for them by an advertisement in the "Wiener -Zeitung," July 5th, 1798; therefore they were finished at that time. -The sketching for them had begun in 1796, as appears from Nottebohm's -statement,[84] and Beethoven worked on the three simultaneously. -Sketches for the first movement of the first Sonata are mixed with -sketches for the soprano air for Umlauf's "Schusterin" which have been -attributed to 1796, and the Variations for three Wind-Instruments -which were played in 1797. Sketches for the third sonata are found -among notes for the Sextet for Wind-Instruments (composed about 1796) -and also for the Concerto in C minor, which, therefore, was begun -thus early, and for one of the seven country dances which appeared in -1799, or perhaps earlier. The sketches for the last movement of No. -3 are associated alone with sketches for a cadenza for the C major -Concerto which Beethoven played in Prague in 1798, and may therefore be -placed in this year. It follows that the three sonatas were developed -gradually in 1796-98, and completed in 1798. From the sketches and -the accompanying memoranda[85] we learn, furthermore, that for the -first Sonata, which now has three movements, a fourth, an Intermezzo, -was planned on which Beethoven several times made a beginning but -permitted to fall. Two of these movements became known afterwards as -"Bagatelles." We learn also that the last movement of the first Sonata, -and the second movement of the second, were originally laid out on a -larger scale. - -COMPOSITION OF THE "SONATE PATHETIQUE" - -The "Sonate pathetique," Op. 13, was published by Eder, in Vienna, in -1799, and afterwards by Hoffmeister, who announced them on December 18 -of the same year. Sketches for the rondo are found among those for the -Trio, Op. 9, and after the beginning of a fair copy of the Sonata, Op. -49, No. 1. From this there is no larger deduction than that the Sonata -probably had its origin about 1798. One of the sketches, however, -indicates that the last movement was originally conceived for more -than one instrument, probably for a sonata for pianoforte and violin. -Beethoven published the two Sonatas, Op. 14, which he dedicated to -the Baroness Braun, immediately after the "Sonate pathetique." They -came from the press of Mollo and were announced on December 21, 1799. -The exact time of their composition cannot be determined definitely. -Up to the present time no sketches for the second are known to exist; -copious ones for the first, however, are published by Nottebohm in his -"Zweite Beethoveniana" (p. 45 _et seq._), some of which appear before -sketches for the Sonata, Op. 12, No. 3, then approaching completion, -and some after sketches for the Concerto in B-flat. Because of this -juxtaposition, Nottebohm places the conception of the Sonata in 1795. - -Touching the history of the Trio, Op. 11, for Pianoforte, Clarinet and -Violoncello, little is known. It was advertised as wholly new by Mollo -and Co. on October 3, 1798, and is inscribed to the Countess Thun. -Sketches associated with works that are unknown or were never completed -are in the British Museum and set forth by Nottebohm in his "Zweite -Beethoveniana" (p. 515). The sketch for the Adagio resembles the -beginning of the minuet in the Sonata, Op. 49, No. 2, and is changed -later; this points approximately to 1798. The last movement consists -of a series of variations on the theme of a trio from Weigl's opera -"L'Amor marinaro," beginning "Pria ch'io l'impegno." Weigl's opera was -performed for the first time on October 15, 1797. Czerny told Otto -Jahn that Beethoven took the theme at the request of a clarinet player -(Beer?) for whom he wrote the Trio. The elder Artaria told Cipriani -Potter in 1797, that he had given the theme to Beethoven and requested -him to introduce variations on it into a trio, and added that Beethoven -did not know that the melody was Weigl's until after the Trio was -finished, whereupon he grew very angry on finding it out. Czerny says -in the supplement to his "Pianoforte School": - - It was at the wish of the clarinet player for whom Beethoven wrote - this Trio that he employed the above theme by Weigl (which was - then very popular) as the finale. At a later period he frequently - contemplated writing another concluding movement for this Trio, - and letting the variations stand as a separate work. - -If Czerny is correct in his statement, obvious deductions from it are -these, which are scarcely consistent with Artaria's story: if the -theme was "very popular" at the time the opera must have had several -performances, and it is not likely that the melody was unfamiliar to -Beethoven, who also, it may be assumed, wrote the title of Weigl's -trio, which is printed at the beginning of the last movement of -Beethoven's composition. Beethoven produced the Trio for the first time -at the house of Count Fries on the occasion of his first meeting with -Steibelt. The three Sonatas for Pianoforte and Violin, Op. 12, were -advertised in the "Wiener Zeitung" of January 12, 1799, as published by -Artaria, which would seem to place their origin in 1798. The program of -a concert given by Madame Duschek on March 29, 1798, preserved in the -archives of the Gesellschaft der Musikfreunde, announces a sonata with -accompaniment to be played by Beethoven. The accompanying (_obbligato_) -instrument is not mentioned, but the work may well have been one of -these Sonatas. Nottebohm discusses the juxtaposition of sketches for -the second Sonata with sketches for the Pianoforte Concerto in B-flat -and the sonata in E, Op. 14, No. 1, and is inclined to fix 1795 as -the year of the sonata's origin. But we are in the dark as to whether -the sketches for the Pianoforte Concerto were for its original or its -revised form. - -Among the instrumental compositions of this year belong the Variations -for Pianoforte and Violoncello on "Ein Maedchen oder Weibchen" from -Mozart's "Zauberfloete," of which nothing more is known than that Traeg -announced their publication on September 12, 1798. They were afterward -taken over by Artaria. The Variation for Pianoforte on a theme from -Gretry's "Richard, Coeur de Lion" ("Une fievre brulante") were announced -as newly published on November 7, 1798, by Traeg; Cappi and Diabelli -acquired them later. Sketches for them are found by the side of -sketches for the first movement of the Sonata in C minor, Op. 10, No. -1, which circumstance indicates that 1796 was the year of their origin. -According to Sonnleithner, "Richard, Coeur de Lion" was first performed -at the Hoftheater, Vienna, on January 7, 1788; then again on June 13, -1799 in the Theater auf den Wieden; but a ballet, "Richard Loewenherz," -by Vigano, music by Weigl, in which Gretry's romance, "Une fievre -brulante," was interpolated, was brought forward on July 2, 1795, in -the Hof- und Nationaltheater and repeated often in that year, and it -was thence, no doubt, that the suggestion for the variations came to -Beethoven. The six little Variations on a Swiss air were published, -according to Nottebohm, by Simrock in Bonn in 1798. The ten Variations -on "La stessa, la stessissima" from Salieri's "Falstaff, ossia le tre -Burle," were announced as just published in the "Wiener Zeitung" of -March 2, 1799. Salieri's opera was performed on January 3 (Wlassak -says January 6), 1799, in the Hoftheater; Beethoven's, therefore, -was an occasional composition conceived and produced in a very short -time. Sketches are found among some for the first Quartet, Op. 18, and -others. The Variations are dedicated to the Countess Babette Keglevich. -Twice more in the same year operatic productions induced similar -works. The publication of the Variations on "Kind, willst du ruhig -schlafen?" from Winter's "Unterbrochenes Opferfest," was announced in -the "Wiener Zeitung" of December 21, 1799, by Mollo and Co.; the opera -had its first performance in Vienna on June 15, 1796, and was repeated -frequently within the years immediately following--six times in 1799. -In this case also it may be assumed that publication followed hard on -the heels of composition. Sketches are found in companionship with -others belonging to the Quartet, Op. 18, No. 5, and the Septet. The -Variations on "Taendeln und Scherzen," from Suessmayr's opera "Soliman -II, oder die drei Sultaninnen," belong to the same time. The opera was -performed on October 1, 1799, in the Hoftheater; the publication of -the variations by Hoffmeister was announced in the "Wiener Zeitung" -on December 18, 1799. They may have been printed previously by Eder. -They were dedicated to Countess Browne, _nee_ von Bietinghoff. It is -interesting to learn from Czerny that these Variations were the first -of Beethoven's compositions which the master gave him to study when he -became his pupil. Before them he had pieces by C. P. E. Bach and after -them the "Sonate pathethique." - -THE PERIOD OF THE FIRST SYMPHONY - -As evidence pointing to the period in which the first Symphony was -written we have, first of all, the report of the first performance -on April 2, 1800; but inasmuch as the copying of the parts and the -rehearsals must have consumed a considerable time, the period would be -much too short (especially in view of Beethoven's method of working) if -we were also to assume that the Symphony originated in 1800. It is very -likely that, with the Quartets, it was sketched at an earlier period -and worked out in the main by 1799 at the latest. It was published -toward the end of 1801 by Hoffmeister and Kuehnel as Op. 21, dedicated -to Baron van Swieten and advertised in the "Wiener Zeitung" of January -16, 1802. Beethoven had already planned a symphony while studying with -Albrechtsberger. Nottebohm reports on his purposes after a study of -some sketches and from him we learn that the theme of the present last -movement was originally intended for a first movement. Beethoven must -have worked on this composition in 1794-'95, perhaps at the suggestion -of van Swieten--a conclusion suggested by the fact that the dedication -of the first symphony went to him. Beethoven abandoned this early plan -and turned to other ideas for the new symphony, but there is no clue -as to the precise time when this was done. In 1802, Mollo published -an arrangement of the symphony as a quintet at the same time that -Hoffmeister and Kuehnel published a like arrangement of the Septet. -Beethoven published the following protest in the "Wiener Zeitung" of -October 20, 1802: - - I believe that I owe it to the public and myself publicly to - announce that the two Quintets in C major and E-flat major, of - which the first (taken from a symphony of mine) has been published - by Mr. Mollo in Vienna, and the second (taken from my familiar - Septet, Op. 20) by Mr. Hoffmeister in Leipzig, are not original - quintets but transcriptions prepared by the publishers. The - making of transcriptions at the best is a matter against which - (in this prolific day of such things) an author must protest in - vain; but it is possible at least to demand of the publishers - that they indicate the fact on the title-page, so that the honor - of the author may not be lessened and the public be not deceived. - This much to hinder such things in the future. At the same time - I announce that a new Quintet of mine in C major, Op. 29, will - shortly be published by Breitkopf and Haertel in Leipzig. - -Mention may here be made in conclusion of the two French songs, "Que -le temps (jour) me dure" (Rousseau) and "Plaisir d'aimer," recovered -from sketches and described by Jean Chantavoine in "Die Musik" (Vol. -I, No. 12, 1902). The origin of the latter is fixed in 1799, by its -association with a sketch for the Quartets, Op. 18. - -FOOTNOTES: - -[83] It will be seen in a letter of Beethoven's that this concerto was -in fact composed before that in C major; but it is not improbable that -the last movement was written in Prague. - -[84] "Zweite Beethoveniana," p. 29 _et seq._ - -[85] Among sketches for the second movement of the Quintet, Op. -16, Beethoven wrote: "For the new sonatas very short minuets. The -Scherzo remains for that in C minor." And in another sketch he -writes: "Intermezzo for the sonata in C minor."--Nottebohm, "Zweite -Beethoveniana," 32, 479. - - - - -Chapter XVI - - Beethoven's Social Life in Vienna--His Friends: Vogl, - Kiesewetter, Zmeskall, Amenda, Count Lichnowsky, Eppinger, - Krumpholz--Schuppanzigh and His Quartet--Hummel--Friendships with - Women--His Dedications. - - -The chronological progress of the narrative must again be interrupted -for a chapter or two, since no picture of a man's life can be complete -without the lights or shades arising from his social relations--without -some degree of knowledge respecting those with whom he is on terms of -equality and intimacy and whose company he most affects. The attempt -to draw such a picture in the case of Beethoven, that is, during his -first years in Vienna, leaves much to be desired, for, although the -search for materials has not been very unsuccessful, many of the data -are but vague and scattered notices. In a Conversation Book, bearing -Beethoven's own date "on the 20th of March, 1820," some person unknown -writes: - - Do you want to know where I first had the honor and good fortune - to see you? More than 25 years ago I lived with Frank of Prague in - the Drachengassel in the old Fish Market. Several noblemen, for - instance His Excellency van B. Cristen (?), Heinerle, Vogl (now a - singer), Koesswetter, basso, now Court Councillor, Greyenstein (?), - has long been living in France, etc. There we often - - musicicised, etc. - supperized, etc. - punchized, etc. - - and at the conclusion Your Excellency often rejoiced us at _my_ - P. F. I was then Court Councillor in the War Office (?). I have - practised since then at least 15 thousand metiers--Did we meet - in Prague? In what year?--1796--3 days--I was in Prague also in - 1790-1-2. - -There is nothing in the portions of this Conversation Book, copied -for this work, to show who this man of "15 thousand metiers" was, -now sitting with Beethoven in an eating-house, and recalling to his -memory the frolics of his first year and a quarter in Vienna; nor are -Heinerle, Cristen, Greyenstein and Frank of Prague sufficiently known -to fame as to be now identified; but Johann Michael Vogl, less than two -years older than Beethoven, was afterward a very celebrated tenor of -the opera. In 1793-4 he was still pursuing the study of jurisprudence, -which he abandoned in 1795 for the stage. May not this early friendship -for Beethoven have been among the causes of the resuscitation of -"Fidelio" in 1814, for the benefit performance of Vogl, Saal and -Weinmueller? - -There is a story, first put in circulation by a certain August Barth, -to the effect that the singer of that name once finding Beethoven -employed in burning a mass of musical and other papers, sang one vocal -piece thus destined to destruction, was pleased with it, and saved -the immortal "Adelaide!" The story is sufficiently refuted by the -fact that when Barth first came to Vienna, in 1807, the "Adelaide" -had been in print some ten years. If the name Vogl be substituted in -the tale, there may, perhaps, be so much truth in it as this: that -he was consulted upon the merits of the composition by Beethoven, -approved it, and first sang it and made it known--as he was the first, -years afterwards, to sing in public the "Erlkoenig" and other fine -productions of Franz Schubert. The "Koesswetter, basso," was Raphael -George Kiesewetter, who lived to be renowned as a writer upon topics -of musical history, and to play a part in the revival of ancient music -in Vienna, not less noteworthy than that of Thibaut in Heidelberg. -At the period of the "music-making, supping and punch drinking" by -the "noblemen" in the apartments of Frank of Prague, Kiesewetter -was a young man of twenty, engaged, like Vogl, in the study of the -law. In the spring of 1794--and thus the date of these meetings is -determined--he received an appointment in the military chancellary, -and went at once to the headquarters at Schwetzingen on the Rhine. -More important and valuable during these years, as subsequently, was -the warm, sincere friendship of Nicolaus Zmeskall von Domanovecz, an -official in the Royal Hungarian Court Chancellary. "You belong to my -earliest friends in Vienna," writes Beethoven in 1816. Zmeskall, to -quote the words of Sonnleithner, - - was an expert violoncellist, a sound and tasteful composer. Too - modest to publish his compositions, he willed them to the archives - of the Gesellschaft der Musikfreunde. After personal examination - I can only give assurance that his three string quartets would - entitle him to an honorable place among masters of the second - rank, and are more deserving to be heard than many new things - which, for all manner of reasons, we are compelled to hear. - -BEETHOVEN'S REGARD FOR ZMESKALL - -That Zmeskall was a very constant attendant at the musical parties of -Prince Carl Lichnowsky and frequently took part in them, may be seen -from Wegeler's record. He was ten years older than Beethoven, had been -long enough in Vienna to know the best society there, into which he was -admitted not more because of his musical attainments than because of -the respectability of his position and character; and was, therefore, -what the young student-pianist needed most, a friend, who at the same -time could be to a certain degree an authoritative adviser, and at -all times was a judicious one. On the part of Zmeskall there was an -instant and hearty appreciation of the extraordinary powers of the -young stranger from the Rhine and a clear anticipation of his splendid -artistic future. A singular proof of this is the care with which he -preserved the most insignificant scraps of paper, if Beethoven had -written a few words upon them; for, certainly, no other motive could -have induced him to save many notes of this kind and of no importance -ten, fifteen, twenty years, as may be seen in the published letters -of the composer. On the part of Beethoven, there was sincere respect -for the dignity and gravity of Zmeskall's character, which usually -restrained him within proper limits in their personal intercourse; but -he delighted, especially in the earlier period, to give, in his notes -and letters, full play to his queer fancies and sometimes extravagant -humour. - -Here are a few examples in point: - - To His Well Well Highest and Bestborn, the Herr von Zmeskall, - Imperial and Royal as also Royal and Imperial Court Secretary: - - Will His High and Wellborn, His Herrn von Zmeskall's Zmeskallity - have the kindness to say where we can speak to him to-morrow? - - We are your most damnably - devoted - - Beethoven. - - My dearest Baron Muckcartdriver. - - _Je vous suis bien oblige pour votre faiblesse de vos yeux._ - Moreover I forbid you henceforth to rob me of the good - humor into which I occasionally fall, for yesterday your - Zmeskall-damanovitzian chatter made me melancholy. The devil - take you; I want none of your moral (precepts) for Power is the - morality of men who loom above the others, and it is also mine; - and if you begin again to-day I'll torment you till you agree that - everything that I do is good and praiseworthy (for I am going to - the Swan--the Ox would be preferable, yet this rests with your - Zmeskallian Domanovezian decision (_response_). - - Adieu Baron Ba...ron, ~ron / nor / orn / rno / onr /~ - (_voila quelque chose_ from the old pawnshop.) - -Mechanical skill was never so developed in Beethoven that he could make -good pens from goose quills--and the days of other pens were not yet. -When, therefore, he had no one with him to aid him in this, he usually -sent to Zmeskall for a supply. Of the large number of such applications -preserved by his friend and now scattered in all civilized lands as -autographs, here are two specimens. - - Best of Music Counts! I beg of you to send me one or a few pens - of which I am really in great need. As soon as I learn where real - good, and admirable pens are to be found I will buy some of them. - I hope to see you at the Swan today. - - Adieu, most precious - Music Count - yours etc. - - His Highness von Z. is commanded to hasten a bit with the plucking - out of a few of his quills (among them, no doubt, some not his - own). It is hoped that they may not be too tightly grown. As soon - as you have done all that we shall ask we shall be, with excellent - esteem your - - F---- - Beethoven. - -Had Zmeskall not carefully treasured these notes, they would never have -met any eye but his own; it is evident, therefore, that he entered -fully into their humor, and that it was the same to him, whether he -found himself addressed as "Baron," "Count," "Cheapest Baron," "Music -Count," "Baron Muckcartdriver," "His Zmeskallian Zmeskallity," or -simply "Dear Z."--which last is the more usual. He knew his man, and -loved him; and these "quips and quiddities" were received in the spirit -which begat them. The whole tenor of the correspondence between the two -shows that Zmeskall had more influence for good upon Beethoven than any -other of his friends; he could reprove him for faults, and check him -when in the wrong, without producing a quarrel more serious than the -one indicated in the protest, above given, against interrupting his -"good humor." - -As a musician, as well as man and friend, Zmeskall stood high -in Beethoven's esteem. His apartments, No. 1166, in that huge -conglomeration of buildings known as the Buergerspital, were for a -long series of years the scene of a private morning concert, to which -only the first performers of chamber music and a very few guests were -admitted. Here, after the rupture with Prince Lichnowsky, Beethoven's -productions of this class were usually first tried over. Not until -Beethoven's death did their correspondence cease. - -ESTEEM AND AFFECTION FOR AMENDA - -Another young man who gained an extraordinary place in Beethoven's -esteem and affection, and who departed from Vienna before anything -occurred to cause a breach between them, was a certain Karl Amenda, -from the shore of the Baltic, who died some forty years later as -Provost in Courland. He was a good violinist, belonged to the circle of -dilettanti which Beethoven so much affected, and, on parting, received -from the composer one of his first attempts at quartet composition. His -name most naturally suggests itself to fill the blank in a letter to -Ries, July, 1804, wherein some living person, not named, is mentioned -as one with whom he (Beethoven) "never had a misunderstanding," but -he adds "although we have known nothing of each other for nearly six -years," which was not true of Amenda, since letters passed between -them in 1801. The small portion of their written correspondence which -has been made public shows that their friendship was of the romantic -character once so much the fashion; and a letter of Amenda is filled -with incense which in our day would bear the name of almost too gross -flattery. But times change and tastes with them. His name appears once -in the Zmeskall correspondence, namely, in a mutilated note now in the -Royal Imperial Court Library, beginning "My cheapest Baron! Tell the -guitarist to come to me to-day. Amenda is to make an _Amende_ (part -torn away) which he deserves for his bad pauses (torn) provide the -guitarist." - -Karl Amenda was born on October 4, 1771, at Lippaiken in Courland. He -studied music with his father and Chapelmaster Beichtmer, was so good -a violinist that he was able to give a concert at 14 years of age, and -continued his musical studies after he was matriculated as a student -of theology at the University of Jena. After a three years' course -there he set out on a tour, and reached Vienna in the spring of 1798. -There he first became precentor for Prince Lobkowitz and afterward -music-teacher in the family of Mozart's widow. How, thereupon, he -became acquainted with Beethoven we are able to report from a document -still in the possession of the family, which bears the superscription -"Brief Account of the Friendly Relations between L. v. Beethoven and -Karl Friedrich Amenda, afterward Provost at Talsen in Courland, written -down from oral tradition": - - After the completion of his theological studies K. F. Amenda - goes to Vienna, where he several times meets Beethoven at the - table d'hote, attempts to enter into conversation with him, but - without success, since Beeth. remains very _reserve_. After some - time Amenda, who meanwhile had become music-teacher at the home - of Mozart's widow, receives an invitation from a friendly family - and there plays first violin in a quartet. While he was playing - somebody turned the pages for him, and when he turned about at - the finish he was frightened to see Beethoven, who had taken the - trouble to do this and now withdrew with a bow. The next day the - extremely amiable host at the evening party appeared and cried - out: "What have you done? You have captured Beethoven's heart! - B. requests that you rejoice him with your company." A., much - pleased, hurries to B., who at once asks him to play with him. - This is done and when, after several hours, A. takes his leave, - B. accompanies him to his quarters, where there was music again. - As B. finally prepared to go he said to A.: "I suppose you can - accompany me." This is done, and B. kept A. till evening and went - with him to his home late at night. From that time the mutual - visits became more and more numerous and the two took walks - together, so that the people in the streets when they saw only - one of them in the street at once called out: "Where is the other - one?" A. also introduced Mylich, with whom he had come to Vienna, - to B., and Mylich often played trios with B. and A. His instrument - was the second violin or viola. Once when B. heard that Mylich - had a sister in Courland who played the pianoforte prettily, he - handed him a sonata in manuscript with the inscription: "To the - sister of my good friend Mylich." The manuscript was rolled up and - tied with a little silk ribbon. B. complained that he could not - get along on the violin. Asked by A. to try it, nevertheless, he - played so fearfully that A. had to call out: "Have mercy--quit!" - B. quit playing and the two laughed till they had to hold their - sides. One evening B. improvised marvellously on the pianoforte - and at the close A. said: "It is a great pity that such glorious - music is born and lost in a moment." Whereupon B.: "There you - are mistaken; I can repeat every extemporization"; whereupon he - sat himself down and played it again without a change. B. was - frequently embarrassed for money. Once he complained to A.; he had - to pay rent and had no idea how he could do it. "That's easily - remedied," said A. and gave him a theme ("Freudvoll und Leidvoll") - and locked him in his room with the remark that he must make a - beginning on the variations within three hours. When A. returns he - finds B. on the spot but ill-tempered. To the question whether or - not he had begun B. handed over a paper with the remark: "There's - your stuff!" (_Da ist der Wisch!_) A. takes the notes joyfully to - B.'s landlord and tells him to take it to a publisher, who would - pay him handsomely for it. The landlord hesitated at first but - finally decided to do the errand and, returning joyfully, asks - if other bits of paper like that were to be had. But in order - definitely to relieve such financial needs A. advised B. to make a - trip to Italy. B. says he is willing but only on condition that A. - go with him. A. agrees gladly and the trip is practically planned. - Unfortunately news of a death calls A. back to his home. His - brother has been killed in an accident and the duty of caring for - the family devolves on him. With doubly oppressed heart A. takes - leave of B. to return to his home in Courland. There he receives - a letter from B. saying: "Since you cannot go along, I shall not - go to Italy." Later the friends frequently exchanged thoughts by - correspondence.[86] - -Though, as we have learned, it was music which brought Beethoven into -contact with Amenda, it was the latter's amiability and nobility of -character that endeared him to the composer, who cherished him as one -of his dearest friends and confided things to him which he concealed -from his other intimates--his deafness, for instance. A striking proof -of Beethoven's affection is offered by the fact that he gave Amenda a -copy of his Quartet in F (Op. 18, No. 1), writing on the first violin -part: - - Dear Amenda: Take this quartet as a small memorial of our - friendship, and whenever you play it recall the days which we - passed together and the sincere affection felt for you then and - which will always be felt by - - Your true and warm friend - Ludwig van Beethoven. - - Vienna, 1799, June 25. - -In a letter written nearly a year later Beethoven asks his friend -not to lend the quartet, as he had revised it. A letter written, -evidently, about the time of Amenda's departure from Vienna indicated -that Beethoven was oppressed at this period with another grief than -that caused by the loss of his friend's companionship. Beethoven speaks -of his "already lacerated heart," says that "the worst of the storm -is over" and mentions an invitation to Poland--which he had accepted. -Nothing came of this Polish enterprise. Dr. A. C. Kalischer suspected -that the lacerated heart was due to the composer's unrequited love for -Magdalena Willmann, a singer then in Vienna to whom he made a proposal -of marriage which was never answered. - -FRIENDSHIP WITH COUNT LICHNOWSKY - -Count Moritz Lichnowsky, brother of Prince Carl, of whom we shall -not lose sight entirely until the closing scene, was another of the -friends of those years. He had been a pupil of Mozart, played the -pianoforte with much skill and was an influential member of the party -which defended the novelty and felt the grandeur of his friend's -compositions. Schindler saw much of him during Beethoven's last years, -and eulogizes the "noble Count" in very strong terms. - -Another of that circle of young dilettanti, and one of the first -players of Beethoven's compositions, was a young Jewish violinist, -Heinrich Eppinger. He played at a charity concert in Vienna, making -his first appearance there in 1789. "He became, in after years," says -a correspondent of the time, "a dilettante of the most excellent -reputation, lived modestly on a small fortune and devoted himself -entirely to music." At the period before us Eppinger was one of -Beethoven's first violins at the private concerts of the nobility. -Haering, who became a distinguished merchant and banker, belonged now to -this circle of young amateur musicians, and in 1795 had the reputation -of being at the head of the amateur violinists. The youthful friendship -between him and the composer was not interrupted as they advanced into -life, and twenty years later was of great advantage to Beethoven. - -But a more interesting person for us is the instructor under whom -Beethoven in Vienna resumed his study of the violin (a fact happily -preserved by Ries)--Wenzel Krumpholz. He was a brother of the very -celebrated Bohemian harp player who drowned himself in the Seine in -1790. In his youth Krumpholz had been for a period of three years a -pupil of Haydn at Esterhaz and had played first violin in the orchestra -there. He left Esterhaz to enter the service of Prince Kinsky, but came -to Vienna in 1795 to join the operatic orchestra, and at once became -noted as a performer in Haydn's quartets. He was (says Eugene Eiserle -in Gloeggl's "Neue Wiener Musik-Zeitung" of August 13, 1857), - - a highly sensitive art-enthusiast, and one of the first of those - who foresaw and recognized Beethoven's greatness. He attached - himself to Beethoven with such pertinacity and self-sacrifice - that the latter, though he always called him "his fool," accepted - him as "a most intimate friend," made him acquainted with all his - plans for compositions and generally reposed the utmost confidence - in him. Krumpholz formed also an exceedingly close friendship - with his countryman Wenzel Czerny, a music-teacher living in the - Leopoldstadt, and from 1797 onward spent most of his leisure - evenings with the Czerny family, and thus the little son Karl, - in his eighth and ninth years, learned almost daily what works - Beethoven had in hand, and, like Krumpholz, became filled with - enthusiasm for the tone-hero. - -Krumpholz was a virtuoso on the mandolin, and hence, probably, that -page of sketches by Beethoven in the Artaria Collection headed -"Sonatine fuer Mandolin u. P. F." Among the Zmeskall papers in the Royal -Imperial Library in Vienna there is a half-sheet of coarse foolscap -paper upon which is written with lead-pencil in huge letters by the -hand of Beethoven, - - The Music Count is dismissed with infamy to-day.-- - - The First Violin will be exiled to the misery of Siberia. - - The _Baron_ is forbidden for a whole month to ask questions and - never again to be overhasty, and he must concern himself with - nothing but his _ipse miserum_. - - B. - -"Music Count" and "Baron" are, of course, Zmeskall; but these notices -of Beethoven's various first violins show the folly of attempting to -decide whether one of them or Schuppanzigh was to be sent to Siberia, -so long as there is no hint whatever as to the time and occasion of the -note. - -The very common mistake of forgetting that there is a time in the lives -of distinguished men when they are but aspirants to fame, when they -have their reputations still to make, often, in fact, attracting less -notice and raising feebler hopes of future distinction in those who -know them, than many a more precocious contemporary--this mistake has -thrown the figures of Schuppanzigh and his associates in the quartet -concerts at Prince Carl Lichnowsky's into a very false prominence in -the picture of these first seven years of Beethoven's Vienna life. -The composer himself was not the Beethoven whom we know. Had he died -in 1800, his place in musical history would have been that of a great -pianoforte player and of a very promising young composer, whose decease -thus in his prime had disappointed well-founded hopes of great future -eminence. - -SCHUPPANZIGH AND HIS QUARTET - -This is doubly true of the members of the quartet. Had they passed away -in early manhood, not one of them, except perhaps young Kraft, the only -one who ever distinguished himself as a virtuoso upon his instrument, -would have been remembered in the annals of music. They were during -these years but laying the foundation for future excellence and -celebrity as performers of Mozart's, Haydn's, Foerster's and Beethoven's -quartets. Schuppanzigh, first violin, and Weiss, viola, alone appear -to have been constantly associated in their quartet-playing. Kraft, -violoncellist, was often absent, when his father, or Zmeskall, or some -other, supplied his place; and as the second violin was often taken by -the master of the house, when they were engaged for private concerts, -Sina was, naturally, absent. Still, from 1794 to 1799, the four appear -to have practised much and very regularly together. They enjoyed an -advantage known to no other quartet--that of playing the compositions -of Haydn and Foerster under the eyes of the composers, and being taught -by them every effect that the music was intended to produce. Each of -the performers, therefore, knowing precisely the intentions of the -composer, acquired the difficult art of being independent and at the -same time of being subordinate to the general effect. When Beethoven -began to compose quartets he had, therefore, a set of performers -schooled to perfection by his great predecessors, and who already had -experience in his own music through his trios and quartets. - -Ignatz Schuppanzigh, the leader, born 1776, died March 2, 1830 in -Vienna, originally studied music as a dilettante and became a capital -player of the viola; but, about the time when Beethoven came to -Vienna, he exchanged that instrument for the violin and made music his -profession. He was fond of directing orchestral performances and seems -to have gained a considerable degree of local reputation and to have -been somewhat of a favorite in that capacity before reaching his 21st -year. In 1798-99, he took charge of those concerts in the Augarten -established by Mozart and Martin, and afterwards led by Rudolph. -Seyfried, writing after his death, calls Schuppanzigh a "natural born -and really energetic leader of the orchestra." The difference in age, -character and social position between him and Beethoven was such as -not to admit between them that higher and nobler friendship which -united the latter and Zmeskall; but they could be, and were, of great -use to each other, and there was a strong personal liking, if not -affection, which was mutual. Schuppanzigh's person early assumed very -much of the form and proportions of Sterne's Dr. Slop, and after his -return from Russia he is one of the "Milord Falstaffs" of Beethoven's -correspondence and Conversation Books. His obesity was, however, -already the subject of the composer's jests, and he must have been -an exceedingly good-tempered young man, to bear with and forgive the -coarse and even abusive text of the short vocal piece (1801) headed -"Lob auf den Dicken" ("Praise of the Fat One"). But it is evidently a -mere jest, and was taken as such. It is worthy of note that Beethoven -and Schuppanzigh in addressing each other used neither the familiar -"du" nor the respectful "Sie," but "er"--a fact which has been supposed -to prove Beethoven's great contempt for the violinist; but as it -would prove equal contempt on the other side, it proves too much. Of -Sina and Weiss, both Silesians by birth, there is little that need be -added here. Weiss became the first viola player of Vienna, and a not -unsuccessful composer of ballet and other music. - -Anton Kraft (the father) came from Bohemia to pursue his legal studies -in Vienna, but abandoned them to enter the Imperial Court Orchestra as -violoncellist. In 1778, he accepted an invitation from Haydn to join -the orchestra in Esterhaz; where, on the 18th of December of the same -year, his son Nicholas Anton was born. The child, endowed by nature -with great musical talents, enjoyed the advantages of his father's -instructions and example and of growing up under the eye of Haydn and -in the constant study of that great musician's works. Upon the death -of Esterhazy and the dispersion of his orchestra, Kraft came with his -son, now in his fourteenth year, to Vienna. On April 15th, 1792, -Nicholas played a concerto composed by his father at the "Widows and -Orphans" concert, and on the 21st again appeared in a concert given -by the father. Notwithstanding a very remarkable success, the son was -destined for another profession than music; and from this time until -his eighteenth year, he played his instrument only as an amateur, and -as such Beethoven first knew the youth. But when the young Prince -Lobkowitz formed his orchestra in 1796, both the Krafts were engaged, -and Nicholas Anton thenceforth made music his profession. In the -maturity of his years and powers, his only rival among all the German -violoncellists was Bernhard Romberg. - -Schindler, with his characteristic inattention to dates, observes, -speaking of Schuppanzigh, Weiss and the elder Kraft: - -KNOWLEDGE OF ORCHESTRAL INSTRUMENTS - - These three artists are intimately connected with the development - of Beethoven and, indeed, with a large portion of his - creations; wherefore they will frequently be remembered here. - Meanwhile it may suffice to say that it was to this company of - practically-trained musicians that the rising young composer owed - his knowledge of the efficient use of stringed instruments. In - addition are to be mentioned Joseph Friedlowsky, who taught our - master the mechanism of the clarinet, and the famous hornist, - Johann Wenzel Stich, who called himself Giovanni Punto in Italian, - to whom Beethoven owed what he knew of the proper writing for - horn, of which he already gave striking illustration in his - Sonata for Horn, Op. 17. In the mechanism of the flute and its - construction, which underwent so many changes in the first - decades of the century, Carl Scholl steadily remained Beethoven's - instructor. - -There is doubtless some degree of truth in this in so far as it relates -to a later period. Punto, of course, gave Beethoven a new revelation -of the powers and possibilities of the horn, as Dragonetti did of the -contrabass; but he first came to Vienna near the end of 1799, and died -at Prague only three years after (February 16, 1803). All the others -here named by Schindler--with one exception, the elder Kraft--were -youths of 16-18 years, when Beethoven composed his first and second -concertos--works which prove that he was not altogether ignorant of the -use of orchestral instruments! Had Schindler known something of the -history of Max Franz's orchestra in Bonn, he would have avoided many a -mistake.[87] - -Johann Nepomuk Hummel, the pupil of Mozart, was another of the youths -whom Beethoven drew into his circle. In 1795, the elder Hummel brought -back his son to Vienna (from that very successful concert tour which -had occupied the last six years and had made the boy known even to the -cities of distant Scotland) and put him to the studies of counterpoint -and composition with Albrechtsberger and Salieri. He seems to have been -quietly at his studies, playing only in private, until April 28th, -1799, when he again appeared in public both as pianist and composer, in -a concert in the Augartensaal, directed by Schuppanzigh. "He performed -a symphony besides a melodrama composed for the occasion and between -them played prettily _composed_ improvisations on the pianoforte." -That the talented and promising boy of seventeen years should, upon -arriving home again, seek the acquaintance and favor of one who during -his absence had made so profound an impression upon the Vienna public -as Beethoven, and that the latter should have rejoiced to show kindness -to Mozart's favorite pupil, hardly needs to be mentioned. A chapter -of description would not illustrate the nature of their intercourse -so vividly, as two short but exceedingly characteristic notes of -Beethoven's which Hummel preserved and which found their way into print -after his death: - - I - - He is not to come to me again. He is a treacherous dog and may the - flayer get all such treacherous dogs! - - II - - Herzens Natzerl: - - You are an honest fellow and I now see you were right. Come, then, - to me this afternoon. You'll find Schuppanzigh here also and we - two will bump, thump and pump you to your heart's delight. A kiss - from - - Your - - Beethoven - also called Mehlschoeberl.[88] - -ENVIOUS VIENNESE MUSICIANS - -In a letter to Eleonore von Breuning, Beethoven described many of the -Vienna pianists as his "deadly enemies." Schindler's observations upon -the composer's relations with the Viennese musicians, though written -in his peculiar style, seem to be very judicious and correct. - - Nobody is likely to expect, he says (Vol. I, 23-24), that an - artist who made his way upwards as our Beethoven, although almost - confining his activities exclusively to aristocratic circles - that upheld him in extraordinary fashion, would remain free - from the attacks of his colleagues; on the contrary, the reader - will be prepared to see a host of enemies advance against him - because of the shining qualities and evidences of genius of our - hero, in contrast with the heavy burden of social idiosyncrasies - and uncouthness. More than anything else, what seemed least - tolerable to his opponents was the notion that his appearance, the - excitability which he controlled too little in his intercourse - with his colleagues and his lack of consideration in passing - judgment were natural accompaniments of genius. His too small - toleration of many bizarreries and weaknesses of high society, - and on the other hand his severe demand on his colleagues for - higher culture, even his Bonn dialect, afforded his enemies more - than enough material to revenge themselves on him by evil gossip - and slander.... The musicians in Vienna at that time, with a very - few exceptions, were lacking, not only in artistic, but also - in the most necessary degree of general, education and were as - full of the envy of handicraftsmen as the members of the guilds - themselves. There was a particular antipathy to all foreigners - as soon as they manifested a purpose to make their homes in the - imperial city. - -Schindler might have added that the change had been in no small degree -produced through the instructions and example of Beethoven as they -acted upon the Czernys, Moscheles and other young admirers of his -genius. In short, Beethoven's instant achievement of a position as -artist only paralleled by Mozart and of a social rank which Gluck, -Salieri, Haydn had gained only after making their names famous -throughout Europe, together with the general impression that the mantle -of Mozart had fallen upon him--all this begat bitter envy in those -whom his talents and genius overshadowed; they revenged themselves -by deriding him for his personal peculiarities and by condemning and -ridiculing the novelties in his compositions; while he met their envy -with disdain, their criticisms with contempt; and, when he did not -treat their compositions with indifference, but too often only noticed -them with sarcasm. - -This picture, certainly, is not an agreeable one, but all the evidence -proves it, unfortunately, faithful. Such men as Salieri, Gyrowetz, -Weigl, are not to be understood as included in the term "pianist" as -used by Beethoven in his letter to Eleonore von Breuning. For these men -"stood high in Beethoven's respect," says Schindler, and his words are -confirmed to the fullest extent by the Conversation Books and other -authorities; which also show that Eybler's name might have been added -to the list. They were all more or less older than Beethoven, and for -their contrapuntal learning, particularly in the case of Weigl and -Eybler, he esteemed them very highly. No indications, however, have -been found, that he was upon terms of close private friendship and -intimacy with either. - -FRIENDSHIPS WITH WOMEN - -Beethoven was no exception to the general rule, that men of genius -delight in warm and lasting friendships with women of superior minds -and culture--not meaning those "conquests" which, according to Wegeler, -even during his first three years in Vienna, "he occasionally made, -which if not impossible for many an Adonis would still have been -difficult." Let such matters, even if details concerning them were -now attainable, be forgotten. His celibacy was by no means owing to -a deliberate choice of a single life. What is necessary and proper -of the little that is known on _this_ point will, in due time, be -imparted simply and free from gloss or superfluous comment. As to his -friendships with the other sex, it would be throwing the view of them -into very false perspective to employ those of later years in giving -piquancy to a chapter here. Let them also come in due order and thus, -while they lose nothing of interest, they may, perchance afford relief -and give brightness to canvas which otherwise might sometimes become -too sombre. Happily during these prosperous years now before us, the -picture has been for the most part bright and sunny and the paucity of -the information upon the topic in question is of less consequence. - -In the present connection one of our old Bonn friends again comes upon -the scene. The beautiful, talented and accomplished Magdalene Willmann -was invited to sing at Venice during the carnival of 1794. She left -Bonn the preceding summer with her brother Max and his wife (Fraeulein -Tribolet) to fulfill the engagement. After leaving Venice, they gave -a concert in Gratz, and journeyed on to Vienna. Here Max and his wife -remained, having accepted engagements from Schikaneder, while Magdalene -went on to Berlin. Not suiting the operatic public there she returned -to Vienna, and was soon engaged to sing both German and Italian parts -in the Court Opera. Beethoven renewed his intercourse with them and -soon became so captivated with the charms of the beautiful Magdalene as -to offer her his hand. This fact was communicated to the author by a -daughter of Max Willmann, still living in 1860, who had often heard her -father speak of it. To the question, why her aunt did not accept the -offer of Beethoven, Madame S. hesitated a moment, and then, laughing, -replied: "Because he was so ugly, and half crazy!" In 1799, Magdalene -married a certain Galvani, but her happiness was short; she died toward -the end of 1801. - -Two letters of Beethoven to be found in the printed collection have -been preserved from the period before us, addressed to Christine -Gerhardi, a young woman of high distinction in society at the time for -the splendor of her talents and her high culture. Dr. Sonnleithner -wrote of her: - - She was the daughter of an official at the court of the Emperor - Leopold II ... an excellent singer, but remained a dilettante - and sang chiefly in concerts for charitable purposes (which she - herself arranged), or for the benefit of eminent artists. Old - Professor Peter Frank was director of the general hospital of - Vienna in the neighborhood of which (No. 20 Alserstrasse) she - lived. He was a great lover of music, but his son, Dr. Joseph - Frank, was a greater; he made essays in composition and arranged - musical soirees at the home of his father at which Beethoven - and Fraeulein Gerhardi took part, playing and singing. The son - frequently composed cantatas, which Beethoven corrected, for the - name-days and birthdays of his father, and in which Fraeulein - Gerhardi sang the soprano solos.... She was at the time the most - famous amateur singer in Vienna, and inasmuch as Haydn knew - her well there is no doubt but that he had her in mind when he - composed "The Creation"; indeed, she sang the soprano part with - great applause not only at Schwarzenberg but also at the first - performance in the Burgtheater. All reports agree that she met - Beethoven often at Frank's and that he frequently accompanied her - singing on the pianoforte. He did not give her lessons. - -Dr. Joseph von Frank and Christine Gerhardi were married on August 20, -1798; they moved away from Vienna in 1804. - -A few notes upon certain young women to whom Beethoven dedicated -compositions at this period of his life may form no inappropriate close -to this chapter. It was much the custom then for teachers of music -to dedicate their works to pupils, especially to those who belonged -to the higher social ranks--such dedications being at the same time -compliments to the pupils and advertisements for the instructors, with -the farther advantage often of being sources of pecuniary