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diff --git a/43592-8.txt b/43592-8.txt deleted file mode 100644 index 539d928..0000000 --- a/43592-8.txt +++ /dev/null @@ -1,22118 +0,0 @@ -The Project Gutenberg EBook of The Life of Ludwig van Beethoven, Volume II -(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 II (of 3) - -Author: Alexander Wheelock Thayer - -Translator: Henry Edward Krehbiel - -Release Date: August 29, 2013 [EBook #43592] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK LIFE OF BEETHOVEN, VOL II *** - - - - -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 - -Bold text is indicated by ~tildes~, and italics by _underscores_. - - - - - THE LIFE OF LUDWIG VAN BEETHOVEN - VOLUME II - - - - -[Illustration] - -[Illustration: BEETHOVEN - -After Mähler's Portrait of 1804 - -From the copy in possession of Mrs. Jabez Fox] - - - - - 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 II - - 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. - - - - -Contents of Volume II - - - PAGE - - CHAPTER I. The Year 1803--Cherubini's Operas in Vienna - and Rivalry between Schikaneder and the Imperial - Theatres--Beethoven's Engagement at the Theater-an-der-Wien - --"Christus am Ölberg" again--Bridgetower - and the "Kreutzer" Sonata--Career of the - Violinist--Negotiations with Thomson for the Scottish - Songs--New Friends--Willibrord Mähler's Portrait of - Beethoven--Compositions of the Year--A Pianoforte - from Erard 1 - - CHAPTER II. The Year 1804--Schikaneder Sells His - Theatre and is then Dismissed from the Management-- - Beethoven's Contract Ended and Renewed by - Baron Braun--The "Sinfonia Eroica"--Prince Louis - Ferdinand of Prussia--Quarrel between Beethoven - and von Breuning--The "Waldstein" Sonata--Sonnleithner, - Treitschke and Gaveaux--Paër and His Opera - "Leonora"--"Fidelio" Begun--Beethoven's Growing - Popularity--Publications of the Year 22 - - CHAPTER III. The Year 1805--Schuppanzigh's First Quartet - Concerts--First Public Performance of the - "Eroica"--Pleyel--The Opera "Leonore," or "Fidelio"; - Jahn's Study of the Sketchbook--The Singers and the - Production--Vienna Abandoned by the Aristocracy as - French Advance--Röckel's Story of the Revision of the - Opera--Compositions and Publications of the Year 41 - - CHAPTER IV. The Year 1806--Repetitions of "Fidelio": - A Revision of the Book by von Breuning--Changes - in the Opera--The "Leonore" Overtures--A Second - Failure--Beethoven Withdraws the Opera from the - Theatre--Marriage of Karl Kaspar van Beethoven--A - Journey to Silesia--Beethoven Leaves Prince Lichnowsky's - Country-seat in Anger--George Thomson and - His Scottish Songs--Compositions and Publications of - the Year--The "Appassionata" Sonata and Rasoumowsky - Quartets--Reception of the Quartets in Russia and - England--The Concerto for Violin 57 - - CHAPTER V. Beethoven's Friends and Patrons in the - First Lustrum of the Nineteenth Century--Archduke - Rudolph, an Imperial Pupil--Count Andreas Rasoumowsky-- - Countess Erdödy--Baroness Ertmann--Marie - Bigot--Therese Malfatti--Nanette Streicher--Doctor - Zizius--Anecdotes 78 - - CHAPTER VI. Princes and Counts as Theatrical Directors: - Beethoven Appeals for an Appointment--Vain - Expectations--Subscription Concerts at Prince Lobkowitz's-- - The Symphony in B-flat--Overture to "Coriolan"--Contract - with Clementi--Errors in the Dates of Important Letters-- - The Mass in C--A Falling-out with Hummel--The "Leonore" - Overtures again--Performances of Beethoven's Works at the - "Liebhaber" Concerts--The Year 1807 98 - - CHAPTER VII. The Year 1808--Johann van Beethoven - Collects a Debt and Buys an Apothecary Shop in - Linz--Wilhelm Rust--Plans for New Operas--Sketches - for "Macbeth"--Imitative Music and the "Pastoral" - Symphony--Count Oppersdorff and the Fourth Symphony--A - Call to Cassel--Organization of Rasoumowsky's - Quartet--Appreciation of Beethoven in Vienna: - Disagreement with Orchestral Musicians--Mishaps at - the Performance of the Choral Fantasia 114 - - CHAPTER VIII. Jerome Bonaparte's Invitation--A New - Plan to Keep Beethoven in Vienna--The Annuity Contract-- - Ries's Disappointment--Farewell to Archduke - Rudolph in a Sonata--The Siege and Capitulation of - Vienna--Seyfried's "Studies"--Reissig's Songs--An - Abandoned Concert--Commission for Music to "Egmont"-- - Increased Cost of Living in Vienna--Dilatory - Debtors--Products of 1809 135 - - CHAPTER IX. The Years 1807-09: a Retrospect--Beethoven's - Intellectual Development and Attainments: Growth after - Emancipation from Domestic Cares--His Natural Disposition-- - Eager in Self-Instruction--Interest in Oriental Studies--His - Religious Beliefs--Attitude towards the Church 163 - - CHAPTER X. The Year 1810--Disappointing Decrease in - Productivity--The Music for "Egmont"--Money from - Clementi, and a Marriage Project--A New Infatuation - Prompts Attention to Dress--Therese Malfatti--Beethoven's - Relations with Bettina von Arnim--Her - Correspondence with Goethe--A Question of Authenticity - Discussed--Beethoven's Letter to Bettina--An - Active Year with the Publishers 170 - - CHAPTER XI. The Year 1811--Bettina von Arnim--The - Letters between Beethoven and Goethe--The Great - Trio in B-flat--Music for a New Theatre in Pesth: - "The Ruins of Athens" and "King Stephen"--Compositions - and Publications of the Year 196 - - CHAPTER XII. The Year 1812--Reduction of Income from - the Annuity--The Austrian "Finanzpatent"--Legal - Obligation of the Signers to the Agreement--First - Performance of the Pianoforte Concerto in E-flat--A - Second Visit to Teplitz--Beethoven and Goethe--Amalie - Sebald--Beethoven in Linz--He Drives His - Brother Johann into a Detested Marriage--Rode and - the Sonata Op. 96--Spohr--The Seventh and Eighth - Symphonies--Mälzel and His Metronome--A Canon - and the Allegretto of the Eighth Symphony 211 - - CHAPTER XIII. The Year 1813--Beethoven's Journal--Illness - of Karl Kaspar van Beethoven--He Requests - the Appointment of His Brother as Guardian of His - Son--Death of Prince Kinsky--Obligations under the - Annuity Agreement--Beethoven's Earnings--Mälzel - and "Wellington's Victory"--Battle Pieces and Their - Popularity--Postponement of the Projected Visit to - London--The Seventh Symphony--Spohr on Beethoven's - Conducting--Concerts, Compositions and Publications - of the Year 239 - - CHAPTER XIV. The Year 1814--Success of "Wellington's - Victory"--Umlauf Rescues a Performance--Revival - and Revision of "Fidelio"--Changes Made in the - Opera--Success Attained--The Eighth Symphony--Beethoven - Plays in the Great Trio in B-flat--Anton - Schindler Appears on the Scene--The Quarrel with - Mälzel--Legal Controversy and Compromise--Moscheles - and the Pianoforte Score of "Fidelio"--The Vienna Congress-- - Tribute from a Scottish Poet--Weissenbach--Tomaschek-- - Meyerbeer--Rasoumowsky's Palace Destroyed by Fire 261 - - CHAPTER XV. The Year 1815--New Opera Projects Considered-- - "Romulus and Remus"--Settlements with the Heirs of Prince - Kinsky--Unjust Aspersions on the Conduct of Kinsky and - Lobkowitz--"The Mount of Olives" in England--Negotiations with - English Publishers--Diabelli--Charles Neate--Death of Karl - Kaspar van Beethoven--His Wishes with regard to the - Guardianship of His Son--Growth