profit. When, -therefore, we read the name of Baroness Albini on the title-page of -certain sonatas by Sterkel, of Julia Countess Guicciardi on one by -Kleinheinz, of Anna Countess Mailath on songs by Teyber, we assume at -once the probability in these and like instances that the relation -of master and pupil existed. Beethoven also followed the custom; and -the young ladies, subjects of the following notices, are all known or -supposed to have taken lessons of him. - -Anna Louisa Barbara ("La Comtesse Babette") was the daughter of Karl -Count Keglevics de Busin, of Hungarian Croatian lineage, and Barbara -Countess Zichy. She married Prince Innocenz d'Erba Odescalchi on the -10th of February, 1801 (another authority gives 1800). Beethoven's -dedications to her are the Sonata, Op. 7 (published in 1797), the -Variations "La stessa la stessissima" (1799), and the Pianoforte -Concerto, Op. 15, 1801--the last to her as Princess Odescalchi. A note -by the composer to Zmeskall--which, judging both from its contents and -the handwriting, could not have been written later than 1801-2--shows -that the Odescalchi palace was one of those at which he took part in -musical soirees. - -"Countess Henriette Lichnowsky," writes Count Amade, "was the sister -of the ruling Prince Carl, and was doubtless married to the Marquis -of Carneville after the dedication to her of the Rondo (G major, Op. -51, No. 2, published in September, 1802); she lived in Paris after -her marriage and died about 1830." The Rondo was first dedicated to -Countess Giulietta Guicciardi, but Beethoven asked it back in exchange -for the C-sharp minor Sonata; to which fact we shall recur presently. -Countess Thun, to whom Beethoven dedicated the Clarinet Trio, Op. -11, in 1797, was the mother of Prince Carl Lichnowsky and Countess -Henriette Lichnowsky. She died May 18, 1800. The Sonata in E-flat, -Op. 27, No. 1, was dedicated to Josepha Sophia, wife of Prince Johann -Joseph von Liechtenstein, daughter of Joachim Egon, Landgrave of -Fuerstenberg-Weitra. She was born on June 20, 1776, married on April -22, 1792 and died February 23, 1848. Whether her father was related -at all, and if so, how, to the Fuerstenberg in whose house Beethoven -gave lessons in Bonn, is not known. Her husband, however, was first -cousin to Count Ferdinand von Waldstein. The Baroness Braun to whom -Beethoven dedicated the two Pianoforte Sonatas Op. 14 and the Sonata -for Horn in 1801, was the wife of Baron Peter von Braun, lessee of -the Nationaltheater and afterwards of the Theater an der Wien. The -dedications disclose an early association which eventually led to -Beethoven's being asked to compose an opera. It is not known that -Beethoven was a social visitor in the house of Baron Braun, but he -was a highly respected guest in the house of Count Browne, to whose -wife Beethoven dedicated the "Waldmaedchen" Variations and the three -Pianoforte Sonatas, Op. 10. - -FOOTNOTES: - -[86] Amenda returned to his home in Courland in the fall of 1799. The -friends corresponded with each other for a time, but the majority -of Beethoven's letters are lost. While a student at the University -in Leipzig, Amenda's grandson placed some of them in the hands of a -publisher at his request and did not get them back. Amenda was first a -private teacher, became a preacher in Talsen in 1802, provost of the -diocese of Kadau in 1820, consistorial councillor in 1830 and died -on March 8, 1836. A portrait painted in 1808, is preserved in the -Beethoven Museum in Bonn. - -[87] Beethoven did not always follow the suggestions of these men. -According to an anecdote told by Dolezalek to Otto Jahn, Kraft once -complained that a passage was not playable. "It's got to be," answered -Beethoven. In a like vein K. Holz relates that "Beethoven asked an -excellent artist whether or not certain things were possible"; the -question of how difficult they were did not enter. Thus Friedlowsky for -clarinet, Czerwensky for oboe, Hradezky and Herbst for horn. If others -complained of impossibilities the answer was "They can do it and you -must." (From Thayer's papers.) - -[88] The humor to which Beethoven resorts in this note in order to show -his contrition necessarily evaporates in any attempt to translate its -Viennese colloquialisms. "Herzens Natzerl" is to be understood as "Dear -little Ignacius of my heart," Nazerl being an affectionate diminutive -of Ignaz or Ignacius. Why it should have been applied to Hummel, whose -Christian names were Johann Nepomuk, does not appear. "Mehlschoeberl" -is a term which has survived in the Austrian cuisine of to-day, the -article itself being a sort of soup dumpling. - - - - -Chapter XVII - - Beethoven's Character and Personality--His Disposition--Love of - Nature--Relations with the Opposite Sex--Literary Tastes--His - Letters--Manner of Composing--The Sketchbooks--Origin of His - Deafness. - - -The year 1800 is an important era in Beethoven's history. It is the -year in which, cutting loose from the pianoforte, he asserted his -claims to a position with Mozart and the still living and productive -Haydn in the higher forms of chamber and orchestral composition--the -quartet and the symphony. It is the year, too, in which the bitter -consciousness of an increasing derangement of his organs of hearing -was forced upon him and the terrible anticipation of its incurable -nature and of its final result in almost total deafness began to -harass and distress him. The course of his life was afterwards so -modified, on the one hand, by the prosperous issue of these new appeals -to the taste and judgment of the public, and, on the other, by the -unhappy progress of his malady, each acting and reacting upon a nature -singularly exceptional, that for this and other reasons some points in -his personal character and habits, and a few general remarks upon and -illustrations of another topic or two must be made before resuming the -narrative of events. - -A true and exhaustive picture of Beethoven as a man would present an -almost ludicrous contrast to that which is generally entertained as -correct. As sculptors and painters have each in turn idealized the -work of his predecessor, until the composer stands before us like a -Homeric god until those who knew him personally, could they return -to earth, would never suspect that the grand form and noble features -of the more pretentious portraits are intended to represent the -short muscular figure and pock-pitted face of their old friend--so -in literature evoked by the composer a similar process has gone on, -with a corresponding suppression of whatever is deemed common and -trivial, until he is made a being living in his own peculiar realm of -gigantic ideas, above and apart from the rest of mankind--a sort of -intellectual Thor, dwelling in "darkness and clouds of awful state," -and making in his music mysterious revelations of things unutterable! -But it is really some generations too soon for a conscientious -investigator of his history to view him as a semi-mythological -personage, or to discover that his notes to friends asking for pens, -making appointments to dinner at taverns, or complaining of servants, -are "cyclopean blocks of granite," which, like the "chops and tomato -sauce" of Mr. Pickwick, contain depths unfathomable of profound -meaning. The present age must be content to find in Beethoven, with -all his greatness, a very human nature, one which, if it showed -extraordinary strength, exhibited also extraordinary weaknesses. - -INCONSISTENT TRAITS OF CHARACTER - -It was the great misfortune of Beethoven's youth--his impulses good and -bad being by nature exceedingly quick and violent--that he did not grow -up under the influence of a wise and strict parental control, which -would have given him those habits of self-restraint that, once fixed, -are a second and better nature, and through which the passions, curbed -and moderated, remain only as sources of noble energy and power. His -very early admission into the orchestra of the theatre as cembalist, -was more to the advantage of his musical than of his moral development. -It was another misfortune that, in those years, when the strict -regulations of a school would have compensated in some measure for the -unwise, unsteady, often harsh discipline of his father, he was thus -thrown into close connection with actors and actresses, who, in those -days, were not very distinguished for the propriety of their manners -and morals. Before his seventeenth or eighteenth year, when he became -known to the Breuning family and Count Waldstein, he could hardly have -learned the importance of cultivating those high principles of life -and conduct on which in later years he laid so much stress. And, at -that period of life, the character even under ordinary circumstances -is so far developed, the habits have become so far formed and fixed, -and the natural tendencies have acquired so much strength, that it is, -as a rule, too late to conquer the power of a perfect self-command. -At all events, the consequences of a deficient early moral education -followed Beethoven through life and are visible in the frequent -contests between his worse and his better nature and in his constant -tendency to extremes. To-day, upon some perhaps trivial matter, he -bursts into ungovernable wrath; to-morrow, his penitence exceeds the -measure of his fault. To-day he is proud, unbending, offensively -careless of those claims which society grants to people of high -rank; to-morrow his humility is more than adequate to the occasion. -The poverty in which he grew up was not without its effect upon his -character. He never learned to estimate money at its real value; though -often profuse and generous to a fault, even wasteful, yet at times he -would fall into the other extreme. With all his sense of nobility of -independence, he early formed the habit of leaning upon others; and -this the more, as his malady increased, which certainly was a partial -justification; but he thus became prone to follow unwise counsels, or, -when his pride was touched, to assert an equally unwise independence. -At other times, in the multitude of counsellors he became the victim -of utter irresolution, when decision and firmness were indispensable -and essential to his welfare. Thus, both by following the impulse of -the moment, and by hesitation when a prompt determination was demanded, -he took many a false step, which could no longer be retrieved when -reflection brought with it bitter regret. - -It would be doing great injustice both to Beethoven and to the present -writer to understand the preceding remarks as being intended to -represent the composer's lapses in these regards, as being more than -unpleasant and unfortunate episodes in the general tenor of his life; -but as they did occur to his great disadvantage, the fact cannot be -silently passed over. - -A romantically sentimental admiration of the heroes of ancient -classic literature, having its origin in Paris, had become widely -the fashion in Beethoven's youth. The democratic theories of the -French sentimentalists had received a new impulse from the dignified -simplicity of the foreign representatives of the young American -Republic, Franklin, Adams, Jay--from the retirement to private life -on their plantations and farms of the great military leaders in -the contest, Washington, Greene, Schuyler, Knox and others, after -the war with England was over; from the pride taken by the French -officers, who had served in America, in their insignia of the order -of the Cincinnati; and even from the letters and journals of German -officers, who, in captivity, had formed friendships with many of the -better class of the republican leaders, and seen with their own eyes -in what simplicity they lived while guiding the destinies of the -new-born nation. Thus through the greater part of Central Europe the -idea became current of a pure and sublime humanity, above and beyond -the influence of the passions, of which Cincinnatus, Scipio, Cato, -Washington, Franklin, were the supposed representatives. Zschokke makes -his Heuwen say: "Virtue and the heroes of antiquity had inspired me -with enthusiasm for virtue and heroism"; and so, also, Beethoven. He -exalted his imagination and fancy by the perusal of the German poets -and translations of the ancient and English classics, especially Homer, -Plutarch and Shakespeare; dwelt fondly upon the great characters as -models for the conduct of life; but between the sentiment which one -feels and the active principle on which he acts, there is often a wide -cleft. That Beethoven proved to be no Stoic, that he never succeeded in -governing his passions with absolute sway, was not because the spirit -was unwilling; the flesh was weak. Adequate firmness of character had -not been acquired in early years. But those who have most thoroughly -studied his life, know best how pure and lofty were his aspirations, -how wide and deep his sympathies with all that is good, how great his -heart, how, on the whole, heroic his endurance of his great calamity. -They can best feel the man's true greatness, admire the nobility of his -nature, and drop the tear of sorrow and regret upon his vagaries and -faults. He who is morbidly sensitive, and compelled to keep constant -ward and watch over his passions, can best appreciate and sympathize -with the man, Beethoven. - -Truth and candor compel the confession, that in those days of -prosperity he bore his honors with less of meekness than we could wish; -that he had lost something of that modesty and ingenuousness eulogized -by Junker ten years before, in his Mergentheim letter. His "somewhat -lofty bearing" had even been reported by the correspondent of the -"Allgemeine Musikalische Zeitung." Traces of self-sufficiency and even -arrogance--faults almost universal among young and successful geniuses, -often in a far higher degree than was true of Beethoven, and with not -a tithe of his reason--are unquestionably visible. No one can read -without regret his remarks upon certain persons not named, with whom at -this very time he was upon terms of apparently intimate friendship. "I -value them," he writes, "only by what they do for me.... I look upon -them only as instruments upon which I play when I feel so disposed." -His "somewhat lofty bearing" was matter for jest to the venerable -Haydn, who, according to a trustworthy tradition, when Beethoven's -visits to him had become few and far between would inquire of other -visitors: "How goes it with our Great Mogul?" Nor would the young -nobles, whose society he frequented, take offence; but it certainly -made him enemies among those whom he "valued according to their service -and looked upon as mere instruments"--and no wonder! - -Pierson, in his edition of the so-called "Beethoven's Studien," has -added to Seyfried's personal sketches a few reminiscences of that -Griesinger, who was so long Saxon Minister in Vienna, and to whom we -owe the valuable "Biographische Notizen ueber Joseph Haydn." One of his -anecdotes is to the purpose here and may be taken as substantially -historical. - -BEETHOVEN'S SELF-ESTEEM INJURED - -When he was still only an attache, and Beethoven was little known -except as a celebrated pianoforte player, both being still young, they -happened to meet at the house of Prince Lobkowitz. In conversation with -a gentleman present, Beethoven said in substance, that he wished to -be relieved from all bargain and sale of his works, and would gladly -find some one willing to pay him a certain income for life, for which -he should possess the exclusive right of publishing all he wrote; -adding, "and I would not be idle in composition. I believe Goethe does -this with Cotta, and, if I mistake not, Handel's London publisher held -similar terms with him." - -"My dear young man," returned the other, "You must not complain; for -you are neither a Goethe nor a Handel, and it is not to be expected -that you ever will be; for such masters will not be born again." -Beethoven bit his lips, gave a most contemptuous glance at the speaker, -and said no more. Lobkowitz endeavored to appease him, and in a -subsequent conversation said: - -"My dear Beethoven, the gentleman did not intend to wound you. It -is an established maxim, to which most men adhere, that the present -generation cannot possibly produce such mighty spirits as the dead, who -have already earned their fame." - -"So much the worse, Your Highness," retorted Beethoven: "but with men -who will not believe and trust in me because I am as yet unknown to -universal fame, I cannot hold intercourse!" - -It is easy for this generation, which has the productions of the -composer's whole life as the basis of its judgment of his powers, -to speak disparagingly of his contemporaries for not being able to -discover in his first twelve or fifteen works good reason for classing -him with Goethe and Handel; but he who stand upon a mountain cannot -justly ridicule him on the plain for the narrow extent of his view. -It was as difficult then to conceive the possibility of instrumental -music being elevated to heights greater than those reached by Haydn -and Mozart, as it is for us to conceive of Beethoven being hereafter -surpassed. - -In the short personal sketches of Beethoven's friends which have been -introduced, the dates of their births have been noted so far as known, -that the reader may observe how very large a proportion of them were -of the same age as the composer, or still younger--some indeed but -boys--when he came to Vienna. And so it continued. As the years pass -by in our narrative and names familiar to us disappear, the new ones -which take their places, with rare exceptions, are still of men much -younger than himself. The older generation of musical amateurs at -Vienna, van Swieten and his class, had accepted the young Bonn organist -and patronized him, as a pianist. But when Beethoven began to press his -claims as a composer, and, somewhat later, as his deafness increased, -to neglect his playing, some of the elder friends had passed away, -others had withdrawn from society, and the number was few of those -who, like Lichnowsky, could comprehend that departures from the forms -and styles of Mozart and Haydn were not necessarily faults. With the -greater number, as perfection necessarily admits of no improvement and -both quartet and symphony in _form_ had been carried to that point by -Haydn and Mozart, it was a perfectly logical conclusion that farther -progress was impossible. They could not perceive that there was still -room for the invention or discovery of new elements of interest, -beauty, power; for such perceptions are the offspring of genius. With -Beethoven they were instinctive. - -One more remark: Towards the decline of life, the masterpieces of -literature and art, on which the taste was formed, are apt to become -invested in the mind with a sort of nimbus of sanctity; hence, the -productions of a young and daring innovator, even when the genius and -talent displayed in them are felt and receive just acknowledgement, -have the aspect, not only of an extravagant and erring waste of -misapplied powers, but of a kind of profane audacity. For these and -similar reasons Beethoven's novelties found little favor with the -veterans of the concert-room. - -THE HOMAGE OF YOUNG DISCIPLES - -The criticism of the day was naturally ruled and stimulated by the -same spirit. Beethoven's own confession how it at first wounded him, -will come in its order; but after he felt that his victory over it was -sure--was in fact gained with a younger generation--he only laughed -at the critics; to answer them, except by new works, was beneath him. -Seyfried says of him (during the years of the "Eroica," "Fidelio," -etc.): "When he came across criticisms in which he was accused of -grammatical errors he rubbed his hands in glee and cried out with a -loud laugh: 'Yes, yes! they marvel and put their heads together because -they do not find it in any school of thoroughbass!'" But for the -young of both sexes, Beethoven's music had an extraordinary charm. -And this not upon technical grounds, nor solely for its novelties, -always an attractive feature to the young, but because it appealed to -the sensibilities, excited emotions and touched the heart as no other -purely instrumental compositions had ever done. And so it was that -Beethoven also in his quality of composer soon gathered about him a -circle of young disciples, enthusiastic admirers. Their homage may well -have been grateful to him--as such is to every artist and scholar of -genius, who, striking out and steadfastly pursuing a new path, subjects -himself to the sharp animadversions of critics who, in all honesty, -really can see little or nothing of good in that which is not to be -measured and judged by old standards. The voice of praise under such -circumstances is doubly pleasing. It is known that, when Beethoven's -works began to find a just appreciation from a new generation of -critics, who had indeed been schooled by them, he collected and -preserved a considerable number of laudatory articles, whose fate -cannot now be traced. When, however, the natural and just satisfaction -which is afforded by the homage of honest admirers and deservedly -eulogistic criticism, degenerates into a love of indiscriminate -praise and flattery, it becomes a weakness, a fault. Of this error in -Beethoven there are traces easily discernible, and especially in his -later years; there are pages of fulsome eulogy addressed to him in the -Conversation Books, which would make the reader blush for him, did not -the mere fact that such books existed remind him of the bitterness of -the composer's lot. The failing was also sometimes his misfortune; -for those who were most profuse in their flatteries, and thus gained -his ear, were by no means the best of his counsellors. But aside from -the attractive force of his genius, Beethoven possessed a personal -magnetism, which attached his young worshippers to him and, all things -considered, to his solid and lasting benefit in his private affairs. -Just at this time, and for some years to come, his brothers usually -rendered him the aid he needed; but thenceforth to the close of his -life, the names of a constant succession of young men will appear in -and vanish from our narrative, who were ever necessary to him and ever -ready at his call with their voluntary services. - -Beethoven's love of nature was already a marked trait of his character. -This was indulged and strengthened by long rambles upon the lofty hills -and in the exquisitely beautiful valleys which render the environs of -Vienna to the north and west so charming. Hence, when he left the city -to spend the hot summer months in the country, with but an exception -or two in a long series of years, his residence was selected with a -view to the indulgence of this noble passion. Hence, too, his great -delight in the once celebrated work of Christian Sturm: "Beobachtungen -ueber die Werke Gottes," which, however absurd much of its natural -philosophy (in the old editions) appears now in the light of advanced -knowledge, was then by far the best manual of popular scientific truth, -and was unsurpassed in fitness to awaken and foster a taste for, and -the understanding of, the beauties of nature. Schindler has recorded -the master's life-long study and admiration of this book. It was one -which cherished his veneration for the Creator and Preserver of the -universe, and yet left his contempt for procrustean religious systems -and ecclesiastical dogmas its free course. "To him, who, in the love of -Nature, holds communion with her visible forms, she speaks a various -language," says Bryant. Her language was thoroughly well understood by -Beethoven; and when, in sorrow and affliction, his art, his Plutarch, -his "Odyssey," proved to be resources too feeble for his comfort, he -went to Nature for solace, and rarely failed to find it. - -BEETHOVEN'S MORAL PRINCIPLES - -Art has been so often disgraced by the bad morals and shameless lives -of its votaries, that it is doubly gratifying to be able to affirm -of Beethoven that, like Handel, Bach and Mozart, he did honor to his -profession by his personal character and habits. Although irregular, -still he was as simple and temperate in eating and drinking as was -possible in the state of society in which he lived. That he was no -inordinate lover of wine or strong drinks is certain. No allusion -is remembered in any of his letters, notes, memoranda, nor in the -Conversation Books, which indicates a liking for any game of chance -or skill. He does not appear to have known one playing-card from -another. Music, books, conversation with men and women of taste and -intelligence, dancing, according to Ries (who adds that he could never -learn to dance in time--but Beethoven's dancing days were soon over--), -and, above all, his long walks, were his amusements and recreations. -His whim for riding was of short duration--at all events, the last -allusion to any horse owned by him is in the anecdote on a previous -page. - -One rather delicate point demands a word: and surely, what Franklin -in his autobiography could confess of himself, and Lockhart mention -without scruple of Walter Scott, his father-in-law, need not be here -suppressed. Nor can it well be, since a false assumption on the -point has been made the basis already of a considerable quantity -of fine writing, and employed to explain certain facts relative to -Beethoven's compositions. Spending his whole life in a state of society -in which the vow of celibacy was by no means a vow of chastity; in -which the parentage of a cardinal's or archbishop's children was -neither a secret nor a disgrace; in which the illegitimate offspring -of princes and magnates were proud of their descent and formed upon -it well-grounded hopes of advancement and success in life; in which -the moderate gratification of the sexual was no more discountenanced -than the satisfying of any other natural appetite--it is nonsense to -suppose, that, under such circumstances, Beethoven could have puritanic -scruples on that point. Those who have had occasion and opportunity -to ascertain the facts, know that he had not, and are also aware that -he did not always escape the common penalties of transgressing the -laws of strict purity. But he had too much dignity of character ever -to take part in scenes of low debauchery, or even when still young to -descend to the familiar jesting once so common between tavern girls and -the guests. Thus, as the elder Simrock related, upon the journey to -Mergentheim recorded in the earlier pages of this work, it happened at -some place where the company dined, that some of the young men prompted -the waiting-girl to play off her charms upon Beethoven. He received -her advances and familiarities with repellent coldness; and as she, -encouraged by the others, still persevered, he lost his patience, and -put an end to her importunities by a smart box on the ear. - -The practice, not uncommon in his time, of living with an unmarried -woman as a wife, was always abhorrent to him--how much so, a sad story -will hereafter illustrate; to a still greater degree an intrigue with -the wife of another man. In his later years he so broke off his once -familiar intercourse with a distinguished composer and conductor of -Vienna, as hardly to return his greetings with common politeness. -Schindler affirmed that the only reason for this was that the man in -question had taken to his bed and board the wife of another. - -The names of two married women might be here given, to whom at a -later period Beethoven was warmly attached; names which happily have -hitherto escaped the eyes of literary scavengers, and are therefore -here suppressed. Certain of his friends used to joke him about these -ladies, and it is certain that he rather enjoyed their jests even -when the insinuations, that his affection was beyond the limit of -the Platonic, were somewhat broad; but careful enquiry has failed to -elicit any evidence that even in these cases he proved unfaithful to -his principles. A story related by Jahn is also to the point, viz.: -that Beethoven only by the urgent solicitations of the Czerny family -was after much refusal persuaded to extemporize in the presence of a -certain Madame Hofdemel. She was the widow of a man who had attempted -her life and then committed suicide; and the refusal of Beethoven to -play before her arose from his having the general belief at the time, -that a too great intimacy had existed between her and Mozart. Jahn, it -may be observed, has recently had the great satisfaction of being able -to prove the innocence of Mozart in this matter and of rescuing his -memory from the only dark shadow which rested upon it. This much on -this topic it has been deemed necessary to say here, not only for the -reason above given, but to put an end to long-prevailing misconceptions -and misconstructions of passages in Beethoven's letters and private -memoranda and to save farther comment when they shall be introduced -hereafter. - -Beethoven's fine sense for the lyric element in poetry was already -conspicuous in the fine tact with which the texts of his songs, -belonging in date to his last years in Bonn, were selected from the -annual publications in which most of them appeared. Another fine -proof of this is afforded by a glance through the older editions of -Matthisson's poems. In the fourth (1797), there are but two which are -really well adapted to composition in the song-form--the "Adelaide" and -"Das Opferlied." A third Beethoven left unfinished. He had doubtless -been led to attempt its composition through the force of its appeal -to his personal feelings and sympathies, but soon discovering its -non-lyrical character abandoned it. It is the "Wunsch." - -Rochlitz in his letters from Vienna (1822) reports Beethoven's humorous -account of his enthusiasm for Klopstock in his early life: - - Since that summer in Carlsbad I read Goethe every day, that is, - when I read at all. He (Goethe) has killed Klopstock for me. You - are surprised? And now you laugh? Ah ha! It is because I have read - Klopstock. I carried him about with me for years while walking - and also at other times. Well, I did not always understand him, - of course. He leaps about so much and he begins at too lofty an - elevation. Always _Maestoso_, D-flat major! Isn't it so? But he - is great and uplifts the soul nevertheless. When I could not - understand him I could sort of guess. If only he did not always - want to die! That will come quickly enough. Well, it always sounds - well, at any rate, etc. - -Thus, whatever scattered hints bearing upon the point come under our -notice combine to impart a noble idea of Beethoven's poetic taste and -culture, and to show that the allusions to the ancient classic authors -in his letters and conversation were not made for display, but were the -natural consequence of a love for and a hearty appreciation of them -derived from their frequent perusal in translations. - -BEETHOVEN AS A LETTER-WRITER - -Beethoven's correspondence forms so important a portion of his -biography that something must be said here upon his character as a -letter-writer. A few of his autograph letters bear marks of previous -study and careful elaboration; but, in general, whatever he wrote in -the way of private correspondence was dashed off on the spur of the -moment, and with no thought that it would ever come under any eye but -that for which it was intended. It is therefore easy to imagine how -energetically he would have protested could he have known that his most -insignificant notes were preserved in such numbers, and that the time -would come when they would all be made public; or, still worse, that -some which were but the offspring of momentary pique against those with -whom he lived in closest relations would be used after his death to -their injury; and that outbursts of sudden passion--when the wrong was -perhaps as often on his side as on the other--after all the parties -concerned had passed away, would have an almost judicial authority -accorded to them. - -In studying a collection of some eight hundred of his letters and -notes,[89] originals and copies in print or manuscript, the most -striking fact is the insignificance of by far the greater number--that -so few bear marks of any care in their preparation, or contain matter -of any intrinsic value. In fact, perhaps the greater part of the short -notes to Zmeskall and others owe their origin to Beethoven's dislike of -entrusting oral messages to his servants. For the most part it is in -vain to seek in his correspondence anything bearing upon the theory or -art of music; very seldom is any opinion expressed upon the productions -of any contemporary composer; no vivid sketches of men and manners -flow from his pen, like those which render the letters of Mozart -and Mendelssohn so charming. The proportion of their correspondence -which possesses more than a merely biographical value was large; of -Beethoven's very small. - -His letters, of course, exhibit the usual imperfections of a hasty -and confidential correspondence; sometimes, indeed, of an aggravated -character. Some of them contain loose statements of fact, such as -all men are liable to make through haste or imperfect knowledge; -others contain passages of which the only conceivable explanation is -Schindler's statement that Beethoven sometimes amused himself with -the harmless mystification of others; but, taken together, the more -important letters--while they usually evince his difficulty in finding -the best expressions of his thoughts and his constant struggle with -the rules of his mother tongue--place his truth and candor in a very -favorable light and sometimes rise into a rude eloquence. The reader -feels that when the writer is unjust he is under the influence of a -mistake or passion--and, as a rule, it is not too late to detect such -injustice; that his errors of fact are simply mistakes, honestly made -and easily corrected; that if, in the mass, a few paragraphs occur -which can be neither fully justified nor excused, it is not to be -forgotten that they were not intended for our eyes and that they were -written under the constant pressure of a great calamity, which made him -doubly sensitive and irritable; and so it will be easy, like Sterne's -Recording Angel, to blot such passages with a tear. - -Another striking fact of Beethoven's correspondence, when viewed as a -whole, is the proof it affords that, except in his hours of profound -depression, he was far from being the melancholy and gloomy character -of popular belief. He shows himself here--as he was by nature--of a -gay and lively temperament, fond of a jest, an inveterate though not -always a very happy punster, a great lover of wit and humor. It is a -cause for profound gratitude that it was so; since he thus preserved -an elasticity of spirits that enabled him to escape the consequences -of brooding in solitude over his great misfortune; to rise superior to -his fate and concentrate his great powers upon his self-imposed tasks; -and to meet with hope and courage the cruel fortune which put an end to -so many well-founded expectations and ambitious projects, and confined -him to a single road to fame and honor--that of composition. It happens -that several of the more valuable and interesting of his letters -belong to the period immediately following that now before us, and in -them we are able to trace, with reasonable accuracy, the effect which -his incipient and increasing deafness produced upon him--first, the -anxiety caused by earliest symptoms; then the profound grief bordering -upon despair when the final result had become certain; and at last his -submission to and acceptance of his fate. There is in truth something -nobly heroic in the manner in which Beethoven at length rose superior -to his great affliction. The magnificent series of works produced -in the ten years from 1798 to 1808 are no greater monuments to his -genius than to the godlike resolution with which he wrought out the -inspirations of that genius under circumstances most fitted to weaken -its efforts and restrain its energies. - -BEETHOVEN AND HIS SKETCHBOOKS - -Beethoven was seldom without a folded sheet or two of music paper in -his pocket upon which he wrote with pencil in two or three measures of -music hints of any musical thought which might occur to him wherever he -chanced to be. Towards the end of his life his Conversation Books often -answered the same purpose; and there are traditions of bills-of-fare at -dining-rooms having been honored with ideas afterwards made immortal. -This habit gave Abbe Gelinek a foundation for the following amusing -nonsense as related by Tomaschek: "He (Gelinek) declared," says -Tomaschek, - - as if it were an aphorism, that all of Beethoven's compositions - were lacking in internal coherency and that not infrequently they - were overloaded. These things he looked upon as grave faults of - composition and sought to explain them from the manner in which - Beethoven went about his work, saying that he had always been - in the habit of noting every musical idea that occurred to him - upon a bit of paper which he threw into a corner of his room, and - that after a while there was a considerable pile of the memoranda - which the maid was not permitted to touch when cleaning the room. - Now when Beethoven got into a mood for work he would hunt a few - musical _motivi_ out of his treasure-heap which he thought might - serve as principal and secondary themes for the composition in - contemplation, and often his selection was not a lucky one. I - (Tomaschek) did not interrupt the flow of his passionate, yet - awkward speech, but briefly answered that I was unfamiliar with - Beethoven's method of composing but was inclined to think that the - aberrations occasionally to be found in his compositions were to - be ascribed to his individuality, and that only an unprejudiced - and keen psychologist, who had had an opportunity to observe - Beethoven from the beginning of his artistic development to its - maturity in order gradually to familiarize himself with his views - on art, could fit himself to give the musical world an explanation - of the intellectual cross-relationships in Beethoven's glorious - works, a thing just as impossible to his blind enthusiasts as to - his virulent opponents. Gelinek may have applied these last words - to himself, and not incorrectly. - -This conversation took place in 1814, the day after a rehearsal of -Beethoven's Symphony in A--the Seventh! Gelinek's pile of little bits -of paper in the corner of the room, when touched by the wand of truth, -resolves itself into blank music books, to which his new ideas were -transferred from the original slight pencil sketches, and frequently -with two or three words to indicate the kind of composition to which -they were suited. Divers anecdotes are current which pretend to give -the origin of some of the themes thus recorded and afterwards wrought -out, but few judicious readers will attach much weight to most of -them. For although conceptions can sometimes be traced directly to -their exciting causes, the musical composer can seldom say more than -that they occurred to him at such a time and place--and often not -even that. It is certainly not improbable that Beethoven's admirers -may have questioned him upon this point, as Schindler did upon the -"Pastoral" Symphony, and that he was able to satisfy them; but Handel's -"Harmonious Blacksmith" may be taken as the type of most of the current -stories, which only need truth to make them interesting. - -To return to the sketchbooks--which performed a twofold office; -being not alone the registers of new conceptions, but containing -the preliminary studies of the instrumental works into which they -were wrought out. The introduction to the excellent pamphlet, "Ein -Skizzenbuch von Beethoven, beschrieben und in Auszuegen dargestellt von -Gustav Nottebohm," though properly confined by him to the single book -which he was describing, is equally true of so many that have been -examined with care as to warrant its general application. The following -extracts may be taken as true of the greater part of the sketchbooks: - -HOW THE SKETCHING WAS DONE - - Before us (he says) lies a volume in oblong folio (_Teatro_) - of 192 pages and bearing 16 staves on each page, and, save a - few empty places, containing throughout notes and sketches in - Beethoven's handwriting for compositions of various sorts. The - volume is bound in craftsman's style, trimmed, and has a stout - pasteboard cover. It was bound thus before it was used or received - the notes. [Excepting the number of pages this description - applies to most of the true sketchbooks.] The sketches are for - the greater part one-part; that is, they occupy but a single - staff, only exceptionally are they on two or more staves. [In - some of the later books the proportion of sketches in two or - more parts is much greater than in this.] It is permissible to - assume in advance that they were written originally and in the - order in which they follow each other in the sketchbook. When a - cursory glance over the whole does not seem to contradict this - assumption, a careful study nevertheless compels a modification - at times. It is to be observed that generally Beethoven began a - new page with a new composition; and, moreover, that he worked - alternately or simultaneously at different movements. As a result, - different groups of sketches are crowded so closely together - that in order to find room he was obliged to make use of spaces - which had been left open, and thus eventually sketches for the - most different compositions had to be mixed together and brought - into companionship. [In some of the books "vi-" not infrequently - meets the eye. It was the one of Beethoven's modes of keeping - the clue in the labyrinth of sketches, being part of the word - _vide_. The second syllable, "-de," can always be found on the - same or a neighboring page.] "N.B.," "No. 100," "No. 500," "No. - 1000," etc., and in later sketches "meilleur," are common, all - which signs are explained by Schindler as being a whimsical mode - of estimating the comparative value of different musical ideas, - or of forms of the same. Again Nottebohm continues: In spite of - this confused working it is plain that Beethoven, as a rule, - was conscious from the beginning of the goal for which he was - striving, that he was true to his first concept and carried out - the projected form to the end. The contrary is also true at times, - and the sketchbook (like others) disclosed a few instances in - which Beethoven in the course was led from the form originally - conceived into another, so that eventually something different - appeared from what was planned in the first instance. (Once more.) - In general it may be observed that Beethoven in all his work begun - in the sketchbook proceeded in the most varied manner, and at - times reached his goal in a direction opposite to that upon which - he first set out. [At times] the thematic style dominates; the - first sketch breaks off abruptly with the principal subject and - the work that follows is confined to transforming and reshaping - the thematic kernel at first thrown on the paper until it appears - to be fitted for development; then the same process is undertaken - with intermediary sections; everywhere we find beginnings, never - a whole; a whole comes before us only outside of the sketchbook, - in the printed composition where sections which were scattered in - the sketchbook are brought together. [In other cases] the thematic - manner is excluded; every sketch is aimed at a unity and is - complete in itself; the very first one gives the complete outline - for a section of a movement; those that follow are then complete - reshapings of the first, as other readings directed towards a - change in the summary character, or a reformation of the whole, - an extension of the middle sections, etc. Naturally, the majority - of the sketches do not belong exclusively to either of the two - tendencies, but hover between them, now leaning toward one, now - toward the other. - -One readily sees that, when the general plan of a work is clear and -distinct before the mind, it is quite indifferent in what order the -various parts are studied; and that Beethoven simply adopted the -method of many a dramatic and other author, who sketches his scenes -or chapters not in course but as mood, fancy or opportunity dictates. -It is equally evident that the composer could have half a dozen works -upon his hands at the same time, not merely without disadvantage to -any one of them, but to the gain of all, since he could turn to one -or another as the spirit of composition impelled; like the author -of a profound literary work, who relieves and recreates his mind -by varying his labors, and executes his grand task all the more -satisfactorily, because he, from time to time, refreshes himself by -turning his attention to other and lighter topics. When Beethoven -writes to Wegeler: "As I am writing now I often compose three or four -pieces at once," he could have referred only to the preliminary studies -of the sketchbooks. Sometimes, it is true, works were laid aside -incomplete after he had begun the task of writing them out in full, -and finished when occasion demanded; but as a rule his practice was -quite different, viz.: All the parts of a work having been thus studied -until he had determined upon the form, character and style of every -important division and subdivision, and recorded the results in his -sketchbook by a few of the first measures, followed by "etc." or "and -so on," the labor of composition may be said to have been finished, -and there remained only the task of writing out the clean copy of what -now existed full and complete in his mind, and of making such minor -corrections and improvements as might occur to him on revision. The -manuscripts show that these were sometimes very numerous, though they -rarely extend to any change in the form or to any alteration in the -grand effect except to heighten it, or render it more unexpected or -exciting. When upon reflection he was dissatisfied with a movement -as a whole he seems rarely to have attempted its improvement by mere -correction, choosing rather to discard it at once and compose a new one -based either upon the same themes or upon entirely new motives. The -several overtures to "Fidelio" are illustrations of both procedures. - -The sketches of the greater part of Beethoven's songs, after the Bonn -period, are preserved, and prove with what extreme care he wrought out -his melodies. The sketchbook analysed by Nottebohm affords a curious -illustration in Matthison's "Opferlied," the melody being written out -in full not less than six times, the theme in substance remaining -unchanged. Absolute correctness of accent, emphasis, rhythm--of -prosody, in short--was with him a leading object; and various papers, -as well as the Conversation Books, attest his familiarity with metrical -signs and his scrupulous obedience to metrical laws. Since the shameful -mutilation and dispersion of Beethoven's manuscripts at the time of -their sale, probably no one person has been able to trace and examine -half of the sketchbooks; still, enough have come under observation -during the researches for this work to establish with reasonable -certainty these points: - -I. That each sketchbook was filled in pretty regular course from -beginning to end before a new one was taken. - -II. That had the collection been kept entire it would have afforded the -means of determining with a good degree of certainty the chronology of -most of his instrumental works, after coming to Vienna, as to their -first conception and studies--excluding, of course, those which, in one -form or another, he brought with him from Bonn. - -III. That the more important vocal compositions were studied separately. - -IV. That only from the sketchbooks can an adequate idea of the vast -fertility of Beethoven's genius be formed. They are in music, like -Hawthorne's "Notebooks" in literature, the record of a never ceasing -flow of new thoughts and ideas, until death sealed the fountain -forever. There are themes and hints, never used, for all kinds -of instrumental compositions, from the trifles, which he called -"Bagatelles," to symphonies, evidently intended to be as different from -those we know as they are from each other; and these hints are in such -numbers, that those which can be traced in the published works are -perhaps much the smaller proportion of the whole. Whoever has the will -and opportunity to devote an hour or two to an examination of a few of -these monuments of Beethoven's inventive genius, will easily comprehend -the remark which he made near the close of his life: "It seems to me -that I have just begun to compose!"[90] - -SYMPTOMS OF APPROACHING DEAFNESS - -One topic more demands brief notice before closing this chapter. In the -"Merrymaking of the Countryfolk" of Beethoven's "Pastoral" Symphony, at -the point where the fun grows most fast and furious and the excitement -rises to its height, an ominous sound, as of distant thunder, gives -the first faint warning of the coming storm. So in the life of the -composer at the moment of that highest success and prosperity, which -we have labored to place vividly before the mind of the reader, just -when he could first look forward with well-grounded confidence to -the noblest gratification of a musician's honorable ambition, a new -and discordant element thrust itself into the harmony of his life. -This was the symptoms of approaching deafness. His own account fixes -their appearance in the year 1799; then they were still so feeble and -intermittent, as to have caused him at first no serious anxiety; but -in another year they had assumed so much the appearance of a chronic -and increasing evil, as to compel him to abandon plans for travel -which he had formed, and for which he was preparing himself, with -great industry and perseverance, to appear in the twofold capacity of -virtuoso and composer. Instead, therefore, in 1801, of having "long -since journeyed through half the world," he, for two years, had been -confined to Vienna or its immediate vicinity, vainly seeking relief -from surgeons and physicians. - -It is not difficult to imagine calamities greater than that which -now threatened Beethoven--as, the loss of sight to a Raphael or -Rubens in the height of their fame and powers; a partial paralysis or -other incurable disease of the brain cutting short the career of a -Shakespeare or Goethe, a Bacon or Kant, a Newton or Humboldt. Better -the untimely fate of a Buckle, than to live long years of unavailing -regret over the blasted hopes and promise of early manhood. In such -cases there remains no resource; hope itself is dead. But to Beethoven, -even if his worst fears should prove prophetic and his infirmity at -length close all prospects of a career as virtuoso and conductor, the -field of composition still remained open. This he knew, and it saved -him from utter despair. Who can say that the world has not been a -gainer by a misfortune which stirred the profoundest depths of his -being and compelled the concentration of all his powers into one -direction? - -As the disease made progress and the prospect of relief became less, -notwithstanding a grief and anxiety which caused him such mental agony -as even to induce the thought of suicide, he so well succeeded in -keeping it concealed from all but a few intimate and faithful friends, -that no notice whatever is to be found of it until 1802 except in -papers from his own hand. They form a very touching contrast to his -letters to other correspondents. Neither the head nor the heart is to -be envied of the man who can read them without emotion. The two most -important are letters to Wegeler giving full details of his case; -doubly valuable because they are not merely letters to a friend, but -an elaborate account of the symptoms and medical treatment of his -disease, made to a physician of high standing who thoroughly understood -the constitution of the patient. They are therefore alike significant -for what they contain and for what they omit. No hypothesis as to the -cause of the evil can be entertained, which is discordant with them. -Reserving them, however, for their proper places in the order of time, -a story or two inconsistent with them may here be disposed of. - -The so-called Fischoff Manuscript says: - -THEORIES AS TO THE LOSS OF HEARING - - In the year 1796, Beethoven, on a hot summer day, came greatly - overheated to his home, threw open doors and windows, disrobed - down to his trousers and cooled himself in a draft at the open - window. The consequence was a dangerous sickness which, on his - convalescence, settled in his organs of hearing, and from this - time his deafness steadily increased. - -In this passage both the date and the averment are irreconcilable with -the letters to Wegeler. - -Dr. Weissenbach, in his "Reise zum Congress" (1814), gives what appears -to be the same story but in fewer words. "He (Beethoven) once endured a -fearful attack of typhus. From this time dates the decay of his nervous -system, and probably also the, to him, great misfortune of the loss of -hearing." Neither a typhus nor a typhoid fever is a matter of a few -days or weeks if severe; and the chronology of our narrative is, to -say the least, so far fixed and certain as to exclude the possibility -of his having passed through any very serious illness of that nature -since he came to Vienna. But it is not at all improbable that, in 1784 -or 1785, he may have been a victim to this frightful disorder, and that -it may have been the cause of his melancholy condition of health at -the time of his mother's death, and of the chronic diarrhoea with which -he was so long troubled. True, there is no record of such an illness; -but that proves nothing. There is no record that he passed through an -attack of small-pox, except that which the disease left upon his face. - -But the most extraordinary and inexplicable account of the origin -of his deafness is that given by Beethoven himself to the English -pianist, Charles Neate, in 1815. Mr. Neate was once urging Beethoven -to visit England and mentioned as a farther inducement the great -skill of certain English physicians in treating diseases of the ear, -assuring him that he might cherish hopes of relief. Beethoven replied -in substance as follows: "No; I have already had all sorts of medical -advice. I shall never be cured--I will tell you how it happened. I was -once busy writing an opera-- - -Neate: "Fidelio?" - -Beethoven: "No. It was not 'Fidelio.' I had a very ill-tempered, -troublesome _primo tenore_ to deal with. I had already written two -grand airs to the same text, with which he was dissatisfied, and now -a third which, upon trial, he seemed to approve and took away with -him. I thanked the stars that I was at length rid of him and sat down -immediately to a work which I had laid aside for those airs and which -I was anxious to finish. I had not been half an hour at work, when I -heard a knock at my door, which I at once recognized as that of my -_primo tenore_. I sprang up from my table under such an excitement -of rage, that, as the man entered the room, I threw myself upon the -floor as they do upon the stage (here B. spread out his arms and made -a gesture of illustration), coming down upon my hands. When I arose I -found myself deaf and have been so ever since. The physicians say, the -nerve is injured." - -That Beethoven really related this strange story cannot be questioned; -the word of the venerable Charles Neate to the author is sufficient on -that point. What is to be thought of it, is a very different matter. -Here at least it may stand without comment. - -FOOTNOTES: - -[89] The number of known letters and documents has grown greatly since -Thayer wrote these words. Kalischer's Collection numbers over 1200 -and Emerich Kastner gives the first lines of 1380 in Frimmel's second -"Beethoven Jahrbuch" published in 1909. - -[90] Opportunities for studying Beethoven's sketchbooks have greatly -increased since Mr. Thayer wrote these words. Nottebohm who rendered -an incalculable service to all students of the great composer after -the book from which our author quotes, published a volume entitled -"Beethoveniana" in 1872, and a second entitled "Zweite Beethoveniana" -in 1887. To these the revisors of this biography have repeatedly -referred in tracing the history of Beethoven's compositions. A -collection of sketches formerly owned by J. N. Kafka and now in the -British Museum was described by Mr. J. S. Shedlock in "The Musical -Times" (July to December, 1892). A volume containing sketches for -the last quartets is at the present writing in the possession of Mr. -Cecilio de Roda of Madrid and was described by the "Rivista Italiana" -(Nos. XI-XIV, 1907) and also published in pamphlet form under the title -"Un Quadrena di autografi di Beethoven del 1825." - - - - -Chapter XVIII - - Beethoven's Brothers--His First Concert on His Own Account--Punto - and the Sonata for Horn--Steibelt Confounded--E. A. Foerster and - the First Quartets--The Septet and First Symphony--Beethoven's - Homes--Hoffmeister--Compositions and Publications of 1800. - - -It is not easy to conceive upon what ground the opinion became current, -as it did, that Beethoven in the year 1800 and for several years to -come was still burdened with the support of his brothers--young men now -respectively in their 26th and 24th years. This mistake as to Johann -has already been exposed. Leaving Ludwig for the first quarter of this -year doubly busy--having, in addition to his usual occupations, his -preparations to make for a grand concert in April--we turn, for a page, -to his brother Carl. - -In the "Hof- und Staats-Schematismus" for the year 1800, at the end of -the list of persons employed in the "K. K. Universal-Staatschuldenkasse" -are the names of two "Praktikanten"; the first is "Mr. Carl v. -Beethoven lives in the Sterngasse, 484." In the same publication -appears a new department or bureau of the above-named office called the -"K. K. n. oest. Klassen-Steuer-Kasse" and the second of the three bureau -officers is "Mr. Carl v. Beethoven lives unterm Tuchladen, 605." - -It is not improbable that, while simply "Praktikant," he may have -needed occasional pecuniary aid, but his preferment to the place of -"Kassa-Officier" rendered him independent. This appointment is dated -March 24th, 1800, and gave him a salary of 250 florins. Small as the -sum now appears, it was amply sufficient, with what he could earn by -teaching music (and the brother of the great Beethoven could have no -lack of pupils), to enable him to live comfortably. In fact, he was -better off than many a colleague in the public service, who still with -care and economy managed to live respectably. It may therefore be -confidently asserted that Beethoven was henceforth relieved of all -care on account of Carl, as of Johann, until the bankruptcy of the -government and Carl's broken health many years later, made fraternal -assistance indispensable. - -At the beginning of this year Carl had tried his fortune as a -composer--but probably with slender profit, since no second venture -has been discovered. Six minuets, six "Deutsche" and six contradances -by him are advertised in the "Wiener Zeitung" of January 11, in double -editions, one for clavier and one for two violins and violoncello. -The concert for which Beethoven had been preparing during the winter -took place on the 2d of April. It was his first public appearance for -his own benefit in Vienna, and, so far as is known, anywhere except -in Prague. All that is now to be ascertained in relation to it is -contained in the advertisement, in the programme, and in a single -notice, sent to the "Allgemeine Musikalische Zeitung." The programme, -which was in the possession of Madame van Beethoven (widow of the -composer's nephew) is as follows: - - To-day, Wednesday, April 2nd, 1800, Herr _Ludwig van Beethoven_ - will have the honor to give a grand concert for his benefit in the - Royal Imperial Court Theatre beside the Burg. The pieces which - will be performed are the following: - - 1. A grand symphony by the late Chapelmaster Mozart. - - 2. An aria from "The Creation" by the Princely Chapelmaster Herr - Haydn, sung by Mlle. Saal. - - 3. A grand Concerto for the Pianoforte, played and composed by - Herr _Ludwig van Beethoven_. - - 4. A Septet, most humbly and obediently dedicated to Her Majesty - the Empress, and composed by Herr _Ludwig van Beethoven_ for - four stringed and three wind-instruments, played by Messrs. - Schuppanzigh, Schreiber, Schindlecker, Baer, Nickel, Matauschek and - Dietzel. - - 5. A Duet from Haydn's "Creation," sung by Mr. and Mlle. Saal. - - 6. Herr _Ludwig van Beethoven_ will improvise on the pianoforte. - - 7. A new grand symphony with complete orchestra, composed by Herr - _Ludwig van Beethoven_. - - Tickets for boxes and stalls are to be had of Herr van Beethoven - at his lodgings in the Tiefen Graben, No. 241, third storey, and - of the box-keeper. - - Prices of admission are as usual. - - The beginning is at half-past 6 o'clock. - -The correspondent of the "Allgemeine Musikalische Zeitung" described -the concert as the most interesting affair of its kind given for a -long time, said the new concerto had "many beauties, especially in the -first two movements," praised the "taste and feeling" exhibited in the -Septet, and in the Symphony found "much art, novelty and wealth of -ideas"; but, he continues: "unfortunately there was too much use of -the wind-instruments, so that the music sounded more as if written for -a military band than an orchestra." The rest of the notice is devoted -to scolding the band for inattention to the conductor. Which of the -pianoforte Concertos Beethoven played on this occasion is nowhere -intimated. The Symphony in C soon became known throughout Germany; -while the Septet achieved a sudden popularity so widely extended and -enduring as at length to become an annoyance to the composer.[91] - -A PUBLIC CONCERT WITH PUNTO - -Before the month was out Beethoven again played in public in a concert -given by Johann Stich, known as Punto. This Bohemian virtuoso, after -several years of wandering, had lately come to Vienna from Paris, -_via_ Munich. As a performer upon the horn he was unrivalled by -any predecessor or contemporary; but as a composer he was beneath -criticism. Beethoven's delight in any one whose skill afforded him -new experience of the powers and possible effects of any orchestral -instrument is known to the reader. Nothing more natural, therefore, -than his readiness to compose a sonata for himself and Punto to be -played at the latter's concert on April 18th. Ries informs us that -"though the concert was announced with the Sonata the latter was not -yet begun. Beethoven began the work the day before the performance and -it was ready for the concert." His habit of merely sketching his own -part and of trusting to his memory and the inspiration of the moment, -even when producing his grand Concertos in public, probably rendered -him good service on this occasion. The "Allgemeine Musikzeitung" (III, -704) preserves also the interesting fact that owing to the enthusiastic -applause the Sonata was immediately repeated. - -April 27th was the anniversary of the day on which Maximilian Franz -entered Bonn to assume the duties of Elector and Archbishop. Sixteen -years had passed and on this day he, with a small retinue, again -entered Vienna. He took refuge "in an Esterhazy villa in a suburb," -while the small chateau near which now stands the railway station at -Hetzendorf, behind Schoenbrunn Garden, was preparing for his residence; -whither he soon removed, and where for the present we leave him. - -At the end of February or early in March, the charlatan Daniel Steibelt -gave a concert in Prague which brought him in 1800 florins, and in -April or May, "having finished his speculation, he went to Vienna, -his purse filled with ducats, where he was knocked in the head by the -pianist Beethoven," says Tomaschek. Ries relates how: - - When Steibelt came to Vienna with his great name, some of - Beethoven's friends grew alarmed lest he do injury to the latter's - reputation. Steibelt did not visit him; they met first time one - evening at the house of Count Fries, where Beethoven produced his - new Trio in B-flat major for Pianoforte, Clarinet and Violoncello - (Op. 11), for the first time.[92] There is no opportunity for - particular display on the part of the pianist in this Trio. - Steibelt listened to it with a sort of condescension, uttered a - few compliments to Beethoven and felt sure of his victory. He - played a Quintet of his own composition, improvised, and made a - good deal of effect with his tremolos, which were then something - entirely new. Beethoven could not be induced to play again. A week - later there was again a concert at Count Fries's; Steibelt again - played a quintet which had a good deal of success. He also played - an improvisation (which had, obviously, been carefully prepared) - and chose the same theme on which Beethoven had written variations - in his Trio.[93] This incensed the admirers of Beethoven and - him; he had to go to the pianoforte and improvise. He went in - his usual (I might say, ill-bred) manner to the instrument as if - half-pushed, picked up the violoncello part of Steibelt's quintet - in passing, placed it (intentionally?) upon the stand upside down - and with one finger drummed a theme out of the first few measures. - Insulted and angered he improvised in such a manner that Steibelt - left the room before he finished, would never again meet him and, - indeed, made it a condition that Beethoven should not be invited - before accepting an offer. - -It was, and still is, the custom at Vienna for all whose vocations -and pecuniary circumstances render it possible, to spend all or some -portion of the summer months in the country. The aristocracies of birth -and wealth retire to their country-seats, live in villas for the season -or join the throngs at the great watering-places; other classes find -refuge in the villages and hamlets which abound in the lovely environs -of the city, where many a neat cottage is built for their use and where -the peasants generally have a spare room or two, cleanly kept and -neatly furnished. Beethoven's habit of escaping from town during the -hot months was, therefore, nothing peculiar to him. We have reached -the point whence, with little if any interruption, Beethoven can be -followed from house to house, in city and country, through the rest of -his life; a matter of great value in fixing the true dates of important -letters and determining the chronology of his life and works--but for -the first seven years the record is very incomplete. - -VARIOUS DWELLING PLACES IN VIENNA - -Carl Holz told Jahn: "He (Beethoven) lived at first in a little -attic-room in the house of the book-binder Strauss in the Alservorstadt, -where he had a miserable time." This is one of the facts which an -inquisitive young man like Holz would naturally learn of the master -during the short period when he was his factotum. This attic-room must -have been soon changed for the room "on the ground-floor" mentioned -in a previous chapter. An undated note of van Swieten is directed -to Beethoven at "No. 45 Alsergasse, at Prince Lichnowsky's"; but in -the Vienna directory for 1804 no street is so named, and the only -number 45 in the "Alsergrund" is in the Laemmelgasse, property of Georg -Musial; but Prince Josef Lichnowsky is named as owner of No. 125 in -the Hauptstrasse of that suburb. This was the same house; it had -merely changed numbers. The site is now occupied by the house No. 30 -Alserstrasse. Thence Beethoven went as a guest to the house occupied by -Prince Lichnowsky. In May, 1795, Beethoven, in advertising the Trios, -Op. 1, gives the "residence of the author" as the "Ogylisches Haus in -the Kreuzgasse behind the Minorite church, No. 35 in the first storey"; -but that is no reason to think that Prince Lichnowsky then lived there. -Where Beethoven was during the next few years has not been ascertained, -but, as has been seen by the concert bill on a preceding page, he was -during the winter of 1799-1800 in the Tiefen Graben "in a very high -and narrow house," as Czerny wrote to F. Luib.[94] For the summer of -1800, he took quarters for himself and servant in one of those houses -in Unter-Doebling, an hour's walk, perhaps, from town, to which the -readiest access is by the bridge over the brook on the North side of -the Doebling hospital for the insane. The wife of a distinguished Vienna -advocate occupied with her children another part of the same house. -One of these children was Grillparzer, afterward famous as a poet. The -zeal with which Beethoven at this period labored to perfect his -pianoforte playing, and his dislike to being listened to, have been -already noted. Madame Grillparzer was a lady of fine taste and -culture, fond of music and therefore able to appreciate the skill of -her fellow-lodger, but ignorant of his aversion to listeners. Her -son, in 1861, still remembered Beethoven's incessant practice and -his mother's habit of standing outside her own door to enjoy his -playing. This continued for some time; but one day Beethoven sprang -from the instrument to the door, opened it, looked out to see if any -one was listening, and unfortunately discovered the lady. From that -moment he played no more. Madame Grillparzer, thus made aware of his -sensitiveness on this point, informed him through his servant that -thenceforth her door into the common passageway should be kept locked, -and she and her family would solely use another. It was of no avail; -Beethoven played no more. - -Another authentic and characteristic anecdote can belong only to this -summer. There lived in a house hard by a peasant of no very good -reputation, who had a daughter remarkably beautiful, but also not of -the best fame. Beethoven was greatly captivated by her and was in the -habit of stopping to gaze at her when he passed by where she was at -work in farmyard or field. She, however, made no return of his evident -liking and only laughed at his admiration. On one occasion the father -was arrested for engaging in a brawl and imprisoned. Beethoven took -the man's part and went to the magistrates to obtain his release. Not -succeeding, he became angry and abusive, and in the end would have been -arrested for his impertinence but for the strong representations made -by some, who knew him, of his position in society and of the high rank, -influence and power of his friends. - -Throughout this period of Beethoven's life, each summer is -distinguished by some noble composition, completed, or nearly so, -so that on his return to the city it was ready for revision and his -copyist. Free from the demands of society, his time was his own; his -fancy was quickened, his inspiration strengthened, in field and forest -labor was a delight. The most important work of the master bears in his -own hand the date, 1800, and may reasonably be supposed to have been -the labor of this summer. It is the Concerto in C minor for Pianoforte -and Orchestra, Op. 37. - -DOLEZALEK AND HOFFMEISTER - -At the approach of autumn Beethoven returned to his old quarters in the -Tiefen Graben. In this year Krumpholz introduced to him Johann Emanuel -(possibly Johann Nepomuk Emanuel) Dolezalek, a young man of 20 years, -born in Chotieborz in Bohemia, who had come to Vienna to take lessons -from Albrechtsberger. He played the pianoforte and violoncello, was a -capable musician, in his youth a rather popular composer of Bohemian -songs and then, for half a century, one of the best teachers in the -capital. Toward the close of his life he was frequently occupied -with the arrangement of private concerts, chiefly quartet parties, -for Prince Czartoryski and other prominent persons. As long as he -lived he was an enthusiastic admirer of Beethoven, and enjoyed the -friendship of the composer till his death. Among his observations are -the statements concerning the hatred of Beethoven felt by the Vienna -musicians already noted. Kozeluch, he relates, threw the C minor Trio -at his (Dolezalek's) feet when the latter played it to him. Speaking -of Beethoven, Kozeluch said to Haydn: "We would have done that -differently, wouldn't we, Papa?" and Haydn answered, smilingly, "Yes, -we would have done that differently." Haydn, says Dolezalek, could not -quite reconcile himself with Beethoven's music. It was Dolezalek who -witnessed the oft-told scene in the Swan tavern when Beethoven insisted -on paying without having eaten. - -One of the most prolific and popular composers whom Beethoven found in -Vienna was Franz Anton Hoffmeister, "Chapelmaster and R. I. licensed -Music, Art and Book Seller." He was an immigrant from the Neckar valley -and (born 1754) much older than Beethoven, to whom he had extended a -warm sympathy and friendship, doubly valuable from his somewhat similar -experience as a young student in Vienna. This is evident from the whole -tone of their correspondence. In 1800, Hoffmeister left Vienna and in -Leipzig formed a copartnership with Ambrosius Kuehnel, organist of the -Electoral Saxon Court Chapel, and established a publishing house there, -still retaining his business in Vienna. As late as December 5, 1800, -his signature is as above given; but on the 1st of January, 1801, the -advertisements in the public press announce the firm of "Hoffmeister -and Kuehnel, _Bureau de Musique_ in Leipzig." Since 1814 the firm name -has been C. F. Peters. Knowing Beethoven personally and so intimately, -it is alike creditable to the talents of the one and the taste and -appreciation of the other that Hoffmeister, immediately upon organizing -his new publishing house, should have asked him for manuscripts. To his -letter he received an answer dated Dec. 15, 1800, in which Beethoven -says: - - ... Per _primo_ you must know that I am very sorry that you, my - dear brother in music, did not earlier let me know something (of - your doings) so that I might have marketed my quartets with you, - as well as many other pieces which I have sold, but if Mr. Brother - is as conscientious as many other honest engravers who grave - us poor composers to death, you will know how to derive profit - from them when they appear. I will now set forth in brief what - Mr. Brother can have from me. I^{mo} a Septet _per il Violino_, - _Viola_, _Violoncello_, _Contrabasso_, _Clarinetto_, _Corno_, - _Fagotto_--_tutti obligati_. (I cannot write anything not obligato - for I came into this world with an obligato accompaniment.) This - Septet has pleased greatly. For more frequent use the three - wind-instruments, namely _Fagotto_, _Clarinetto_ and _Corno_ - might be transcribed for another violin, viola and violoncello. - II^o A grand Symphony for full orchestra. III^o A Concerto for - pianoforte which I do not claim to be one of my best, as well as - another one which will be published here by Mollo (this for the - information of the Leipzig critics) because I am for the present - keeping the better ones for myself until I make a tour; but it - will not disgrace you to publish it. IV^o A grand Solo Sonata.[95] - That is all that I can give you at this moment. A little later you - may have a Quintet for stringed instruments as well as, probably, - Quartets and other things which I have not now with me. In your - reply you might set the prices and as you are neither a Jew nor an - Italian, nor I either one or the other, we shall no doubt come to - an understanding. - -THE FIRST STRING QUARTETS - -The reference to the Quartets, Op. 18, in this letter, taken in -connection with the apologies for long delay in writing, indicates -conclusively enough that at least the first set, the first three, had -been placed in the hands of Mollo and Co. early in the autumn, and it -is barely possible, not probable, that they had already been issued -from the press.[96] The importance of these Quartets in the history -both of Beethoven and of chamber music renders very desirable more -definite information upon their origin and dates of composition than -the incomplete, unsatisfactory and not always harmonious data already -known, afford. The original manuscripts appear to have been lost. - -Von Lenz quotes in his "Critical Catalogue of Beethoven's Works" an -anecdote from a pamphlet printed at Dorpat in which is related: - - After Beethoven had composed his well-known String Quartet in F - major he played for his friend (Amenda) (on the pianoforte?) the - glorious _Adagio_ (D minor, 9-8 time) and asked him what thought - had been awakened by it. "It pictured for me the parting of two - lovers," was the answer. "Good!" remarked Beethoven, "I thought - of the scene in the burial vault in 'Romeo and Juliet'." - -This Quartet existed, then, before Amenda left Vienna. Czerny says -in his notes for Jahn: "Of the first six Violin Quartets that in D -major, No. 3 in print, was the very first composed by Beethoven. On -the advice of Schuppanzigh he called that in F major No. 1, although -it was composed later." Ries confirms this: "Of his Violin Quartets, -Op. 18, he composed that in D major first of all. That in F major, -which now precedes it, was originally the third."[97] _Nota bene_ that -neither Czerny nor Ries spoke from personal observation at the time -of composition; they must both have learned the fact from Beethoven -himself, or, more probably, from dates on the original manuscripts. -A criticism of three quartets which appeared in the "Allg. Mus. -Zeitung" in 1799, which failed to give the name of the composer, has -been applied by some writers (by Langhans in his History of Music, -for instance) to Beethoven's Op. 18; but erroneously. They were the -works of Emanuel Aloys Foerster (born January 26, 1748, in Neurath, -Upper Silesia, died November 12, 1823, in Vienna), a musician who was -so highly esteemed by Beethoven that, on one occasion at least, he -called him his "old master." The phrase can easily be interpreted to -mean that Beethoven found instruction in Foerster's chamber music which -he heard at the soirees of Prince Lichnowsky and other art-patrons. -Foerster's compositions, not many of which have been preserved in print, -are decidedly Beethovenish in character. His eldest son, who in 1870 -was still living in Trieste, remembered Beethoven perfectly well from -1803 to 1813, and communicated to the author of this biography some -reminiscences well worth preserving. It is known from other sources -that Beethoven, after the retirement of Albrechtsberger, considered -Foerster to be the first of all the Vienna teachers of counterpoint and -composition, and this is confirmed by the son's statement that it was -on Beethoven's advice that he sent to press the compendious "Anleitung -zum Generalbass" which Breitkopf and Haertel published in 1805. A year -or two later, Count Rasoumowsky applied to Beethoven for instruction -in musical theory and especially in quartet composition. Beethoven -absolutely refused, but so strongly recommended his friend Foerster, -that the latter was engaged. Foerster's dwelling in all those years was -a favorite resort of the principal composers and dilettanti. Thither -came Beethoven; Zmeskall, a very precise gentleman with abundant white -hair; Schuppanzigh, a short fat man with a huge belly; Weiss, tall -and thin; Linke, the lame violoncellist, Henry Eppinger, the Jewish -violin dilettante, the youthful Mayseder, J. N. Hummel, and others. -The regular periods of these quartet meetings were Sunday at noon, -and the evening of Thursday; but Beethoven in those years often spent -other evenings with Foerster, "when the conversation usually turned upon -musical theory and composition." Notwithstanding the wide difference -in their ages (22 years), their friendship was cordial and sincere. -The elder not only appreciated and admired the genius of the younger, -but honored him as a man; and spoke of him as being not only a great -musical composer, but, however at times rough in manner and harsh, even -rude, in speech, of a most honorable and noble nature. Add to all this -the fact, that Beethoven in later years recommended Foerster to pupils -as his own "old master," and it is no forced and unnatural inference, -that he (Beethoven) had studied quartet composition with him, as he had -counterpoint with Albrechtsberger, and operatic writing with Salieri. -Nor is this inference weakened--it is rather strengthened--by some -points in what now follows: - -The earliest mention of a string quartet in connection with Beethoven -is that proposal by Count Appony cited from Wegeler which led to no -instant result. Then comes a passage from a letter to Amenda: "Do not -give your Quartet to anybody, because I have greatly changed it, having -learned how to write quartets properly." Had he learned from study -under Foerster? - -SKETCHES FOR THE FIRST QUARTETS - -The original manuscripts being lost, further chronological notices -concerning them must be sought for in the sketchbooks. Here Nottebohm -comes to our assistance. In the Petter collection at Vienna there -are sketches for the last movement of the G major Quartet, the last -movement of the B-flat Quartet (among them one which was discarded), -both deviating from the printed form more or less, and one for the -last movement of the F major Quartet, this approaching pretty closely -the ultimate form; thus this quartet was farther advanced than the -others. Associated with this sketch are sketches for the Sonata in -B-flat, Op. 22, and for the easy Variations in G major which were begun -while work was in progress on the last movement of the Quartet in G. -Beethoven worked simultaneously on the first movement of Op. 22 and the -scherzo of the first Quartet; while working on the last movement of -the Quartet in B-flat the rondo of the Sonata was begun. The sketches -date from 1799 and 1800. Inasmuch as they occur before those for the -Horn Sonata, which was composed very hurriedly and performed on April -18, 1800, the sketches were doubtless written earlier. One of the -variations of the Quartet in A major was sketched much earlier--in -1794 or 1795. A little sketch for the first movement of the F major -Quartet found beside sketches for the Violin Sonata, Op. 24, no doubt -belongs to the revised form of the Quartet. In a sketchbook formerly -in the possession of Grassnick in Berlin, there are sketches for the -Quartet in D major which are near the ultimate form, except that there -is a different theme for the last movement. Then comes a beginning in -G major inscribed "Quartet 2," the germ of the theme of the second -Quartet. There was, therefore, at the time no second Quartet, and -that in D is the first. There follows "Der Kuss," sketches for the -"Opferlied," the Rondo in G major, Op. 51, No. 2, to a passage from -Schiller's "Ode to Joy," to Gellert's "Meine Lebenszeit verstreicht," -in G minor, to an intermezzo for pianoforte, to the revised form -of the B-flat Concerto (which he played in Prague in 1798), and to -various songs. The indications are, therefore, that the sketches were -written in 1798. Then come sketches for the variations on "La stessa, -la stessissima," which originated and were published in the beginning -of 1799, and after them extended sketches for the first movement of -the F major Quartet, of which those belonging to the first movement -are in an advanced stage, those for the second movement less so. A few -sketches for a "third" quartet (thus specified) which were not used -show that there was no third at the time; therefore, the Quartet in F -is the second and was planned in 1799. Another sketchbook contains the -continuation of the sketches for the F major Quartet, and, indeed, for -all the movements; then an unused sketch for a "third" quartet (still -not yet in existence), then to two songs by Goethe (one "Ich denke -dein"), then to the movements of the G major Quartet, which is thus -indicated to have been the third (the intermezzo in the second movement -was conceived later), further sketches for the A major Quartet, which, -it follows, was the fourth. Among these sketches are others for the -Septet and the Variations on "Kind, willst du ruhig schlafen?" which -appeared in December in 1799, and was therefore not composed earlier. -All these sketches date from 1798 and 1799; but the Quartets were not -finished. In an unused sketch for the Adagio of the quartet in F occur -the words: "Les derniers soupirs," which confirm the story told by -Amenda. The continuation of the G major Quartet dates to 1800. Up to -now no sketches for the Quartet in C minor have been found. - -The results of this chronological investigation may be summed up as -follows: The composition of the Quartets was begun in 1798, that in -D, the third, being first undertaken. This was followed by that in F -and soon after, or simultaneously, work was begun on that in G, which -was originally designed as the second; but, as that in F was completed -earlier, this was designated as the second by Beethoven, and that in -G became in point of time the third. The Quartet in F was finished in -its original shape by June 25, 1799, on which day he gave it to Amenda; -he revised it later. Whether or not this was also done with the others -cannot be said; there is no evidence. The remark made in 1801, that -he had just learned to write quartets, need not be read as meaning -that he had formal instruction from Foerster, but is amply explained by -his practice on the six Quartets; yet Foerster may have influenced him -strongly. He then wrote the one in A (now No. 5), intending it to be -the fourth; in this he seems to have made use of a _motif_ invented at -an earlier period. The Quartets in B-flat and C minor followed, the -latter being, perhaps, the last. The definitive elaboration of the -Quartets lasted certainly until 1800, possibly until 1801. The Quartets -then appeared in two sets from the press of Mollo. It is likely that -the first three, at least, were in the hands of the publisher before -the end of 1800, as is proved by the letter to Hoffmeister. The -first three appeared in the summer of 1801 and were advertised as on -sale by Naegeli in Zurich already in July; they were mentioned in the -"Allg. Musik. Zeitung" on August 26, and in Spazier's "Zeitung fuer die -Elegante Welt." In October of the same year the last three appeared -and Mollo advertised them in the "Wiener Zeitung" of October 28. The -Quartets are dedicated to Prince Lobkowitz. - -Notice of a valuable present to Beethoven from his lenient and generous -patron, Prince Carl Lichnowsky, naturally connects itself with the -story of the Quartets--a gift thus described by Alois Fuchs, formerly -violinist in the Imperial Court Orchestra, under date of December 2, -1846: - -BEETHOVEN'S QUARTET OF INSTRUMENTS - - Ludwig van Beethoven owned a complete quartet of excellent - Italian instruments given to him by his princely patron and - friend Lichnowsky at the suggestion of the famous quartet-player - Schuppanzigh. I am in a position to describe each of the - instruments in detail. - - 1. A violin made by Joseph Guarnerius in Cremona in the year - 1718 is now in the possession of Mr. Karl Holz, director of the - _Concerts spirituels_ in Vienna. - - 2. The second violin (which was offered for sale) was made by - Nicholas Amati in the year 1667, and was in the possession of Dr. - Ohmeyer, who died recently in Huetteldorf; it has been purchased by - Mr. Huber. - - 3. The viola, made by Vincenzo Ruger in 1690, is also the property - of Mr. Karl Holz. - - 4. The violoncello, an Andreas Guarnerius of the year 1712, is in - the possession of Mr. P. Wertheimber of Vienna. - - The seal of Beethoven has been impressed under the neck of each - instrument and on the back of each Beethoven scratched a big - B, probably for the purpose of protecting himself against an - exchange. The instruments are all well preserved and in good - condition. The most valuable one, without question, is the violin - by Joseph Guarnerius, which is distinguished by extraordinary - power of tone, for which, indeed, Mr. Holz has refused an offer of - 1000 florins. - -The four instruments were bought by Peter Th. Jokits in 1861, who gave -them to the Royal Library at Berlin. Beethoven received them from -Lichnowsky certainly before 1802, but in what year is unknown.[98] -Another proof of the Prince's regard and generosity, however, belongs -to this, namely, an annuity of 600 florins to be continued until the -composer should find some suitable permanent employment. - - * * * * * - -The only known publication of the year 1800 is the Rondo in G major, -Op. 51, No. 2, which came from the press of Simrock. As for the -compositions of the year it is safe to assume that Beethoven put the -finishing touches to the first Symphony, the Septet, Op. 20, and the -Quartets, Op. 18. Furthermore, there can be little doubt but that the -Sonata for Horn, Op. 17, the Pianoforte Sonata, Op. 22, the Concerto in -C minor, and the Variations for Four Hands on the melody of the song -"Ich denke dein," belong to this year. The "Variations tres faciles" -on an original theme in G were sketched and probably completed. The -only chronological clues to the Horn Sonata are the date of its first -performance, April 18, 1800, and the anecdote by Ries concerning the -rapid completion of the work. No sketches have been found and nothing -is known of the autograph; but according to Nottebohm the beginning -of a clean copy of the Adagio is to be found among the sketches for -the Sonatas Op. 22 and 23. Punto was still in Munich in 1800, and -since the work seems assuredly to have been designed for him, there is -equal certainty that it was composed in that year. It was published -by Mollo in March, 1801. The Septet, for four strings and three -wind-instruments, dedicated to the Empress Maria Theresia, was played -at the concert at which the Symphony in C major was brought forward, -April 2, 1800; but it had been heard previously in the house of Prince -Schwarzenberg. Inasmuch as sketches for it are found among those for -the Quartets, specially the one in A major, which belong to the year -1799, its inception may be placed in that year, though it was probably -finished in 1800 shortly before its performance. There is no date on -the autograph. It was offered to Hoffmeister in the letter of December -15, 1800, and was published by him in 1802. The Septet speedily won -great popularity and was frequently transcribed. Hoffmeister had an -arrangement for string quintet which he advertised on August 18, -1802. Ries thought that Beethoven had made it, but he was in error; -nevertheless, Beethoven gave Hoffmeister permission to publish an -arrangement in which strings were substituted for the wind-instruments, -and himself transcribed it as a pianoforte trio with violin or clarinet -_ad lib_. This arrangement was made as a tribute of gratitude from -the composer to his new physician, Dr. Johann Schmidt. The doctor -played the violin and his daughter the pianoforte, both fairly well, -and Beethoven arranged his popular piece for family use and, as was -customary at the time, gave Dr. Schmidt the exclusive possession of the -music for a year.[99] - -The theme of the minuet in the Septet was borrowed from the Pianoforte -Sonata, Op. 49, No. 2, but its treatment is original. There has been -considerable controversy without absolutely definitive result touching -the melody which is varied in the Andante. Kretschmer, in his "Deutsche -Volkslieder" (Berlin, 1838; Vol. I, No. 102, p. 181), prints the -melody in connection with a Rhenish folksong ("Ach Schiffer, lieber -Schiffer"), and there is a tradition that Czerny said that it was taken -by Beethoven from that source. Nottebohm offers evidence deserving of -consideration that the melody is a folktune; but Ries and Wegeler, who -lived on the Rhine, had nothing to say on the subject. Erk and Boehme -("Deutscher Liederhort," Vol. I, p. 273) publish folksongs dealing with -the legend which is at the base of "Ach Schiffer, lieber Schiffer," -but the melody of the Andante is not to be found among them, and Boehme -gives it as his opinion that the song printed by Kretschmer was written -to Beethoven's melody by Kretschmer's collaborator Zuccalmaglio. It is -not likely that the melody, had it lived in the mouths of the people, -would have escaped so industrious a collector as Erk, who, moreover, -was a native of the Rhine country. The evidence would seem to indicate -that the melody was original with Beethoven. - -COMPOSITIONS SKETCHED IN 1800 - -The Pianoforte Sonata in B-flat, Op. 22, also belongs to this year, as -appears from the fact that it was offered to Hoffmeister in the letter -of December 15. It was still in an unfinished state on the completion -of the Sonata for Horn, as is shown by the circumstance that sketches -of it are mingled with a fair transcript of a passage from the latter -work. There are also sketches for Op. 22, among those for the Quartet -in B-flat, Op. 18, No. 6, and the later movements of the Quartet in -F--no doubt the revision. The sketches therefore belong to the year -1800, but may date back to 1799, from which it would appear that -Beethoven worked an unusually long time on the Sonata. The principal -labor was performed most likely in the summer of 1800, which Beethoven -spent at Unterdoebling. It was published in 1802 by Hoffmeister and -Kuehnel. Sketches from the "Six Easy Variations" are found amongst -some for the last movement of the Quartet in G, which seem to be -nearly finished. Again we can fix the year as 1799 or 1800. Of special -importance is the fact that the theme of the Variations is the same -as the first episode of the rondo of the Sonata in B-flat, and the -circumstance that the sketches are of almost the same date indicates -that the identity was not accidental. The Variations were advertised as -new by Traeg on December 16, 1800. - -The Variations in D for four hands on the melody of Goethe's poem, "Ich -denke dein," were conceived at practically the same time as those just -described. Beethoven at first intended to give each stanza a separate -setting, and to this end made two sketches, which are associated with -the Quartet sketches and belong to the year 1799. He then took the -melody of the first stanza as a theme for variations for four hands in -the same year and wrote them into the autograph album of two sisters, -the countesses Therese Brunswick and Josephine Deym. On September -22, 1803, he offered them to Hoffmeister in the place of the Trio -Variations, Op. 44, with the remark that he considered them better -than the latter. Hoffmeister, however, published the Trio Variations -(in 1804). The Variations in D were not published until the beginning -of 1805, and were described as having been written in 1800 for the two -countesses mentioned, and dedicated to them. - -An autograph preserved in the Royal Library in Berlin contains four -of the variations on "Ich denke dein," an Adagio in F major noted on -four staves (three with treble, one with the bass clef), a Scherzo in -G major, 3/4 time, and an Allegro in G major, 2/4. Albert Kopfermann, -who published the Adagio for the first time in No. 12, Vol. I, of "Die -Musik," considers, no doubt correctly, that the three compositions were -written for an automatic musical instrument. Though the number of new -compositions produced in 1800 was small, attention must be directed to -the fact that the revision and completion of works for publication, -together with the planning of new works, gave a deal of occupation to -Beethoven. Amongst the compositions made ready for the printer were the -Quartets, which were not ready till near the end of the year. To them -must be added the Sonata in E-flat, Op. 27, No. 1, and the Concerto in -C minor, the autograph of which distinctly bears the date 1800. It is -certain, moreover, that Beethoven began working on "Prometheus" in this -year, and the summer must have been a busy one for him. - -FOOTNOTES: - -[91] "He could not endure his Septet and grew angry because of the -universal applause with which it was received." (Czerny to Jahn.) "The -theme of the variations is said to be a Rhenish folksong." (_Ibid._) - -[92] This is, of course, an error, as the Trio had been before the -public since October 3rd, 1798. - -[93] From Weigl's "Corsair aus Liebe." - -[94] According to Frimmel, "Beethoven's Wohnungen," Vienna "Neue Freie -Presse," August 11, 1899, this house was that of Court Councillor -Greiner, then No. 241, afterwards 235, now No. 10 in the Tiefen Graben -which, slightly altered, still remains. On the strength of Czerny's -statement that one had to look up to the fifth or sixth storey to see -Beethoven, and the old report that Beethoven lived "in the Kleine -Weintraube," Frimmel was led to think that possibly he lived in one of -the houses on the higher ground behind the Greiner house to which there -was access from the open place "Am Hof" as well as from the houses in -the Tiefen Graben and the Greiner house. The houses which bore the sign -"Zur Weintraube" were situated "am Hofe." - -[95] In B-flat, Op. 22. - -[96] The Pianoforte Concerto offered to Hoffmeister was that in B-flat. -It was published by Hoffmeister and Kuehnel toward the end of 1801 -and advertised on January 16, 1802. The Concerto published by Mollo -was that in C major. A letter written to Breitkopf and Haertel on the -same day contains the equivalent of the remark: "I am for the present -keeping the better ones for myself until I make a tour," which is -significant, since it makes it sure that other concertos were at least -planned and that the one in C minor was looked upon as finished by -Beethoven. - -[97] In reality it was the second, as the Amenda parts show. - -[98] Holz sold the Guarnerius violin in 1852 (see the "Allgemeine -Deutsche Musikzeitung" of 1888). When the Beethoven Museum in Bonn was -dedicated, the instruments were borrowed from the authorities of the -Royal Library, and exhibited in a glass case, where they remain by -sufferance of the Prussian authorities. - -[99] See the dedication in Kalischer's collection of Beethoven's -letters translated by J. S. Shedlock, Vol. I, p. 94. - - - - -Chapter XIX - - The Year 1801--Concerts for Wounded Soldiers--Vigano and the - Ballet "Prometheus"--Stephan von Breuning--Hetzendorf--"Christus - am Oelberg"--Compositions and Publications of the Year--The Funeral - March in the Sonata, Op. 26--The "Moonlight" Sonata--The Quintet, - Op. 29. - - -The tone of Beethoven's correspondence and the many proofs of his -untiring industry during the winter 1800-1 and early part of the -succeeding spring, suggest a mind at ease, rejoicing in the exercise -of its powers, and a body glowing with vigorous health. But for his -own words to Wegeler: "I have been really miserable this winter," the -passing allusions to ill health in his replies to Hoffmeister's letters -would merely impress the reader as being half-groundless apologies for -lack of punctuality in writing. This chapter will exhibit the young -master both as he appeared to the public and as he showed himself in -confidential intercourse to the few in whose presence he put aside the -mask and laid open his heart; and will, therefore, it is believed, be -found fully to justify what has been said of his heroic energy, courage -and endurance under a trouble of no ordinary nature. - -In the beginning of the year he wrote to Hoffmeister[100] as follows -under date "January 15 (or thereabouts), 1801": - - ... Your enterprises delight me also and I wish that if works of - art ever bring profit that it might go to real artists instead of - mere shopkeepers. - - The fact that you purpose to publish the works of _Sebastian - Bach_ does good to my heart which beats only for the lofty and - magnificent art of this patriarch of harmony, and I hope soon to - see them in vigorous sale. I hope, as soon as golden peace has - been declared, to be helpful in many ways, especially if you offer - the works for subscription. - - As regards our real business, since you ask it I meet your wishes - by offering you the following items: Septet (concerning which I - have already written you), 20 ducats; Symphony, 20 ducats; Grand - Solo Sonata--Allegro, Adagio, Minuetto, Rondo--20 ducats. This - Sonata is a tidy piece of work (_hat sich gewaschen_), my dearest - Mr. Brother. - - Now for an explanation: You will wonder, perhaps, that I have - made no distinction here between Sonata, Septet and Symphony. I - have done this because I have learned that a septet or symphony - has a smaller sale than a sonata, though a symphony ought - unquestionably to be worth more. (N. B. The Septet consists of a - short introductory _Adagio_, then _Allegro_, _Adagio_, _Minuetto_, - _Andante_ with variations, _Minuetto_ again, a short _Adagio_ - introduction and then _Presto_.) I put the price of the Concerto - at only 10 ducats because, as I have already written, I do not - give it out as one of my best. I do not think the amount excessive - on the whole; I have tried, at least, to make the price as - moderate as possible for you. As regards the bill of exchange you - may, since you leave the matter to me, issue it to Geimueller or - Schueller. The whole sum amounts to 70 ducats for the four works. - I do not understand any money except Viennese ducats; how many - thalers in gold that amounts to does not concern me, I being a - really bad negotiator and mathematician. - - This disposes of the disagreeable (_saure_) business; I call it so - because I wish things were different in the world. There ought to - be only one art warehouse in the world to which an artist would - only need to carry his art-works to take away with him whatever - he needed; as it is one must be half tradesman; and how we adjust - ourselves--good God!