of Beethoven's Intimacy - with Schindler--Compositions and Publications of the Year 304 - - CHAPTER XVI. The Year 1816--A Commission from the Gesellschaft - der Musikfreunde--Guardianship of Nephew - Karl--Giannatasio del Rio--Beethoven's Music in - London--The Philharmonic Society--Three Overtures - Composed, Bought and Discarded--Birchall and - Neate--The Erdödys--Fanny Giannatasio--"An die - ferne Geliebte"--Major-General Kyd--Accusations - against Neate--Letters to Sir George Smart--Anselm - Hüttenbrenner--The Year's Productions 329 - - CHAPTER XVII. The Year 1817--Beethoven and the - Public Journals of Vienna--Fanny Giannatasio's Journal-- - Extracts from Beethoven's "Tagebuch"--The - London Philharmonic Society again--Propositions Submitted - by Ries--Nephew Karl and His Mother--Beethoven's - Pedagogical Suggestions to Czerny--Cipriani - Potter--Marschner--Marie Pachler-Koschak--Another - Mysterious Passion--Beethoven and Mälzel's Metronome--An - Unproductive Year 358 - - CHAPTER XVIII. The Year 1818--Gift of a Pianoforte - from John Broadwood--The Composer Takes Personal - Charge of His Nephew--His Unfitness as Foster-father - and Guardian--Abandonment of His Projected Visit - to London--The Gesellschaft der Musikfreunde's - Oratorio--The Nephew and a Mother's Legal Struggle - for Possession of Her Son--The Case Reviewed--The - Predicate "van" and Beethoven's Nobility--Archduke - Rudolph Becomes Archbishop of Olmütz--Work on the - Mass in D, Ninth Symphony and Grand Trio in B-flat 390 - - - - -Chapter I - - The Year 1803--Cherubini's Operas in Vienna--Beethoven's Engagement - at the Theater-an-der-Wien--"Christus am Ölberg" again--Bridgetower - and the "Kreutzer" Sonata---Negotiations with Thomson--New - Friends--Mähler's Portrait of Beethoven. - - -Kotzebue, after a year of activity in Vienna as Alxinger's successor in -the direction, under the banker Baron von Braun, of the Court Theatre, -then a year of exile in Siberia (1800), whence he was recalled by that -semi-maniac Paul, who was moved thereto by the delight which the little -drama "Der Leibkutscher Peters III." had given him--then a short time -in Jena, where his antagonism to Goethe broke out into an open quarrel, -established himself in Berlin. There he began, with Garlieb Merkel -(1802), the publication of a polemical literary journal called the -"Freymüthige," Goethe, the Schlegels and their party being the objects -of their polemics. Spazier's "Zeitung für die Elegante Welt" (Leipsic) -was its leading opponent, until the establishment of a new literary -journal at Jena. - -At the beginning of 1803, Kotzebue was again in Vienna on his way to -Italy. Some citations from the "Freymüthige" of this time have an -especial value, as coming, beyond a doubt, from his pen. His position -in society, his knowledge from experience of theatrical affairs -in Vienna, his personal acquaintance with Beethoven and the other -persons mentioned, all combine to enable him to speak with authority. -An article in No. 58 (April 12) on the "Amusements of the Viennese -after Carnival," gives a peep into the salon-life of the capital, and -introduces to us divers matters of so much interest, as to excuse the -want of novelty in certain parts. - - ... Amateur concerts at which unconstrained pleasure prevails are - frequent. The beginning is usually made with a quartet by Haydn or - Mozart; then follows, let us say, an air by Salieri or Paër, then - a pianoforte piece with or without another instrument ~obbligato~, - and the concert closes as a rule with a chorus or something of - the kind from a favorite opera. The most excellent pianoforte - pieces that won admiration during the last carnival were a new - quintet[1] by Beethoven, clever, serious, full of deep significance - and character, but occasionally a little too glaring, here and - there ~Odensprünge~ in the manner of this master; then a quartet by - Anton Eberl, dedicated to the Empress, lighter in character, full - of fine yet profound invention, originality, fire and strength, - brilliant and imposing. Of all the musical compositions which have - appeared of late these are certainly two of the best. Beethoven has - for a short time past been engaged, at a considerable salary, by - the Theater-an-der-Wien, and will soon produce at that playhouse - an oratorio of his composition entitled "Christus am Ölberg." - Amongst the artists on the violin the most notable are Clement, - Schuppanzigh (who gives the concerts in the Augarten in the summer) - and Luigi Tomasini. Clement (Director of the orchestra an-der-Wien) - is an admirable concert player; Schuppanzigh performs quartets - very agreeably. Good dilettanti are Eppinger, Molitor and others. - Great artists on the pianoforte are Beethofen [~sic~], Hummel, - Madame Auernhammer and others. The famous Abbé Vogler is also here - at present, and plays fugues in particular with great precision, - although his rather heavy touch betrays the organist. Among the - amateurs Baroness Ertmann plays with amazing precision, clearness - and delicacy, and Fräulein Kurzbeck touches the keys with high - intelligence and deep feeling. Mesdames von Frank and Natorp, - formerly Gerardi and Sessi, are excellent singers. - -A few words may be added to this picture from other sources. Salieri's -duties being now confined to the sacred music of the Imperial Chapel, -Süssmayr being far gone in the consumption of which he died on Sept. -16 (of this year--1803), Conti retaining but the name of orchestral -director (he too died the next year), Liechtenstein and Weigl were now -the conductors of the Imperial Opera; Henneberg and Seyfried held the -same position under Schikaneder, as in the old house, so now in the new. - -Schuppanzigh's summer concerts in the Augarten, and Salieri's Widows -and Orphans concerts at Christmas and in Holy Week, were still the -only regular public ones. Vogler had come from Prague in December, and -Paër, who had removed to Dresden at Easter, 1802, was again in Vienna -to produce his cantata "Das Heilige Grab," at the Widows and Orphans -Concert. It was a period of dearth at Vienna in operatic composition. -At the Court Theatre Liechtenstein had failed disastrously; Weigl had -not been able to follow up the success of his "Corsär," and several -years more elapsed before he obtained a permanent name in musical -annals by his "Schweizerfamilie." Salieri's style had become too -familiar to all Vienna longer to possess the charms of freshness -and novelty. In the Theater-an-der-Wien, Teyber, Henneberg, Seyfried -and others composed to order and executed their work satisfactorily -enough--indeed, sometimes with decided, though fleeting, success. But -no new work, for some time past, composed to the order of either of -these theatres, had possessed such qualities as to secure a brilliant -and prolonged existence. From another source, however, a new, fresh and -powerful musical sensation had been experienced during the past year at -both: and in this wise: - -[Sidenote: CHERUBINI'S OPERAS IN VIENNA] - -Schikaneder produced, on the 23rd of March, a new opera which had -been very favorably received at Paris, called "Lodoiska," the music -composed "by a certain Cherubini." The applause gained by this opera -induced the Court Theatre to send for