--that is what I again call disagreeable. As - regards the L... O...,[101] let them talk; they will certainly - never make anybody immortal by their twaddle, and as little will - they rob anybody of immortality to whom Apollo has decreed it. - -BENEFIT CONCERTS FOR WOUNDED SOLDIERS - -The next letter requires a word of introduction. That military campaign -which included the disastrous field of Hohenlinden (December 3, 1800), -had filled the hospitals at Vienna, and among the various means of -raising funds for the benefit of the wounded, was a series of public -concerts. The two in which they reached their climax took place in -the large Ridotto room (_Redouten-Saal_) of the imperial palace. The -one arranged by Baron von Braun as Director of the Court Opera, was a -performance of Haydn's "Creation" conducted by the composer, on January -16th; the other was arranged by Mme. Frank (Christine Gerhardi) for -January 30th. That lady, Mme. Galvani (Magdalena Willmann) and Herr -Simoni were the singers, Beethoven and Punto the instrumental solo -performers; Haydn directed two of his own symphonies, Paer and Conti -directed the orchestra in the accompaniments to the vocal music. In -the first public announcement printed in the "Wiener Zeitung" the only -artist mentioned was "the famous amateur singer Frau von Frank, _nee_ -Gerhardi," as the giver of the concert. This called out from Beethoven -the following letter: - - Pour Madame de Frank. - - I think it my duty, best of women, to ask you not to permit your - husband again in the second announcement of our concert to forget - that those who contribute their talents to the same also be made - known to the public. This is the custom, and I do not see if it - is not done what is to increase the attendance at the concert, - which is its chief aim. Punto is not a little wrought up about the - matter, and he is right, and it was my intention even before I saw - him to remind you of what must have been the result of great haste - or great forgetfulness. Look after this, best of women, since if - it is not done dissatisfaction will surely result. - - Having been convinced, not only by myself but by others as well, - that I am not a useless factor in this concert, I know that not - only I but Punto, Simoni, Galvani will ask that the public be - informed also of our zeal for the philanthropic purposes of this - concert; otherwise we must all conclude that we are useless. - - Wholly yours - - L. v. Bthvn. - -Whether this sharp remonstrance produced the desired effect cannot now -be ascertained, but the original advertisement was repeated in the -newspaper on the 24th and 28th _verbatim_. - -In the state of affairs then existing it was no time to give public -concerts for private emolument; moreover, a quarrel with the orchestra -a year before might have prevented Beethoven from obtaining the -Burgtheater again, and the new Theater-an-der-Wien was not yet ready -for occupation; but there is still another adequate reason for his -giving no _Akademie_ (concert) this spring. He had been engaged to -compose an important work for the court stage. - -VIGANO AND THE PROMETHEUS BALLET - -Salvatore Vigano, dancer and composer of ballets, both action and -music, the son of a Milanese of the same profession, was born at -Naples, March 29, 1769. He began his career at Rome, taking female -parts because women were not allowed there to appear upon the stage. -He then had engagements successively at Madrid--where he married -Maria Medina, a celebrated Spanish danseuse--Bordeaux, London and -Venice, in which last city, in 1791, he composed his "Raoul, Sire -de Croqui." Thence he came to Vienna, where he and his wife first -appeared in May, 1793. His "Raoul" was produced on June 25th at the -Kaernthnerthor-Theater. After two years of service here he accepted -engagements in five continental cities and returned to Vienna again in -1799. The second wife of Emperor Franz, Maria Theresia, was a woman -of much and true musical taste and culture, and Vigano determined to -compliment her in a ballet composed expressly for that purpose. Haydn's -gloriously successful "Creation" may, perhaps, have had an influence in -the choice of a subject, "The Men of Prometheus," and the dedication of -Beethoven's Septet to the Empress may have had its effect in the choice -of a composer. At all events, the work was entrusted to Beethoven. - -If the manner in which this work has been neglected by Beethoven's -biographers and critics may be taken as a criterion, an opinion -prevails that it was not worthy of him in subject, execution or -success. It seems to be forgotten that as an orchestral composer he -was then known only by two or three pianoforte concertos and his first -Symphony--a work which by no means rivals the greater production of -Mozart and Haydn--and that for the stage he was not known to have -written anything. There is a misconception, too, as to the position -which the ballet just then held in the Court Theatre. As a matter of -fact it stood higher than ever before and, perhaps, than it has ever -stood since. Vigano was a man of real genius and had wrought a reform -which is clearly, vigorously and compendiously described in a memoir of -Heinrich von Collin, from which we quote: - - In the reign of Leopold II the ballet, which had become a - well-attended entertainment in Vienna through the efforts of - Noverre, was restored to the stage. Popular interest turned at - once to them again, and this was intensified in a great degree - when, beside the ballet-master Muzarelli, a second ballet-master, - Mr. Salvatore Vigano, whose wife disclosed to the eyes of the - spectators a thitherto unsuspected art, also gave entertainments. - The most important affairs of state are scarcely able to create - a greater war of feeling than was brought about at the time by - the rivalry of the two ballet-masters. Theatre-lovers without - exception divided themselves into two parties who looked upon - each other with hatred and contempt because of a difference of - conviction.... The new ballet-master owed his extraordinary - triumph over his older rival to his restoration of his art back - from the exaggerated, inexpressive artificialities of the old - Italian ballet to the simple forms of nature. Of course, there - was something startling in seeing a form of drama with which - thitherto there had been associated only leaps, contortions, - constrained positions, and complicated dances which left behind - them no feeling of unity, suddenly succeeded by dramatic action, - depth of feeling, and plastic beauty of representation as they - were so magnificently developed in the earlier ballets of Mr. - Salvatore Vigano, opening, as they did, a new realm of beauty. And - though it may be true that it was especially the natural, joyous, - unconstrained dancing of Madame Vigano and her play of features, - as expressive as it was fascinating, which provoked the applause - of the many, it is nevertheless true that the very subject-matter - of the ballets, which differentiate themselves very favorably - from his later conceits, and his then wholly classical, skilful - and manly dancing, were well calculated to inspire admiration and - respect for the master and his creations. - -Two or three pages might be compiled of spicy matter upon the beautiful -Mme. Vigano's lavish display of the Venus-like graces and charms of -her exquisite form; but her name, long before the "Prometheus" ballet, -had disappeared from the roll of the theatre and Fraeulein Cassentini -reigned in her stead. There was nothing derogatory to Beethoven in -his acceptance of the commission to compose the music to a ballet by -Vigano; but by whom commissioned, upon what terms, and when--concerning -these and similar particulars, we know nothing. We only know, that -at the close of the season before Easter, on the 28th of March, -"Die Geschoepfe des Prometheus" was performed for the first time for -the benefit of the prima ballerina of the ballet corps, Fraeulein -Cassentini, and that the whole number of its performances this year -was sixteen, and in 1802 thirteen. The pecuniary result to Beethoven -must therefore have been satisfactory. True, the full score did not -appear in print in Beethoven's lifetime or for a long time thereafter; -it was not published, indeed, until the appearance of the critical -Complete Edition, in which it figures as No. 11 of Series II; nothing -is known of the original manuscript. A copy revised except as to two -numbers, is in the Royal Imperial Court Library at Vienna. A pianoforte -arrangement of the score was published in June, 1801, by Artaria with -the opus number 24 and a dedication to Prince Lichnowsky. Hoffmeister -printed the orchestral parts and a pianoforte score in 1804 as Op. 43 -(the number 24 having meanwhile been assigned to the Violin Sonata in -F). Mention ought, perhaps, also to be made of a pianoforte arrangement -of No. 8 for four hands "compose pour la famille Kobler par Louis van -Beethoven. Cette piece se trouve aussi a gr. Orchestre dans le meme -Magazin." The Kobler family was frequently in Vienna, among other times -in 1814; it had nothing to do with the "Prometheus" music. - -Alois Fuchs has preserved a characteristic anecdote which came to him -"from the worthy hand of a contemporary": - - When Beethoven had composed the music to the ballet "Die Geschoepfe - des Prometheus" in 1801, he was one day met by his former teacher, - the great Joseph Haydn, who stopped him at once and said: "Well, - I heard your ballet yesterday and it pleased me very much!" - Beethoven replied: "O, dear Papa, you are very kind; but it is - far from being a 'Creation!'" Haydn, surprised at the answer and - almost offended, said after a short pause: "That is true; it is - not yet a 'Creation' and I can scarcely believe that it will ever - become one." Whereupon the men said their adieus, both somewhat - embarrassed. - -From the period immediately following we have another letter from -Beethoven to Hoffmeister, dated April 22, 1801, in which he says: - - Perhaps, too, it is the only sign of genius about me that my - things are not always in the best of order, and nobody can mend - the matter except myself. Thus, for instance, the pianoforte part, - as is usual with me, was not written out in score and I only now - have made a fair copy of it so that because of your haste you - might not receive my too illegible manuscript. So that the works - may appear in the proper sequence as far as possible I inform - you that the following opus numbers ought to be placed on the - compositions: - - On the Solo Sonata Opus 22 - On the Symphony " 21 - On the Septet " 20 - On the Concerto " 19 - - The titles I will send you soon. - - Set me down as a subscriber for the works of Johann Sebastian - Bach, also Prince Lichnowsky. The transcription of the Mozart - sonata (or sonatas) as quartets and quintets will do you honor - and certainly prove remunerative. In this also I should like to - be of greater service, but I am a disorderly individual and with - the best of intentions I am continually forgetting everything; - yet I have spoken about the matter here and there, and everywhere - have found inclination towards it. It would be a handsome thing - if Mr. Brother besides doing this were to publish an arrangement - of the Septet for flute, as quintet, for example; by this means - the amateur flautists, who have already approached me on the - subject, would be helped and they would swarm around it like - hungry insects. To say something about myself, I have just written - a ballet in which the ballet-master did not do as well as he - might have done. Baron von Liechtenstein has endowed us with a - product not commensurate with the ideas which the newspapers - have spread touching his genius; another bit of evidence against - the newspapers. The Baron seems to have formed his ideal on Herr - Mueller in the marionette show, without, however, having attained - it. - - These are the beautiful prospects under which we poor fellows in - Vienna are expected to flourish.... - -Under the same date Beethoven wrote to Breitkopf and Haertel: - -ADVICE TO THE CRITICS OF LEIPSIC - - ... As regards your request for compositions by me I regret that - at this time I am unable to oblige you; but please tell me what - kind of compositions of mine you want, viz., symphonies, quartets, - sonatas, etc., so that I may govern myself accordingly, and in - case I have what you need or want I may place it at your service. - If I am right, 8 works of mine are about to appear at Mollo's - in this place; four pieces at Hofmeister's in Leipsic; in this - connection I wish to add that _one of my first concertos[102] - and therefore not one of_ the best of my compositions, is to be - published by Hofmeister, and that Mollo is to publish a Concerto - which, indeed, was written later[103] _but nevertheless does not - rank among the best of my works in this form_. This is only a - hint for your musical journal in the matter of criticism of these - works, although if one might hear them (well-played, that is), one - would best be able to judge them. Musical policy requires that - one should keep possession for a space of the best concertos. - You should recommend to Messrs. your critics great care and - wisdom especially in the case of the products of younger authors; - many a one may be frightened off who otherwise might, probably, - accomplish more; so far as I am concerned I am far from thinking - that I am so perfect as not to be subject to blame, yet the howls - of your critics against me were at first so humiliating that after - comparing myself with others I could not get angry, but remained - perfectly quiet, and concluded they did not understand their - business; it was the easier to remain quiet since I saw the praise - lavished on people who have no significance in loco in the eyes - of the better sort, and who disappeared from sight here no matter - how good they may otherwise have been--but _pax vobiscum_--peace - for me and them--I would not have mentioned a syllable about the - matter had not you yourself done so. - - Coming recently to a friend who showed me the amount which had - been collected _for the daughter of the immortal god of harmony_, - I marvel at the smallness of the sum which Germany, especially - _your Germany_, had contributed in recognition of the individual - who seems to me worthy of respect for her father's sake, which - brings me to the thought how would it do if I were to publish a - work for the benefit of this person by subscription, acquaint the - public each year with the amount and its proceeds in order to - assure her against possible misfortune. Write me quickly how this - might best be accomplished so that something may be done before - _this Bach_ dies, before this brook[104] dries up and we be no - longer able to supply it with water. That you would publish the - work is self-evident. - -Poor Maximilian's health having become precarious, the welfare of the -Teutonic Order in those revolutionary times demanded that a wise and -energetic successor to him as Grand Master should be secured in the -person of an efficient coadjutor. The thoughts of all parties concerned -fixed upon a man who was then not even a member of the order, in case -he would join it and accept the position, namely, the famous Archduke -Karl. A Grand Chapter was therefore called at Vienna, which opened June -1st, and which unanimously admitted him to membership, he receiving a -dispensation from taking the oaths for the time being. On June 3rd, -he was elected coadjutor and on the 11th he received the accolade. The -circular which called the meeting brought to the Austrian capital the -whole body of officials employed at Mergentheim, and thus it happened -that Stephan von Breuning, whose name appears in the Calendar of the -order from 1797 to 1803, inclusive, as Hofrathsassessor, came again -to Vienna and renewed intimate personal intercourse with Beethoven. -Another of our old Bonn acquaintances had also recently come thither, -he of whom (in the opinion of the present writer) Beethoven writes -to Amenda: "Now to my comfort a man has come again"--namely, Anton -Reicha. In the spring of this year Beethoven removed from the Tiefer -Graben into rooms overlooking one of the bastions--there is little if -any doubt, the Wasserkunstbastei--and in one of those houses the main -entrances to which are in the Sailerstaette. At a later period of his -life he came thither again, and with good reason; for those houses not -only afforded a beautiful view over the Glacis and the Landsstrasse -suburb, but plenty of sun and fresh air. In the Hamberger house, where -now stands No. 15, he had often gone with his exercises to Joseph -Haydn, and hard by lived his friend Anton von Tuerkheim, Royal Imperial -Truchsess--that is, carver. - -This year he chose Hetzendorf for his summer retreat. Those who know -well the environs of Vienna, are aware that this village offers less -attraction to the lover of nature than a hundred others within easy -distance of the city. There is nothing to invite one, who is fond of -the solitude of the forest, but the thick groves in the garden of -Schoenbrunn some ten minutes' walk distant. It is certainly possible -that Beethoven's state of health may have forbidden him to indulge his -taste for long rambles, and that the cool shades of Schoenbrunn, so -easily and at all times accessible, may have determined his choice. It -would be pleasant to believe, though there is no evidence to support -such a belief, that some feeling of regard for his former patron -Maximilian, who had sought retirement at Hetzendorf, was one of the -causes which induced the composer to spend this summer there. - -ORATORIO: "THE MOUNT OF OLIVES" - -That was a period at Vienna fruitful in short sacred cantatas. On -certain days in the spring and late autumn no theatrical performances -were allowed and the principal composers embraced the opportunity -to exhibit their skill and invention in this branch of their art; -sometimes in concerts for their own benefit, more commonly in those for -public charities. Haydn, Salieri, Winter, Suessmayr, Paer, are names -that will occur in this connection to every student of Vienna's musical -annals. Beethoven, ever ready to compete with the greatest talent -in at least one work, and desirous of producing at his next concert -the novelty of an extensive vocal composition by himself, determined -to compose a work of this class. The subject chosen was "Christus am -Oelberg."[105] Its composition was the grand labor of this summer. "The -text was written by me in collaboration with the poet within 14 days," -writes Beethoven in one of his letters, "but the poet was musical and -had already written many things for music; I was able to consult with -him at any moment." This poet was Franz Xaver Huber, fertile writer -in general literature and a popular author for the Vienna stage, -who occupied so high a place in public esteem, that his consent to -prepare the text of the "Christus" is another indication of the high -reputation of Beethoven. The merits and demerits of the poem need not -be expatiated upon; Beethoven's own words show that he was in part -responsible for them. Schindler says: - - Beethoven also lived in Hetzendorf in 1805 and composed his - "Fidelio." A coincidence touching the two works, one that - remained in the lively memory of Beethoven for many years, was - that he composed both of them in the thicket of the forest in - the Schoenbrunner Hofgarten, sitting on the hill between two oaks - which branched out from the trunk about two feet from the ground. - This oak, which always remained remarkable in his eyes (it is to - the left of the Gloriet), I found again with Beethoven as late as - 1823, and it awakened in him interesting memories of the early - period. - - * * * * * - -So far as has been determined, the compositions completed in 1801 were -the Sonatas for Pianoforte and Violin, Op. 23 and 24; the Pianoforte -Sonatas in A-flat, Op. 26, E-flat, Op. 27, No. 1, and C-sharp minor, -Op. 27, No. 2, and D major, Op. 28; and the Quintet in C major, Op. 29. -"The Andante in D minor of the Sonata, Op. 28," says Czerny, "was long -his favorite and he played it often for his own pleasure." The twelve -Contradances and six Rustic Dances (_Laendler_) are sketched in part -on the first staves of the Kessler sketchbook. If we are justified in -assuming that they were composed for the balls of the succeeding winter -and were played from manuscript, it would follow that they also are to -be counted among the compositions completed in this year. - -PUBLICATIONS OF THE YEAR 1801 - -The published works were the Concerto for Pianoforte and Orchestra, -Op. 15, dedicated "A son Altesse Madame la Princesse Odescalchi nee -Keglevics"; the Sonata for Pianoforte and Horn, Op. 17, dedicated -"A Madame la Baronne de Braun"; the Quintet for Pianoforte, Oboe, -Clarinet, Horn and Bassoon, Op. 16, dedicated "A son Altesse -Monseigneur le Prince Regnant de Schwarzenberg." These three works -were announced by Mollo and Co. on March 21. Furthermore, the music -to "Prometheus," arranged for Pianoforte (according to Czerny by -the composer) and dedicated "A sua Altezza la Signora Principessa -Lichnowsky, nata Contessa Thun," published in June by Artaria as Op. -27; "6 Variations tres faciles" on an original theme in G, announced by -Johann Traeg as absolutely new on August 11, sketched in the preceding -year but probably completed in this; the Sonatas, Op. 23 and 24, -dedicated "A Monsieur le Comte Maurice de Fries," announced on October -28; the six Quartets, Op. 18, dedicated "A son Altesse Monseigneur le -Prince Regnant de Lobkowitz," announced (second series) on October -28 by Mollo. The Pianoforte Concerto in B-flat, Op. 19, dedicated "A -Monsieur Charles Nikl Noble de Nikelsberg," and the Symphony in C, -Op. 21, dedicated "A son Excellence Monsieur le Baron van Swieten," -were published by Hoffmeister and Kuehnel of Leipsic certainly before -the end of the year, since they reached Vienna on January 16, and -were advertised there. An earlier Leipsic edition has not been found. -The two Violin Sonatas in A minor and F major were dedicated to Count -Moritz von Fries and were originally intended to be coupled in a -single opus number (23), as appears from the preliminary announcement -by Mollo in the "Wiener Zeitung" of October 28, 1801, and also by the -designation of the second as "No. 2," on a copy of Op 24. Sketches -of the two found in the Petters sketchbook are evidence of their -simultaneous origin. - -The Pianoforte Sonata, Op. 26, had its origin, according to Nottebohm's -study of the sketches, in the year 1800; but Shedlock (in the "Musical -Times" of August, 1892) prints a few beginnings of the first movement -in B minor (!) which probably date farther back, perhaps to the Bonn -period. A young composer,[106] Ferdinand Paer (born at Parma in 1771), -since the beginning of 1798 had produced on the court stage a series of -pleasing and popular works. Laboring in a sphere so totally different -from that of Beethoven, there was no rivalry between them and their -relations were cordial and friendly. On June 6th of this summer Paer -brought out a heroic opera, "Achilles," which "was received with a -storm of approval and deserved it," says the correspondent of the -"Zeitung fuer die Elegante Welt." Paer in his old age told Ferdinand -Hiller a characteristic anecdote of Beethoven which cannot possibly be -true in connection with his "Leonore," as he, by a lapse of memory, -related it, but is, undoubtedly, in connection with "Achilles." It was -to the effect that Beethoven went with Paer to the theatre where an -opera by the latter was performing. He sat beside him and after he had -time and again cried out, "Ah, que c'est beau, que c'est interessant!" -had finally said: "Il faut que je compose cela." The correspondent just -cited complains of the "want of character" in the marches in "Achilles" -and incidentally confirms one of Ries's "Notizen": "The funeral march -in A-flat minor in the Sonata dedicated to Prince Lichnowsky (Op. -26) was the result of the great praise with which the funeral march -in Paer's 'Achilles' was received by Beethoven's friends." Of that -Sonata, completed this year, Czerny says: "When Cramer was in Vienna -and was creating a great sensation not only by his playing but also by -the three sonatas which he dedicated to Haydn (of which the first in -A-flat, 3/4 time, awakened great amazement), Beethoven, who had been -pitted against Cramer, wrote the A-flat Sonata, Op. 26, in which there -is purposely a reminder of the Clementi-Cramer passage-work in the -Finale. The _Marcia funebre_ was composed on the impulsion of a very -much admired funeral march of Paer's, and added to the Sonata." - -Whether or not this funeral march was really occasioned by Paer's -"Achilles" or one from another opera by Paer (since "Achilles" was -performed for the first time in 1801, and the older first sketches -already contemplated a "pezzo caracteristico p. e. una marcia in as -moll"), is of subordinate interest, since the legend has nothing -whatever to do with reminiscences, but only with its tremendous -superiority to the music by Paer. - - The enigmatic "Sonata pour M." in the sketches for this sonata no - doubt means "for Mollo" simply. The splendid print in _facsimile_, - published by Erich Praeger from the autograph discovered by him, - gives information concerning the sketches and also concerning the - legends which refer to the origin of the different movements. - -THE C-SHARP MINOR SONATA - -Of the two Pianoforte Sonatas, Op. 27, the first (in E-flat) was -dedicated to the Princess Johanna von Liechtenstein, _nee_ the -Landgravine Fuerstenberg, the second to Countess Giulietta Guicciardi. -It is apparent, therefore, that they appeared separately at first. -Sketches of the first show that they originated in 1801. Both are -designated "quasi fantasia," which plainly indicates a departure from -the customary structure. The C-sharp minor Sonata, Op. 27, No. 2, -was dedicated to the Countess Giulietta Guicciardi, who at this time -(1801-1802) was Beethoven's pupil and indubitably must be counted -amongst the ladies who, for a time at least, were near to his heart. -Concerning this, later. As his relationship to the Countess has been -exaggerated, so also more significance has been attached to this sonata -than is justified from a sober point of view. Beethoven himself was -vexed that more importance was attached to it than to other sonatas -which he held in higher esteem (Op. 78, for instance), simply because -it had become popular. Its popularity was subsequently heightened by -the designations "Arbor Sonata" and "Moonlight Sonata" and its creation -into a sort of love-song without words, especially after Schindler had -identified the Countess Guicciardi with the "Immortal Beloved" of the -famous love-letter. It was a long time before attention was paid to a -letter written by Dr. G. L. Grosheim, to Beethoven, dated November 10, -1819, in which occur the words: "You wrote me that at Seume's grave (in -Teplitz) you had placed yourself among his admirers.... It is a desire -which I cannot suppress, that you, Mr. Chapelmaster, would give to the -world your wedding with Seume--I mean your Fantasia in C-sharp minor -and the 'Beterin'."[107] - -The autograph of the Sonata in D, Op. 28, bears the inscription "Gran -Sonata, Op. 28, 1801, da L. van Beethoven." It appeared in print in -1802, having been advertised in the "Wiener Zeitung" of August 14, from -the Industriekontor, with the dedication, "A Monsieur Joseph Noble de -Sonnenfels, Conseiller aulique et Secretaire perpetuel de l'Academie -des Beaux Arts." Touching the personality of Joseph Noble de Sonnenfels -something may be learned from W. Nagel's book, "Beethoven und seine -Klaviersonaten," and also from Willibald Mueller's biography of him. -At the time, Sonnenfels was nearly 70 years old and, so far as is -known, was not an intimate friend of Beethoven's; the dedication was -probably nothing more than a mark of respect for the man of brains -with whose ideas Beethoven was in sympathy. The single clue as to the -origin of the work is the date (1801) on the autograph; sketches seem -to be lacking. The sunny disposition of the music is the only evidence, -and this is internal. The work early acquired the sobriquet "Sonata -pastorale" (it was first printed by A. Cranz), and the designation is -not inept. - -THE STRING QUINTET IN C, OP. 29 - -The String Quintet, Op. 29, as is evidenced by an inscription on the -score, was composed in 1801 and published by Breitkopf and Haertel in -1802, towards the close of the year. Simultaneously it appeared from -the press of Artaria. This second edition has a history. According to -Ries the Quintet - - was stolen in Vienna and published by A. (Artaria) and Co. - Having been copied in a single night, it was full of errors.... - Beethoven's conduct in the matter is without parallel. He asked - A. to send the fifty copies which had been printed to me for - correction, but at the same time instructed me to use ink on the - wretched paper and as coarsely as possible; also to cross out - several lines so that it would be impossible to make use of a - single copy or sell it. The scratching out was particularly in the - Scherzo. I obeyed his instructions implicitly, etc. - -Nottebohm has proved that the further statements of Ries touching the -melting of the plates, etc., are wrong; but the enraged composer did -make a public statement--and very properly: - - To the Lovers of Music. - - In informing the public that the original Quintet in C long ago - advertised by me as having been published by Breitkopf and Haertel - in Leipsic, I declare at the same time that I have no interest in - the edition published simultaneously by Messrs. Artaria and Mollo - in Vienna. I am the more compelled to make this declaration since - this edition is very faulty, incorrect and utterly useless to - players, whereas Messrs. Breitkopf and Haertel, the legal owners of - this Quintet, have done all in their power to produce the work as - handsomely as possible. - - Ludwig van Beethoven. - -A year later Beethoven revoked this declaration so far as it concerned -Mollo in the following - - Announcement to the Public. - - After having inserted a statement in the "Wiener Zeitung" of - January 22, 1803, in which I publicly declared that the edition of - my Quintet published by Mollo did not appear under my supervision, - was faulty in the extreme and useless to players, the undersigned - hereby revokes the statement to the extent of saying that Messrs. - Mollo and Co. have no interest in this edition, feeling that I owe - such a declaration to do justice to Messrs. Mollo and Co. before a - public entitled to respect. - - Ludwig van Beethoven. - -As Nottebohm has shown, Beethoven eventually agreed to revise and -correct this edition also. A long letter to Breitkopf and Haertel, dated -November 13, 1802, gives a lively picture of the excitement which the -incident aroused in Beethoven: - - I write hurriedly to inform you of only the most important - things--know then, that while I was in the country for my health, - the arch-scoundrel Artaria borrowed the Quintet from Count Friess - on the pretence that it was already published and in existence - here and that they wanted it for the purpose of reengraving - because their copy was faulty and as a matter of fact intended - to rejoice the public with it in a few days--good Count Fr., - deceived and not reflecting that a piece of rascality might be - in it, gave it to them--he could not ask me, I was not here, but - fortunately I learned of the matter in time, it was on Tuesday - of this week, and in my zeal to save my honor and as quickly as - possible to prevent your suffering injury, I offered two new works - to these contemptible persons if they would suppress the entire - edition, but a cooler-headed friend who was with me asked, Do you - want to reward these rascals? The case was finally closed under - conditions, they assuring me that no matter what you printed they - would reprint it, these generous scoundrels decided therefore to - wait three weeks after the receipt here of your copies before - issuing their own (insisting that Count F. had made them a - present of the copy). For one term the contract was to be closed - and for this boon I had to give them a work which I value at at - least 40 ducats. Before this contract was made comes my good - brother as if sent by heaven, he hurries to Count Fr., the whole - thing is the biggest swindle in the world, how neatly they kept - themselves out of Count F.'s way and so on, and I go to F. and - as the enclosed _Revers_ may show that I did all in my power to - protect you from injury--and my statement of the case may serve - to prove to you that no sacrifice was too great for me to save my - honor and save you from harm. From the _Revers_ you will see the - measures that must be adopted and you should make all possible - haste to send copies here and if possible at the same price as - the rascals--Sonnleithner and I will take all further measures - which seem to us good, so that their entire edition may be - destroyed--please take good notice that Mollo and Artaria combined - are already only a shop, that is, a combined lot of scoundrels. - The dedication to Friess I hope was not forgotten inasmuch as my - brother wrote it on the first sheet--I wrote the _Revers_ myself - since my poor brother is very much occupied with work yet did all - he could to save you and me, in the confusion he lost a faithful - dog which he called his favorite, he deserves that you thank him - personally as I have done on my own account--recall that from - Tuesday to late last night I devoted myself almost wholly to this - matter and the mere thought of this rascally stroke may serve to - make you realize how unpleasant it is for me to have anything to - do with such miserable men. - - "_Revers._ - - "The undersigned pledges himself under no circumstances to send - out or sell here or elsewhere the Quintet received from Mr. Count - Friess composed by Lud. v. Beethoven until the original edition - shall have been in circulation in Vienna 14 days. - - "Vienna, 9th month, 1802. - - Artaria Comp." - -This _R._ is signed with its own hand by the _Comp._ Use the following: -Is to be had a Vienne chez Artaria Comp., a Muenich chez F. Halm, a -Francfort chez Gayl et Naedler, perhaps also in Leipsic chez Meysel--the -price is 2 florins Viennese standard. I got hold of twelve copies, -which they promised me from the beginning, and corrected them--_the -engraving is abominable_. Make use of all this, you see that on every -side we have them in our hands and can proceed against them in the -courts.--_N.B._ Any personal measures taken against A. will have my -approval. - -Under date of December 5, 1802, Beethoven's brother Karl wrote to -Breitkopf and Haertel on the same subject: - - Finally I shall inform you touching the manner in which my brother - sells his works. We already have in print 34 works and about 18 - numbers. These pieces were mostly commissioned by amateurs under - the following agreement: he who wants a piece pays a fixed sum for - its exclusive possession for a half or a whole year, or longer, - and binds himself not to give the manuscript to _anybody_; at the - conclusion of the period it is the privilege of the author to do - what he pleases with the work. This was the understanding with - Count Friess. Now the Count has a certain Conti as violin teacher, - and to him Artaria turned and he probably for a consideration of - 8 or 10 florins said that the quartet (_sic_) had already been - printed and was to be had everywhere. This made Count Friess - think that there was nothing more to be lost in the matter and - he gave it up without a word to us about it.... Count Friess - is not here just now, but he will return in 6 days and then we - shall see that you are recompensed in one way or another. I send - you the accompanying _Revers_ signed by Artaria for inspection; - please return it. This _Revers_ cost my brother 7 days during - which time he could do nothing, and me innumerable trips, many - unpleasantnesses and the loss of my dog.[108] - -Beethoven's declaration not having been published until more than two -months after his letter containing the _Revers_, the incidents touching -which Ries makes report, and the partial reengraving of the plates, -must have taken place after January, 1803, and the end of the quarrel -in 1804. Sketches of the Quintet have not been found and the question -naturally arises whether or not it might have had an earlier origin or -been developed from earlier sketches. A note in a Conversation Book -of 1826, indicates that one of the Quintet's themes was written by -Schuppanzigh. - -FOOTNOTES: - -[100] Beethoven's carelessness in respect of dates, or a characteristic -indifference to the almanac, as exemplified in this date-line, plays -an important role in one of the most puzzling questions in his -personal history, namely, the identity of the woman whom in the famous -love-letters he called "The Immortal Beloved." - -[101] "L... O...", according to Schindler as reported by Nohl, -stands for "Leipsic Oxen," the reference being to the critics of the -"Allgemeine Musikalische Zeitung." - -[102] The Concerto in B-flat, Op. 19. - -[103] The Concerto in C major, Op. 15. - -[104] Bach is the German equivalent of brook. The daughter of Bach -referred to was Regina Johanna, in whose behalf Friedrich Rochlitz had -issued an appeal. She was the youngest of Bach's children and died on -December 14, 1800, her last days having been spent in comfort by reason -of the subscription alluded to. - -[105] Known in English as "The Mount of Olives." - -[106] Here, for a space, the Editor reverts to the original manuscript -not employed by the German revisers, except as a foot-note. - -[107] "The Sonata in C-sharp minor has asked many a tear from gentle -souls who were taught to hear in its first movement a lament for -unrequited love and reflected that it was dedicated to the Countess -Giulia Guicciardi, for whom Beethoven assuredly had a tender feeling. -Moonlight and the plaint of an unhappy lover. How affecting! But -Beethoven did not compose the Sonata for the Countess, though he -inscribed it to her. He had given her a Rondo, and wishing to dedicate -it to another pupil, he asked for its return and in exchange sent the -Sonata. Moreover, it appears from evidence scarcely to be gainsaid, -that Beethoven never intended the C-sharp minor sonata as a musical -expression of love, unhappy or otherwise. In a letter dated January -22, 1892 (for a copy of which I am indebted to Fraeulein Lipsius [La -Mara] to whom it is addressed), Alexander W. Thayer, the greatest of -Beethoven's biographers, says: 'That Mr. Kalischer has adopted Ludwig -Nohl's strange notion of Beethoven's infatuation for Therese Malfatti, -a girl of fourteen years, surprises me; as also that he seems to -consider the C-sharp minor Sonata to be a musical love-poem addressed -to Julia Guicciardi. He ought certainly to know that the subject of -that sonata was or rather that it was suggested by--Seume's little poem -'Die Beterin'.' The poem referred to describes a maiden kneeling at the -high altar in prayer for the recovery of a sick father. Her sighs and -petitions ascend like the smoke of incense from the censers, angels -come to her aid, and, at the last, the face of the suppliant one glows -with the transfiguring light of hope. The poem has little to commend -it as an example of literary art and it is not as easy to connect it -in fancy with the last movement of the sonata as with the first and -second: but the evidence that Beethoven paid it the tribute of his -music seems conclusive."--"The Pianoforte and its Music," by H. E. -Krehbiel, Charles Scribner's Sons, pp. 163, 164. - -On page 174, Vol. IV, of the German edition of this biography Dr. -Deiters remarks: "The venerated Thayer, it is true, conceived the -idea that Beethoven's Fantasia and Sonata, Op. 27, No. 2, had been -inspired by Seume's 'Beterin.' Whoever compares the sonata with the -poem will soon realize that there can be no thought of this. We have -here, no doubt, a confusion of pieces. It would be easier to think of -the Fantasia, Op. 77. Kalischer, who first recognized Thayer's error, -thought of the C-sharp minor Quartet; but this cannot have been in -Beethoven's mind, for it was composed much later." Grossheim's letter -was written in 1819; the C-sharp minor quartet was composed in 1826. So -Kalischer was ridiculously in error. But why does Dr. Deiters suggest -the Fantasia, Op. 77? Grossheim was a musician--composer, teacher and -conductor--as well as philologist, and when he said "C-sharp minor" it -is not likely that he was thinking of a work in G minor. Moreover, the -most admirable Dr. Deiters to the contrary notwithstanding, it is not -at all difficult to associate the sonata with the poem whose picture -of lamentable petition and rising clouds of incense is strikingly -reproduced in suggestion by the music of the first movement. Serene -hopefulness can be said to be the feeling which informs the second -movement; and why should the finale not be the musician's continuation -of the poet's story? - -[108] Appendix II to the second volume of the German edition of this -work contains copies of all the documents in the legal controversies -which arose out of Beethoven's charges against Artaria and Co. and -Mollo in the matter of the unauthorized publication of the Quintet. -They do not add much that is essential to the story as it has been -told, though they show that the legal authorities upheld the publishers -against the composer. - - - - -Chapter XX - - Letters of 1801--The Beginning of Beethoven's Deafness--The - Criticisms of a Leipsic Journal--Bonn Friends in Vienna--Reicha, - Breuning, Ries, Czerny--Chronology Adjusted. - - -Let us now turn back to the important letters written in the summer of -1801, beginning with two written to his friend Amenda, which were first -published in the "Signale" of 1852, No. 5. The first, without date or -record of place, is as follows: - - How can Amenda doubt that I shall always remember him[109] because - I do not write or have not written to him--as if memory could only - be preserved in such a manner. - - A thousand times the best of all men that I ever learned to know - comes into my mind--yes, of the two men who had my entire love, of - which one still lives, you are the third--how can recollection of - you die out of my mind. You shall soon receive a long letter from - me concerning my present condition and everything about me that - might interest you. Farewell, dear, good, noble friend, keep me - always in your love, your friendship, as I shall forever remain - - Your faithful - - Beethoven. - -The longer letter which he had promised to send to his friend is dated -June 1, 1801: - -THE COMPOSER'S HEALTH IN 1801 - - My dear, good Amenda, my cordial friend, I received and read your - last letter with mixed pain and pleasure. To what shall I compare - your fidelity, your attachment to me. Oh, it is so beautiful that - you have always been true to me and I know how to single you out - and keep you above all others. You are not a Viennese friend, - no, you are one of those who spring from the ground of my native - land. How often do I wish you were with me, for your Beethoven is - living an unhappy life, quarreling with nature and its creator, - often cursing the latter because he surrendered his creatures to - the merest accident which sometimes broke or destroyed the most - beautiful blossoms. Know that my noblest faculty, my hearing, - has greatly deteriorated. When you were still with me I felt the - symptoms but kept silent; now it is continually growing worse, and - whether or not a cure is possible has become a question; but it - is said to be due to my bowels and so far as they are concerned - I am nearly restored to health. I hope, indeed that my hearing - will also improve, but I am dubious because such diseases are the - most incurable. How sad is my lot! I must avoid all things that - are dear to me and live amongst such miserable and egotistical - men as ... and ... and others. I must say that amongst them all - Lichnowsky is the most satisfactory, since last year he has - settled an income of 600 florins on me and the good sale of my - works enables me to live without care. I could sell everything - that I compose five times over and at a good price. I have written - considerably of late, and as I hear that you have ordered a - pianoforte from ... I will send you various things in the box of - the instrument so that it need not cost you much. To my comfort - there has lately come a man with whom I can share the pleasures - of association, an unselfish friendship; he is one of the friends - of my youth. I have often spoken of you to him and told him that - since I left my fatherland you have been the only choice of my - heart. ... is not very satisfactory to him--he is and always will - be too weak for friendship. I use him and ... only as instruments - on which I play when I please but they can never become witnesses - of my whole internal and external activities or real participants - (in my feelings). I estimate them at only what they are worth - to me. Oh, how happy would I be if my hearing were completely - restored; then would I hurry to you, but as it is I must refrain - from everything and the most beautiful years of my life must pass - without accomplishing the promise of my talent and powers. A sad - resignation to which I must resort although, indeed, I am resolved - to rise superior to every obstacle. But how will that be possible? - Yes, Amenda, if my infirmity shows itself to be incurable in half - a year, I shall appeal to you; you must abandon everything and - come to me. My affliction causes me the least trouble in playing - and composing, the most in association with others, and you must - be my companion. I am sure my fortune will not desert me. What - might I not essay? Since you have been gone I have composed - everything except operas and church-music. You will not deny me; - you will help your friend bear his cares and affliction. I have - also greatly bettered my pianoforte playing and I hope the journey - will, perhaps, make your fortune; afterward you will remain with - me. I have received all of your letters and despite the fact that - I answered so few you were always with me and my heart still beats - as tenderly for you as ever it did. I beg of you to keep the - matter of my deafness a profound secret to _be confided to nobody - no matter who it is_. Write to me very often. Your letters, no - matter how short, comfort me, do me good, and I shall soon expect - another from you, my dear fellow. Do not lend your quartet to - anybody because I have changed it greatly having just learned how - properly to write quartets, as you will observe when you receive - it. Now, farewell, my dear, good fellow; if you think I can do - something for you here, command me as a matter of course. - - Your faithful, and truly affectionate - L. v. Beethoven. - -In the same month Beethoven wrote again to the publisher Hoffmeister to -this effect: - - I am a little amazed at what you have communicated to me through - the local representative of your business. I am almost vexed to - think that you consider me capable of such a trick. - - It would be a different matter if I had sold my wares only - to avaricious tradesmen hoping that they would make a good - speculation on the sly, but _as artist towards artist_ it is a bit - harsh to think such things of me. It looks to me as if the whole - matter had been planned to test me or to be merely a suspicion; - in either case I inform you that before you received the Septet - from me I sent it to London to Mr. Salomon (for performance at - his concerts out of mere friendship) but with the understanding - that he should have a care that it should not fall into the hands - of strangers, because I intended that it should be published in - Germany, concerning which, if you think it necessary, you may - make inquiry of him. But in order to prove my honesty _I give you - the assurance herewith that I have not sold the Septet, Concerto, - the Symphony and the Sonata to anybody but you, Hoffmeister and - Kuehnel, and that you may consider it (sic) as your exclusive - property and to this I pledge my honor_. You may make such use of - this assurance as you please. - - As for the rest I believe as little that Salomon is capable of - being guilty of having the Septet printed as I am of having - sold it to him. I am so conscientious that I have denied the - applications of _various publishers_ to print the pianoforte - arrangement of the Septet, and yet I do not know whether or not - you intend to make such use of it. - -On June 29, he sent the following longer letter to Wegeler, who -published it in his "Notizen": - - Vienna, June 29. - - My good, dear Wegeler! - - GREETINGS TO OLD FRIENDS IN BONN - - How greatly do I thank you for thinking of me; I have so little - deserved it and so little tried to deserve anything from you, and - yet you are so very good and refuse to be held aloof by anything, - not even by my unpardonable remissness, remaining always my true, - good, brave friend. Do not believe that I could forget you who - were always so dear to me. No. There are moments when I long for - you and would like to be with you. My fatherland, the beautiful - region in which I first saw the light, is still as clear and - beautiful before my eyes as when I left you. In short, I shall - look upon that period as one of the happiest incidents of my - life when I shall see you again and greet Father Rhine. When - this shall be I cannot now tell you--but I want to say that you - will see me again only as a great man. Yon shall receive me as - a great artist but as a better and more perfect man, and if the - conditions are improved in our fatherland my art shall be employed - in the service of the poor. O happy moment! How happy am I that I - created thee--can invoke thee!... You want to know something about - my situation. It is not so bad. Since last year, unbelievable as - it may sound, even after I tell you, Lichnowsky, who has always - remained my warmest friend (there were little quarrels between - us, but they only served to strengthen our friendship), set aside - a fixed sum of 600 florins for me to draw against so long as I - remained without a position worthy of me. From my compositions I - have a large income and I may say that I have more commissions - than it is possible for me to fill. Besides, I have 6 or 7 - publishers and might have more if I chose; they no longer bargain - with me--I ask, and they pay. You see it is very convenient. For - instance, I see a friend in need and my purse does not permit - me to help him at once. I have only to sit down and in a short - time help is at hand. Moreover, I am a better business man than - formerly. If I remain here always I shall bring it to pass that I - shall always reserve a day for my concert of which I give several. - The only pity is that my evil demon, my bad health, is continually - putting a spoke in my wheel, by which I mean that my hearing has - grown steadily worse for three years for which my bowels, which - you know were always wretched and have been getting worse, since - I am always troubled with a dysentery, in addition to unusual - weakness, are said to be responsible. Frank wanted to tone up my - body by tonic medicines and restore my hearing with almond oil, - but, _prosit_, nothing came of the effort; my hearing grew worse - and worse, and my bowels remained as they had been. This lasted - until the autumn of last year and I was often in despair. Then - came a medical ass who advised me to take cold baths, a more - sensible one to take the usual lukewarm Danube bath. That worked - wonders; my bowels improved, my hearing remained, or became - worse. I was really miserable during this winter; I had frightful - attacks of colic and I fell back into my previous condition, and - so things remained until about four weeks ago, when I went to - Vering, thinking that my condition demanded a surgeon, and having - great confidence in him. He succeeded almost wholly in stopping - the awful diarrhoea. He prescribed the lukewarm Danube bath, into - which I had each time to pour a little bottle of strengthening - stuff, gave me no medicine of any kind until about four weeks - ago, when he prescribed pills for my stomach and a kind of tea - for my ear. Since then I can say I am stronger and better; only - my ears whistle and buzz continually, day and night. I can say I - am living a wretched life; for two years I have avoided almost - all social gatherings because it is impossible for me to say to - people: "I am deaf." If I belonged to any other profession it - would be easier, but in my profession it is an awful state, the - more since my enemies, who are not few, what would they say? In - order to give you an idea of this singular deafness of mine I - must tell you that in the theatre I must get very close to the - orchestra in order to understand the actor. If I am a little - distant I do not hear the high tones of the instruments, singers, - and if I be but a little farther away I do not hear at all. - Frequently I can hear the tones of a low conversation, but not the - words, and as soon as anybody shouts it is intolerable. It seems - singular that in conversation there are people who do not notice - my condition at all, attributing it to my absent-mindedness.[110] - Heaven knows what will happen to me. _Vering says that there will - be an improvement if no complete cure._ I have often--cursed my - existence; _Plutarch_ taught me resignation. If possible I will - bid defiance to my fate, although there will be moments in my life - when I shall be the unhappiest of God's creatures. I beg of you to - say nothing of my condition to anybody, not even to Lorchen;[111] - I entrust the secret only to you; I would be glad if you were to - correspond with Vering on the subject. If my condition continues - I will go to you next spring; you could hire a house for me in - some pretty place in the country and for half a year I would be - a farmer. This might bring about a change. Resignation! What a - wretched refuge--and yet the only one open to me. Forgive me that - I add these cares of friendship to yours which is sorrowful enough - as it is. Steffen Breuning is here now and we are together almost - daily; it does me so much good to revive the old emotions. He is - really become a good, splendid youngster, who knows a thing or - two, and like us all has his heart in the right place. I have a - pretty domicile on the bastion which is doubly valuable because - of my health. I believe I shall make it possible for Breuning to - come to me. You shall have your Antioch[112] and also many musical - compositions of mine if you do not think they will cost you too - much. Honestly, your love for art still delights me much. Write to - me how it is to be done and I will send you all my compositions, - already a goodly number and increasing daily.... In return for the - portrait of my grandfather which I beg of you to send me as soon - as possible by mail-coach, I am sending you that of his grandson, - your good and affectionate Beethoven, which is to be published - here by Artaria, who, like many others, including art-dealers, - have often asked me for it. I shall soon write to Stoffel[113] and - give him a piece of my mind concerning his stubborn disposition. - I will make his ears ring with the old friendship, and he shall - promise me by all that is holy not to offend you further in your - present state of unhappiness. I shall also write to good Lorche. - I have never forgotten one of you good people even if I did not - write to you; but you know that writing was never my forte; the - best of my friends have not had a letter from me in years. I - live only in my notes and when one composition is scarcely ended - another is already begun. As I compose at present I frequently - work on three or four compositions at the same time. Write to - me often, hereafter. I will try occasionally to find time to - write to you. Give greetings to all, including the good Madame - Councillor,[114] and tell her that I still occasionally have a - "raptus." As regards K. I do not at all wonder over his change. - Fortune is round, like a ball, and therefore does not always drop - on the noblest and best. A word about Ries, whom I greet heartily; - so far as his son is concerned I shall write you more in detail, - although I think that he would be more fortunate in Paris than - in Vienna. Vienna is overcrowded and the most meritorious find - it extremely difficult to maintain themselves. In the autumn or - winter I shall see what I can do for him, for at that time the - public hurries back to the city. Farewell, good, faithful Wegeler! - Be assured of the love and friendship of - - Your - - Beethoven. - -On November 16, he wrote in greater detail to Wegeler: - - My good Wegeler! - - I thank you for the new evidence of concern in my behalf, all the - more since I deserve so little at your hands. You want to know - how it goes with me, what I need; as little as I like to discuss - such matters I would rather do it with you than with others. - - DEAFNESS AND A ROMANTIC ATTACHMENT - - For several months Vering has had vesicatories placed on both - arms, which consist, as you know, of a certain bark.[115] This is - a very unpleasant remedy, inasmuch as I am robbed of the free use - of my arms (for a few days, until the bark has had its effect), to - say nothing of the pain. It is true I cannot deny that the ringing - and sounding in my ears has become less than usual, especially in - the left ear, where my deafness began; but my hearing has not been - improved and I dare not say that it has not grown worse rather - than better. My bowels are in a better condition, especially after - the lukewarm baths for a few days when I feel quite well for 8 or - 10 days, seldom needing a tonic for my stomach. I am beginning - to use the herbs on the belly as suggested by you. Vering will - hear nothing of plunge baths, and I am thoroughly dissatisfied - with him; he has much too little care and consideration for such - a disease; if I did not go to him, which costs me a great deal - of trouble, I should not see him at all. What do you think of - Schmidt? I do not like to change, but it seems to me Vering is - too much of a practitioner to acquire new ideas. Schmidt seems - to me a very different sort of man and, perhaps, would not be so - negligent. Miracles are told of _galvanism_; what have you to say - about it? A doctor told me that he had seen a deaf and dumb child - recover his hearing (in Berlin) again--and a man who had been - deaf 7 years got well. I am living more pleasantly since I live - more amongst men. You will scarcely believe how lonely and sad my - life was for two years; my bad hearing haunted me everywhere like - a ghost and I fled from mankind and seemed like a misanthrope, - though far from being one. This change has been wrought by a - _dear, fascinating_ girl who loves me and whom I love. There have - been a few blessed moments within the last two years and it is the - first time that I feel that marriage might bring me happiness. - Alas! she is not of my station--and now--it would be impossible - for me to marry. I must still hustle about most actively. If it - were not for my deafness, I should before now have travelled over - half the world, and that I must do. There is no greater delight - for me than to practise and show my art. Do not believe that I - would be happy with you. What is there that could make me happier? - Even your care would give me pain. I would see pity on your faces - every minute and be only the unhappier. What did those beautiful - native regions bestow upon me? Nothing except the hope of a better - state of health, which would have come had not this affliction - seized upon me. Oh, if I were rid of this affliction I could - embrace the world! I feel that my youth is just beginning and - have I not always been ill? My physical strength has for a short - time past been steadily growing more than ever and also my mental - powers. Day by day I am approaching the goal which I apprehend - but cannot describe. It is only in this that your Beethoven can - live. Tell me nothing of rest. I know of none but sleep, and woe - is me that I must give up more time to it than usual. Grant me but - half freedom from my affliction and then--as a complete, ripe man - I shall return to you and renew the old feelings of friendship. - You must see me as happy as it is possible to be here below--not - unhappy. No! I cannot endure it. I will take Fate by the throat; - it shall not wholly overcome me. Oh, it is so beautiful to - live--to live a thousand times! I feel that I am not made for a - quiet life. You will write to me as soon as you can. See that - Steffen secures an appointment of some kind in the _Teutonic - Order_. Life here is connected with too many hardships for his - health. Besides, he lives so isolated an existence that I cannot - see how he is to get along in this manner. You know the state of - affairs here. I will not say that social life may not lessen his - moodiness; but it is impossible to persuade him to go anywhere. - A short time ago I had a _musicale_ at my home; yet our friend - Steffen did not come. Advise him to seek more rest and composure. - I have done my best in this direction; without these he will never - be again happy or well. Tell me in your next letter whether or not - it will matter if I send you a great deal of my music; you can - sell what you do not need and so get back the post-money--and my - portrait. All possible lovely and necessary greetings to Lorchen, - Mama and Christoph. You love me a little, do you not? Be assured - of the love and friendship of - - Your - Beethoven. - -A commentary upon these letters--the first two excepted, which need -none--might be made, by a moderate indulgence of poetic fancy, to fill -a volume of respectable size; but rigidly confined to prosaic fact may -be reduced to reasonable dimensions. Taking up the letters in their -order, the first is that to Hoffmeister of April 22nd. - -I. One of the earliest projects of the new firm of Hoffmeister and -Kuehnel was the publication of "J. Sebastian Bach's Theoretical and -Practical Clavier and Organ Works." The first number contained: 1, -Toccata in D-flat; 2, fifteen inventions; 3, "The Well-Tempered -Clavichord"--in part; the second number: 1, 15 symphonies in three -voices; 2, continuation of "The Well-Tempered Clavichord." Now compare -what Schindler says (third edition, II, 184): - - Of the archfather Johann Sebastian Bach the stock was a very - small one except for a few motets which had been sung at the - house of van Swieten; besides these the majority of pieces were - those familiarly known, namely, the "Well-Tempered Clavichord," - which showed signs of diligent study, three volumes of exercises, - fifteen inventions, fifteen symphonies and a toccata in D minor. - This collection of pieces in _a single volume_ is to be found in - my possession. Attached to these was a sheet of paper on which, in - a strange handwriting, was to be read the following passage from - J. N. Forkel's book "On the Life and Artwork of Johann Sebastian - Bach": "The pretence that the musical art is an art for _all_ ears - cannot be substantiated by Bach, but is disproved by the mere - existence and uniqueness of his works, which seem to be destined - only for connoisseurs. Only the connoisseur who can surmise the - inner organization and feel it and penetrate to the intention of - the artist, which does nothing needlessly, is privileged to judge - here; indeed, the judgment of a musical connoisseur can scarcely - be better tested than by seeing how rightly he has learned - the works of Bach." On both sides of this passage there were - interrogation points from the thickest note-pen of Beethoven as a - gloss on the learned historian and most eminent of all Bachians. - No Hogarth could have put a grimmer look, or a more crushing - expression, into an interrogation point. - -Naegele, who professed long to have entertained the design to publish -Bach's "most admirable works," issued his proposals in February, -written with some degree of asperity against "the double competition" -which, he had already learned, "was confronting" him. Of his edition of -"The Well-Tempered Clavichord" Beethoven also possessed a part. - -The names left blank in publishing this letter are easily supplied. -Baron Carl August von Liechtenstein, the same to whom, from 1825 -to 1832, was confided the management of the opera in Berlin, who -died there in 1845, had been so extravagantly praised as head of -the Princely Music at Dessau that he was called to assume the -chapelmastership of the Imperial Opera in Vienna near the end of -1800. The contemporary reports of his efficiency as conductor are -highly favorable. He deserves the credit of determining to add to -the repertory of the Imperial Opera Mozart's "Zauberfloete" which, -till then, had been heard by the Viennese only in the little theatre -Auf-den-Wieden. It is worth mentioning that Liechtenstein brought -with him from Dessau poor Neefe's daughter Felice, now Mme. Roesner, -and that she was the _Pamina_ of this performance. In the first new -work produced (April 16th) upon the imperial stage after Beethoven's -"Prometheus" music, Liechtenstein introduced himself to the Vienna -public in the character of a composer. It was in his opera "Bathmendi," -completely revised. The result was a wretched failure. Hoffmeister's -long and familiar acquaintance with Vienna, its musicians and its -theatres, would cause him readily to appreciate the fun and wit of -Beethoven's remark that the newly engaged chapelmaster and composer -of the Imperial Opera "seems to have taken for an ideal Mr. M. -(Mueller)"--the Offenbach of that time--but without reaching "even him." -Considering that the Baron was yet a young man, at the most but three -years older than Beethoven, the somewhat bitter remark which follows -the jest appears natural enough. - -THE COMPOSER AND HIS EARLY CRITICS - -II. Beethoven had just cause for indignation in the treatment which -he had received at the hands of the writers for the "Allgemeine -Musikalische Zeitung" (the "Leipsic oxen" of his letter of January -15th). Hoffmeister had evidently written him on the subject, and -his reticence in confining himself in reply to a single contemptuous -sentence, though writing in the confidence of private correspondence, -is something unexpected; not less so is the manly, dignified and -ingenuous style of his answer to Breitkopf and Haertel upon the same -topic in the letter of April 22nd. The first number of that famous -musical journal (take it for all in all, the noblest ever published) -appeared October 3rd, 1798, edited by Rochlitz, published by Breitkopf -and Haertel. In the second number, "Z..." eulogizes the Six Fughettos -of the lad, C. M. von Weber; in the tenth young Hummel's sonatas, Op. -3, are reviewed; in the fifteenth the name of Beethoven first appears, -viz.: in the title of three sonatas dedicated to him by Woelffl. At -length, in No. 23, March 17th, 1799, he is introduced to the readers -of the journal as an author--not of one or more of the eight Trios, -ten Sonatas, the Quintet and Serenade, which make up the _opera_ 1 to -11 then published--but as the writer of the Twelve Variations on "Ein -Maedchen oder Weibchen," and eight on "Une fievre brulante." - -The criticisms are a perfect reflex of the conventional musical thought -of the period and can be read now with amused interest, at least. There -is no room here for their production in full. The writer, "M...," -recognizes the clever pianoforte player in the Variations but cannot -see evidences in them of equal capacity as a composer. He likes some -of them and "willingly admits" that those on "Une fievre brulante" are -"more successful than those of Mozart, who in his early youth also -treated the same subject." But Mozart did not write the variations -referred to, and when Gretry's "Richard Coeur de Lion," from which the -theme was borrowed, was first performed in Paris, Mozart was not in his -"early youth" but 28 years old. The critic descants with disapproval on -"certain harshnesses in the modulations," illustrating them; holds up -Haydn as a model chooser of themes, and commends the comments of Vogler -on a set of variations on "God save the King" printed in a little -book on the subject. Thus Beethoven found, in the first recognition -of himself as a composer in that journal, two compositions which he -did not think worthy of opus numbers, to the neglect of all his better -works, made the subject of censure and ridicule for the purpose of -putting and advertising a pamphlet by Vogler. Were his own subsequent -Variations on "God save the King" an effect of this article? - -No. 23 of the "Allgemeine Musikalische Zeitung" contains nearly two -pages from the pen of Spazier on Liechtenstein's opera, "Die steinerne -Braut," and a parallel between Beethoven and Woelffl as pianists. Then -in the next number the beautiful Trio, Op. 6, finds a reviewer. Here is -the whole of his article: - - This Trio, which in part is not easier but more flowing than many - other pieces by the same author, makes an excellent ensemble on - the pianoforte with accompaniment. The composer with his unusual - harmonic knowledge and love for serious composition would provide - us many things which would leave many hand-organ things far in the - rear, even those composed by famous men, if he would but try to - write more naturally. - -Could one say less? - -The "Leipsic oxen" are now ruminating upon the noble Sonatas for -Pianoforte and Violin, Op. 12, and No. 36 (June, 1799), contains the -result: - - The critic, who heretofore has been unfamiliar with the pianoforte - pieces of the author, must admit, after having looked through - these strange sonatas, overladen with difficulties, that after - diligent and strenuous labor he felt like a man who had hoped to - make a promenade with a genial friend through a tempting forest - and found himself barred every minute by inimical barriers, - returning at last exhausted and without having had any pleasure. - It is undeniable that Mr. Beethoven goes his own gait; but what - a bizarre and singular gait it is! Learned, learned and always - learned--and nothing natural, no song. Yes, to be accurate, there - is _only a mass of learning here, without good method_; obstinacy, - but for which we feel but little interest; a striving for strange - modulations, an objection to customary associations, a heaping up - of difficulties on difficulties till one loses all patience and - enjoyment. Another critic (M. Z., No. 24) has said almost the same - thing, and the present writer must agree with him completely. - - Nevertheless, the present work must not be rejected wholly. It - has its value and may be of excellent use for already practised - pianoforte players. There are always many who love difficulties - in invention and composition, what we might call perversities, - and if they play these Sonatas with great precision they may - derive delight in the music as well as an agreeable feeling of - satisfaction. If Mr. v. B. wished to deny himself a bit more - and follow the course of nature he might, with his talent and - industry, do a great deal for an instrument which he seems to have - so wonderfully under his control. - -Let us pass on to No. 38 of the journal, where we find half a dozen -notices to arrest our attention. Variations by Schuppanzigh for -two violins are "written in good taste and conveniently for the -instrument"; variations for the pianoforte by Philip Freund are very -satisfactory and "some among them belong to the best of their kind"; -variations by Heinrich Eppinger for violin and violoncello "deserve -honorable mention"; but "X Variations pour le clavecin sur le Duo -'La stessa, la stessissima' par L. v. Beethoven" the critic "cannot -at all be satisfied with, because they are stiff and strained; and -what awkward passages are in them, where harsh tirades in continuous -semitones create an ugly relationship and the reverse! No; it is true; -Mr. van Beethoven may be able to improvise, but he does not know how to -write variations." - -CHANGE IN THE TONE OF CRITICISM - -Now, however, the tide begins to turn. After an interval of nearly four -months, in No. 2 of Vol. II (October, 1799), the Sonatas, Op. 12, for -Pianoforte and Violin have a page allotted to them. A few sentences to -show the tone of the article will suffice; for the praise of Beethoven -needs no repetition: - - It is not to be denied that Mr. v. B. is a man of genius, - possessed of originality and who goes his own way. In this he is - assured by his extraordinary thoroughness in the higher style - of writing and his unusual command of the instrument for which - he writes, he being unquestionably one of the best pianoforte - composers and players of our time. His abundance of ideas, of - which a striving genius never seems to be able to let go so soon - as it has got possession of a subject worthy of his fancy, only - too frequently leads him to pile up ideas, etc. Fancy, in the - extraordinary degree which Beethoven possesses, supported, too, by - extraordinary knowledge, is a valuable possession, and, indeed, - an indispensable one for a composer, etc. The critic, who, after - he has tried to accustom himself more and more to Mr. Beethoven's - manner, has learned to admire him more than he did at first, - can scarcely suppress the wish that ... it might occur to this - fanciful composer to practise a certain economy in his labors.... - This tenth collection, as the critic has said, seems deserving - of high praise. Good invention, an earnest, manly style, ... - well-ordered thoughts in every part, difficulties not carried to - an excess, an entertaining treatment of the harmony--lift these - Sonatas above the many. - -In No. 21 (February, 1800) justice is done to the "Sonate pathetique." -Except a passing notice of the publication of the Quartets, Op. 18, -made by a correspondent, Vol. III of the "Allg. Mus. Zeitung" contains -_nothing_ on the works of Beethoven. So that more than a year passed -between the favorable review of the "Sonate pathetique" and the letter -to Breitkopf and Haertel of April 22nd. The mild tone of that missive -is, therefore, easily explained. The tone of the journal had completely -changed; this fact, and time, had assuaged Beethoven's wrath, and -finally the publishers in applying to him for manuscripts had made the -_amende honorable_. - -In the number of May 26th begins, with a notice of the two Sonatas for -Pianoforte and Violin, Op. 23 and Op. 24, that long series of fair, -candid and generously eulogistic articles on Beethoven's works which -culminated in July, 1810, in the magnificent review of the C minor -Symphony by E. T. A. Hoffmann--a labor of love that laid the foundation -of a new school of musical criticism. - -III. Upon the last topic of the letter to Breitkopf and Haertel -something remains to be said. It was in the "Intelligenzblatt" of the -"Allg. Mus. Zeit." for May, 1800, that Rochlitz made a touching appeal -for aid for the last survivor of Sebastian Bach's children. "This -family," says he, "has now died out down to the single daughter of -the great Sebastian Bach, and this daughter is now very old.... This -daughter is starving.... The publishers of the 'Musik Zeitung' and I -offer to obligate if anybody shall entrust us with money to forward it -in the most expeditious and careful manner, and to give account of it -in the 'Intelligenzblaetter'." The first account is in the paper for -December. Regina Susanna Bach publishes her "thanks" for 96 thalers -and 5 silbergroschens contributed, as the "careful account" which is -appended shows, by sixteen persons, four of whom, in Vienna, sent more -than 80 florins, leaving certainly but a small sum as the offering of -"her Germany." One other--and only one--account appears, in June, 1801. -It is an acknowledgment by Rochlitz, Breitkopf and Haertel and Fraeulein -Bach of having received on May 10th the considerable sum of 307 florins -Viennese (the equal of 200 thalers) - - through the Viennese musician Andreas Streicher, collected by - Streicher and Count Fries. At the same time the famous Viennese - composer Herr van Beethoven declares that he will publish one of - his newest works solely for the benefit of the daughter of Bach - ... so that the good old lady may derive the benefit of it from - time to time. Therefore he nobly urges that the publication be - hastened as much as possible lest the daughter of Bach die before - his object be attained. - -Whether or not any such work was published is not known. Unsupported -conjectures as to the names left blank in the letter to Amenda when -originally printed in the "Signale" are of no use, and if made might -hereafter expose the conjecturer to just ridicule; there remain, then, -but two topics which require a word of comment--the year omitted in -the date, and the friend of his youth of whom Beethoven speaks in -such strong terms of affection--both of which, however, may better be -disposed of, in what is to be said upon the letter to Wegeler of June -29th. - -This long, important and very interesting paper affords an illustration -of the readiness with which a conjecture may be accepted as a truth, -until one is compelled to subject it to rigid examination. Thus, -in using this letter for a particular purpose,[116] Wegeler's date -"most probably 1800" was accepted, as it had universally been for -forty years, without question; but the moment it became necessary -to subject its entire contents to careful scrutiny, for the purposes -of this biography, the error became at once so apparent as really to -awaken a feeling of mortification for the temporary blindness that -allowed it to pass unquestioned. The allusions to Susanna Bach ("You -see it is very convenient, etc."), to his change of lodgings, to the -publication of his portrait by Artaria, and (in the second letter) -to the change of his physicians, are all more or less indicative -of the true date, 1801, while the mention of Breuning's return to -Vienna is proof positive. Finally, the similarity, almost identity, -of passages in the Amenda letter to portions of this, shows that the -two belong to the same June. Thus we at last have the gratification -of seeing these two valuable documents fall easily and naturally into -their true place in Beethoven's history. It is worth noting that this -Wegeler letter offers--at the least, appears to offer--an example of -Beethoven's occasional loose way of making statements; as in the letter -to Breitkopf and Haertel he writes as if he had half a dozen unpublished -concertos on hand, so now he speaks of having "already given several" -_Akademien_; and yet the most careful research has failed to show that -his concerts were at this time more than three in number in all; or -that he had ever even given more than one public concert in Vienna. -Perhaps, however, he may have included those given in Prague in his -"several." As nothing can be added to his account of his bad health and -incipient deafness, we pass to the passages upon Breuning and Ries. - -ARRIVAL IN VIENNA OF ANTON REICHA - -IV. The opinion was before expressed, that the "man" spoken of in the -Amenda letter as having come to Vienna, to Beethoven's comfort, was -Anton Reicha.[117] They were alike in age--Reicha being but a few -months the elder--and alike in tastes and pursuits. Reicha was superior -in the culture of schools and in what is called musical learning; -Beethoven in genius and originality as a composer and in skill as a -pianist. The talents of each commanded the respect of the other. Both -were aspiring, ambitious, yet diverged sufficiently in their views of -art to prevent all invidious rivalry. Reicha gained a reputation which, -in process of time, secured him the high position which he held during -the last twenty years of his life--that of Mehul's successor in the -Paris Conservatoire. - -To Beethoven, who was still digesting plans for musical tours, the -experience of his friend must have been of great value; not less to -Reicha the experience of Beethoven in Vienna. But he was by no means -dependent upon Beethoven for an introduction into the highest musical -circles of the capital. It has been shown in a previous chapter how -freely the salons were opened to every talented young musician, but -beyond this he bore a well-known name and the veteran Haydn kindly -remembered him as one of the promising young men who had paid him -their respects in Bonn. His opera "Ubaldi" was performed in Prince -Lobkowitz's palace, and this probably led to his introduction to the -Empress Maria Theresia, who gave him an Italian libretto, "Argene -Regina di Granata," for composition, in which the Empress herself sang -a part at the private performance in the palace. - -Thus Beethoven and Reicha again met and lived on equal terms. "We spent -fourteen years together,"[118] said the latter, "as closely united as -Orestes and Pylades, and were always together in our youth. After an -eight years' separation we met each other again in Vienna and confided -all our experiences to each other." - -BEETHOVEN AND STEPHAN VON BREUNING - -V. When Wegeler says of Stephan von Breuning, "But he had, with short -interruptions, spent his life in closest association with Beethoven -from his tenth year to his death," he says too much; and too little -when he writes that Beethoven "had once broken for a considerable -space with Breuning (and with what friend did he not?)" For besides -the quarrel, which Ries describes, there came at last so decided a -separation that Breuning's name disappears from our history for a -period of eight to ten years--and that, too, not from _his_ fault. - -It was impossible that the two should have met in 1801 on such terms -as those on which they had parted in 1796. Breuning had passed this -interval of five years in a small provincial town, Mergentheim, -in the monotonous routine of a petty office, in the service of a -semi-military, semi-religious institution which had so sunk in grandeur -and power as to be little more than a venerable name--a relic of the -past. In the same service he had now returned to Vienna. How Beethoven -had been employed, and how he had risen, we have seen. Thus, their -relative positions in society had completely changed. Beethoven now -moved familiarly in circles to which Breuning could have access only by -his or some other friend's protection. - -In view of the relation in which Wegeler stood to the Breuning family, -Beethoven might well have said more about "Steffen," but not easily -less. Even here something of patronizing condescension in the tone -makes itself felt, which becomes far too pronounced when he speaks of -him in the second letter--that of November. Reading these passages in -connection with those unlucky sentences in the Amenda letter, which -have been censured in another place, one feels that Breuning had been -made sensible, to a painful degree, how great his friend had grown. -Wegeler himself is struck by Breuning's non-appearance at Beethoven's -private concert, and remarks: "He must have felt his disappointment -with this old friend all the more, since Breuning had been developed -by Father Ries from an amateur to a most admirable violinist, and had -several times played in electoral concerts." - -The more thoroughly the character of Breuning is examined, not only -in his subsequent relations to Beethoven but also in the light of -all that is known of him as a public official, as a husband, father -and friend, the higher he stands as a man. Under circumstances, in -his office, fitted to try his patience beyond the ordinary limits of -endurance, he never failed to bear himself nobly, as a man of high -principle, ever ready to sacrifice private and personal considerations -to the call of duty. In private life he was invariably just, generous, -tenacious of the right. Whatever causes he may have had on divers -occasions to complain of Beethoven, we learn nothing of them from his -correspondence so far as it has been made public, unless a single -passage cited by Wegeler be thought an exception; yet this is but -the expression of heartfelt sorrow and compassion--not one word of -anger. And we know that Beethoven, when in distress, never turned -to him in vain for sympathy nor for such aid as was in his power to -give. In the miserable years to come the reader will learn enough -of Breuning, though by no means a prominent figure, to feel respect -and admiration for his character, and to see for himself how unjust -to him were those letters--written by Beethoven under the impulse of -short-lived choler--which Ries has contributed to the "Notizen." There -is some temptation to think that Breuning was of those whom Beethoven -"estimated at only what they were worth to him"; but let us trust -that, should ever the blanks in the Amenda letter be filled from the -autograph, his name will not be found--certainly not, if the conjecture -as to the time of Amenda's residence in Vienna prove correct. It is -difficult to avoid saying either too much or too little on such a -topic as this of Breuning and Beethoven--to strike the just medium in -the strength of the language used; but the subject has been made the -occasion of so much injudicious comment, it was not possible to pass it -over. - -VI. The "Intelligenz-Blatt" of Bonn, under date of November 30, 1784, -announces the baptism, on the preceding day, of Ferdinand, son of Franz -Ries. - - Like many others who have become eminent musicians, his taste - and capabilities manifested themselves very early; as, at five - years old, he began his musical education under his father, and - afterwards under Bernhard Romberg, the celebrated violoncello - player. - -The French invasion, the departure of Romberg in consequence (1794) -from Bonn, and the pecuniary straits to which Franz Ries was reduced, - - prevented much attention being, for some time, paid to the - instruction of his son.... At last, when he was about thirteen - ("he had reached the age of 13 years", says the "Rheinischer - Antiquarius"), a friend of his father took him to Arnsberg - in Westphalia, for the purpose of learning thoroughbass and - composition from an organ-player in that neighborhood.... The - pupil proved so much the more able to teach of the two, that the - organist was obliged to give the matter up at once and proposed to - young Ries to teach him the violin instead. As a _pis-aller_, this - was accepted; and Ries remained at Arnsberg about nine months, - after which he returned home. Here he remained upwards of two - years, improving himself in his art with great industry.... At - length, in the year 1801, he went to Munich with the same friend - who had formerly taken him to Arnsberg. Here he was thrown upon - his own resources; and throughout the trying and dispiriting - circumstances which, with slight exception, attended the next - years of his life, he appears to have displayed a firmness, an - energy, and an independence of mind, the more honorable, perhaps, - from the very early age at which they were called into action. At - Munich, Mr. Ries was left by his friend, with little money and but - very slender prospects. He tried for some time to procure pupils, - but was at last reduced to copy music at three-pence per sheet. - With this scanty pittance, he not only continued to keep himself - free from embarrassments, but saved a few ducats to take him to - Vienna, where he had hopes of patronage and advancement from - Beethoven.... He set out from Munich with only seven ducats and - reached Vienna before they were exhausted! - -The citations are from that noble musical journal the London -"Harmonicon," and belong to an article on Ries published in March, -1824. They correspond perfectly to a sketch of Ries's life in the -"Rheinischer Antiquarius," although there are sufficient differences to -show that the materials of the two articles were drawn from independent -sources. The "Antiquarius" (Part III, Vol. II, p. 62), however, dates -Ries's arrival in Munich 1800, the "Harmonicon" giving it 1801. But -the difference is rather apparent than real, since the winter of -1800-1801 includes them both, and is therefore of very little import. -But when Ries, in the "Notizen" (p. 75), says: "On my arrival in -_Vienna_ in 1800," the discrepancy is one not to be passed over without -investigation; not that it is a matter of much interest in itself -when a boy of fifteen or sixteen years became a pupil of Beethoven, -but because of its bearing upon other and weightier questions in the -chronology of the master's life and works. Which, then, is correct? - -Ayrton, the editor of the "Harmonicon," could have obtained (in 1824) -the date for his article only from Ries himself, as in fact the -internal evidence proves him to have done. It was published after the -announcement of Ries's farewell concert in London, with the evident -intention of aiding in securing its success, and must have been -presented to Ries for revision before it was sent to press. Ries, -therefore, must have erred by a lapse of memory, in 1824 as he admitted -he may have done, or in December, 1837, when he wrote the "Notizen." -As for the writer, he has no hesitation in accepting September or -October, 1801, as the date of Ries's advent in Vienna. Thus the last -of these errors--that of Wegeler in his date of the letter of June 29; -that of Schindler (in his first editions) in the date of the "Christus -am Oelberg"; and this of Ries--which had thrown all this period of -Beethoven's history into a confusion that seemed inextricable, is -satisfactorily rectified, and the current of the narrative now flows as -clear and unimpeded here as in any other part. - -Let us return to it. The "Harmonicon" proceeds: - -BEETHOVEN AND FERDINAND RIES - - Ries' hopes from his father's early friend, were not disappointed; - Beethoven received him with a cordial kindness, too rare, alas! - from men who have risen to eminence and distinction towards those - whose claim upon them is founded on the reminiscences of their - humble state. He at once took the young man under his immediate - care and tuition; advanced him pecuniary loans, which his - subsequent conduct converted to gifts; and allowed him to be the - first to take the title of pupil and appear in public as such. - -So also the "Notizen": - - In the letter of recommendation from my father there had been - opened a small credit account to be used in case of need. I never - made use of it but, when a few times Beethoven discovered that - I was short of funds, he sent me money without being asked and - never wanted to take it back. He was really very fond of me, of - which fact he once in his absent-mindedness gave me a very comical - proof. Once when I returned from Silesia, where I had spent some - time at the country-seat of Prince Lichnowsky as pianist on the - recommendation of Beethoven, and entered his room he was about - to shave himself and had lathered his face up to his eyes--for - so far his fearfully stiff beard reached. He jumped up, embraced - me cordially and thereby transferred so much of the lather from - his left cheek to my right that he had none left. Did we laugh? - Beethoven must also have learned privately how matters had gone - with me; for he was acquainted with many of my youthful escapades, - with which he only teased me. In many cases he disclosed a really - paternal interest in me. - -"But with all his kindness" continues the "Harmonicon," - - Beethoven would not give Ries instruction in thoroughbass or - composition. He said it required a particular gift to explain them - with clearness and precision, and, besides that, Albrechtsberger - was the acknowledged master of all composers. This latter had - almost given up teaching, being very old, and was persuaded to - take a new pupil only by the strong recommendation of Beethoven - and by the temptation of a ducat a lesson. Poor Ries' ducats ran - only to the number of 28; after this he was driven to his books - again. - -So it appears that he was Beethoven's pupil only upon the pianoforte. -The manner in which he was taught is also described in the "Notizen": - -THE RECOLLECTIONS OF RIES AND CZERNY - - When Beethoven gave me a lesson I must say that contrary to his - nature he was particularly patient. I was compelled to attribute - this and his friendly disposition, which was seldom interrupted, - chiefly to his great affection and love for my father. Thus, - sometimes, he would permit me to repeat a thing ten times, or even - oftener. In the Variations dedicated to the Princess Odescalchi - (Op. 34), I was obliged to repeat the last _Adagio_ variations - almost entirely seventeen times; yet he was still dissatisfied - with the expression of the little cadenza, although I thought I - played it as well as he. On this day I had a lesson which lasted - nearly two hours. If I made a mistake in passages or missed notes - and leaps which he frequently wanted emphasized he seldom said - anything; but if I was faulty in expression, in _crescendos_, - etc., or in the character of the music, he grew angry because, as - he said, the former was accidental while the latter disclosed lack - of knowledge, feeling, or attentiveness. The former slips very - frequently happened to him even when he was playing in public. - -"I often played on two fortepianos with Ries," says Czerny, "among -other things the Sonata, Op. 47, which had been arranged for two -pianofortes. Ries played very fluently, clear but cold."[119] - -Here we have a key to the identity of so many of Ries's and Czerny's -facts and anecdotes of those years, written out by them independently; -the latter, as he assures us, having first become acquainted with the -"Notizen" through the quotations of Court Councillor Lenz. The two -brilliant boys, thrown so much together, would never weary of talking -of their famous master. The stories of his oddities and eccentricities, -minute facts relating to his compositions, were, therefore, common -property; and it is clear that some which in this manner became -known to Ries at last assumed in his memory the aspect of personal -experiences and, as such, are related in the "Notizen." The author -of this work once introduced an incident into something that he was -writing, under the full conviction of having been an actor in it, which -he now knows was only related to him by his brother. Yet only some six -or seven years had elapsed, whereas Ries wrote of a period which ended -thirty-five years before. - -Another remark of Czerny's is as follows: - - When the French were in Vienna for the first time, in 1805, - Beethoven visited a number of officers and generals who were - musical and for whom he played Gluck's "Iphigenia in Tauris" - from the score, to which they sang the choruses and songs not at - all ill. I begged the score from him and at home wrote out the - pianoforte score as I had heard him play it. I still have this - arrangement (November, 1852). From that time I date my style of - arranging orchestral works, and he was always wholly satisfied - with my arrangements of his symphonies, etc. - -A lad who, though not yet fifteen years old, was able to write a -pianoforte score of such an opera after a single hearing, certainly -deserved the testimonial to his talent which, though written by another -hand, was signed at the time by Beethoven and sealed. The testimonial, -in the possession of the Gesellschaft der Musikfreunde in Vienna, runs -as follows: - - We, the undersigned, cannot withhold from the lad Carl Czerny, - who has made such extraordinary progress on the pianoforte, far - surpassing what might be expected from a boy of fourteen years, - that for this reason, and also because of his marvelous memory, he - is deserving of all possible support, the more since his parents - have expended their fortune in the education of this promising son. - - Vienna, December 7, 1805. - - Ludwig van Beethoven. (Seal) - -The master had early and wisely warned him against a too free use of -his extraordinary memory. "My musical memory," Czerny writes, - - enabled me to play the Beethovenian works by heart without - exception, and during the years 1801-1805 I was obliged to play - these works in this manner at Prince Lichnowsky's once or twice - a week, he calling out only the desired opus number. Beethoven, - who was present a few times, was not pleased. "Even if he plays - correctly on the whole," he remarked, "he will forget in this - manner the quick survey, the _a vista_-playing and, occasionally, - the correct expression." - -Very neat is the anecdote which Czerny relates in the "Wiener -Musikzeitung" of September 28th, 1845, how, after he had outgrown his -studies, he was deservedly reprimanded for a few additions which he -made on his own account in one of his master's works. - - On the whole he was pleased with my performance of his works ... - but he scolded me for every blunder with a kind freedom which I - shall never forget. When once, for instance, I played the Quintet - with Wind-Instruments with Schuppanzigh, I permitted myself, in - a spirit of youthful carelessness, many changes, in the way of - adding difficulties to the music, the use of the higher octave, - etc.--Beethoven took me severely to task in the presence of - Schuppanzigh, Linke and the other players. The next day I received - the following letter from him, which I copy carefully from the - original draft: - - "Dear Czerny: - - "To-day I cannot see you, but to-morrow I will call on you myself - to have a talk with you. I burst forth so yesterday that I was - sorry after it had happened; but you must pardon that in an - author who would have preferred to hear his work exactly as he - wrote it, no matter how beautifully you played in general. I will - make _loud_ amends at the Violoncello Sonata (I was to play his - Violoncello Sonata with Linke the next week). Be assured that as - an artist I have the greatest wishes for your success and will - always try to show myself, - - Your - true Friend - Beethoven." - - This letter did more than anything else to cure me of the desire to - make any changes in the performance of his works, and I wish that - it might have the same influence on all pianists. - -FOOTNOTES: - -[109] Beethoven writes: "How can Amenda doubt that I should ever forget -him?" - -[110] We shall see that even Ries took no note of his friend's -infirmity for two years. - -[111] Eleonore von Breuning, wife of Wegeler. - -[112] A well-known picture by Fueger, Director of the Academy of -Painting in Vienna. - -[113] Christoph von Breuning. - -[114] Breuning's mother. (Wegeler.) - -[115] The bark of _Daphne Mezereum_. - -[116] The attempt to fix the chronology of Beethoven's works. - -[117] The German editor of Vol. II insists that it was not Reicha but -Stephan von Breuning--though he permits all of Thayer's argument to -stand. - -[118] From 1785 to the end of October, 1792; and from the winter -1800-'01 to 1808; two periods of seven years each, separated by the -eight years' interval. - -[119] From O. Jahn's posthumous papers. - - - - -Chapter XXI - - Beethoven's Love-Affairs--The Letter to the "Immortal - Beloved"--Giulietta Guicciardi--Therese Brunswick--Countess - Erdoedy--Therese Malfatti--Confused Chronologies--Many - Contradictory Theories and Speculations. - - -In the letter dated November 16, Beethoven's strong expressions of -desire and intention to exhibit his powers as pianist and composer in -other cities, are striking and worthy of the reader's attention, yet -need no comment; but a new topic there introduced must be treated at -some length, not because it is of very great importance in itself, but -as an episode in the master's life which has employed so many pens and -upon which biographer and novelist seem to have contended which could -make the most of it and paint it in the highest romantic colors.