the score of another opera -by the same composer, and prepare it for production on the 14th of -August, under the title "Die Tage der Gefahr." Schikaneder, with -his usual shrewdness, meantime was secretly rehearsing the same -work, of which Seyfried in the beginning of July had made the then -long journey to Munich to obtain a copy, and on the 13th--one day -in advance of the rival stage--the musical public was surprised and -amused to see "announced on the bill-board of the Wiener Theater the -new opera 'Graf Armand, oder Die zwei unvergessliche Tage.'" In the -adaptation and performance of the work, each house had its points of -superiority and of inferiority; on the whole, there was little to -choose between them; the result in both was splendid. The rivalry -between the two stages became very spirited. The Court Theatre selected -from the new composer's other works the "Medea," and brought it out -November 6. Schikaneder followed, December 18, with "Der Bernardsberg" -("Elise"), "sadly mutilated." Twenty years later Beethoven attested -the ineffaceable impression which Cherubini's music had made upon him. -While the music of the new master was thus attracting and delighting -crowded audiences at both theatres, the wealthy and enterprising Baron -Braun went to Paris and entered into negotiations with Cherubini, which -resulted in his engagement to compose one or more operas for the Vienna -stage. Besides this "a large number of new theatrical representations -from Paris" were expected (in August, 1802) upon the Court stage. -"Baron Braun, who is expected to return from Paris, is bringing the -most excellent ballets and operas with him, all of which will be -performed here most carefully according to the taste of the French." -Thus the "Allg. Mus. Zeitung." - -These facts bring us to the most valuable and interesting notice -contained in the article from the "Freymüthige"--the earliest record of -Beethoven's engagement as composer for the Theater-an-der-Wien. - -Zitterbarth, the merchant with whose money the new edifice had -been built and put in successful operation, "who had no knowledge -of theatrical matters outside of the spoken drama," left the stage -direction entirely in the hands of Schikaneder. In the department -of opera that director had a most valuable assistant in Sebastian -Meier--the second husband of Mozart's sister-in-law, Mme. Hofer, the -original ~Queen of Night~--a man described by Castelli as a moderately -gifted bass singer, but a very good actor, and of the noblest and -most refined taste in vocal music, opera as well as oratorio; to whom -the praise is due of having induced Schikaneder to bring out so many -of the finest new French works, those of Cherubini included. It is -probable, therefore, that, just now, when Baron von Braun was reported -to have secured Cherubini for his theatre, and it became necessary -to discover some new means of keeping up a successful competition, -Meier's advice may have had no small weight with Schikaneder. Defeat -was certain unless the operas, attractive mainly from their scenery and -grotesque humor, founded upon the "Thousand and One Nights" and their -thousand and one imitations, and set to trivial and commonplace tunes, -should give place to others of a higher order, quickened by music more -serious, dignified and significant. - -Whether Abbé Georg Joseph Vogler was really a great and profound -musician, as C. M. von Weber, Gänsbacher and Meyerbeer held him to -be, or a charlatan, was a matter much disputed in those days, as the -same question in relation to certain living composers is in ours. -Whatever the truth was, by his polemical writings, his extraordinary -self-laudation, his high tone at the courts whither he had been called, -his monster concerts, and his almost unperformable works, he had made -himself an object of profound curiosity, to say the least. Moreover, -his music for the drama "Hermann von Staufen, oder das Vehmgericht," -performed October 3, 1801, at the Theater-an-der-Wien (if the same as -in "Hermann von Unna," as it doubtless was), was well fitted to awaken -confidence in his talents. His appearance in Vienna just now was, -therefore, a piece of good fortune for Schikaneder, who immediately -engaged him for his theatre. - -[Sidenote: ENGAGED TO COMPOSE AN OPERA] - -Whether Beethoven had talents for operatic composition, no one -could yet know; but his works had already spread to Paris, London, -Edinburgh, and had gained him the fame of being the greatest living -instrumental composer--Father Haydn of course excepted--and this much -might be accepted as certain: viz., that his name alone, like Vogler's, -would secure the theatre from pecuniary loss in the production of ~one~ -work; and, perhaps--who could foretell?--he might develop powers in -this new field which would raise him to the level of even Cherubini! He -was personally known to Schikaneder, having played in the old theatre, -and his "Prometheus" music was a success at the Court Theatre. So he, -too, was engaged. The correspondent of the "Zeitung für die Elegante -Welt" positively states, under date of June 29th: "Beethoven is -composing an opera by Schikaneder." There is nothing very improbable in -this, though circumstances intervened which prevented the execution of -such a project. Still the fact remains, that Schikaneder--that strange -compound of wit and absurdity; of poetic instinct and grotesque humor; -of shrewd and profitable enterprise and lavish prodigality; who lived -like a prince and died like a pauper--has connected his name honorably -with both Mozart and Beethoven. - -These plain and obvious facts have been so misrepresented as to -make it appear that this engagement of Beethoven was a grand stroke -of policy conceived and executed by Baron von Braun, who, at the -Theater-an-der-Wien ("newly built and to be opened in 1804"), had -suddenly become aware of a genius and talent, to which, notwithstanding -the "Prometheus" music, at the Imperial Opera, he had been oblivious -during the preceding ten years! The date of the transaction is a -sufficient confutation of this; as also of the notion that the success -of the "Christus am Ölberg" led to his engagement. On the contrary, -it was his engagement that enabled Beethoven to obtain the use of the -Theater-an-der-Wien to produce that work in a concert to which we now -come. - -The "Wiener Zeitung" of Saturday, March 26 and Wednesday, March 30, -1803, contained the following - -NOTICE - - On the 5th (not the 4th) of April, Herr Ludwig van Beethoven will - produce a new oratorio set to music by him, "Christus am Ölberg," - in the R. I. privil. Theater-an-der-Wien. The other pieces also to - be performed will be announced on the large bill-board. - -Beethoven must have felt no small confidence in the power of his name -to awaken the curiosity and interest of the musical public, for he -doubled the prices of the first chairs, tripled those of the reserved -and demanded 12 ducats (instead of 4 florins) for each box. But it was -his first public appearance as a dramatic vocal composer, and on his -posters he had several days before announced with much pomp that all -the works would be of his composition. The result, however, answered -his expectations, "for the concert yielded him 1800 florins." - -The works actually performed were the first and second Symphonies, -the Pianoforte Concerto in C minor and "Christus am Ölberg"; some -others, according to Ries, were intended, but, owing to the length -of the concert, which began at the early hour of six, were omitted -in the performance. As no copy of the printed programme has been -discovered, there is no means of deciding what these pieces were; -but the "Adelaide," the ~Scena et Aria~ "Ah, perfido!" and the trio -"Tremate, empj, tremate," suggest themselves, as vocal pieces well -fitted to break the monotony of such a mass of orchestral music. -It seems strange--knowing as we do Beethoven's vast talent for -improvisation--that no extempore performance is reported. - -"The symphonies and concertos," says Seyfried, "which Beethoven -produced for the first time (1803 and 1808) for his benefit at the -Theater-an-der-Wien, the oratorio, and the opera, I rehearsed according -to his instructions with the singers, conducted all the orchestral -rehearsals and personally conducted the performance."[2] - -The final general rehearsal was held in the theatre on the day of -performance, Tuesday, April 5. On that morning, as was often the -case when Beethoven needed assistance in his labors, young Ries was -called to him early--about 5 o'clock. "I found him in bed," says Ries, -"writing on separate sheets of paper. To my question what it was he -answered, 'Trombones.' At the concert the trombone parts were played -from these sheets. Had the copyist forgotten to copy these parts? -Were they an afterthought? I was too young at the time to observe the -artistic interest of the incident; but probably the trombones were an -afterthought, as Beethoven might as easily have had the ~uncopied parts -as the copied~." The correspondent of the "Zeitung für die Elegante -Welt" renders a probable solution of Ries's doubt easy. He found the -music to the "Christus" to be "on the whole good, and there are a few -admirable passages, an air of the ~Seraph~ with trombone accompaniment -in particular being of admirable effect." Beethoven had probably found -the aria "Erzittre, Erde" to fail of its intended effect, and added -the trombone on the morning of the final rehearsal, to be retained or -not as should prove advisable upon trial.[3] Ries continues: - -[Sidenote: PRODUCTION OF "THE MOUNT OF OLIVES"] - - The rehearsal began at 8 o'clock in the morning. It was a terrible - rehearsal, and at half after 2 everybody was exhausted and more - or less dissatisfied. Prince Karl Lichnowsky, who attended the - rehearsal from the beginning, had sent for bread and butter, cold - meat and wine in large baskets. He pleasantly asked all to help - themselves and this was done with both hands, the result being that - good nature was restored again. Then the Prince requested that the - oratorio be rehearsed once more from the beginning, so that it - might go well in the evening and Beethoven's first work in this - genre be worthily presented. And so the rehearsal began again. - -Seyfried in the article above quoted gives a reminiscence of this -concert: - - At the performance of the Concerto he asked me to turn the pages - for him; but--heaven help me!--that was easier said than done. I - saw almost nothing but empty leaves; at the most on one page or - the other a few Egyptian hieroglyphs wholly unintelligible to me - scribbled down to serve as clues for him; for he played nearly all - of the solo part from memory, since, as was so often the case, he - had not had time to put it all on paper.[4] He gave me a secret - glance whenever he was at the end of one of the invisible passages - and my scarcely concealable anxiety not to miss the decisive moment - amused him greatly and he laughed heartily at the jovial supper - which we ate afterwards. - -The impression made on reading the few contemporary notices of this -concert is that the new works produced were, on the whole, coldly -received. The short report (by Kotzebue?) in the "Freymüthige" said: - - Even our doughty Beethofen, whose oratorio "Christus am Ölberg" - was performed for the first time at surburban Theater-an-der-Wien, - was not altogether fortunate, and despite the efforts of his many - admirers was unable to achieve really marked approbation. True, - the two symphonies and single passages in the oratorio were voted - very beautiful, but the work in its entirety was too long, too - artificial in structure and lacking expressiveness, especially in - the vocal parts. The text, by F. X. Huber, seemed to have been as - superficially written as the music. But the concert brought 1800 - florins to Beethofen and he, as well as Abbé Vogler, has been - engaged for the theatre. He is to write one opera, Vogler three; - for this they are to receive 10 per cent. of the receipts at the - first ten performances, besides free lodgings. - -The writer in the "Allgemeine Musikalische Zeitung" alone speaks of -the "Christus" as having been received with "extraordinary approval." -Three months afterwards another correspondent flatly contradicts this: -"In the interest of truth," he writes, "I am obliged to contradict -a report in the 'Musikalische Zeitung'; Beethoven's cantata did not -please." To this Schindler remarks: "Even the composer agreed with -this to this extent--that in later years he unhesitatingly declared -that it had been a mistake to treat the part of ~Christ~ in the modern -vocal style. The abandonment of the work after the first performance, -as well as its tardy appearance in print (about 1810), permit us to -conclude that the author was not particularly satisfied with the manner -in which he had solved the problem, and that he probably made material -changes in the music." The "Wiener Zeitung" of July 30, 1803, gives -all the comment necessary on the "abandonment" and probable changes in -the work, by announcing that "the favorable reception" of the oratorio -had induced the Society of Amateur Concerts to resolve to repeat it on -August 4. Moreover, Sebastian Meier's concert of March 27, 1804, opened -with the second Symphony of Beethoven and closed with "Christus am -Ölberg," being its fourth performance in one year.