[120] - -The sentences referred to are: "I am living more pleasantly since. -I live more amongst men.... This change has been wrought by a _dear -fascinating_ girl, etc." Notwithstanding all that has been written on -this text there is little reason to think that Beethoven's passion -for this particularly fascinating girl was more engrossing or lasting -than at other periods for others, although peculiar circumstances -subsequently kept it more alive in his memory. The testimony of -Wegeler, Breuning, Romberg, Ries, has been cited to the point that -Beethoven "was never without a love, and generally deeply engrossed in -it." - - In Vienna (says Wegeler) at least as long as I lived there, - Beethoven always had a love-affair on his hands, and occasionally - made conquests which, though not impossible, might have been - difficult of achievement to many an Adonis.... I will add that, so - far as I know, every one of his sweethearts belonged to the higher - social stations. - -So, also, friends of Beethoven with whom Jahn conversed in 1852. -Thus according to Carl Czerny he was said to have been in love with -a Countess Keglevics, who was not generally considered handsome. The -Sonata in E-flat, Op. 7 (dedicated to her), was called "Die Verliebte" -("The Maiden, or Woman, in Love"). Dr. Bertolini, friend and physician -of Beethoven from 1806 to 1816, said: "Beethoven generally had a flame; -the Countess Guicciardi, Mme. von Frank, Bettina Brentano and others." -He was not insensible to ladies fair and frail. Dolezalek, a music -teacher who came to Vienna in 1800 and was the master's admirer and -friend to the last, adds the particular that "he never showed that he -was in love." - -In short, Beethoven's experience was precisely that of many an -impulsive man of genius, who for one cause or another never married and -therefore never knew the calm and quiet, but unchanging, affection of -happy conjugal life. One all-absorbing but temporary passion, lasting -until its object is married to a more favored lover, is forgotten in -another destined to end in like manner, until, at length, all faith -in the possibility (for them) of a permanent, constant attachment to -one person is lost. Such men after reaching middle age may marry for a -hundred various motives of convenience, but rarely for love. - -Upon this particular passion of Beethoven, the present writer -labors under the disadvantage of being compelled to subordinate his -imagination to his reason and to sacrifice flights of fancy to the duty -of ascertaining and imparting the modicum of truth that underlies all -this branch of Beethoven literature, of extracting the few grains of -wheat from the immense mass of chaff. With what success remains to be -seen. - -When Schindler, in perusing the "Notizen," came to the passages above -quoted, with his usual agility in jumping at conclusions he decided -at once, that Beethoven here refers to the Countess Julia Guicciardi, -and so states in his book; probably hitting the truth nearer than on -the next page, where he makes Fraeulein Marie Koschak the object of -Beethoven's "autumnal love," some half a dozen years before the two -had ever met. In this case, however, there is no reason to suppose him -mistaken. - -RELATIONS WITH THE COUNTESS GUICCIARDI - -On the 16th of November, 1801--the date of Beethoven's letter--the -Countess Guicciardi was just one week less than seventeen years of age. -She is traditionally described as having had a good share of personal -attractions, and is known to have been a fine looking woman even in -advanced years. She appears to have possessed a mind of fair powers, -cultivated and accomplished to the degree then common to persons -of her rank; but it is not known that she was in any way eminently -distinguished, unless for musical taste and skill as a pianist, which -may perhaps be indicated in the dedication to her of a sonata by -Kleinheinz as well as by Beethoven. - -Julia Guicciardi's near relationship to the Brunswicks would naturally -throw her into the society of Beethoven immediately upon the transfer -of her father from Trieste to Vienna; their admiration of his talents, -their warm affection for him as a man, would awaken her curiosity to -see him and create a most natural prejudice in his favor. Coming to -the capital from a small, distant provincial town when hardly of an -age to enter society, and finding herself so soon distinguished by the -particular attentions and evident admiration of a man of Beethoven's -social position and fame, might well dazzle the imagination of a -girl of sixteen, and dispose her, especially if she possessed more -than common musical taste and talents, to return in a certain degree -the affection proffered to her by the distinguished author of the -Symphony, the Quartet, the Septet, the "Prometheus" music, and so many -wonderful sonatas, by the unrivalled pianist, the generous, impulsive, -enthusiastic artist, although unprepossessing in person and unable -to offer either wealth or a title. There was romance in the affair. -Besides these considerations there are traditions and reminiscences -of old friends of the composer all tending to confirm the opinion of -Schindler, that the "fascinating girl" was indeed the young Countess -Guicciardi. That writer, however, knew nothing of the matter until -twenty years afterwards; but what he learned came from Beethoven -himself. - -It happened, when the topic came up between them, "that, being in a -public place where he did not like to trust himself to speak," says -Schindler, Beethoven also wrote his share in the conversation, so far -as it related to this subject; hence his words may still be read in a -Conversation Book of February, 1823, preserved in the Royal Library at -Berlin. His statements have certainly gained nothing in clearness from -his whim of writing them in part in bad French. - -It is proper to state, before introducing the citation from this book, -that the young lady married Count Wenzel Robert Gallenberg, a prolific -composer of ballet and occasional music, on the 3rd of November, 1803. -The young pair soon left Vienna for Italy and were in Naples in the -spring of 1806; for Gallenberg was one of the composers of the music -for the fetes, on the occasion of Joseph Bonaparte's assumption of the -crown of the Two Sicilies. When the Neapolitan Barbaja took charge of -the R. I. Opera at Vienna, toward the close of 1821, he made the Count -an associate in the administration, and thus it happened that Schindler -had occasion to call upon him with a message from Beethoven. - -The Conversation Books of those years show, that the question of -selling the opera, "Fidelio," to various theatres, was one often -discussed by Beethoven and his friends, and, also, that the author had -no complete copy of the score. It thus became necessary to borrow one -for the purpose of copying the whole or parts; and at this point we -turn to the Conversation Book. Schindler, in the midst of a long series -of remarks upon heterogeneous topics, expresses surprise that the -Dresden theatre has never purchased "Fidelio," and adds his opinion, -that Weber will do all in his power to further Beethoven's interest, -both in regard to the opera and to the Mass in D. Then follows -political news--Spain, England, etc.--and the sale or hypothecation -by Dr. Bach of certain bank shares on which Beethoven wishes to raise -money; and then: - -A CONVERSATION ABOUT THE COUNTESS - - _Schindler_: Now as to "Fidelio"; what shall, what can I do to - expedite that? - - _Beethoven_: Steiner has the score. - - _Schindler_: I shall go to Count Gallenberg, who will lend it to - you for a time with pleasure. It would be best if you were to - have it copied at your own expense. You may ask 40 ducats. (After - a farther remark or two he promises to see Gallenberg "to-morrow - morning"; some pages farther is the report): - - _Schindler_: Gallenberg presents his compliments; he will send the - score, provided they have two copies. If this is not the case he - will have the score copied for you. I am to call on him again in - two days. (The conversation then turns upon copying certain songs - and upon lithographing the Mass in D; after which): - - _Schindler_: He (Gallenberg) did not inspire me with much respect - to-day. - - _Beethoven_: I was his invisible benefactor through others. - - _Schindler_: He ought to know that, so that he might have more - respect for you than he seems to have. (Kitchen affairs follow - here for a space; then Beethoven takes the pencil and writes): - - _Beethoven_: So it seems you did not find G. favorably disposed - toward me; I am little concerned in the matter, but I should like - to know what he said. - - _Schindler_: He replied to me that he thought that you must have - the score yourself; but when I assured him that you did not have - it he said that its loss was a consequence of your irregular - habits and many changes of lodgings. What affair is that of the - public? And, moreover, who will care what such persons think? What - have you decided to do in the matter at Steiner's? To keep quiet - still longer? Dr. Bach recently asked me about it. I thought you - wanted to keep the score because you had none. Do you want to - give the five-part fugue also for nothing? My dearest friend and - master, that is too much generosity towards such unworthy persons. - You will only be laughed at. (Steiner had bought some compositions - of B. and not published them.) - - _Beethoven_: (having asked Schindler if he had seen Gallenberg's - wife, proceeds): _J'etois bien aime d'elle et plus que jamais son - epoux. Il etoit pourtant plutot son amant que moi, mais par elle - j'apprenois de son misere et je trouvais un homme de bien, qui me - donnait la somme de 500 fl. pour le soulager. Il etoit toujours - mon ennemi, c'etoit justement la raison, que je fusse tout le bien - que possible._ - - _Schindler_: It was for this reason that he added "He is an - intolerable fellow." Probably because of pure gratitude. But - forgive them, Lord, they know not what they do. _Est-ce qu'il y a - longtemps qu'elle est mariee avec Mons. de Gallenberg?--Mad. la - Comtesse? Etait-elle riche? Elle a une belle figure jusqu'ici!_ - - _Beethoven_: _Elle est nee Guicciardi. Elle etoit l'epouse de lui - avant son voyage en Italie--arrive a Vienne elle cherchoit moi - pleurant, mais je la meprisois._[121] - - _Schindler_: Hercules at the crossways! - - _Beethoven_: And if I had wished to give my vital powers with that - life, what would have remained for the nobler, the better (things)? - -Reverence for the composer, and admiration for his compositions, must -have led many who will read this to the perusal of the constantly -accumulating literature of which Beethoven and his works are the -subject; and they must remember the prominence accorded to the -Guicciardi affair. Will they believe that all the _established_ -facts, which have ever been made public, are exhausted in these pages -already? This is literally true. All else is but conjecture or mistake. -There is nothing in the present state of knowledge on this subject to -relieve the great mass of turgid eloquence expended upon it from being -described in one word as--nonsense. The foundation for a tragedy is -certainly small in a case where the lover writes: "It is the first time -that I feel as if marriage _might_ make me happy"; and immediately adds -"now, of course, I could not marry!" because the gratification of his -ambition was more to him than domestic life with the beloved one. - -In November, 1852, Jahn had an interview with the Countess Gallenberg. -On so delicate a topic as Beethoven's passion for her fifty years -before, reticence was natural; but had the affair in truth been of the -importance that others have given it, some hint must have confessed it. -Yet there is nothing of the kind in his notes of the conversation. Here -they are: - - Beethoven was her teacher; he had his music sent to her and was - extremely severe until the correct interpretation was reached - down to the smallest detail; he laid stress upon a light manner - of playing; he easily became angry, threw down his music and tore - it; he would take no pay but linen, although he was very poor, - under the pretence that the Countess had sewed it. He also taught - Princess Odescalchi and Baroness Erdmann; sometimes he went to - his pupils, sometimes they came to him. He did not like to play - his own compositions, but would only improvise. At the slightest - disturbance he would get up and go away. Count Brunswick, who - played the violoncello, adored him as did (also) his sisters, - Therese and Countess Deym. Beethoven had given her (the Countess - Guicciardi) the Rondo in G, but begged its return when he had to - dedicate something to the Countess Lichnowsky, and then dedicated - the Sonata to her. B. was very ugly, but noble, refined in feeling - and cultured. - -In this simple record the lady's memory evidently mistakes by -overrating the poverty of Beethoven at the time she was his pupil -and in making him then so negligent in dress. "In his earlier years -Beethoven dressed carefully, even elegantly; only later did he grow -negligent, which he carried to the verge of uncleanliness," says -Grillparzer; and Czerny: "About the year 1813-'14, when B. looked well -and strong, he also cared for his outward appearance." But what a blow -to all the supposed romantic significance is the short, prosaic account -of the dedication of the C-sharp minor Sonata to her--a composition -which was not a favorite with the composer himself. "Everybody is -always talking about the C-sharp minor Sonata! Surely I have written -better things. There is the Sonata in F-sharp major--that is something -very different," he once said to Czerny. - -A CONJECTURAL OFFER OF MARRIAGE - -There is but one well-authenticated fact to be added, namely, that -Beethoven kept up his intercourse with the family Guicciardi certainly -as late as May or June, 1823, that is, to within six months of the -young lady's marriage. A careful survey and comparison both of the -published data and of the private traditions and hints gleaned during -a residence of several years at Vienna, result in the opinion (an -opinion, note, not a statement resting on competent evidence) that -Beethoven at length decided to offer Countess Julia his hand; that -she was not indisposed to accept it; and that one of her parents -consented to the match, but the other, probably the father, refused to -entrust the happiness of his daughter to a man without rank, fortune -or permanent engagement; a man, too, of character and temperament so -peculiar, and afflicted with the incipient stages of an infirmity -which, if not arrested and cured, must deprive him of all hope of -obtaining any high and remunerative official appointment and at length -compel him to abandon his career as the great pianoforte virtuoso. As -the Guicciardis themselves were not wealthy, prudence forbade such a -marriage. Be all this as it may, this much is certain: Beethoven did -not marry the Countess Julia Guicciardi; Count Wenzel Robert Gallenberg -did. The rejected lover--true to a principle enunciated in a letter -to Zmeskall of March 29, 1799, "there is no use in quarrelling with -what cannot be changed"--made the best of it, and went to work on the -"Sinfonia eroica"! - -SCHINDLER'S UNFOUNDED CONCLUSIONS - -Every reader acquainted with Schindler's book will have noticed that -two grave matters, connected by him with the Guicciardi affair, have -been silently passed over, notwithstanding the very great importance -given to them by him and his copyists. They must now be considered. -Schindler's honest and conscientious desire to ascertain and impart the -truth concerning Beethoven admits no doubt. The spirit was willing, -but his weakness as an investigator was something extraordinary. His -helplessness in finding and following the clue out of a difficulty is -something pitiable, sometimes ludicrous. He reminds us, now and then, -of the character described by Addison: "He is perpetually puzzled and -perplexed amidst his own blunders." - -Take the present matter for an instance. In his first editions of -the biography the date given to the Guicciardi affair is 1806. With -Wegeler's letter before him giving him one fixed point--November, -1801--and the "Graefliches Taschenbuch" to be consulted in every -respectable bookstore and public library for the day of Gallenberg's -marriage, November 3, 1803, he is still at a loss. "I had first to come -to Paris, there make the acquaintance of Cherubini, in order to hit, -quite accidentally, upon a certain clue for this date for which I had -vainly searched in Vienna. Cherubini and his wife, soon after their -arrival in Vienna in 1805, heard of this affair as of something that -had happened two years before." Following this hint, in his edition -of 1860, he changes the 1806 to 1803--that is, he adopts the new date -because, twenty years before, he heard from an old gentleman of 80 -years and his wife, nearly as old, that, thirty-five years before, -they had heard that some two years before that time Beethoven had -been jilted! They also "could say with certainty that the effect upon -Beethoven's mood had already been overcome";--which we are very willing -to hear from them, although the fact needed no confirmation. Again; -his conversation with Beethoven, given as an appendix to the edition -of 1845, was suppressed in the first because the Countess Gallenberg -was then living; the "Taschenbuch" would have taught him that this -objection remained in force until March 22nd, 1856! How is it possible -to read with confidence the opinions and statements of so helpless -a writer--even when we grant him, as we do Schindler, the utmost -rectitude of intention--except when he speaks from personal knowledge, -or upon evidence which he shows to be good? - -Having in a manner so extraordinary fixed the date to his satisfaction, -Schindler proceeds to the catastrophe: - - Yet touching the results of this break upon the spirits of our - master, so highly blessed by this love, something more may be - said. In his despair he sought comfort with his approved and - particularly respected friend Countess Marie Erdoedy--at her - country-seat at Jedlersee, in order to spend a few days in - her company. Thence, however, he disappeared and the Countess - thought he had returned to Vienna, when, three days later, her - music-master, Brauchle, discovered him in a distant part of the - palace gardens. This incident was long kept a close secret, and - only after several years did those familiar with it confide it to - the more intimate friends of Beethoven, long after the love-affair - had been forgotten. It was associated with a suspicion that it - had been the purpose of the unhappy man to starve himself to - death. Those friends who made close observation of the attitude - of Beethoven towards the music-master noticed that he treated him - with extraordinary attention thereafter. - -Jedlersee is so near Vienna, that a stout walker like Beethoven would -think nothing of the distance; and for _him_ to obey the whim or -necessity of the moment, and disappear for two or three days, is the -very weakest of all grounds for the astounding conjecture here gravely -related. But grant for a moment that something of the kind, some time -or other, really occurred; what reason is there to suppose that it -happened then, and in connection with the Guicciardi matter? None, -_Credat Judaeus Apella, non ego_. Indeed the whole story, whatever its -date and connection, is told on such mere hearsay evidence as would not -justify the police in arresting a beggar. To prevent it from passing -into the category of established facts--at least in connection with -this particular love-affair, and until some new and competent proof be -discovered--it may be remarked: - -I. Schindler's first knowledge of the passion of Beethoven for Julia -Guicciardi was obtained in 1823. Whatever he heard from other sources -could only have been afterwards; and in all probability was after -Beethoven's death, when his attention was recalled to the subject by a -paper presently to be noticed. He does not pretend to have heard this -Jedlersee story from any party to it; nor could he, for the Countess -Erdoedy had been banished from the Austrian dominions long before it -could have come to his ears. He is, in fact and upon his own showing, -gravely detailing a mere private rumor, current (he says) among certain -friends of Beethoven, of an event which happened (if at all) fifteen, -twenty or thirty years before, and which was _surmised_ by them, or by -him, to have occurred at the time he was jilted by the young Countess -Guicciardi. - -II. There is nothing whatever in Ries's reminiscences, most of which -are of the precise period of that affair, which, by any stretch of -fancy, can be made to confirm the story; nay, more, they are utterly -inconsistent with it. There is nothing even to show that he ever -observed that his master's relations to the Guicciardis were in any way -remarkable; yet Beethoven's inclination to the society of women was a -point in his character that particularly impressed him. "Beethoven," he -says, - - was fond of the company of women, especially if they had young and - pretty faces, and generally when we passed a somewhat charming - girl he would turn back and gaze at her through his glasses - keenly, and laugh or grin if he noticed that I was looking at him. - He was frequently in love, but generally only for a short period. - Once when I twitted him concerning his conquest of a pretty woman - he admitted that she had held him in the strongest bonds for the - longest time, viz., fully seven months. - -III. And so too with Breuning. There is no letter, or part of a letter -by him (so far as made known by Wegeler), nor any tradition derived -from him, that relates to this passion or its supposed consequences; -and yet, it is only from one of his letters that we know of the -proposal of marriage in 1810; nay, more, we shall find, in 1803, -Beethoven inviting a friend to dine with "Countess Guicciardi," at a -time when he and Breuning lodged together! - -IV. If the Jedlersee story be true at all in connection with this -particular lady, the time must have been 1803. But it is totally -inconsistent with what is known of the composer's history during that -year. - -V. Brauchle was not the Countess Erdoedy's music-teacher, but the tutor -of her children, in which capacity he could hardly have been employed -at a time when the eldest was not six years of age! If we are correctly -informed, he was not in that service until after the year 1803; nor -is it known that Beethoven's intimacy with the Countess had then been -formed. In any case, the starvation story may be considered as disposed -of for the present. - -The force of these arguments will be incidentally but materially -increased by the views--if they find favor and acceptance--advanced -and supported in a short discussion of the single remaining question -belonging to the Guicciardi affair, to which we now come. - -It was well known to Beethoven's friends, that he died possessed of -a few bank-shares; but where the certificates were deposited neither -his brother, Breuning nor Schindler knew. "B. kept his bank-shares in -a secret drawer of a cabinet known only to Holz," is one of Jahn's -notes of a conversation with Carl Holz. When Schindler read Jahn's -manuscript notices and memoranda upon Beethoven and added his comments, -he remarked here: - - Johann Beethoven first devoted himself to the disappearance of - the shares, and not finding them he cried out: "Breuning and - Schindler must find them." Holz was asked to come, by Breuning, - and requested to say if he did not know where they were concealed. - He knew the secret drawer in the old cabinet in which they were - kept. - -In that "secret drawer" Breuning found not only the bank-certificates, -but also various "letters of importance to his friend," as Schindler -describes them. One of these was a letter with two postscripts written -by Beethoven on two pieces of note-paper with a lead pencil, at some -watering-place not named, in the July of a year not given and to a -person not indicated. It is couched in terms of enthusiastic love -rarely equalled even in romance, being like a translation into words -of the most tender and touching passages in his most impassioned -musical compositions. This document, placed in Schindler's possession -by Breuning, is the original of what was first printed in 1840, as, -"three autograph letters written by Beethoven to his Giulietta from a -bathing-place in Hungary"[122] and which have so often been reprinted -at various times. The letter is as follows: - -TEXT OF THE LETTER TO THE "IMMORTAL BELOVED" - - July 6, in the morning. - - My angel, my all, my very self--only a few words to-day and - at that with pencil (with yours)--not till to-morrow will my - lodgings be definitively determined upon--what a useless waste of - time. Why this deep sorrow where necessity speaks--can our love - endure except through sacrifices--except through not demanding - everything--can you change it that you are not wholly mine, I not - wholly thine. Oh, God! look out into the beauties of nature and - comfort yourself with that which must be--love demands everything - and that very justly--_thus it is with me so far as you are - concerned, and you with me_. If we were wholly united you would - feel the pain of it as little as I. My journey was a fearful one; - I did not reach here until 4 o'clock yesterday morning; lacking - horses the post-coach chose another route--but what an awful - one. At the stage before the last I was warned not to travel at - night--made fearful of a forest, but that only made me the more - eager and I was wrong; the coach must needs break down on the - wretched road, a bottomless mud road--without such postilions - as I had with me I should have stuck in the road. Esterhazy, - travelling the usual road hitherward, had the same fate with eight - horses that I had with four--yet I got some pleasure out of it, - as I always do when I successfully overcome difficulties. Now a - quick change to things internal from things external. We shall - soon surely see each other; moreover, I cannot communicate to you - the observations I have made during the last few days touching - my own life--if our hearts were always close together I would - make none of the kind. My heart is full of many things to say to - you--Ah!--there are moments when I feel that speech is nothing - after all--cheer up--remain my true, my only treasure, my all as I - am yours; the gods must send us the rest that which shall be best - for us. - - Your faithful Ludwig. - - Evening, Monday, July 6. - - You are suffering, my dearest creature--only now have I learned - that letters must be posted very early in the morning. Mondays, - Thursdays,--the only days on which the mail-coach goes from here - to K. You are suffering--Ah! wherever I am there you are also. I - shall arrange affairs between us so that I shall live and live - with you, what a life!!!! thus!!!! thus without you--pursued by - the goodness of mankind hither and thither--which I as little - try to deserve as I deserve it. Humility of man towards man--it - pains me--and when I consider myself in connection with the - universe, what am I and what is he whom we call the greatest--and - yet--herein lies the divine in man. I weep when I reflect that you - will probably not receive the first intelligence from me until - Saturday--much as you love me, I love you more--but do not ever - conceal your thoughts from me--good-night--as I am taking the - baths I must go to bed. Oh, God! so near so far! Is our love not - truly a celestial edifice--firm as Heaven's vault. - - Good-morning, on July 7. - - Though still in bed my thoughts go out to you, my Immortal - Beloved, now and then joyfully, then sadly, waiting to learn - whether or not fate will hear us. I can live only wholly with you - or not at all--yes, I am resolved to wander so long away from you - until I can fly to your arms and say that I am really at home, - send my soul enwrapped in you into the land of spirits.--Yes, - unhappily it must be so--you will be the more resolved since - you know my fidelity--to you, no one can ever again possess my - heart--none--never--Oh, God, why is it necessary to part from - one whom one so loves and yet my life in W (Vienna) is now a - wretched life--your love makes me at once the happiest and the - unhappiest of men--at my age I need a steady, quiet life--can that - be under our conditions? My angel, I have just been told that the - mail-coach goes every day--and I must close at once so that you - may receive the L. at once. Be calm, only by a calm consideration - of our existence can we achieve our purpose to live together--be - calm--love me--to-day--yesterday--what tearful longings for - you--you--you--my life--my all--farewell--Oh continue to love - me--never misjudge the most faithful heart of your beloved L. - - ever thine - ever mine - ever for each other. - -Among the many persons before whom at various times Schindler kindly -placed the original for examination were Otto Jahn and the present -writer, neither of whom ever discovered any other reason to suppose -this paper to have been intended for the Countess Guicciardi than -Schindler's conjecture and the grounds upon which he had formed it. -Bearing in mind that the existence of this paper was utterly unknown to -either Breuning or Schindler until after the death of its writer, who -alone could have imparted its history, the mental process by which it -came to be described in the words just quoted, "three autograph letters -written by Beethoven to his Giulietta from a bathing-place in Hungary," -is perfectly easy to trace; thus: - -In the first of the three parts, or letters, Beethoven speaks of the -very disagreeable journey which he had performed with four post-horses, -and Esterhazy with eight; in the second he writes of the "mail-coach -from here to K." and again, "As I am taking the baths I must go to -bed." Now, of the 218 places in the Austrian postal-guide whose names -begin with K, a large number are in Hungary; the bathing-places in that -kingdom are also numerous; and Esterhazy's possessions were there; -hence Schindler's assumption that Beethoven wrote from a Hungarian -watering-place--which may stand for the present. His conjecture as to -whom he wrote was of course suggested by his conversation in 1823 upon -the Countess Gallenberg. This assumption, so obvious and natural for -him to make that it was accepted unquestioned and even unsuspected for -thirty years, must nevertheless be tested. - -WHEN WAS THE LOVE-LETTER WRITTEN? - -The document presents three incomplete dates, the year being omitted in -each: - - "July 6, in the morning." - "Evening, Monday, July 6." - "Good-morning on July 7." - -A reference to the almanacs of 1795, 1801, 1807, and 1812, shows that -July 6th fell upon a Monday in those years. The year 1795 is of course -excluded, for Julia Guicciardi had not then completed her eleventh -year, and we turn at once to 1801. The main subjects of Beethoven's -letter to Wegeler of June 29th were his ailments and the modes of -treatment adopted by his medical advisers; to which he adds his desire -for his friend's counsel, Wegeler being a physician of eminent ability -and skill. It was Wegeler's reply which drew forth the second letter -of November 16, only four and a half months after the first, which -continues the subject with equal minuteness of detail. If now the -reader will turn back and carefully reperuse the two, he will see that -all possibility of a journey to some distant watering-place, requiring -the use of four post-horses, whether in Hungary or elsewhere, in -the interval between those letters is absolutely excluded by their -contents. The conclusion is unavoidable that the diary was not written -in 1801. - -But may there not be an error either in the day of the month or of the -week in the words: "Evening, Monday, July 6?" If there be, the inquiry -is extended to the years 1800 and 1802. - -On July 6th, 1800, the Guicciardi family had hardly reached Vienna -from Trieste. But suppose Julia had been previously sent thither to -complete her education, and thus had become known to Beethoven. In that -case, what is to be thought of guardians and friends who could allow -her such liberty, or rather license, that she, at the age of fifteen -and three-quarter years, should already have formed the relations -necessarily implied by the language of the diary with a man twice her -age? What, too, must be thought of Beethoven! Granting him to have -been, as Magdalena Willmann and others said, "half crazy," the man -certainly was not a fool! - -The year 1800 may also be safely discarded. As to 1802, it is -superfluous to say more than that in the next chapter will be found -part of a letter by Beethoven, dated "Vienna, July 13, 1802." His stay -at the bath must, indeed, have been short if he reached it with four -post-horses on the 5th and is in Vienna again writing letters on the -13th! - -In 1803, July 6th fell upon Wednesday. But there was no such error -in the date; Beethoven gives the day of the month three times in -twenty-four hours--twice on the 6th, once on the 7th. A mistake here -is inconceivable. The day of the week, indeed, is written but once; -but then it is Monday, and Sunday and Monday are precisely the two -days of the week which one most rarely or never mistakes. But that -part of the document which bears the date "Evening, Monday, July 6" -contains certain words that are decisive. This part is a postscript -to the writing of the morning and is written, he says, because he was -too late for the post on that day, and "Mondays, Thursdays, the only -days on which the mail-coach goes from here to K." The conclusion is -irresistible: Schindler and his copyists are all wrong; the document -was not written in the years 1800-1803; the "Immortal Beloved" for whom -it was written was _not_ the Countess Julia Guicciardi. Therefore, they -who have wept in sympathy over this Werther's sufferings caused by -this Charlotte, may dry their tears. They can comfort themselves with -the assurance, that the catastrophe was by no means so disastrous as -represented. The affair was but an episode; not the grand tragedy of -Beethoven's life. But, being a love adventure, it has been treated with -fact in ratio to fancy like Falstaff's bread to his sack. One author -in particular, who accepts all Schindler's assumptions and conjectures -without question or suspicion, has elaborated the topic at great -length, though perhaps (to borrow Sheridan's jest) less luminously than -voluminously. Having wrought up the feelings of "his lovely readers, -his dear lady friends of Beethoven," to the highest pitch possible -in a tragedy where the hero, after the catastrophe, still lives and -prospers, he consoles them a few chapters farther on by giving to -Beethoven for his one "Love's Labor Lost" two new ones gained--the -one, a married woman, the other, a young girl of fourteen years; and, -moreover--if, in the confusion of his dates, the reader is not greatly -misled--both at the same time! "Also the Lord gave Job twice as much -as he had before," saith the ancient Hebrew poet.[123] - -Even if one were disposed to attach no great importance to the -arguments thus far advanced, there are two passages in the letter which -could not have been written in that brilliant period of Beethoven's -life (1800-1802) and therefore are conclusive; viz.: "My life in W -(Wien = Vienna) is now a wretched life," and "At my age I need a quiet, -steady life." In fact, the severest critical discussion of my argument -against the accuracy of Schindler's statement has failed to find a flaw -in it beyond the unessential assertion that Beethoven could scarcely be -conceived as having erred in the matter of the day of the week. Since -then the author has himself accidentally learned by experience how a -mistake of this kind, made in the morning, can easily be perpetuated in -private letters; he learned it by being compelled to prove the absolute -accuracy of an official document. - -Every attentive and thoughtful reader of the letter must realize that -it is irreconcilable with the notion that Beethoven's passionate -devotion to the lady was a new and sudden one; also that Beethoven had -parted with his beloved, whoever she may have been, only a short time -before; that he writes in the full conviction that his love is returned -and the desire for a union of their fates was mutual, and that by -patient waiting the obstacles then in the way of their purpose to live -together would be overcome. - -BEETHOVEN'S INACCURATE DATINGS - -In the effort to determine when Beethoven wrote in this strain his own -inaccurate dates cannot be overlooked, but must be discussed at the -outset of the inquiry. If the words "Evening, Monday, July 6," are to -be considered conclusive, the investigation will have to be confined to -the years 1807 and 1812, both 1801 and 1818 being out of the question. -But if an error of a day be assumed, inquiry may be extended to the -following years. In the first three years - - 1805 1807 1808 - the 5th of July fell on a Saturday Sunday Tuesday - the 6th of July on a Sunday Monday Wednesday - the 7th of July on a Monday Tuesday Thursday - -In the three later years - - 1811 1812 1813 - July 5th fell on a Friday Saturday Monday - July 6th on a Saturday Monday Tuesday - July 7th on a Sunday Tuesday Wednesday - -To pass by other reasons, the years 1808 and 1811 are to be excluded -because they presuppose an error of two days. There remain, then, the -years 1806, 1807, 1812 and 1813, which can be best studied in their -reverse order. The year 1813 shows itself at once impossible because of -the date of a letter to Varena: "Baden, July 4, 1813," besides other -circumstances which prove that Beethoven spent the months of June and -July of this year in Vienna and Baden. In a similar manner 1812 must be -rejected because he wrote a letter to Baumeister on June 28 from Vienna -and arrived in Teplitz on July 7. - -There remain, then, only the years 1806 and 1807. If we are willing to -attach too great weight to the improbability of an error in Beethoven's -dates (July 6 and 7) it would certainly be impossible to decide in -favor of the year for which other considerations plead with almost -convincing force--viz., 1806. There is a letter from Beethoven to -Brunswick proposing to visit him in Pesth _printed_ with the date "May -14, 1806" which might be strong evidence in favor of that year; but, -unfortunately, the true date is 1807, and so adds to our difficulty. -For it is known that on July 22nd, 1807 (and for several days at least -before), he was in Baden, and there is nothing thus far to prove that -he did not make the proposed visit and return from Hungary in season -to have written the love-letter on the 6th and 7th of that month; this -is, it is true, a very unsatisfactory assumption. There is a date in -a correspondence with Simrock touching the purchase of certain works, -which, if it could be established with certainty, would remove all -doubt and provide a satisfactory conclusion. If the correspondence -took place in 1806 it would be impossible to avoid the unsatisfactory -assumption. - -The head of the famous house of Simrock once told the author that the -letters written to his father by Beethoven had been stolen (they have -since been recovered), and that the only possible information on the -point might be obtained from the old business books of the house. The -author asked that they be examined for him and his request was most -courteously complied with, with the result that he was provided with -the excerpts from the letters of which he has made use in a later -chapter. To his great satisfaction the most important of the letters -bears date May 31, 1807. This and the letter following show that -Beethoven spent the months of June and July 1807 in Baden. - -The result would, then, seem to be irrefutable:--there is an error of -one day in Beethoven's date. The letter was written in the summer which -he spent partly in Hungary, partly in Silesia--_the summer of 1806_. -In all the years from 1800 to 1815 there is no other summer in which -he might have written the letter within the first ten days of July -unless we choose to assume a state of facts which would do violence to -probability. - -BEETHOVEN'S MORAL CHARACTER VINDICATED - -But our contention has a much more serious purpose than the -determination of the date of a love-letter; it is to serve as the -foundation for a highly necessary justification of Beethoven's -character at this period in his life. The editor of Beethoven's -letters to Gleichenstein which appeared in "Westermann's Monatsheften" -(1865)[124] learned from Gleichenstein's widow that the composer had -once made a proposal of marriage to her sister Therese Malfatti. On the -strength of this information, and certain references in the letters -themselves, the editor founded a singular theory;--Beethoven, says the -editor in question, fell in love with "the dark-brown Therese," who, -despite the fact that she was "then only 14 years old (in 1807), was -fully developed." "His love for her was as rapid in its growth as it -was in its passionateness, but _was not returned then or later_." "The -affair was plainly embarrassing to the family, for the passion of the -half-deaf, very eccentric man of 36 for a girl of fourteen could not -fail in the long run to become dangerous (_misslich_)." - -"Why, very well; I hope here be truths," as the _Fool_ says in "Measure -for Measure." - -Reflect that this was the year of the Mass in C and the C minor -Symphony, and imagine the picture: Beethoven, the mighty master, -occupied in developing works which stirred the deepest depths of -the soul. Such on one hand; on the other "the lover, sighing like a -furnace, with a woeful ballad made to his mistress' eyebrow." Or, if -one prefer, instead of the first picture, a half-deaf, eccentric, -36-year old Corydon, wandering about by the side of mossy brooks vainly -piping tunes to a melancholy early-developed and early-loved Phyllis! -Let us admit for the nonce that the amiable picture of Beethoven in -1807 is the correct one; there is yet no excess of reason based on -sense or probability, no boundlessness of imagination or immature logic -which can assert that the letter of July 6 and 7 was written to Therese -Malfatti, then 13 years old. - -There is still another assumption or suspicion which must be touched -upon here and if possible refuted; it is that, even in 1806, -Beethoven's letter was addressed to the Countess Guicciardi, then -already the wife of Count Gallenberg. Moreover, a more natural -solution of the difficulties could scarcely be found if it could but be -proved or accepted as true that the composer was one of those exalted -musical geniuses, recently lauded by a writer, who are "no longer -subject to once accepted notions of morals and ordinary duties," and -who refuse to permit "narrow-minded ethics to be lifted to the real -laws of existence." If Beethoven had been a man of this character, -what more should we need to believe that in the summer of 1806 he and -the lady were impatiently awaiting the moment when they might steal -away from husband and children and thus attain "their purpose to live -together," heart closely pressed to heart? Here a single objection will -suffice: Count Gallenberg and his wife had at this time long been in -Naples. No! This disgrace does not attach to the name of Beethoven. - -Those who have thought it worth while to follow the discussion thus far -will now understand why so much time and labor were spent on removing -all doubt as to the dates of the letters of June 29, 1801, and July 6 -and 7, 1806, and this after a long time had passed during which there -had never arisen a doubt in the mind of the writer. For if these dates -remain fixed, the extended romantic structures which have been reared -on the sandy foundation of conjecture must fall in ruins. - -The conclusions reached by the study seem as natural as they are -satisfactory and indubitable. Young Beethoven, possessed of a -temperament susceptible and excitable in the highest degree and endowed -not only with extraordinary genius but, leaving out of consideration -his physical misfortunes, with other attractive qualities--the -great pianist, the beloved teacher, the highly promising composer, -admired and accepted gladly in the highest circles of society of the -metropolis--this Beethoven, as Wegeler expresses it, was always in love -and generally in the highest degree. As he took on years, however, his -passions cooled, and it is a truth of daily observation that at the -last a strong and lasting attachment can obtain mastery over the most -vacillating and fickle lover. According to our conviction this was also -the case with Beethoven, and most assuredly the famous love-letter -was addressed to the object of a wise and honorable love which had -taken control over him. If this be true, and if he was so violently -in love in 1806, it follows that the references in the Gleichenstein -correspondence which their editor applies to a "completely developed -girl of fourteen years of age," in 1807, were aimed at an entirely -different individual; and this, too, is the conviction of the author. - -But who is the lady? it is asked.[125] The secret was too well guarded; -and she is still unknown. This, only, is certain: that - -THE COUNTESS THERESE VON BRUNSWICK - -1st. Of all Beethoven's friends and acquaintances of the other sex -whose names are on record one only could have been the "Immortal -Beloved" of the letter and the party to this project of marriage; 2nd, -all the circumstantial evidence points to her and to her only; 3rd, -long after these two points were determined, Robert Volkmann, the fine -musician and composer, in conversation with the author, mentioned -a local tradition at Pesth which directly names her as having been -once the beloved and even (if our memory serve) the bride _in spe_ of -Beethoven. This lady was the Countess Therese von Brunswick. - -The scattered notices of the Brunswicks in these volumes, if taken -connectedly, may appear of deeper significance than has been suspected. -They were of the earliest and warmest friends of Beethoven in Vienna; -they "adored him," said their cousin, the Countess Gallenberg; -Beethoven wrote the song "Ich denke dein" in the album of the sisters -and dedicated it to them when he published it in 1805; he received -from Therese her portrait in oil;[126] visited the Brunswicks in the -autumn of 1806 and composed the Sonata, Op. 57, which he dedicated to -the brother; and immediately after his departure wrote the passionate -love-letter,--to whom?--wrote to Count Franz, "Kiss your sister -Therese," and in the autumn of 1809, while on another visit to them, -composed the Sonata, Op. 78, dedicated to the sister. A few months -later the marriage project fell through. - -Two remarks may be noted here which, if of no great importance, are -worth the space they will occupy: 1st. After the appearance of the -dedication of Op. 78, Therese von Brunswick's name disappears from -all papers, notes and memoranda concerning Beethoven collected by -Jahn or the author; yet the friendship between him and the brother -remained undisturbed. 2nd. This friendship of thirty years' duration -was broken only by death; yet, although in the later years long periods -of separation were frequent, their known epistolary correspondence is -comprised in some half dozen letters, and the half of these with false -dates. Were these all? If not, why should all, except just these which -are neither of particular interest nor importance, have been destroyed -or concealed? Unless, indeed, there was a secret to be preserved. -Therese von Brunswick lived to a great age, having the reputation of a -noble and generous but eccentric character. In regard to Beethoven, so -far as is known, she, like Shakespeare's _Cardinal_, "died and made no -sign." Because she could not?