[5] - -A few days after this public appearance we have a sight of Beethoven -again in private life. Dr. Joh. Th. Helm, the famous physician and -professor in Prague, then a young man just of the composer's age (he -was born December 11, 1770), accompanied Count Prichnowsky on a visit -to Vienna. On the morning of the 16th of April these two gentlemen -met Beethoven in the street, who, knowing the Count, invited them to -Schuppanzigh's, "where some of his pianoforte sonatas which Kleinhals -had transcribed as string quartets were to be rehearsed. We met," -writes Held, in his manuscript autobiography (the citations were -communicated to this work by Dr. Edmund Schebek of Prague) - - a number of the best musicians gathered together, such as the - violinists Krumbholz, Möser (of Berlin), the mulatto Bridgethauer, - who in London had been in the service of the then Prince of - Wales, also a Herr Schreiber and the 12 years' old[6] Kraft who - played second. Even then Beethoven's muse transported me to - higher regions, and the desire of all of these artists to have - our musical director Wenzel Praupner in Vienna confirmed me in - my opinion of the excellence of his conducting. Since then I have - often met Beethoven at concerts. His piquant conceits modified the - gloominess, I might say the lugubriousness, of his countenance. His - criticisms were very keen, as I learned most clearly at concerts of - the harpist Nadermann of Saxony and Mara, who was already getting - along in years. - -[Sidenote: BRIDGETOWER AND THE "KREUTZER SONATA"] - -The "Bridgethauer," mentioned by Held--whose incorrect writing of the -name conveys to the German its correct pronunciation--was the "American -ship captain who associated much with Beethoven" mentioned by Schindler -and his copyists. - -George Augustus Polgreen Bridgetower--a bright mulatto then 24 years -old, son of an African father and German or Polish mother, an applauded -public violinist in London at the age of ten years, and long in the -service, as musician, of the Prince of Wales, afterwards George IV--was -never in America and knew as much probably of a ship and the science of -navigation as ordinary shipmasters do of the violin and the mysteries -of musical counterpoint. In 1802 he obtained leave of absence to visit -his mother in Dresden and to use the waters of Teplitz and Carlsbad, -which leave was prolonged that he might spend a few months in Vienna. -His playing in public and private at Dresden had secured him such -favorable letters of introduction as gained him a most brilliant -reception in the highest musical circles of the Austrian capital, where -he arrived a few days before Held met him at Schuppanzigh's. Beethoven, -to whom he was introduced by Prince Lichnowsky, readily gave him aid -in a public concert. The date of the concert has not been determined -precisely; it was probably on May 24th. It has an interest on account -of Beethoven's connection with it; for the day of the concert was the -date of the completion and performance of the "Kreutzer" Sonata. - - The famous Sonata in A minor, Op. 47, with concertante violin, - dedicated to Rudolph Kreutzer in Paris [says Ries on page 82 of the - "Notizen"], was originally composed by Beethoven for Bridgetower, - an English artist. Here things did not go much better (Ries is - referring to the tardiness of the composition of the horn sonata - which Beethoven wrote for Punto), although a large part of the - first Allegro was ready at an early date. Bridgetower pressed - him greatly because the date of his concert had been set and he - wanted to study his part. One morning Beethoven summoned me at - half after 4 o'clock and said: "Copy the violin part of the first - Allegro quickly." (His ordinary copyist was otherwise engaged.) - The pianoforte part was noted down only here and there in parts. - Bridgetower had to play the marvellously beautiful theme and - variations in F from Beethoven's manuscript at the concert in the - Augarten at 8 o'clock in the morning because there was no time to - copy it. The final Allegro, however, was beautifully written, - since it originally belonged to the Sonata in A major (Op. 30), - which is dedicated to Czar Alexander. In its place Beethoven, - thinking it too brilliant for the A major Sonata, put the - variations which now form the finale.[7] - -Bridgetower was thoughtful enough to leave in his copy of the Sonata a -note upon that first performance of it, as follows: - - Relative to Beethoven's Op. 47. - - When I accompanied him in this Sonata-Concertante at Wien, at the - repetition of the first part of the Presto, I imitated the flight, - at the 18th bar, of the pianoforte of this movement thus: - - [Illustration: 1^{ma} volta - - 2^{da} volta] - - He jumped up, embraced me, saying: "Noch einmal, mein lieber - Bursch!" ("Once again, my dear boy!") Then he held the open pedal - during this flight, the chord of C as at the ninth bar. - - Beethoven's expression in the Andante was so chaste, which always - characterized the performance of all his ~slow movements~, that it - was unanimously hailed to be repeated twice. - - George Polgreen Bridgetower. - -[Sidenote: THE CAREER OF BRIDGETOWER] - -Bridgetower was mentioned in a letter from Beethoven to Baron von -Wetzlar, in this language, under date May 18: - - Although we have never addressed each other I do not hesitate - to recommend to you the bearer, Mr. Brishdower, a very capable - virtuoso who has a complete command of his instrument. - - Besides his concertos he plays quartets admirably. I greatly - wish that you make him known to others. He has commended himself - favorably to Lobkowitz and Fries and all other eminent lovers (of - music). - - I think it would be not at all a bad idea if you were to take him - for an evening to Therese Schönfeld, where I know many friends - assemble and at your house. I know that you will thank me for - having made you acquainted with him. - -Bridgetower, when advanced in years, talking with Mr. Thirlwall about -Beethoven, told him that at the time the Sonata, Op. 47, was composed, -he and the composer were constant companions, and that the first copy -bore a dedication to him; but before he departed from Vienna they had a -quarrel about a girl, and Beethoven then dedicated the work to Rudolph -Kreutzer.[8] - -[Sidenote: SUMMER LODGINGS AT DÖBLING] - -When Beethoven removed from the house "am Peter" to the theatre -building, he took his brother Karl (Kaspar) to live with him,[9] as -twenty years later he gave a room to his ~factotum~ Schindler. This -change of lodgings took place, according to Seyfried, before the -concert of April 5--which is confirmed by the brother's new address -being contained in the "Staats-Schematismus" for 1803--that annual -publication being usually ready for distribution in April.[10] At the -beginning of the warm season Beethoven, as was his annual custom, -appears to have passed some weeks in Baden to refresh himself and -revive his energies after the irregular, exciting and fatiguing city -life of the winter, before retiring to the summer lodgings, whose -position he describes in a note to Ries ("Notizen," p. 128) as "in -Oberdöbling No. 4, the street to the left where you go down the -mountain to Heiligenstadt." - -The Herrengasse is still "die Strasse links" at the extremity of the -village, as it was then; but the multiplication of houses and the -change in their numbers render it uncertain which in those days bore -the number 4. At all events it had, in 1803, gardens, vineyards or -green fields both in front and rear. True, it was half an hour's walk -farther than from Heiligenstadt to the scenes in which he had composed -the second Symphony, the preceding summer; but, to compensate for this, -it was so much nearer the city--was in the more immediate vicinity -of that arm of the Danube called the "Canal"--and almost under its -windows was the gorge of the Krottenbach, which separates Döbling from -Heiligenstadt, and which, as it extends inland from the river, spreads -into a fine vale, then very solitary and still very beautiful. This -was the house, this the summer, and these the scenes, in which the -composer wrought out the conceptions that during the past five years -had been assuming form and consistency in his mind, to which Bernadotte -may have given the original impulse, and which we know as the "Heroic -Symphony."