[127] - - * * * * * - -(Postscript by the Editor of the English Edition.) - -There are other candidates than the Countesses Guicciardi and Brunswick -for the honor of having been the object of what, it must be admitted, -was Beethoven's supreme love;--or, at least, there are other women -for whom writers have put in pleas. Though Dr. Kalischer professed to -believe that he had effectually disposed of the Thayer hypothesis, -it is significant that by far the most notable champions who fought -for their respective lady-loves are those who entered the lists -for the Countess Therese. I mention only the American Thayer; the -Englishman Grove; the Germans La Mara, Storck, and Prelinger (like -Kalischer, the editor of a collection of Beethoven's letters); the -Frenchmen Rolland and Chantavoine, both biographers of Beethoven. -Schindler, Nohl and Kalischer carried the sleeve of the Countess -Guicciardi; Frimmel and Volbach seemed gently inclined to Magdalena -Willmann, the actress who said that Beethoven wanted to marry her but -she would not have him because he was so ugly and "half crazy"; Dr. -Wolfgang A. Thomas-San-Galli is the champion of Amalia Sebald as the -"Immortal Beloved" and of 1812 as the year in which the love-letter was -written. Of his book ("Die Unsterbliche Geliebte Beethovens, Amalia -Sebald," Halle, 1909) it may be said that its merit lies in its close, -pertinent and dispassionate reasoning--the quality in which all of Dr. -Kalischer's arguments are most deficient. - -DR. KALISCHER'S DEFENCE OF SCHINDLER - -Schindler's story touching the letter and Giulietta Guicciardi was -unquestioned for thirty years, when doubt was cast upon it by Thayer's -investigations, which fixed the date as 1806 and thereby eliminated -the Countess as the composer's inamorata. In Vol. II, Thayer contented -himself with a demonstration that the Countess could not be the -"Immortal Beloved." In Vol. III, in the body of the book, he suggested -that in "greatest probability" the lady was the Countess Therese von -Brunswick. It does not appear that he ever went further than this, but -he died, in 1897, in full conviction that by no possibility could the -Guicciardi be rehabilitated in the place she had so long occupied in -the minds of historians and romancers. His first contribution to the -question (the first portion of this chapter) immediately called forth a -defence of Schindler's story, Dr. Alfred Christian Kalischer being in -the van of Schindler's defenders. Instead of traversing the evidence -in the case as Thayer had done, Kalischer proposed and followed the -"inductive method" thus: Beethoven could not have indulged in such -transports at as late a date as 1806 or 1807. They were the outpourings -of a sentimentalist, one of the Werther sort. Beethoven had said in the -letter that he could only live wholly with his love or not at all--an -expression not to be thought of in connection with a genius who had -created the "Eroica" symphony, "Fidelio," the Sonatas in D minor and F -minor (Op. 57), the Pianoforte Concertos in C minor and G major, the -Quartets, Op. 59, had finished the fourth Symphony and sketched the -C minor and the "Pastoral"--could such a genius believe for a moment -that he could not live without the object of his love? etc. The whole -argument was merely rhetoric and psychologically speculative. - -In a criticism of Thayer's third volume, written for "Der -Clavierlehrer" in 1879, Kalischer took up the subject of Therese -Brunswick and, pursuing his old style of argumentation, urged that the -"Immortal Beloved" was Giulietta and not Therese because, forsooth, -Beethoven had dedicated the C-sharp minor Sonata to the former and -nothing better than the Sonata in F-sharp major, Op. 78, composed in -1809, to the latter. Kalischer saw no force in the fact that sketches -for the so-called "Moonlight" Sonata antedated the dedication by -a considerable period; the essential things in his mind were the -dedication and that Lenz thought highly of the C-sharp minor and little -of the Fantasia for Pianoforte, Op. 77, dedicated by Beethoven "to -his friend" Brunswick, and still less of the F-sharp Sonata dedicated -to "another member of the house of Brunswick"; and that while Marx -had described the C-sharp minor Sonata as "the low hymn of love's -renunciation" he did not consider the F-sharp major Sonata as worthy -even of mention. - -These essays, together with another in which Dr. Kalischer performed -with great energy the work of disposing of the romantic vaporings of -a writer who called herself Mariam Tenger, who had published a book -("Beethoven's Unsterbliche Geliebte, nach persoenlichen Erinnerungen") -at Bonn in 1890, in which she affected to prove what Thayer had set -down as merely a probability. This writer (who had most obviously -taken her cue from Thayer, though she protested that she had not read -his biography when she wrote her book) professed to have had the tale -from the lips of the Countess Brunswick herself, that Beethoven, while -visiting at Martonvasar, the country-seat of the Brunswicks, in May, -1806, had become secretly engaged to the Countess, no one else knowing -the fact except Beethoven's friend Count Franz von Brunswick. Dr. -Kalischer found little difficulty in demolishing a large portion of -the fantastic fabric reared by Mariam Tenger, especially that portion -which professed to rest upon the alleged testimony of a "Baron Spaun" -who was plainly a creation of the romancer's, though a veritable Spaun -did figure, largely and creditably, in the life-history of Schubert. -Not content with this the critic went further, and reviewing the -sentimental career of Beethoven from 1806 to 1810 (in which latter year -it is supposed the relations between him and the Countess Brunswick -came to an end), he protested that, in 1807, Beethoven was in love with -Therese Malfatti, then a girl of 14 years. - -LA MARA AND THE COUNTESS THERESE - -That question had already been discussed by Thayer, as we have seen. -So also had the identity of Baron Spaun by Marie Lipsius, known in -musical literature by her pen-name La Mara, who called attention -to inaccuracies in the Tenger story in the first of a collection -of essays entitled "Classisches und Romantisches aus der Tonwelt," -published in Leipsic in 1891. The same author who, in all her -writings on the subject, has stoutly maintained the correctness of -Thayer's theory, made the most valuable contribution yet offered to -the controversy by her book, "Beethoven's Unsterbliche Geliebte. Das -Geheimniss der Graefin Brunsvick und ihre Memoiren," published by -Breitkopf and Haertel in 1909. To this book it is necessary to pay -rather extended attention; but before its contents are passed in review -it deserves to be noted that Thayer, who followed the multitude of -arguments for and against his hypothesis with the greatest interest and -with a characteristically open mind, went down to his grave with his -strong conviction unshaken that "in greatest probability" the Countess -Therese was the "Immortal Beloved." To La Mara he sent a letter dated -January 22, 1892, to which attention was called in a foot-note on the -history of the C-sharp minor Sonata in an earlier chapter of this work, -and which, through the courtesy of the lady to whom it was addressed, -is now given in substance: - - ... That Mr. Kalischer has adopted Ludwig Nohl's strange notion - of Beethoven's infatuation for Therese Malfatti, a girl of - _fourteen years_, surprises me; as also that he seems to consider - the Cis moll Sonata to be a musical love poem addressed to Julia - Guicciardi. He ought certainly to know that the subject of that - Sonata was, or rather that it was suggested by, Seume's little - poem "Die Beterin." - - I pray you to stop here and read before proceeding the first - part of the _Liebesbrief_. Note well that it was written from a - _Badeort_ so far away from Vienna that he journeyed thither in a - coach with four horses and Esterhazy with eight. And now to the - essential points. - - During the summer of 1801, we know that Beethoven lodged in - Hetzendorf--where ex-Kurfuerst Franz resided and died July 26, that - year--and composed his "Christus am Oelberg" in great part in the - near Schoenbrunn garden. We know that he wrote on June 29, a very - full account of his increasing deafness to Dr. Wegeler. Was he, - only seven days later, in a distant _Badeort_, writing _such_ a - love-letter to a young _Graefin_ not yet seventeen years old? In - November he again wrote to Wegeler. "Du willst wissen," he says, - "wie es mir geht, was ich brauche," and proceeds to describe his - physician's treatment. In neither of these letters is there the - remotest hint that the doctor sent him to a distant _Badeort_. In - 1802, Beethoven's summer lodging was in Heiligenstadt where young - Ries came often to receive his master's instructions. There is - not the slightest intimation from him, nor anywhere else, of any - absence of Beethoven during that summer. Did Beethoven write the - _Liebesbriefe_ in July and the so-called Testament--that document - of despair--in October? Observe these dates. In the _Liebesbriefe_ - from the _Badeort_ July 6: "Ich kam erst Morgens 4 Uhr gestern - hier an." Seven days later, July 13, he was in Vienna writing to - Breitkopf and Haertel! - - In the Testament we read: "Dieses halbe Jahr was ich auf dem Lande - zubrachte," but in no known letter or writing of Beethoven's of - that summer is there any reference to the distant _Badeort_. - - All that is known of Beethoven in the summer of 1801 and 1802, is - against the journey to the _Badeort_; what is known of the summer - of 1806 is for it. The burden of proof lies upon Mr. Kalischer. - When he _can_ prove such a journey in 1801 or 1802, and does so, - it will be _one_ point in his favor. - -TESTIMONY OF FRIENDS AND RELATIONS - -The method pursued by La Mara in her investigation, which extended -over several years, was much like that of Thayer: in every case in -which it seemed that testimony might be had from the mouths of living -persons she sought to obtain it. First she visited the Countess Marie -Brunswick (or Brunsvik, as the Hungarian branch of the Braunschweigers, -or Brunswicks, spelled the name), daughter of Count Franz. There was -an interview followed by a correspondence. The Countess said that -the family knew nothing whatever of the alleged romantic attachment -between her aunt and Beethoven. She recalled that Beethoven had a -"grosse Schwaermerei" for her father's cousin, the Countess Guicciardi, -afterwards Gallenberg, but the feeling was not reciprocated on the -part of the Countess so far as had been learned. The family was still -in possession of three or four letters from Beethoven to her father. -In November, 1899, she sent four letters to La Mara which were then -owned by her brother, Count Geza Brunswick. Three of these letters -had already been printed in the first edition of this biography. -The only one bearing on the subject of this study was that in which -Beethoven begs the Count to kiss his sister Therese. (This letter La -Mara presents in _facsimile_ in her book.) Count Gallenberg (son of -the Countess Giulietta and the last of the family) had died in Vienna -in 1893, two years after he had denied that there had been any talk -of marriage or _mutual_ love between his mother and Beethoven. The -testimony of two grand-children of the Countess Giulietta was asked. -"Beethoven wanted to marry grandmamma," said the Countess Bertha -Kuenburg, _nee_ Countess Stolberg-Stolberg, in Salzburg, "but she loved -Gallenberg." Baroness Hess-Diller, _nee_ Countess Gallenberg, in Baden -said: - - Among our family papers there is absolutely nothing bearing on the - matter--_no_ letters, _no_ diary. The prejudices of the period, - the incredible point of view held by persons of our station - towards artists, even towards artists of Beethoven's greatness, - may have been responsible for the fact that no interest was felt - in the matter. All that verbal tradition has brought down to me is - summed up in the one circumstance that Beethoven figured only as a - music-teacher in the house of my great-grand-parents. - -On the suggestion of the grand-children of the Countess Giulietta, La -Mara called on Fraeulein Karoline Languider, a life-long friend of the -Gallenbergs, who had lived with them and the Countess Marie Brunswick. -This witness testified: - - I do not believe that the _Schwaermerei_ for Countess Julia - Gallenberg-Guicciardi--though it may have been warm and wonderful, - for she was a very beautiful, elegant woman of the world--ever - took such possession of the heart of Beethoven as did the later - love for Countess Therese Brunsvick, which led to an engagement. - That was decidedly his profoundest love, and that it did not - result in marriage, it is said, was due to the--what shall I - call it?--real artistic temperament (_Natur_) of Beethoven, - who, in spite of his great love, could not make up his mind to - get married. It is said that Countess Therese took it greatly - to heart. Having lived during my childhood with my parents in - Pressburg, I often heard--with childish ears, of course--persons - speak about the matter, and am able to remember that Countess - Therese was greatly beloved, and that my mother was always very - glad when she came to Pressburg, which was every year. - -La Mara having sent Fraeulein Languider some of her writings and a copy -of Lampi's portrait of the Countess Therese, she wrote on January 24, -1901: "After all that has been said _pro_ and _contra_ I remain of -the unalterable opinion that the Countess Therese was the 'Immortal -Beloved' and fiancee of the great master, concerning which fact I heard -innumerable conversations in my childhood, and that the portrait is -hers. Countess Marie does not see a resemblance, but I do not trust -her memory." Countess Marie Brunswick had said to La Mara that she did -not consider the painting which is now preserved in the Beethovenhaus -in Bonn a portrait of her aunt; "but," says La Mara, "since there was -a difference of 57 years, she could no longer judge of a likeness with -the youthful picture." - -Count Geza Brunswick, son of Beethoven's friend, died in the spring of -1902, having outlived his sister Marie. The direct line of Brunswicks -reached its end in him. The castles Korompa and Martonvasar passed -into other hands. Count Franz's art collection was sold at auction -in Vienna, but the widow of Count Geza retained possession of the -Beethoven relics (the letters and an oil portrait) and took them -with her to Florence, where subsequently she married the Marchese -Capponi. She, too, gave her testimony: "It is certain that there were -soul-relationships between Beethoven and Therese Brunsvik." - -Next, La Mara went to Pressburg (in search of such traditions as -Thayer had found in Pesth), working on the hint thrown out by Fraeulein -Languider. In Pressburg she met Johann Batka, municipal archivist, -who bore testimony to the fact that a relative of the Countess Therese -Brunswick, who was in possession of her memoirs (a copy, evidently, -since La Mara obtained the original from the family of Count Deym), had -persuaded him to believe that Therese was the "Immortal Beloved" and -secret fiancee of Beethoven. After La Mara had published the results -of her investigation in the January number for 1908 of the "Neue -Rundschau," the grand-niece of Countess Therese, Isabella, Countess -Deym, and her sister Madame Ilka Melichar, confirmed the statement -that the letter had been addressed to their illustrious grand-aunt. An -estrangement had sprung up between Count Franz and his sister Therese -after his marriage; but the intimacy between the sisters Therese and -Josephine, Countess Deym, had continued, and the romance, never known -to the families of Count Franz and his sister Countess Teleky, had come -down as a tradition in the family of Count Deym. - -The rest of La Mara's book is filled with the memoirs of Therese -Brunswick, which she began writing in September, 1846, and called "My -Half-Century." In introducing the interesting document, La Mara thought -herself compelled to abandon Thayer's contention that the love-letter -had been written in 1806, and substituted 1807 (a date urged also by -Ladislaw Jachinecki, in an article published in the "Zeitschrift der -Internationalen Musikgesellschaft" for July and August, 1908), on the -ground that 1806 had become untenable, 1807 agreed with the almanac -and that Beethoven's sojourn at Baden in the summer of 1807 did not -preclude a visit to Hungary of three weeks' duration between the end -of June and July 26. La Mara was persuaded to make the change by her -discovery in the memoirs of the fact that on July 5, 1806, Countess -Therese was in Transylvania visiting her sister Charlotte, Countess -Teleky, and was present when the latter gave birth to a daughter, -Blanca, on that date. Having assumed, with Thayer, that Beethoven wrote -the love-letter very soon after a visit to the Brunswicks at Korompa -(which is her reading of the mysterious "K" in the letter), and sent -it from a neighboring watering-place, convinced that Therese was with -her sister on July 6, 1806, she adopted the theory that the letter was -written in 1807, in which year the much-discussed 6th of July fell on a -Monday. She also alludes to other evidence which she does not describe -but by which she doubtless means a letter by Beethoven to Breitkopf -and Haertel dated "Vienna, July 5, 1806," which became known to the -investigators when the well-known publishers of Leipsic made a private -publication of the letters from the composer found in their archives. -This was after the death of Mr. Thayer. Touching this letter and the -significance of Beethoven's "K" the writer of this note submits, -without argument, a few suggestions: - -NEW SUGGESTIONS CONCERNING THE LETTER - -1. There is nothing in the letter, beyond what might be called its -atmosphere, to indicate that Beethoven had recently visited the object -of his love. The words "To-day--yesterday--what tearful longings for -you," to which such an interpretation might be given, plainly refer -only to his mood and his thoughts on the two days when the letter was -in his mind; they tell us nothing about the distance or time which lay -between him and his "ferne Geliebte." - -2. It is plain that Beethoven and Prince Esterhazy started from the -same place for the Hungarian watering-place whence the letter was sent -(if it ever was sent), Beethoven travelling by an unusual route because -of a lack of horses, the Prince by the usual route. It is anything but -likely that this place was Martonvasar; it is much more probable that -it was one of Esterhazy's country-seats. - -3. There is no indication in the letter or anywhere else how long -Beethoven was _en route_, but the journey extended over several stages, -for "at the stage before the last" he was warned not to travel at -night, etc. He may have been as far in the interior of Hungary as a -post-coach could carry him in, let us say, two days. - -4. We know nothing about the rapidity of travel over Hungarian roads -a century ago, but we do know that as early as 1635, i. e., 171 years -before Beethoven made the journey, an English post was established -which made the trip from London to Edinburgh and back in six days; and -Edinburgh is 357 miles from London by road. The English mail-coach, -therefore travelled an average of 119 miles in 24 hours. At even half -of this speed Beethoven might have been comparatively near the place in -which Countess Therese spent June and July, 1806. - -5. This place was not Korompa, but may have been Klausenburg or Kolosz, -the principal town of Transylvania, where Count Teleky lived. This is -at least remotely possible. - -6. It is but natural to assume that the post between the important -places of Hungary and the metropolis of Transylvania ran fairly often -and at fair speed, and if Beethoven expected that a letter which he -thought would be detained at the place where it was posted till early -on Thursday morning would not reach its destination till Saturday, that -destination must have been at a considerable distance (a two days' -run) from the watering-place. "So near, so far!" has little value as -evidence; it is an ecstatic commonplace concerning the unattainable, or -that which seems to be so. - -7. The fact that the Countess Therese was not at Korompa in the early -part of July, 1806, is not in itself a sufficient reason for abandoning -that date; she was at Klausenburg. The letter to Breitkopf and Haertel, -though plainly dated "Vienna, July 5, 1806" (Kalischer, No. 109), might -easily be disposed of as convincing evidence against 1806, if it did -not bear the publishers' endorsement apparently indicating that it -had either been received or answered on July 11 of the year. Nothing -could make Beethoven's carelessness in respect of dates plainer than -the next letter of Beethoven's in which he replied to the letter which -Breitkopf and Haertel had sent him in answer to the proposition which he -had made in the letter dated July 5, 1806. The second letter is dated -"Graetz, am 3ten Heu-Monat," (i.e., Hay month, otherwise July); yet it -refers to the earlier letter and was written at Troppau in Austrian -Silesia, where Beethoven spent the fall of 1806 as the guest of Prince -Lichnowsky. Breitkopf and Haertel's endorsement shows that the letter -was received and answered in September. There is some significance, -too, in the fact that Beethoven refers to his journey from Vienna to -Troppau, which must have been nearly 200 miles long, as a short one -("Etwas viel zu thun und die _kleine Reise_ hierher," etc.). (See -Kalischer, Letter No. 110.) Beethoven may have written the letter -in Vienna on one of the first two days of July, or even the last of -June, making one of his characteristic blunders in the dating, and yet -have been deep in Hungary on the dubious date on which he wrote the -love-letter. The endorsement of Breitkopf and Haertel, "July 5, 1806," -could not have been anything more than a transcript of the date found -on the letter. - -The editor is well aware that his suggestions do not clear up the -mystery; he offers them nevertheless for what they are now or may -hereafter be worth. The references to Beethoven in the Memoirs of -Therese Brunswick made public by La Mara are to be found in the -following excerpts: - -THE MEMOIRS OF THERESE VON BRUNSWICK - - During the extraordinary sojourn of 18 days in Vienna my mother - desired that her two daughters, Therese and Josephine, receive - Beethoven's invaluable instruction in music. Adalbert Rosti, a - schoolmate of my brother's, assured us that Beethoven would not - be persuaded to accept a mere invitation; but if Her Excellency - were willing to climb the three flights of winding stairs of the - house in St. Peter's Place, and make him a visit, he would vouch - for a successful outcome of the mission. It was done. Like a - schoolgirl, with Beethoven's Sonatas for Violin and Violoncello - and Pianoforte under my arm, we entered. The immortal, dear Louis - van Beethoven was very friendly and as polite as he could be. - After a few phrases _de part et d'autre_, he sat me down at his - pianoforte, which was out of tune, and I began at once to sing the - violin and the 'cello parts and played right well. This delighted - him so much that he promised to come every day to the Hotel zum - Erzherzog Carl--then Goldenen Greifen. It was May in the last - year of the last century. He came regularly, but instead of an - hour frequently staid from 12 to 4 or 5 o'clock, and never grew - weary of holding down and bending my fingers, which I had been - taught to lift high and hold straight. The noble man must have - been satisfied, for he never missed a single day in the 16.... - It was then that the most intimate and cordial friendship was - closely established with Beethoven, a friendship which lasted to - the end of his life. He came to Ofen; he came to Martonvasar; he - was initiated into our social republic of chosen people. A round - spot was planted with high, noble lindens; each tree had the name - of a member, and even in their sorrowful absence we conversed with - their symbols, and were entertained and instructed by them. Often - after giving the good-morning greeting I asked the tree concerning - this and the other thing which I desired to have explained, and it - never failed to answer me. - -Later, speaking of the loss of caste and poverty of her brother-in-law -Count Deym (who had changed his name to Mueller because of a duel fought -before he had attained his majority, and conducted an art museum, and -who after his marriage to Therese's sister Josephine tried in vain -to take the position in society to which his rank entitled him), the -Countess writes: - - The aristocracy turned its back on him because he had gone into - business. He could not hunt up his former rich acquaintances. - Beethoven was the faithful visitor at the house of the young - Countess--he gave her lessons gratis and to be tolerated one - had to be a Beethoven. The numerous relatives, the sisters of - her father and their children, frequently visited their amiable - niece. Tableaux were occasionally given; Deym, being himself an - artist, was at home in such matters, they gave him pleasure.... - There were musical soirees. My brother came in vacation-time and - made the acquaintance of Beethoven. The two musical geniuses - became intimately associated with each other, and my brother never - deserted his friend in his frequent financial troubles until his, - alas! too early death. - - It was about this time (1814) that Baron C. P. came very often to - Martonvasar. He was fond of my brother and wanted to learn the - science of agriculture from him and his men. We played chess with - each other; he conceived a passion for me and tried to embrace - me. From that moment onward he frequently repeated his offers - and waited two years for my assent--for I always answered that I - should have to ponder the matter and had had no time to do so. - I had remained cold, an earlier passion had devoured my heart. - Josephine needed me, her children, who were very promising, loved - me and I them--how could I withdraw myself from such a magic - circle? When I was active with the Women's Association after the - great famine of 1819, we met on the street. I was in a carriage - and had the coachman stop at a signal from him. He came to the - carriage and said significantly, "Have you pondered, dear Therese? - it is the last time I shall ask you. I am going to Dresden - and shall there take a bride unless you make up your mind." I - laughingly gave him my old answer, heart and head being occupied - with the widespread misery: "I really haven't had time, dear - Carl." We parted--he became my enemy. - -RECENT INVESTIGATIONS IN FRANCE - -Shortly after the appearance of La Mara's essay in 1909, a singular -contribution to the controversy touching the "Immortal Beloved" -came from France. The essay had been reviewed in the "Revue des -Deux Mondes," whereupon the editor of "Le Temps" asked one of its -contributors to make inquiry as to possible family traditions of the -mother of M. F. de Gerando, a grand-niece of the Countess Therese. -This was done, but the lady would hear nothing of an identification -of her grand-aunt with the object of Beethoven's passion. Then came -journalistic insinuations that family pride had much to do with the -denial. This provoked M. de Gerando, who undertook, in the "Mercure de -France," to answer the arguments of Thayer and La Mara. There was one -ludicrous feature in his argument and a new revelation. He disposed -of the kiss sent to Therese by Beethoven through her brother Count -Franz, by saying it was only such a familiarity as an old man might be -permitted to indulge towards a young pupil; this notwithstanding that -Therese was born in 1775 and Beethoven in 1770 and at the time he wrote -the love-letter was still laboring under the delusion that the year -of his birth was 1772. The revelation consisted in the circumstance, -set forth by him, that among the letters of the Countess Therese he -had found a thick portfolio inscribed "The Journal of my Heart. No -Romance," which (I quote now from an article contributed by Mr. Philip -Hale to the "New Music Review," in the numbers for July and September, -1909) - - contained many letters, notes, messages written at all hours, - and addressed to a man, whose Christian name was Louis. Mr. de - Gerando, who has been unable to learn the family name of this - man, thought at first, and naturally, that Beethoven was the one; - but this Louis, with whom Therese was passionately in love, to - whom she was betrothed, without the knowledge of others, was a - young man of noble family, much younger than Therese, and had - been educated at the Theresianum in Vienna, a school frequented - by young noblemen. "Van Beethoven was older than the Countess - Brunsvik. He was not noble by birth. He never attended the - Theresianum." The letters reveal a strange and violent passion. - They are at times cold and philosophical. When Therese signed them - with her name, they were true love-letters. When she signed them - with the Greek word "Diotima," the name of a priestess of beauty - and love mentioned by Plato, they were metaphysical speculations, - long-winded discussions on the end of life and the nature of love. - "I do not think that Beethoven would have been contented with this - correspondence of encyclopaedists." There were a few letters from - Louis, one of them sealed with a coat of arms, and thus there is - hope of identification. - - One might answer, continues Mr. Hale, that Therese perhaps loved - twice; that there were two Louis in the field. Mr. de Gerando - does not find this probable. Therese was cerebral in her passion. - She knew passion, but her intellectual side revolted at it, and, - when her brain controlled her, she could write phrases like this: - "To think that I could have lowered myself even to the point of - marrying him!" (But, one might reply, the countess might well - have said this with reference to Beethoven, who was beneath her - in station.) She rained contempt on the man who had awakened in - her the love that she detested, and when she had driven him from - her mind, she wrote exultantly: "Free! Free! Free!" Mr. de Gerando - argues from this that she would not a second time have given up - her independence, but nothing that a woman like Therese would have - done should surprise even a great-grand-nephew. - - Mr. de Gerando does not understand how any love affair between - Therese and Beethoven could have escaped the curious gossips in - society, eager for news and scandal. "The adventure of Therese de - Brunsvik with Louis appears to me to be a sufficient reason to - judge the theory of Thayer inane. At the same time it explains - to us the genesis of this theory. It is now certain, as far as - I am concerned, that some resemblance of the affair between the - Countess of Brunsvik and Louis had come down to Thayer. The - similarity of the names, the letter in which the kiss was sent, - and other and more vague indices, led the American biographer - to turn the noble Hungarian dame into the 'well-beloved' of - Beethoven." Such was, in substance, the article of Mr. de Gerando. - It is fair to ask him how the love affair between Therese and the - mysterious Louis, young, noble, etc., escaped the curious gossips, - escaped them so completely that even the great-grand-nephew of - Therese is unable to find out the family name of her lover. - -FOOTNOTES: - -[120] The Editor of this English edition of Thayer's "Life of -Beethoven" is unwilling to admit that the author's argument against the -Countess Guicciardi as the lady to whom the famous love-letter which is -the basis of the episode referred to by the author, has been disproved; -or that the burden of proof is against Thayer's theory (never put -forward as a demonstrated fact, but rather as what the scientists call -a "working hypothesis") that the object of his love at the time the -letter was written was the Countess Therese Brunswick (or Brunsvik, as -the Hungarian branch of the family wrote the name). The question is -one of great difficulty, however, and the Editor has thought it wise, -expedient and only fair to the memory of Mr. Thayer, to bring together -the _disjecta membra_ of his argument as they are to be found in the -body of Vol. II and the body and Appendices of Vol. III of the original -German edition, in a continuous chapter, and then to add, in the form -of a comprehensive postscript, an abstract of the opinion of others -and some suggestions of his own touching the woman who, though not yet -definitively identified, wears the halo which streams from the title -which Beethoven bestowed upon her--his "Immortal Beloved." It will be -observed that the question turns largely on an adjustment of dates--a -necessary procedure in other affairs of Beethoven's besides those of -his heart. - -[121] Jahn transcribes the last words ("_je la meprisois_," _etc._) as -follows: _Elle est nee Guicciardi elle etoit_ (an illegible word marked -with an interrogation point) _qu epouse de lui (avant son voyage) de -l'Italie. Arrivee a Vienne et elle cherchoit moi pleurant, mais je la -meprisois._ - -Ludwig Nohl asserts that the words "_arrivee a Vienne_" had been -"added" by Schindler. But Schindler printed the passage in 1845 as -well as in 1860 thus: _Elle etoit l'epouse de lui avant son voyage -en Italie.... Arrivee a Vienne elle cherchoit moi pleurant_, _etc._ -In the edition of 1860 of his biography of Beethoven he adds the -following remark: "One of the conversation books of 1823, all of which -are preserved in the Royal Court Library at Berlin, contains these -revelations." If Nohl's assertion is correct it follows that Schindler -lied and deceived the public, being guilty of a forgery which escaped -the eyes of both Jahn and Thayer; and that, furthermore, he was guilty -of the folly of calling attention to the very book whose contents -he had falsified. Nohl asserts further that Giulietta had sought an -interview with Beethoven before her journey to Italy. On such an act he -founds the assertion that the young woman, married only a few months, -was already willing to leave her husband. From circumstances unknown to -Nohl it is certain that the visit did not take place until after her -return to Vienna in 1822. - -[122] The Editor of this English edition takes the liberty of inserting -the letter in the body of the text. Mr. Thayer, or his first German -Editor, Dr. Deiters, put it in the appendix to the third volume, -following it with an argument advanced to show that it was not -addressed to the Countess Guicciardi. This argument the English Editor -has also transferred to the body of the text so that the discussion may -be read continuously. - -[123] From here on the Editor of this English edition presents Mr. -Thayer's further contentions as they are set forth in the first -appendix to Vol. III of the first German edition, though in the form of -a translation--the original manuscript not having reached his hands. - -[124] Ludwig Nohl. - -[125] These concluding remarks, from chapters V and VI of Vol. III of -the first German edition, are brought in here to complete the author's -public utterances on the subject of the identity of the "Immortal -Beloved." Thayer is discussing the failure of Beethoven's marriage -project. - -[126] Amongst Beethoven's posthumous effects was found a portrait in -oil by J. B. von Lampi with the following inscription on the back of -the frame: - - To the Unique Genius - To the Great Artist - To the Good Man - - from T.B. - - (Dem seltenen Genie, Dem grossen - Kuenstler, Dem guten Menschen) - -This picture went from the possession of the widow of Beethoven's -nephew Karl into that of Georg Hellmesbeger Sr. in 1861 and was -presented by his grandson to the Beethoven-Haus Verein in Bonn, where -it is now preserved. It is, in all probability, the portrait of which -Beethoven speaks in a letter to Count Franz von Brunswick, dated July -11, 1811: "Since I do not know how the portrait fell into your hands, -it would be best were you to bring it with you; an amiable artist will -no doubt be found who will copy it for the sake of friendship." Besides -the portrait of the Countess Therese there was also a medallion picture -of the Countess Guicciardi amongst the effects left by Beethoven. It -was identified as such by her son, who died in 1893. (See Breuning, -"Aus dem Schwarzspanierhause," p. 124.) - -[127] Riemann in his revision of Vol. II of this biography says, "The -statement in the second and third volumes of the first edition were -based on the belief that the serious marriage project of Beethoven -which led him to ask Wegeler to get for him [a transcript of] his -baptismal certificate, but which fell through soon after, must needs -be connected with the person to whom the love-letter was addressed. -But since it has been determined by a careful study of Clementi's -letters that Beethoven's offer of marriage, in 1810, most certainly -referred to Therese von Malfatti, who, however, as we shall see, cannot -be considered in connection with the love-letter, this combination -is become untenable. A large number of Beethoven's letters must be -assigned to entirely different years, because Clementi's correspondence -with his partner Collard makes it certain that the honorarium for -the works sold in 1807 was not paid out till the spring of 1810. The -relations of Beethoven to Therese Malfatti are thus transferred from -1807 to 1809-1810, and it can no longer be maintained that 1810 was the -year in which Beethoven's prospect of a marriage with Therese Brunswick -came to an end." This means that Dr. Riemann believes that while a man -of 38 years of age would not write a love-letter like Beethoven's to a -girl of less than 14 years he would try to marry her when he was 40 and -she a trifle under 16. - - - - -Chapter XXII - - The Year 1802--The Heiligenstadt Will--Beethoven's Views on - Arrangements--A Defence of Beethoven's Brothers--The Slanders - of Romancers and Unscrupulous Biographers--Compositions and - Publications of the Year. - - -The impatient Beethoven, vexed at the tardy improvement of his -health under the treatment of Vering, made that change of physicians -contemplated in his letter to Wegeler. This was done some time in the -winter 1801-1802, and is all the foundation there is for Schindler's -story of "a serious illness in the first months of this year for which -he was treated by the highly esteemed physician Dr. Schmidt." The -remarkable list of compositions and publications belonging to this -year is proof sufficient that he suffered no physical disability of -such a nature as seriously to interrupt his ordinary vocations; as -is also the utter silence of Ries, Breuning, Czerny, Dolezalek and -Beethoven himself. The tone of the letters written at the time is also -significant on this point. - -Concerning the failure of his project to follow the example set in 1800 -and give a concert towards the close of the winter in the theatre we -learn all we know from a letter from his brother Carl to Breitkopf and -Haertel dated April 22, 1802. Therein we read: - - My brother would himself have written to you, but he is - ill-disposed towards everything because the Director of the - Theatre, Baron von Braun, who, as is known, is a stupid and rude - fellow, refused him the use of the Theatre for his concert and - gave it to other really mediocre artists; and I believe it must - vex him greatly to see himself so unworthily treated, particularly - as the Baron has no cause and my brother has dedicated several - works to his wife. - -When one looks down from the Kahlenberg towards Vienna in the bright, -sweet springtime, the interesting country is almost worthy of -Tennyson's description: - - It lies - Deep-meadowed, happy, fair with orchard-lawns - And bowery hollows, crown'd with summer sea. - -Conspicuous are the villages, Doebling, hard by the city Nussdorfer -line, and Heiligenstadt, divided from Doebling by a ridge of higher land -in a deep gorge. - -BEETHOVEN AT HEILIGENSTADT - -Dr. Schmidt, having enjoined upon Beethoven to spare his hearing as -much as possible, he removed for the summer to the place last named. -There is much and good reason to believe that his rooms were in a -large peasant house still standing, on the elevated plain beyond the -village on the road to Nussdorf, now with many neat cottages near, -but then probably quite solitary. In those years, there was from his -windows an unbroken view across fields, the Danube and the Marchfeld, -to the Carpathian mountains that line the horizon. A few minutes' -walk citywards brought him to the baths of Heiligenstadt; or, in the -opposite direction, to the secluded valley in which at another period -he composed the "Pastoral" symphony. The vast increase of Vienna and -its environs in population, has caused corresponding changes; but in -1802, that peasant house seems to have offered him everything he could -desire; fresh air, sun, green fields, delightful walks, bathing, easy -access to his physician, and yet a degree of solitude which now is not -easy to conceive as having been attainable so near the capital. - -Part of a letter written hence to Breitkopf and Haertel, but no longer -in the possession of that house, affords another illustration of -Beethoven's excellent common sense and discrimination in all that -pertained to his art. - - ... Concerning arrangements I am heartily glad that you rejected - them. The unnatural rage now prevalent to transplant even - _pianoforte pieces_ to stringed instruments, instruments so - utterly opposite to each other in all respects, ought to come - to an end. I insist stoutly that only Mozart could arrange his - pianoforte pieces for other instruments--and Haydn--and, without - wishing to put myself in the class of these great men, I also - assert it touching my _pianoforte sonatas_ too, since not only are - whole passages to be omitted and changed, but also--things are to - be added, and here lies the obstacle, to _overcome_ which one must - either be the master himself or at least have the same _skill and - inventive power_--I transcribed a single one of my sonatas for - string quartet,[128] yielding to great persuasion, and I certainly - know that it would not be an easy matter for another to do as - well. - -The difficulties here mentioned, it will be noticed, are those of -transcribing pianoforte music for other instruments; the contrary -operation is so comparatively easy, that Beethoven very rarely -performed it himself, but left it for the most part to young musicians, -whose work he revised and corrected. - - There are a great many pieces by Beethoven (says Ries), published - with the designation: _Arrange par l'Auteur meme_; but only - four of these are genuine, namely: from his famous Septet he - arranged first a violin quintet, and then a Pianoforte Trio; out - of his Pianoforte Quintet (with four wind-instruments) he made - a Pianoforte Quartet with three string-instruments; finally, he - arranged the Violin Concerto which is dedicated to Stephan von - Breuning (Op. 61) as a Pianoforte Concerto. Many other pieces were - arranged by me, revised by Beethoven, and then sold as Beethoven's - by his brother Caspar. - -Without calling in question here the general statement in this -citation, it may be remarked, that if Ries is right in respect to -the arrangement of the Septet as a Quintet, the work remained in -manuscript, for the one published was by Hoffmeister. But the Trio -was begun and, as is believed, finished this year. Its history has -been told. Ries's statement is neither exhaustive nor altogether exact -touching the arrangements of the Septet. Moreover, in 1806, without -Beethoven's knowledge or consent, he arranged the six Quartets, Op. 18, -and the three Trios for strings, Op. 9, as Pianoforte Trios. - -An interesting anecdote from the "Notizen" may be introduced here. -"Count Browne," says Ries, - - made a rather long sojourn about this time in Baden near Vienna, - where I was called upon frequently to play Beethoven's music - evenings in the presence of enthusiastic Beethovenians, sometimes - from notes, sometimes by heart. Here I had an opportunity to - learn how in the majority of cases a _name_ alone is sufficient - to characterize everything in a composition as beautiful and - excellent, or mediocre and bad. One day, weary of playing without - notes, I improvised a march without a thought as to its merit - or any ulterior purpose. An old countess who actually tormented - Beethoven with her devotion, went into ecstasies over it, thinking - it was a new composition of his, which I, in order to make sport - of her and the other enthusiasts, affirmed only too quickly. - Unhappily Beethoven came to Baden the next day. He had scarcely - entered Count Browne's room in the evening when the old countess - began to speak of the most admirable and glorious march. Imagine - my embarrassment! Knowing well that Beethoven could not tolerate - the old countess, I hurriedly drew him aside and whispered to - him that I had merely meant to make sport of her foolishness. To - my good fortune he accepted the explanation in good part, but my - embarrassment grew when I was called upon to repeat the march, - which turned out worse since Beethoven stood at my side. He was - overwhelmed with praise on all hands and his genius lauded, he - listening in a perturbed manner and with growing rage until he - found relief in a roar of laughter. Later he remarked to me: "You - see, my dear Ries, those are the great cognoscenti, who wish to - judge every composition so correctly and severely. Only give - them the name of their favorite; they will need nothing more." - Yet the march led to one good result: Count Browne immediately - commissioned Beethoven to compose three Marches for Pianoforte, - four hands.[129] - -MELANCHOLY INFLUENCE OF HEILIGENSTADT - -The seclusion of Heiligenstadt was of itself so seductive to Beethoven, -that the prudence of Dr. Schmidt in advising him to withdraw so much -from society, may be doubted; the more, because the benefit to his -hearing proved to be small or none. It gave him too many lonely hours -in which to brood over his calamity; it enabled him still to flatter -himself that his secret was yet safe; it led him to defer, too long for -his peace of mind, the bitter moment of confession; and consequently -to deprive himself needlessly of the tender compassion and ready -sympathy of friends, whose lips were sealed so long as he withheld his -confidence. But, in truth, the secret so jealously guarded was already -known--but who could inform him of it?--though not long nor generally, -as we learn from Ries. - -It was well for Beethoven, when the time came for him to return to the -city, and to resume the duties and obligations of his profession. To -what depths of despondency he sometimes sank in those solitary hours -at Heiligenstadt, is shown by a remarkable and most touching paper, -written there just before his return to town, but never seen by other -eyes until after his death. Although addressed to and intended for -both his brothers, it is, as Schindler has remarked, "surprising and -singular," that the name "Johann" is left utterly blank throughout--not -even being indicated by the usual.... It is couched in terms of -energetic expression, rising occasionally to eloquence--somewhat rude -and unpolished indeed, but, perhaps, for that reason the more striking. -The manuscript[130] is so carefully written, and disfigured by so few -erasures and corrections, as to prove the great pains taken with it -before the final copy was made. The closing sentences, in which he -discovers his expectations of an early death, have acquired double -importance since the publication of Schindler's suicide story, for the -decisive manner in which they remove every possible suspicion that, -even in his present hypochondria, he could contemplate such a crime. - -Ries's paragraph upon Beethoven's deafness, in which he relates -a circumstance alluded to in the document, is its most fitting -introduction: - - As early as 1802, Beethoven suffered from deafness at various - times, but the affliction each time passed away. The beginning - of his hard hearing was a matter upon which he was so sensitive - that one had to be careful not to make him feel his deficiency by - loud speech. When he failed to understand a thing he generally - attributed it to his absent-mindedness, to which, indeed, he was - subject in a great degree. He lived much in the country, whither - I went often to take a lesson from him. At times, at 8 o'clock - in the morning after breakfast he would say: "Let us first take - a short walk." We went, and frequently did not return till 3 or - 4 o'clock, after having made a meal in some village. On one of - these wanderings Beethoven gave me the first striking proof of - his loss of hearing, concerning which Stephan von Breuning had - already spoken to me. I called his attention to a shepherd who was - piping very agreeably in the woods on a flute made of a twig of - elder. For half an hour Beethoven could hear nothing, and though I - assured him that it was the same with me (which was not the case), - he became extremely quiet and morose. When occasionally he seemed - to be merry it was generally to the extreme of boisterousness; but - this happened seldom. - -Following is the text of the document: - -TEXT OF THE HEILIGENSTADT "WILL" - - For my brothers Carl and ---- Beethoven. - - O ye men who think or say that I am malevolent, stubborn or - misanthropic, how greatly do ye wrong me, you do not know the - secret causes of my seeming, from childhood my heart and mind - were disposed to the gentle feeling of good will, I was even - ever eager to accomplish great deeds, but reflect now that for - 6 years I have been in a hopeless case, aggravated by senseless - physicians, cheated year after year in the hope of improvement, - finally compelled to face the prospect of a _lasting malady_ - (whose cure will take years or, perhaps, be impossible), born - with an ardent and lively temperament, even susceptible to the - diversions of society, I was compelled early to isolate myself, - to live in loneliness, when I at times tried to forget all this, - O how harshly was I repulsed by the doubly sad experience of my - bad hearing, and yet it was impossible for me to say to men speak - louder, shout, for I am deaf, Ah how could I possibly admit an - infirmity in the _one sense_ which should have been more perfect - in me than in others, a sense which I once possessed in highest - perfection, a perfection such as few surely in my profession - enjoy or ever have enjoyed--O I cannot do it, therefore forgive - me when you see me draw back when I would gladly mingle with - you, my misfortune is doubly painful because it must lead to my - being misunderstood, for me there can be no recreation in society - of my fellows, refined intercourse, mutual exchange of thought, - only just as little as the greatest needs command may I mix with - society, I must live like an exile, if I approach near to people - a hot terror seizes upon me, a fear that I may be subjected to - the danger of letting my condition be observed--thus it has been - during the last half year which I spent in the country, commanded - by my intelligent physician to spare my hearing as much as - possible, in this almost meeting my present natural disposition, - although I sometimes ran counter to it yielding to my inclination - for society, but what a humiliation when one stood beside me and - heard a flute in the distance and _I heard nothing_ or someone - heard _the shepherd singing_ and again I heard nothing, such - incidents brought me to the verge of despair, but little more - and I would have put an end to my life--only art it was that - withheld me, ah it seemed impossible to leave the world until I - had produced all that I felt called upon to produce, and so I - endured this wretched existence--truly wretched, an excitable - body which a sudden change can throw from the best into the worst - state--Patience--it is said I must now choose for my guide, I have - done so, I hope my determination will remain firm to endure until - it pleases the inexorable parcae to break the thread, perhaps I - shall get better, perhaps not, I am prepared. Forced already in - my 28th year to become a philosopher, O it is not easy, less easy - for the artist than for any one else--Divine One thou lookest into - my inmost soul, thou knowest it, thou knowest that love of man - and desire to do good live therein. O men, when some day you read - these words, reflect that ye did me wrong and let the unfortunate - one comfort himself and find one of his kind who despite all - the obstacles of nature yet did all that was in his power to be - accepted among worthy artists and men. You my brothers Carl and - as soon as I am dead if Dr. Schmid is still alive ask him in my - name to describe my malady and attach this document to the history - of my illness so that so far as is possible at least the world - may become reconciled with me after my death. At the same time - I declare you two to be the heirs to my small fortune (if so it - can be called), divide it fairly, bear with and help each other, - what injury you have done me you know was long ago forgiven. To - you brother Carl I give special thanks for the attachment you - have displayed towards me of late. It is my wish that your lives - may be better and freer from care than I have had, recommend - _virtue_ to your children, it alone can give happiness, not money, - I speak from experience, it was virtue that upheld me in misery, - to it next to my art I owe the fact that I did not end my life by - suicide--Farewell and love each other--I thank all my friends, - particularly _Prince Lichnowsky_ and _Professor Schmid_--I desire - that the instruments from Prince L. be preserved by one of you - but let no quarrel result from this, so soon as they can serve - you a better purpose sell them, how glad will I be if I can - still be helpful to you in my grave--with joy I hasten towards - death--if it comes before I shall have had an opportunity to show - all my artistic capacities it will still come too early for me - despite my hard fate and I shall probably wish that it had come - later--but even then I am satisfied, will it not free me from a - state of endless suffering? Come when thou wilt I shall meet thee - bravely--Farewell and do not wholly forget me when I am dead, I - deserve this of you in having often in life thought of you how to - make you happy, be so-- - - Ludwig van Beethoven. - (seal) - - Heiglnstadt, - October 6th, - 1802. - - For my Brothers Carl and to be read and executed after my death. - - Heiglnstadt, October 10th, 1802, thus do I take my farewell of - thee--and indeed sadly--yes that beloved hope--which I brought - with me when I came here to be cured at least in a degree--I must - wholly abandon, as the leaves of autumn fall and are withered so - hope has been blighted, almost as I came--I go away--even the - high courage--which often inspired me in the beautiful days of - summer--has disappeared--O Providence--grant me at last but one - day of pure _joy_--it is so long since real joy echoed in my - heart--O when--O when, O Divine One--shall I feel it again in the - temple of nature and of men--Never? no--O that would be too hard. - -A QUICK REVERSION TO MERRIMENT - -_De profundis clamavit!