[11] - -Let us turn to Stephan von Breuning and a new friend or two. Archduke -Karl, by a commission dated January 9, 1801, had been made Chief -of the "Staats- und Konferenzial-Departement für das Kriegs- und -Marine-Wesen," and retained the position still, notwithstanding his -assumption of the functions of Hoch- und Deutsch-Meister. He undertook -to introduce a wide-reaching reform at the War Department, which -demanded an increase in the number of Secretaries and scriveners. -Stephan von Breuning is the second in the list of five appointed in -1804, Ignatz von Gleichenstein the fifth. It is believed, that the -Archduke had discovered the fine business talents, the zeal in the -discharge of duty and the perfect trustworthiness of Breuning at the -Teutonic House, and that at his special invitation the young man this -year exchanged the service of the Order for that of the State. There -is abundant evidence, that the young Rhinelanders then in Vienna were -bound to each other by more than the usual ties: most of them were -fugitives from French tyranny, and liable to conscription if found in -the places of their birth, though this was not the case with Breuning. -There was, in addition to the ordinary feeling of nationality, a common -sense of exile to unite them. Between Breuning and Gleichenstein -therefore--two amiable and talented young men thus thrown into daily -intercourse--an immediate and warm friendship would naturally spring -up; and an introduction of the latter to Breuning's friend Beethoven -would inevitably follow, in case they had not known each other in the -old Bonn days. - -[Sidenote: ASSOCIATION WITH W. J. MÄHLER] - -Another young Rhinelander, to whom Beethoven became much attached, -and who returned the kindness with warm affection for him personally -and a boundless admiration for his genius, became known to the -composer also just at this time. Willibrord Joseph Mähler, a native of -Coblentz--who died in 1860, at the age of 82 years, as pensioned Court -Secretary--was a man of remarkably varied artistic talents, by which, -however, since he cultivated them only as a dilettante and without -confining himself to any one art, he achieved no great distinction. -He wrote respectable poetry and set it to correct and not unpleasing -music; sang well enough to be recorded in Boeckh's "Merkwürdigkeiten -der Haupt- und Residenz-Stadt Wien" (1823) as "amateur singer," and -painted sufficiently well to be named, on another page of Boeckh, -"amateur portrait painter." He painted that portrait of the composer, -about 1804-5, which is still in possession of the Beethoven family, and -a second 1814-15--(Mr. Mähler could not recall the precise date)--once -owned by Prof. Karajan. Several of the portraits now in possession of -the Gesellschaft der Musikfreunde in Vienna are from his pencil; but -two or three of the very best specimens of his skill have been sold to -a gentleman in Boston, U.S.A.[12] - -Soon after Beethoven returned from his summer lodgings to his apartment -in the theatre building, Mähler, who had then recently arrived in -Vienna, was taken by Breuning thither to be introduced. They found -him busily at work finishing the "Heroic Symphony." After some -conversation, at the desire of Mähler to hear him play, Beethoven, -instead of beginning an extempore performance, gave his visitors the -finale of the new Symphony; but at its close, without a pause, he -continued in free fantasia for ~two hours~, "during all which time," -said Mr. Mähler to the present writer, "there was not a measure which -was faulty, or which did not sound original." He added, that one -circumstance attracted his particular notice; viz.: "that Beethoven -played with his hands so very still; wonderful as his execution was, -there was no tossing of them to and fro, up and down; they seemed to -glide right and left over the keys, the fingers alone doing the work." -To Mr. Mähler, as to most others who have recorded their impressions of -Beethoven's improvisations, they were the ~non plus ultra~ of the art. - -There was, however, be it noted in passing, a class of good musicians, -small in number and exceptional in taste, who, precisely at this time, -had discovered a rival to Beethoven, in this his own special field. -Thus Gänsbacher writes, as cited by Frölich in his "Biographie Voglers": - - Sonnleithner gave a musical soirée in honor of Vogler and invited - Beethoven among others. Vogler improvised at the pianoforte on a - theme given to him by Beethoven, 4-1/2 measures long, first an - Adagio and then fugued. Vogler then gave Beethoven a theme of - three measures (the scale of C major, ~alla breve~). Beethoven's - excellent pianoforte playing, combined with an abundance of the - most beautiful thoughts, surprised me beyond measure, but could - not stir up the enthusiasm in me which had been inspired by - Vogler's learned playing, which was beyond parallel in respect of - its harmonic and contrapuntal treatment. - -An undated note of Beethoven, to Mähler, which belongs to a somewhat -later period--since its date is not ascertainable nor of much -importance--may be inserted here, as an introduction to Mr. Mähler's -remarks upon the portrait to which it refers: - - I beg of you to return my portrait to me as soon as you have made - sufficient use of it--if you need it longer I beg of you at least - to make haste--I have promised the portrait to a lady, a stranger - who saw it here, that she may hang it in her room during her stay - of several weeks. Who can withstand such charming importunities, as - a matter of course a portion of the lovely favors ~which I shall - thus garner~ will also fall to ~you~. - -To the question what picture is here referred to, Mr. Mähler replied -in substance: "It was a portrait, which I painted soon after coming -to Vienna, in which Beethoven is represented, at nearly full length, -sitting; the left hand rests upon a lyre, the right is extended, as -if, in a moment of musical enthusiasm, he was beating time; in the -background is a temple of Apollo. Oh! If I could but know what became -of the picture!" - -"What!" was the answer, to the great satisfaction of the old gentleman, -"the picture is hanging at this moment in the home of Madame van -Beethoven, widow, in the Josephstadt, and I have a copy of it."[13] - -The extended right hand--though, like the rest of the picture, not very -artistically executed--was evidently painted with care. It is rather -broad for the length, is muscular and nervous, as the hand of a great -pianist necessarily grows through much practice; but, on the whole, is -neatly formed and well proportioned. Anatomically, it corresponds so -perfectly with all the authentic descriptions of Beethoven's person, -that this alone proves it to have been copied from nature and not drawn -after the painter's fancy. Whoever saw a long, delicate hand with -fingers exquisitely tapering, like Mendelssohn's, joined to the short -stout muscular figure of a Beethoven or a Schubert? - -A few of Beethoven's letters belonging to this period must be -introduced here. The first, dated September 22, 1803, addressed to -Hoffmeister, is as follows: - - Herewith I declare all the works concerning which you have written - to me to be your property; the list of them will be copied again - and sent to you signed by me as your confessed property. I also - agree to the price, 50 ducats. Does this satisfy you? - - Perhaps I may be able to send you instead of the variations for - violin and violoncello ~a set of variations for four hands~ on a - song of mine with which you will also have to print the poem by - Goethe, as I wrote these variations in an album as a souvenir and - consider them better than the others; are you content? - - The ~transcriptions~ are not by me, but I revised them and improved - them in part, therefore do not come along with an announcement that - I had arranged them, because if you do you will lie, and, I haven't - either time or patience for such work. Are you agreed? - - Now farewell, I can wish you only large success, and I would - willingly give you everything as a gift if it were possible for - me thus to get through the world, but--consider, everything about - me has an official appointment and knows what he has to live on, - but, good God, where at the Imperial Court is there a place for a - ~parvum talentum com ego~? - -[Sidenote: CORRESPONDENCE WITH GEORGE THOMSON] - -In this year began the correspondence with Thomson. George Thomson, -a Scotch gentleman (born March 4, 1757, at Limekilns, Dunfermline, -died at Leith, February 18, 1851), distinguished himself by tastes and -acquirements which led to his appointment, when still a young man, -as "Secretary to the Board of Trustees for the Encouragement of Arts -and Manufactures in Scotland"--a Board established at the time of the -Union of the Kingdoms, 1707 (not the Crowns, 1603), of England and -Scotland--an office from which he retired upon a full pension after -a service of fifty years. He was, especially, a promoter of all good -music and an earnest reviver of ancient Scotch melody. As one means -of improving the public taste and at the same time of giving currency -to Scotch national airs, he had published sonatas with such melodies -for themes, composed for him by Pleyel in Paris, and Kozeluch in -Vienna---two instrumental composers enjoying then a European reputation -now difficult to appreciate. The fame of the new composer at Vienna -having now reached Edinburgh, Thomson applied to him for works of -a like character. Only the signature of the reply seems to be in -Beethoven's hand: - - A Monsieur - George Thomson, Nr. 28 York Place - Edinburgh. North Britain - Vienna le 5. 8^{bre} 1803. - - Monsieur! - - J'ai reçu avec bien de plaisir votre lettre du 20 Juillet. Entrant - volontiers dans vos propositions je dois vous declarer que je suis - prêt de composer pour vous six sonates telles que vous les desirez - y introduisant même les airs ecossais d'une manière laquelle la - nation Ecossaise trouvera la plus favorable et le plus d'accord - avec le genie de ses chansons. Quant au honoraire je crois que - trois cent ducats pour six sonates ne sera pas trop, vu qu'en - Allemagne on me donne autant pour pareil nombre de sonates même - sans accompagnement. - - Je vous previens en même tems que vous devez accelerer votre - declaration, par ce qu'on me propose tant d'engagements qu'après - quelque tems je ne saurois peutêtre aussitôt satisfaire à vos - demandes.--Je vous prie de me pardonner, que cette reponse est si - retardée ce qui n'a été causée que par mon sejour à la campagne et - plusieurs occupations tres pressantes.--Aimant de preference les - airs eccossais je me plairai particulierement dans la composition - de vos sonates, et j'ose avancer que si nos interêts s'accorderront - sur le honoraire, vous serez parfaitement contenté. - - Agréez les assurances de mon estime distingué. - - Louis van Beethoven. - -Mr. Thomson's endorsement of this letter is this: - - 50 D. 1803. Louis van Beethoven, Vienna, demands 300 ducats for - composing six Sonatas for me. Replied 8th Nov. that I would give no - more than 150, taking 3 of the Sonatas when ready and the other 3 - in six months after; giving him leave to publish in Germany on his - own account, the day after publication in London. - -The sonatas were never composed. Not long afterwards, on October -22, Beethoven, enraged at efforts to reprint his works, issued the -following characteristic fulmination in large type, filling an entire -page of the journal: - - WARNING. - - Herr Carl Zulehner, a reprinter at Mayence, has announced an - edition of all my works for pianoforte and string instruments. I - hold it to be my duty hereby publicly to inform all friends of - music that I have not the slightest part in this edition. I should - not have offered to make a collection of my works, a proceeding - which I hold to be premature at the best, without first consulting - with the publishers and caring for the correctness which is wanting - in some of the individual publications. Moreover, I wish to call - attention to the fact that the illicit edition in question can - never be complete, inasmuch as some new works will soon appear - in Paris, which Herr Zulehner, as a French subject, will not be - permitted to reprint. I shall soon make full announcement of a - collection of my works to be made under my supervision and after a - severe revision.[14] - -[Sidenote: MEISSNER'S ORATORIO TEXT REJECTED] - -Alexander Macco, the painter, after executing a portrait of the Queen -of Prussia, in 1801, which caused much discussion in the public press -but secured to him a pension of 100 thalers, went from Berlin to -Dresden, Prague, and, in the summer of 1802, to Vienna. Here he became -a great admirer of Beethoven, both as man and artist, and claimed -and enjoyed so much of his society as the state of his mind and body -would allow him to grant to any stranger. Macco remained but a few -months here and then returned to Prague, whence he wrote the next year -offering to Beethoven for composition an oratorio text by Prof. A. G. -Meissner--a name just then well known in musical circles because of -the publication of the first volume of the biography of Kapellmeister -Naumann. If Meissner had not removed from Prague to Fulda in 1805, and -if Europe had remained at peace, perhaps Beethoven might, two or three -years later, have availed himself of the offer; just now he felt bound -to decline it, which he did in a letter dated November 2, 1803. In it -he said: - - I am sorry, too, that I could not be oftener with you in Vienna, - but there are periods in human life which have to be overcome - and often they are not looked upon from the right point of view, - it appears that as a great artist you are not wholly unfamiliar - with such, and so--I have not, as I observe, lost your good will, - of which fact I am glad because I esteem you highly and wish - that I might have such an artist ~in my profession~ to associate - with. Meissner's proposal is very welcome, nothing could be more - desirable than to receive such a poem from him, who is so highly - honored as a writer and who understands musical poetry better than - any other German author, but at present it is impossible for me to - write this oratorio because I am just ~beginning my opera~ which, - together with the performance, may occupy me ~till Easter~--if - Meissner is not in a hurry to publish his poem I should be glad - if he were to leave the composition of