_ And yet in that retirement whence came a paper -of such profound sadness was wrought out the Symphony in D; a work -whose grand and imposing introduction--brilliant Allegro, a Larghetto -"so lovely, so pure and amiably conceived," written in the scenes -which gave inspiration to the divine "Pastorale" of which its serene -tranquility seems the precursor; a Scherzo "as merry, wayward, skipping -and charming as anything possible," as even Oulibichef admits; and a -Finale, the very intoxication of a spirit "intoxicated with fire"--made -it, like the Quartets, an era both in the life of its author and in -the history of instrumental music. In life, as in music, the more -profoundly the depths of feeling are sounded in the Adagio, the more -"merry to the verge of boisterousness" the Scherzo which follows. But -who, reading that in October that beloved hope had been abandoned and -the high courage which had often inspired him in the beautiful days of -summer had disappeared, could anticipate that in November, through the -wonderful elasticity of his nature, his mind would have so recovered -its tone as to leave no trace visible of the so recent depression -and gloom? Perhaps the mere act of giving his feelings vent in that -extraordinary _promemoria_ may have brought on the crisis, and from -that moment the reaction may have begun. - -The following letter to Zmeskall (to which the recipient appended the -date, November, 1802) is whimsically written on both sides of a strip -of very ordinary coarse writing paper fourteen and a half inches long -by four and three-quarters wide: - - You may, my dear Z., talk as plainly as you please to Walter - in the affair of mine, first because he deserves it and then - because since the belief has gone forth that I am no longer - on good terms with Walter I am pestered by the whole swarm of - pianoforte makers wishing to serve me--and gratis, moreover, every - one wants to build a pianoforte for me just to my liking; thus - Reicha was urgently begged by the man who made a pianoforte for - him to persuade me to let him make me one, and he is one of the - more honest at whose place I have seen good instruments--make him - understand therefore that I will pay him 30 florins, whereas I - might have one from all the others for nothing, but I will pay 30 - florins only on condition that it be of mahogany and I also want - the one string (_una corda_) pedal--if he does not agree to this - make it plain to him that I shall choose one of the others and - also introduce him to Haydn--a Frenchman, stranger, is coming to - me at about 12 o'clock to-day _volti_ - - _subito_ - - Herr R(eicha) and I will have the pleasure of _displaying my art - on a piano_ by Jakesch--_ad notam_--if you want also to come we - shall have a good time since afterward we, Reicha, our miserable - Imperial Baron and the Frenchman, will dine together--you do not - need to don a _black coat_ as we shall be _a party of men only_. - -Another letter to Zmeskall (who noted the date November 13, 1802, on -it) runs as follows: - - Dear Z.--_Give up your music at the Prince's, nothing else can be - done._ We shall rehearse at your house to-morrow morning early at - half past 8 and the production will be at my house at eleven-- - - _ad dio_ excellent Plenipotentiarius _regni Beethovensis_ - - The rascals have been jailed as they deserved in their own - handwriting.[131] - -"Production" of what? The next Quintet, Op. 29, no doubt. "At my -house"--no longer in the Hamberger House on the Bastion, but in the -one pointed out by Czerny: "Beethoven lived a little later (about -1802) on the Petersplatz, the corner house beside the Guard-house, -_vis-a-vis_ of my present lodgings, in the fourth (?) storey, where I -visited him as often as I did (in the Tiefen Graben). If you will give -me the pleasure of a visit (No. 576) beside Daum, second storey, I will -show you the windows. There I visited several times every week."[132] - -What whim could have induced Beethoven to remove to this house with the -bells of St. Peter's on one side and those of St. Stephen's sounding -down upon him on the other, and he so suffering with his ears? Perhaps -because friends were in the house. Foerster's earliest recollections -of Beethoven date from this winter and this house; for his father's -dwelling was in the third storey above him. He remembers that Beethoven -volunteered to instruct him in pianoforte playing, and that he was -forced to rise at six in the morning and descend the cold stairs, -child as he was, hardly six years of age, to take his lessons; and on -one occasion going up again crying because his master had whipped his -little fingers with one of the iron or steel needles used in knitting -the coarse yarn jackets worn by women in service. - -The composition of the Marches for Four Hands (Op. 45), ordered by -Count Browne, dates also from the house in the Petersplatz. - - He composed part of the second march while giving me a lesson on - a sonata which I had to play in the evening at the Count's house - at a little concert--a thing that still seems incomprehensible - to me. I was also to play the marches on the same occasion with - him. While we were playing young Count P... sitting in the doorway - leading to the next room spoke so loudly and continuously to a - pretty woman, that Beethoven, after several efforts had vainly - been made to secure quiet, suddenly took my hands from the keys in - the middle of the music, jumped up and said very loudly, "I will - not play for such swine!" All efforts to get him to return to the - pianoforte were vain, and he would not even allow me to play the - sonata. So the music came to an end in the midst of much ill humor. - - In composing Beethoven tested his pieces at the pianoforte until - he found them to his liking, and sang the while. His voice in - singing was hideous. It was thus that Czerny heard him at work on - the four-hand Marches while waiting in a side room. - -According to Jahn's papers this statement came also from Czerny. - -BEETHOVEN AND HIS BROTHERS - -It is now necessary to turn back to November and again undertake -the annoying and thankless task of examining a broad tissue of -mingled fact and misrepresentation and severing the truth from the -error; this time the subject is the relations which existed between -Beethoven and his brothers in these years. A letter written by Kaspar -is the occasion of taking it up here. Johann Andre, a music publisher -at Offenbach-on-the-Main, following the example of Hoffmeister, -Naegeli, Breitkopf and Haertel and others, now applied to Beethoven for -manuscripts. Kaspar wrote the reply under date November 23, 1802: - - ... At present we have nothing but a Symphony, a grand Concerto - for Pianoforte, the first at 300 florins and the second at the - same price, if you should want three pianoforte sonatas I could - furnish them for no less than 900 florins, all according to Vienna - standard, and these you could not have all at once, but one every - five or six weeks, because my brother does not trouble himself - with such trifles any longer and composes only oratorios, operas, - etc. - - Also you are to send us eight copies of _every_ piece which you - may possibly engrave. Whether the pieces please you or not I beg - you to answer, otherwise I might be prevented from selling them to - someone else. - - We have also two Adagios for the Violin with complete instrumental - accompaniment, which will cost 135 florins, and two little easy - Sonatas, each with two movements, which are at your service for - 280 florins. In addition I beg you to present our compliments to - our friend Koch. - - Your obedient, - - K. v. Beethoven. - - R.I. Treasury official. - -This ludicrous display of the young man's self-importance as "Royal -Imperial Treasury Official" and Ludwig van Beethoven's factotum is -certainly very absurd; but hardly affords adequate grounds for the -exceeding scorn of Schindler's remarks upon it. It is in itself -sufficiently provocative of prejudice against its writer. But a display -of vanity and self-esteem is ridiculous, not criminal. - -The general charge brought by Ries against Kaspar and Johann van -Beethoven is this: - - His brothers sought in particular to keep all his intimate friends - away from him, and no matter what wrongs they did him, of which - he was convinced, they cost him only a few tears and all was - immediately forgotten. On such occasions he was in the habit of - saying: "But they are my brothers, nevertheless," and the friend - received a rebuke for his good-nature and frankness. The brothers - attained their purpose in causing the withdrawal from him of many - friends, especially when, because of his hard hearing, it became - more difficult to converse with him. - -Two years after the "Notizen" left the press Schindler published his -"Biography." In it, although he first knew Beethoven in 1814, Johann -some years later and Kaspar probably never, and therefore personally -could know nothing of the facts of this period, yet he made the picture -still darker. The special charge against Kaspar is that "about this -time (in 1800) he began to rule Beethoven and made him suspicious of -his most sincere friends and devotees by means of false representations -and even jealousy." - -There is a class of writers in Germany, whom no regard for the feelings -of the living, no veneration for the memories of the great dead, no -scruples on the score of truth, and even, in some cases, not respect -and admiration for the greatest living genius, talent, and literary -or scientific fame, restrain from using, or moderate their use of, -whatever can add piquancy to their appeals to the prurient imaginations -of certain classes of readers. Delicacy of feeling and nicety of -conscience are not to be expected of such heartless traducers of -the living and the dead; but that even the most contemptible of the -tribe, regardless of the pain which such a slander of her husband's -father must have caused to a widowed mother and her amiable children, -could venture to represent Karl Kaspar van Beethoven as the seller -of his wife's virtue and a sharer in the wages of her shame, is as -inconceivable, as that his book should be received with praise by -critics and applause by the public; that it should gain its author -pecuniary profit instead of a prison. The story is utterly without -foundation; a pure invention and a falsehood, and is told, moreover, -of poor Kaspar, at a time when as yet he had no wife! Unfortunately, -this treatment of Beethoven's brothers is not confined to writers of -novels and feuilletonists. They, who profess to write history, no -sooner strike upon this topic, than fancy seems to usurp the seat of -reason and imagination to take the place of judgment. The lines of Ries -expand into paragraphs; the sentences of Schindler into chapters. But -the picture, thus overdrawn and exaggerated, in some degree corrects -itself; for if the brothers were really as represented, what is to be -thought of Beethoven if he in fact was so led, controlled and held in -subjection by them as described? - -CHARACTERS OF KARL KASPAR AND JOHANN - -Now, what is really known of Karl Kaspar and Johann, though it -sufficiently confutes much of the calumnious nonsense which has been -printed about them, is not fitted to convey any very exalted idea of -their characters. The same Frau Karth, who remembered Ludwig in his -youth as always "gentle and lovable," related that Kaspar was less -kindly in his disposition, "proud and presumptuous," and that Johann -"was a bit stupid, yet very good-natured." And such they were in -manhood. Kaspar, like Ludwig, was very passionate, but more violent in -his sudden wrath; Johann, slow to wrath and placable. Notwithstanding -the poverty of his youth and early manhood, it is not known that Kaspar -was avaricious; but Johann had felt too bitterly the misery of want and -dependence, and became penurious. After he had accumulated a moderate -fortune, the contests between his avarice and the desire to display his -wealth led to very ludicrous exhibitions. In a word, Beethoven was not -a phenomenon of goodness, nor were his brothers monsters of iniquity. -That both Ries and Schindler wrote honestly has not been doubted; but -common justice demands the reminder that they wrote under the bias of -strong personal dislike to one or both brothers. Ries wrote impressions -received at a very early time of life, and records opinions formed upon -incomplete data. Schindler wrote entirely upon hearsay. Ries had not -completed his twenty-first year when he departed from Vienna (1805). -Howsoever strong were Beethoven's gratitude to Franz Ries and affection -for Ferdinand, fourteen years was too great a disparity in age to -allow that trustful and familiar intercourse between master and pupil -which could enable the latter to speak with full knowledge; nor does a -man of Beethoven's age and position turn from old and valued friends, -like the Lichnowskys, Breuning, Zmeskall and others of whatever names, -to make a youth of from 18 to 20 years, a new-comer and previously -a stranger, even though a favorite pupil, his confidential adviser. -Facts confirm the proposition in this case. We know that Beethoven -in 1801 imparted grave matters to Wegeler and Amenda, of which Ries -a year later had only received intimation from Breuning; and other -circumstances of which he knew nothing are recorded in the testament -of 1802. The charges against the brothers, both of Ries and Schindler, -are general in terms; Ries only giving specifications or instances in -proof. Schindler may be passed by as but repeating the "Notizen." Now, -the onus of Ries's charges is this: - -First: that Kaspar thrust himself impertinently into his brother's -business; second: that both brothers intrigued to isolate Beethoven -from his intimate friends and that their machinations were in many -cases successful. - -KARL KASPAR AS A BUSINESS MANAGER - -To the first point it is to be remarked: Besides Beethoven's often -expressed disinclination to engage personally in negotiations for the -sale of his works--although when he did he showed no lack of a keen eye -to profits--his physical and mental condition at this period of his -life often rendered the assistance of an agent indispensable. Accounts -were to be kept with half a dozen publishers; letters received upon -business were numerous and often demanded prompt replies; proof-sheets -were constantly arriving for revision and correction; copyists required -supervision; an abundance of minor matters continually coming up and -needing attention when Beethoven might be on his long rambles over -hill and dale, the last man to be found in an emergency. One asks with -astonishment, how could so obvious a necessity for a confidential agent -have escaped notice? Who should or could this agent be but his brother -Kaspar?[133] He held an honorable place in a public office, the duties -of which necessarily implied the possession of those talents for, and -habits of, prompt and skillful performance of business which his early -receipt of salary and his regular advancement in position show that he -really did possess; his duties detained him in the city at all times, -occasional short vacations excepted, and yet left him ample leisure -to attend to his brother's affairs; he was a musician by education -and fully competent to render valuable service in that "fearful -period of arrangements"--as it is well known he did. What would have -justly been said of Beethoven if he had passed by one so eminently -qualified for the task--one on whom the paternal relation and his own -long continued care and protection had given him so many claims--and -had transferred the burden from his own shoulders to those of other -friends? But if, after adequate trial, the agent proved unsatisfactory, -the case would be changed and the principal might with propriety seek -needed assistance in other quarters. And precisely this appears to -have occurred; for after a few years Kaspar disappears almost entirely -from our history in connection with his brother's pecuniary affairs. -This fact is stronger evidence than anything in Ries's statements, -that Beethoven became dissatisfied with his brother's management, and -would have still more weight had he been less fickle, inconstant and -undecided in matters of business.[134] - -Seyfried, whose acquaintance with Beethoven ripened just at this time -into intimacy, and who in 1802-'05 had the best possible opportunities -for observation, beheld the relations between the brothers with far -less jaundiced eyes than Ries. He says: - - Beethoven was the more glad to choose joyous Vienna for his - future and permanent home since two younger brothers had followed - him thither, who took off his shoulders the oppressive load of - financial cares and who were compelled to act almost as guardians - for the priest of art to whom the ordinary affairs of civil life - were as strange as strange could be. - -At that time Seyfried, like Ries, was ignorant of the circumstances -detailed to Wegeler and Amenda and in the testament; but the admirable -selection of words in the closing phrase will strike all who have had -occasion to read Beethoven's countless notes asking advice or aid in -matters which most men would deem too trivial for even a passing word -in conversation. The specifications of Ries in his charges against -Kaspar will not long detain us. The story of the quarrel over the -disposition of the Naegeli Sonatas may stand in all its ugliness and -with no comment save the suggestion of the possibility that Kaspar's -word as Ludwig's agent may have been pledged to the Leipsic publisher. -The one really specific charge of Ries is the one on page 124 of the -"Notizen": - - All trifles, and many things which he did not want to publish - because he thought them unworthy of his name, were secretly given - to publicity by his brother. Thus songs which he had composed - years before his departure for Vienna, became known only after he - had reached a high degree of fame. Thus, too, little compositions - which he had written in autograph albums were filched and - published. - -By "trifles" Ries, of course, here refers to the "Bagatelles, Op. 33, -par Louis van Beethoven, 1782," as the manuscript is superscribed, -published in the spring of 1803. The manuscript itself proves Ries to -be in error. The words "par Louis van Beethoven" are in a hand unlike -anything known to the present writer from Beethoven's pen. This fact, -together with a something not easily described in the appearance of -the notes, suggests the idea that this copy of the "Bagatelles" was -made by Kaspar, and compiled, except No. 6 and perhaps one other, from -the compositions of Beethoven in his boyhood. But the corrections--the -words _Andante gracioso_, _Scherzo Allegro_, _Allegretto con una certa -espressione parlante_, etc., written with lead pencil or a different -ink, are certainly from Beethoven's own hand; also, in still another -ink, the thoroughly Beethovenish "Op. 33." No one can mistake that. -This work most assuredly was never "secretly given to the public."[135] - -The only Album composition known to have been published in those years -is the song with variations, "Ich denke dein"; and this Beethoven -himself had offered to Hoffmeister before it was printed by the Kunst- -und Industrie-Comptoir. - -The "songs" referred to by Ries can only be those of Op. 52. The -original manuscript, having disappeared, neither refutes nor confirms -his opinion. It is, however, exceedingly doubtful that Beethoven's -brothers would have dared give an opus number to a stolen publication. -_A priori_ Ries is more likely to be in error here than in regard to -the "Bagatelles." Now, the only contemporary criticism upon the latter -which has been discovered, is a single line in Moll's "Annalen der -Literatur" (Vienna, 1804): "Deserve the title in every sense of the -word." Upon the "Song with Variations" no notice whatever has been -found. But, Opus 52 was received by the "Allgemeine Musik-Zeitung" of -August 28, 1805, in this style; _Opera_ 47 and 38 having been duly -praised, the writer continues: - - Is it possible that No. 3 of these eight songs is from the pen of - this composer, admirable even in his vagaries? It must be, since - it is. At least his name is printed large on the title-page, - the publisher is mentioned, the songs were published in Vienna - where the composer lives, and, indeed, bear his latest _opus_ - number. Comprehend it he who can--that a thing in all respects so - commonplace, poor, weak and in great part ludicrous should not - only emanate from such a man but even be published. - -KARL KASPAR A PROBABLE SCAPEGOAT - -And more like this, illustrated by copying "Das Bluemchen Wunderhold." -These citations suggest an obvious explanation of Ries's mistake, -namely: Beethoven, mortified, ashamed, angry, purposely left him to -believe that he was innocent of the publication of these compositions. -It was one of the advantages of having Kaspar in Vienna, that the -responsibility of such false steps could be shifted upon him. Those -who are predetermined not to admit in Beethoven's character any of the -faults, frailties and shortcomings of our common human nature, will -of course censure this explanation. Let them propose a better.[136] -Finally: In the paragraph upon the efforts of Beethoven's brothers to -keep all of the composer's friends away from him it is easy to read -between the lines that it was Ries himself who oft "was rebuked for -his good-nature and frankness," which of itself to some extent lessens -the force of the charge. But it is best met by the first half of the -Will, or testament, which, with the confessions to Wegeler and Amenda, -as above said, open to our knowledge an inner life of the writer -studiously concealed from his protege. - -In this solemn document, written as he supposed upon the brink of the -grave, Beethoven touches upon this very question. We learn from his -own affecting words, that the cause of his separation from friends -lay, _not_ in the machinations of his brothers, but in his own -sensitiveness. He records for future use, what he cannot now explain -without disclosing his jealously guarded secret. That record now serves -a double purpose; it relieves Kaspar and Johann from a portion of the -odium so long cast upon their memories; and proves Ries to be, in part -at least, in error, without impugning his veracity. It is very probable -Ries never saw the will. Had he known and carefully read it, the -prejudices of his youth must have been weakened, the opinions founded -upon partial knowledge modified. He was of too noble a nature not to -have gladly seen the memories of the dead vindicated--not to have been -struck with and affected by the words of his deceased master: "To -you, brother Carl, I give special thanks for the attachment you have -displayed towards me of late." - - * * * * * - -Pass we to another topic. - - On frequent occasions (says Ries), he showed a truly paternal - interest in me. From this source there sprang the written order - (in 1802), which he sent me in a fit of anger because of an - unpleasant predicament into which Carl van Beethoven had gotten - me. Beethoven wrote: "You do not need to come to Heiligenstadt; - I have no time to lose." At the time Count Browne was indulging - himself with pleasures in which I was taking part, he being kindly - disposed towards me, and was in consequence neglecting my lessons. - -That Beethoven, during the summer when his vocations were interrupted -by the dark hours in which the "will" was produced, could have no time -to lose in those lighter days when the spirit of labor was upon him is -clear from the surprising list of compositions written and published in -this year. - -COMPOSITIONS COMPLETED IN 1802 - -The works which were developed were the three Violin Sonatas, Op. 30; -the first two of the three Pianoforte Sonatas, Op. 31; the two sets of -Variations, Op. 34 and 35; the "Bagatelles," Op. 33, and (the chief -work of the year) the second Symphony, D major, Op. 36. The works -which came from the press were the Pianoforte Sonatas, Op. 22, 26 -and 27, Nos. 1 and 2; the Serenade, Op. 25; the Septet, Op. 20; the -Quintet, Op. 29; the Rondo in G, Op. 51, No. 2; the transcription for -strings of the Pianoforte Sonata in E, Op. 14, No. 1; the Variations -for Violoncello and Pianoforte on "Bei Maennern welche Liebe fuehlen," -dedicated to Count Browne; the six Contradances and six Rustic -("Laendrische") Dances. There were thirteen performances of the ballet -"Prometheus." Moreover, it is at least remotely possible that the two -large works which were played together with the Symphonies in C and D -at Beethoven's concert on April 5, 1803--viz.: the Pianoforte Concerto -in C minor, Op. 37 and the Oratorio "Christus am Oelberg," Op. 85--were -not so far advanced in all their parts that they, too, may have -occupied the attention of Beethoven in the winter of 1802-03. - -For nearly all the works completed in 1802, studies are to be found in -the sketchbook described in full by Nottebohm,[137] which covers the -period from the fall of 1801 to the spring of 1802; like the majority -of the sketchbooks, it contains themes and studies which were never -worked out. "Overlooking the sketches which cross each other," says -Nottebohm, "and putting aside all that is immaterial, the compositions -represented in the book which were completed and are known, may be set -down chronologically as follows: - - "Opferlied," by Mathisson, first form. - Scene and Aria for Soprano: "No--non turbarti." - Three of the Contradances. - Bagatelle for Pianoforte, No. 6 of Op. 33. - Last movement of the Symphony in D major. - Five of the six "Laendrische Taenze." - Terzetto, "Tremate, empj, tremate," Op. 116. - First and second movements of the Sonata for Pianoforte and Violin - in A major, Op. 30, No. 1. - Last movement of the Sonata for Pianoforte and Violin in A major, - Op. 47. - Sonata for Pianoforte and Violin in C minor, Op. 30, No. 2. - Bagatelle for Pianoforte, No. 5 of Op. 119 (112). - First movement of the Sonata for Pianoforte in D minor, Op. 31, - No. 2 (the first sketch only). - Sonata for Pianoforte and Violin in G major, Op. 30, No. 3. - Last movement of the Sonata for Pianoforte and Violin in A major, - Op. 30, No. 1 (the theme had been designed before). - Variations for Pianoforte in E-flat major, Op. 35 (preparatory - work). - Variations for Pianoforte in F major, Op. 34 (only the first hints). - Sonata for Pianoforte in G major, Op. 31, No. 1 (not complete)." - -To which may be added as occurring early in the book, the theme of -the Larghetto of the Symphony in D (here for horns), out of which -eventually grew the Trio in the Scherzo. A curious remark on one of -the pages seems to be a memorandum for a piece of descriptive music: -"Marital felicity, dark clouds upon the brow of the husband in which -the fairer half unites but still seeks to dispel." - -The evident care taken by the composer at this period to make the opus -numbers really correspond to the chronological order of his works, -is a strong reason for concluding that the Violin Sonatas, Op. 30, -were completed or nearly so before he removed to Heiligenstadt. Even -in that case, what wonderful genius and capacity for labor does it -show, that, before the close of the year, in spite of ill health and -periods of the deepest despondency, and of all the interruptions caused -by his ordinary vocations after his return to town, he had completed -the first two Sonatas of Op. 31, the two extensive and novel sets of -Variations, Op. 34 and Op. 35, and the noble Second Symphony!--all of -them witnesses that he had really "entered upon a new path," neither of -them more so than the Symphony so amazingly superior to its predecessor -in grandeur and originality. This was, in fact, the grand labor of this -summer. - -THE PIANOFORTE SONATAS, OP. 31 - -The three Sonatas for Pianoforte and Violin are dedicated to Czar -Alexander I of Russia, who is said to have given command that a -valuable diamond ring be sent to the composer. Lenz could find no -record of such an incident in the imperial archives. The sketches show -that the movement which now concludes the "Kreutzer" Sonata (Op. 47) -was originally designed for the first of the three, the one in A major; -and that for the Adagio of the second, in C minor, Beethoven, assuming -that he already associated the theme with the work, first contemplated -using the key of G. - -The three Sonatas for Pianoforte, Op. 31, are without dedication. W. -Nagel connects them, or one of them, with the following extraordinary -letter to Hoffmeister: - - Vienna, April 8, 1802. - - Are you all ridden by the devil gentlemen that you propose _such a - sonata_ to me? - - At the time of the revolutionary fever--well--such a thing might - have been very well; but now--when everything is trying to get - back into the old rut, Buonaparte has signed the concordat with - the Pope--such a sonata? - - If it were a _Missa pro sancta Maria a tre voci_, or a Vesper, - etc.--I would take my brush in hand at once--and write down a - _Credo in unum Deum_ in big pound notes--but good God, such a - sonata--for these days of newly dawning Christianity--hoho!--leave - me out of it, nothing will come of it. - - Now my answer in quickest tempo--the lady can have a sonata from - me, and I will follow her plan in respect of aesthetics in a - general way--and without following the keys--price 5 ducats--for - which she may keep it for her own enjoyment for a year, neither I - nor _she_ to publish it. - - At the expiration of the year--the sonata will be mine to--i. - e., I shall publish it, and she shall have the privilege--if she - thinks it will be an honor--to ask me to dedicate it to her.... - - Now God keep you gentlemen. - - My Sonata is beautifully printed [_gestochen_, i. e., - engraved]--but it took you a pretty time--send my Septet into - the world a little quicker--for the crowd is waiting for it--and - you know the Empress has it and there are (scamps) in the - imperial city as well as the (imperial court) I can vouch for - nothing--therefore make haste. - - Herr (Mollo) has again recently published my Quartets but full of - faults and _Errata_--in large as well as small form, they swarm in - them like fish in the sea, there is no end of them--_questo e un - piacere per un autore_--that's pricking music with a vengeance, - in truth my skin is full of prickings and rips because of this - beautiful edition of my Quartets.... - - Now farewell and remember me as I do you. Till death your faithful - - L. v. Beethoven. - -An engagement which Beethoven had obtained from Count Browne for Ries -was one that gave him leisure to pursue his studies, and he often came -to Vienna and Heiligenstadt for that purpose. Thus it happens that the -"Notizen" also contribute to the history of these Sonatas. Ries writes: - - Beethoven had promised the three solo sonatas (Op. 31) to Naegeli - in Zurich while his brother Carl (Caspar) who, unfortunately, - was always meddling with his affairs, wanted to sell them to a - Leipsic publisher. There were frequent exchanges of words between - the brothers on this account because Beethoven having given his - word wanted to keep it. When the sonatas (the first two) were - about to be sent away Beethoven was living in Heiligenstadt. - During a promenade new quarrels arose between the brothers and - finally they came to blows. The next day he gave me the sonatas - to send straight to Zurich, and a letter to his brother enclosed - in another to Stephan von Breuning who was to read it. A prettier - lesson could scarcely have been read by anybody with a good - heart than Beethoven read his brother on the subject of his - conduct on the day before. He first pointed it out in its true - and contemptible character, then he forgave him everything, but - predicted a bad future for him unless he mended his ways. The - letter, too, which he had written to Breuning was very beautiful. - -The first two Sonatas (G major and D minor) appeared in the spring of -1803, as Op. 29, in Naegeli's "Repertoire des Clavecinistes" as _Cahier -5_ (the third followed soon after as Op. 33, together with the "Sonate -pathetique" as _Cahier 11_). Of _Cahier 5_ Naegeli sent proof-sheets. -Ries reports on the subject as follows: - - When the proof-sheets came I found Beethoven writing. "Play - the Sonata through," he said to me, remaining seated at his - writing-desk. There was an unusual number of errors in the proofs, - which fact already made Beethoven impatient. At the end of the - first _Allegro_ in the Sonata in G major, however, Naegeli had - introduced four measures--after the fourth measure of the last - hold: - - [Illustration] - - When I played this Beethoven jumped up in a rage, came running to - me, half pushed me away from the pianoforte, shouting: "Where the - devil do you find that?" One can scarcely imagine his amazement - and rage when he saw the printed notes. I received the commission - to make a record of all the errors and at once send the sonatas to - Simrock in Bonn, who was to make a reprint and call it _Edition - tres correcte_. In this place belong three notes to me: - - 1. "Be good enough to make a note of the errors and send a record - of them at once to Simrock, with the request that he publish as - soon as possible--day after to-morrow I will send him the sonata - and concerto." - - 2. "I must beg you again to do the disagreeable work of making a - clear copy of the errors in the Zurich sonatas and sending it to - Simrock; you will find a list of the errors at my house in the - Wieden." - - 3. - - "Dear Ries! - - "Not only are the expression marks poorly indicated but there are - also false notes in several places--therefore be careful!--or the - work will again be in vain. _Ch'a detto l'amato bene?_" - -The closing words of the second note show that the matter was not -brought to an end until late in the spring of 1803, after Beethoven -had removed into the theatre buildings An-der-Wien. After the Sonatas -became known in Vienna Dolezalek asked Beethoven if a certain passage -in the D minor Sonata was correct. "Certainly it is correct," replied -the composer, "but you are a countryman of Krumpholz--nothing will go -into that hard Bohemian head of yours." - -A circumstance related by Czerny, if accepted as authoritative, proves -that two of the three Sonatas were completed in the country. Once -when he (Beethoven) saw a rider gallop past his windows in his summer -sojourn in Heiligenstadt near Vienna, the regular beat (of the horse's -hoofs) gave him the idea for the theme of the Finale of the D minor -sonata, Op. 31, No. 2: - -[Illustration] - -The six Variations in F on an Original Theme, Op. 34, dedicated to -the Princess Odescalchi, were probably composed immediately after -the Variations in E-flat, Op. 35. In the midst of the sketches for -the latter (in the Kessler sketchbook) two measures of the theme are -noted and the remark appended, "Each variation in a different key--but -alternately passages now in the left hand and then almost the same -or different ones in the right." The two sets of Variations and the -Quintet, Op. 29, were sold to Breitkopf and Haertel in October, 1802. In -a letter which the publishers received from the composer on October 18, -1802, Beethoven writes: - -CHARACTERISTICS OF THE VARIATIONS - - I have made two sets of Variations of which the first may be said - to number 8, the second 30; both are written in _a really entirely - new style_ and each in quite a different way. I should very much - like to have them published by you, but under the one condition - that the honorarium be about 50 florins for the two sets--do not - let me make this offer in vain, for I assure you you will never - regret the two works. Each theme in them is treated independently - and in a wholly different manner. As a rule I only hear of it - through others when I have new ideas, since I never know it - myself; but this time I can assure you myself that the style in - both works is new to me. - -A more interesting letter received by Breitkopf and Haertel on December -26, 1802, relates to the same subject. It demands insertion in full: - - Instead of the noise about a new method of V(ariations) such - as would be made by our neighbors the Gallo-Franks, like, for - instance, a certain Fr. composer who presents fugues _apres une - nouvelle Methode_, it consisting in this that the fugue is no - fugue, etc.--I nevertheless want to call attention to the fact - that these V. differ at least from others, and this I thought I - could do in the most unconstrained and least conspicuous manner - by means of the little prefatory note which I beg of you to print - in the small as well as the large V., leaving it for you to say - in what language or how many languages, since we poor Germans are - compelled to speak in all tongues. - - Here is the prefatory note: - - Inasmuch as these V. differ materially from my earlier ones I - have, instead of designating them merely by number, 1, 2, 3, etc., - included them in the list of my _greater musical works_, and this - also for the further reason that the themes are original. - - The author. - - N.B. If you find it necessary to change or improve anything you - have my entire permission. - -That by the "large variations," whose number (30) Breitkopf and Haertel -seem to have called in question, Beethoven meant his Op. 35, is made -plain by a third letter running as follows: - - Vienna, April 8, 1803. - - I have wanted to write to you for a long time, but my business - affairs are so many that they permit but little correspondence. - You seem to be mistaken in your opinion that there are not as many - variations (as I stated) only it would not do to announce the - number as there is no way of telling how in the large set three - variations are run into each other in the Adagio, and the Fugue - can certainly not be called a variation, nor the Introduction, - which, as you may see for yourself, begins with the bass of - the theme, then expands to 2, 3 and finally 4 parts, when the - theme at last makes its appearance, which again cannot be called - a variation, etc.--but if this is not clear to you, send me - a proof-sheet along with the manuscript as soon as a copy is - printed, so that I may be guarded against confusion--you would do - me a great favor if you would omit from the large variations the - dedication to abbe Stadler and print the following, viz.: _dediees - etc. A Monsieur le Comte Maurice Lichnowsky_; he is a brother - of Prince Lichnowsky and only recently did me an unexpected - favor, and I have no other opportunity to return the kindness, if - you have already engraved the dedication to abbe Stadler I will - gladly pay the cost of changing the title-page, do not hesitate, - write what the expense will be and I will pay it with pleasure, - I earnestly beg you to do this if you have not sent out any - copies--in the case of the small variations the dedication to - Princess Odescalchi remains. - - I thank you very much for the beautiful things of Sebastian - Bach's, I will preserve and study them--should there be a - continuation of the pieces send them to me also--if you have a - good text for a cantata or other vocal piece send it to me. - -In spite of Beethoven's warning, Op. 34 was printed without the proof -having been read by him; this provoked another letter calling attention -to a large number of errors in the publication, of which Beethoven -promised to send a list. He also expressed a fear that the "large -variations" would also be faulty, the more since his own manuscript -had been put into the hands of the engraver, and asked that the fact -that the theme was from his ballet "Prometheus" be indicated on the -title-page, if there were still time, offering, as in the case of -the dedication, to pay the cost of the change. Again he begged to be -permitted to correct a proof copy--a request which was ignored in this -instance, as it had been in the first. The result was a somewhat gentle -protest in another letter (October, 1803), in which Beethoven offered -the firm the Variations on "God save the King" and "Rule Britannia," -the song "Wachtelschlag" and three Marches for the Pianoforte, four -hands. The conclusion of the letter, with its postscript, has a double -value--as an exhibition of Beethoven's attitude towards the criticism -of his day and as a contribution to the debated question touching the -illicit printing of some of his early compositions. We quote: - - Please thank the editor of the M.Z. ("Musikzeitung") for his - kindness in giving place to the flattering report of my oratorio - in which there is so much rude lying about the prices which I - have made and I am so infamously treated, which is I suppose an - evidence of impartiality--for aught I care--so long as this makes - for the fortune of the M.Z.--what magnanimity is not asked of the - true artist, and not wholly without impropriety, but on the other - hand, what detestable and vulgar attacks upon us are permitted. - - Answer immediately, and next time another topic. - - As always your devoted - - L. v. Beethoven. - - N.B. All the pieces which I have offered you are entirely - new--since unfortunately so many unlucky old things of mine have - been sold and stolen. - -It was through the printing of the letters to Breitkopf and Haertel -that the fact became known that Beethoven originally had intended -to dedicate the Variations in E-flat to Abbe Stadler. The Rondo in -G, which was announced by Hoffmeister and Kuehnel on March 19, 1803, -was published in connection with the Rondo in C which had already -appeared in 1798, as Op. 51, Nos. 1 and 2. It was originally dedicated -to Countess Guicciardi, but Beethoven gave her the Sonata in C-sharp -minor in exchange for it and inscribed the Rondo to Countess Henriette -Lichnowsky. This would seem to indicate that it was finished before -the Sonata, probably in 1801. Nottebohm has proved in his study of the -Kessler sketchbook that the sixth of the "Bagatelles," in D major, -had its origin in 1802, when Beethoven was at work on the second -Symphony.[138] - -FOOTNOTES: - -[128] The Sonata in E, Op. 14, No. 1, transposed to F major, was -published in 1802. See W. Altmann, "Ein vergessenes Streichquartett -Beethovens," "Die Musik," 1905. - -[129] Those dedicated to Princess Esterhazy, Op. 45. - -[130] This Testament or Promemoria, written on a large foolscap sheet, -appears to have been discovered in a mass of loose papers purchased -by the elder Artaria at the sale of Beethoven's effects in 1827. -Endorsed upon it is an acknowledgement, signed by Jacob Hotschevar, the -guardian (after Breuning's death) of the composer's nephew, of having -received it from Artaria & Co. Then follows a similar acknowledgement -of its reception by Johann van Beethoven. Its next possessor appears -to have been Alois Fuchs--the great collector of musical manuscripts -and autographs of musicians. In 1855, it was purchased by Ernst, the -violinist (of whom is not known?), who presented it to Mr. Otto and -Madame Jenny Lind Goldschmidt as a testimony of gratitude for their -valuable assistance in one of his concerts. By their kindness the -present writer was allowed to make a very careful copy on April 2, -1861. As printed in the "Allg. Musikalische Zeitung," by Schindler and -others, it differs little from the original, though some of Beethoven's -peculiar forms of spelling were corrected--such as "Heiglnstadt." "That -Beethoven, throughout the document, never mentions the name of his -second brother Johann, and indicates it only by points, is surprising -and singular, inasmuch as this brother, as we have just seen, had come -to Vienna only a short time before in order to take part in the affairs -of our Beethoven." Our copy certainly contains no such "points." The -other mistake, as to the recent arrival of Johann in Vienna, every -reader will note. - -[131] The reference is, of course, to Artaria and Co. and the _Revers_. - -[132] Letter to Ferdinand Luib, May 28, 1852. - -[133] Under date April 22, 1802, Beethoven writes to Breitkopf -and Haertel: "I reserve the privilege of soon writing to you -highborn gentlemen myself--many business matters, and also many -vexations--render me utterly useless for some things for a -time--_meanwhile you may trust implicitly in my brother--who, in fact, -manages all my affairs_." - -[134] Hugo Riemann, the editor of Volumes II and III of the second -edition of this "Life," was not disposed to permit the author's defence -of Beethoven's brothers to stand unchallenged, as Dr. Deiters had -done in the first edition. Dr. Riemann calls attention to a letter -sent by Beethoven to Johann after the latter had removed to Linz--the -date as written by Beethoven is "March 28, 1089"--another instance of -Beethoven's careless treatment of such matters. Of course the year was -1809. In the letter the composer says: "God grant to you and the other -brother instead of his _unfeelingness, feeling--I suffer infinitely -through him_, with my bad hearing I always need somebody, and whom -shall I trust?" This Dr. Riemann inserts in the body of the text. -In a foot-note he calls attention to a letter found among Thayer's -posthumous papers to the author from Gerhard von Breuning in which -occur the words: "Caspar held a respected position in the public -service. But how did it come that Roesgen warned my father to warn -Ludwig not to trust Caspar too much in respect of money matters because -he had a bad reputation; and then, Ludwig having told Caspar that he -had received the warning from Steffen, Caspar demanded from my father -to know from whom he had received the warning; and when my father -refused because he had promised Roesgen on his word of honor not to -betray him, Caspar rudely pressed my father, publicly delivered letters -containing abuse and threats to the porter of the Court Council of War, -etc., and--that my father, calling Ludwig a gossip, was long estranged -from him until the letter of reconciliation came (in 1804)." Breuning's -utterances in his book "Aus dem Schwarzspanierhause" are of similar -import. There are evidences that Breuning was convinced that Carl's -character was bad, but is more lenient in his judgment of Johann, -whom he charges only with greed and miserliness. Of course, all this -material was in the hands of Thayer, who must have weighed it in making -up his defence of the brothers. - -[135] Dr. Frimmel is of the opinion that in this criticism Thayer was -hasty and premature. In reproducing two _facsimiles_ of portions of the -Bagatelle in question ("Beethoven Jahrbuch" II, 1909) he says: "The -apparent contradictions disclosed by these manuscripts led Thayer to -question the authenticity of the autograph. It may safely be said that -a later consideration of the matter would have led Thayer to change his -mind; he would also surely have corrected his statement that Ries had -reference to the Bagatelles Op. 33 in his 'N' (p. 124). Nottebohm knew -the manuscript, which was once in the possession of Johann Kafka, well -and never expressed a doubt as to its genuineness." - -[136] Difference between the statements made here and some of those in -Chapter VI are explained by the author's later investigations. - -[137] "Ein Skizzenbuch von Beethoven," Breitkopf und Haertel, Leipsic, -1865. - -[138] - -BEETHOVEN'S ESTIMATE OF THE BAGATELLES - -Dr. Riemann thinks that Beethoven originally wrote "1802" on -the autograph, and that subsequently he, or somebody else, changed -the 8 into a 7 and the 0 into an 8. (See the _facsimile_ in Frimmel's -"Beethovenjahrbuch" of 1909); yet the German Editor finds suggestions -of Beethoven's latest style in the "Bagatelles" and calls attention to -the fact that Beethoven detected intimations of No. 5 in the set Op. -119 in the Kessler sketchbook. Dr. Riemann's conclusion is thus worded: -"If Ries in his 'Notizen' meant these 'Bagatelles', he was surely in -error. Beethoven's complaint to Breitkopf and Haertel in the letter of -October, 1803, 'since unfortunately so many unlucky old things of mine -have been sold and stolen,' cannot possibly have referred to them. -Beethoven himself thought highly of these 'trifles', as is shown by his -anger at Peters's depreciation of Op. 119. it is very likely that Ries -meant the Two Preludes in all the Keys (Op. 39), which may have been -surreptitiously published." - - -END OF VOLUME I - - - - - * * * * * - - - - -Transcriber's Note - - -Page headers in the original text have been moved above the paragraph -to which they relate. - - -The paragraph beginning "For my Brothers Carl" on p. 354 was printed -vertically. - - -The following printing errors have been corrected: - -p. xx "Sympathethic" changed to "Sympathetic" - -p. 24 "200 th."" changed to "200 th." - -p. 70 (note) "_Variations" changed to ""_Variations" - -p. 96 (note) "Beethoven's mother." changed to "Beethoven's mother."" - -p. 115 "the the hour" changed to "the hour" - -p. 135 "bass")." changed to "bass)."" - -p. 138 "pianofore" changed to "pianoforte" - -p. 141 "these years" changed to "these years'" - -p. 202 (note) "continally" changed to "continually" - -p. 241 "Hadyn" changed to "Haydn" - -p. 258 "neighboring page." changed to "neighboring page.]" - -p. 295 (header) "String Quartet" changed to "String Quintet" - -p. 303 "familarly" changed to "familiarly" - -p. 321 (note) ""_je la meprisois_" changed to ""_je la meprisois_"" - -p. 365 "(not complete)." changed to "(not complete)."" - -p. 368 ""Once when he" changed to "Once when he" - - -The following possible errors have not been corrected: - -p. 31 Schuster. - -p. 57 (note) May 23. 1827. - -p. 107 _Il Convivo_ - -p. 231 (for I am - -p. 263 an opera-- - - -Inconsistencies in spelling have otherwise been left as printed. They -include: - -a.m. and a. m. - -ballroom and ball-room - -contrabassist and contra-bassist - -contradances and contra-dances - -E-flat and E flat (etc.) - -Eleonore and Leonore - -footnote and foot-note - -Grossheim and Grosheim - -Harmoniemusik and Harmonie-Musik - -i.e. and i. e. - -Industrie-Comptoir and Industriecomptoir - -Intelligenzblatt and Intelligenz-Blatt - -lifelong and life-long - -Nazerl and Natzerl - -overhasty and over-hasty - -p.m. and p. m. - -passageway and passage-way - -Pergolesi and Pergolese - -rth., rthr., th. and thlr. - -subdeacon and sub-deacon - -textbook and text-book - -thoroughbass and thorough-bass - -today and to-day - -Tonkuenstler-Gesellschaft and Tonkuenstlergesellschaft - - - - - - - - - - -End of the Project Gutenberg EBook of The Life of Ludwig van Beethoven, -Volume I (of 3), by Alexander Wheelock Thayer - -*** END OF THIS PROJECT GUTENBERG EBOOK LIFE OF BEETHOVEN, VOL I *** - -***** This file should be named 43591.txt or 43591.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/5/9/43591/ - -Produced by Henry Flower and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/American Libraries and Google Print.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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