it to me, and if the poem - is not completed I wish he would not hurry it, since before or - after Easter I would come to Prague and let him hear some of my - compositions, which would make him more familiar with my manner of - writing, and either--inspire him further--or perhaps, make him stop - altogether, etc. - -Was, then, the correspondent of the "Zeitung für die Elegante Welt" -right? Had Beethoven really received one of Schikaneder's heroic texts? -This much is certain: that in the words "because I am just beginning -my opera," no reference is made to the "Leonore" ("Fidelio"). They may -only express his expectation of beginning such a work immediately; -or they may refer to one already begun, of which a fragment has -been preserved. In Rubric II of the sale catalogue of Beethoven's -manuscripts and music, No. 67, is a "vocal piece with orchestra, -complete, but not entirely orchestrated." It is an operatic trio[15]; -the dramatis personæ are ~Porus~, ~Volivia~, ~Sartagones~; the -handwriting is that of this part of the composer's life; and the music -is the basis of the subsequent grand duet in "Fidelio," "O namenlose -Freude." The temptation is strong to believe that Schikaneder had -given Beethoven another "Alexander," the scenes laid in India--a -supplement to that with which his new theatre had been opened two years -before. However this was, circumstances occurred, which prevented its -completion, or indeed the composition by Beethoven of any text prepared -by Schikaneder. - -The compositions which may safely be dated 1803, are few in -comparison with those of 1802. The works published in the course -of the year were the two Pianoforte Sonatas, Op. 31, Nos. 1 and -2 (in Nägeli's "Répertoire des Clavecinistes"); the three Violin -Sonatas, Op. 30 (Industrie-Comptoir); the two sets of Variations, -Op. 34 and 35 (Breitkopf and Härtel); the seven Bagatelles, Op. 33 -(Industrie-Comptoir); the Romanza in G for Violin, Op. 40 (Hoffmeister -and Kühnel); the arrangement for Pianoforte and Flute (or Violin) -Op. 41 of the Serenade (Op. 25), which was not made by Beethoven but -examined by him and "corrected in parts" (Hoffmeister and Kühnel); -the two Preludes for Pianoforte, Op. 39 (Hoffmeister and Kühnel); two -songs, "La Partenza" and "Ich liebe dich" (Traeg); a song, "Das Glück -der Freundschaft," Op. 88 (Löschenkerl in Vienna and Simrock in Bonn), -of which Nottebohm found a sketch amongst the sketches for the "Eroica" -Symphony in the book used in 1803 and which, therefore, though it may -have been an early work, was probably rewritten in 1803; and the six -Sacred Songs by Gellert, dedicated to Count Browne (Artaria). The two -great works of the year were the "Kreutzer" Sonata for Violin and the -"Sinfonia Eroica." The title of the former, "Sonata per il Pianoforte -ed un Violino obligato in uno stilo (~stile~) molto concertante quasi -come d'un Concerto," is found on the inner side of the last sheet of -the sketchbook of 1803 described by Nottebohm. Beethoven wrote the -word "brillante" after "stilo" but scratched it out. It is obvious -that he wished to emphasize the difference between this Sonata and its -predecessors. Simrock's tardiness in publishing the Sonata annoyed -Beethoven. He became impatient and wrote to the publisher as follows, -under date of October 4, 1804: - -[Sidenote: KREUTZER AND HIS SONATA] - - Dear, best Herr Simrock, I have been waiting with longing for the - Sonata which I gave you--but in vain--please write me what the - condition of affairs is concerning it--whether or not you accepted - it from me merely as food for moths--or do you wish to obtain a - special Imperial ~privilegium~ in connection with it?--well it - seems to me that might have been accomplished long ago.--Where in - hiding is this slow devil--who is to drive out the sonata--you are - generally the quick devil, are known as Faust once was as being in - league with the imp of darkness and for this reason you are ~loved~ - by your ~comrades~; but again--where in hiding is your devil--or - what kind of a devil is it that sits on my sonata and with whom - ~you~ have a misunderstanding?--Hurry, then, and tell me when I - shall see the sonata given to the light of day--when you have told - me the date I will at once send a little note to Kreutzer, which - you will please be kind enough to enclose when you send a copy (as - you in any event will send your copies to Paris or even, perhaps, - have them printed there)--~this Kreutzer is a dear, good fellow~ - who during his stay here[16] gave me much pleasure. I prefer his - unassuming manner and unaffectedness to all the ~Extérieur~ or - ~intérieur~ of all the virtuosi--as the sonata is written for a - thoroughly capable violinist, the dedication to him is all the - more appropriate--although we correspond with each other (i. e., - a letter from me once a year)--I hope he will not have learned - anything about it.... - -As a proof of the growing appreciation of Beethoven in foreign lands it -may be remarked here that in the summer of 1803 he received an Erard -pianoforte as a gift from the celebrated Parisian maker. The instrument -belongs to the museum at Linz and used to bear an inscription, on the -authority of Beethoven's brother Johann, that it was given to the -composer by the city of Paris in 1804. The archives of the Erard firm -show, however, that on the 18th of Thermidor, in the XIth year of the -Republic (1803), Sébastien Erard made a present of "un piano forme -clavecin" to Ludwig van Beethoven in Vienna. - -FOOTNOTES: - -[1] Probably the Quintet for Pianoforte and Wind-Instruments, Op. 16, -published in March, 1801. - -[2] "Cäcilia." IX, p. 219. - -[3] The English editor of this biography found trombone parts written -out by Beethoven among Mr. Thayer's posthumous papers; they belonged -to the Trio in the Scherzo of the Ninth Symphony, and Beethoven's -instructions to the copyist where to introduce them in the score -plainly showed that they were an afterthought. - -[4] It was not the case this time, for the manuscript of this Concerto -bears in the composer's hand the date "1800." - -[5] In a Conversation Book from the year 1825, Holz writes that till -then "Christus am Ölberg" had always drawn full houses, but that the -court official in charge of musical affairs (~Hofmusikgraf~) had not -allowed further performances to be given. - -[6] Anton Kraft was 14-1/2 years old at the time. - -[7] The following observation on the sonata by Czerny is also -interesting: "In the Sonata written for Bridgetower and dedicated to -Kreutzer, Op. 47 (of which the first movement was composed in four -days and the other two [?] added from a sonata already completed), the -concluding passage - -[Illustration] - -is said to be borrowed from a piece of Kreutzer's already in print. I -had this assurance immediately after the publication of the Beethoven -Sonata from a French musician (1805). It would be worth while to -investigate the matter. Perhaps therein lies the reason of its -dedication." And further: "Bridgetower was a mulatto and played very -extravagantly; when he played the sonata with Beethoven it was laughed -at." - -[8] Letters and other documents, some of which were placed in Mr. -Thayer's hands by Samuel Appleby, Esq., relative to Bridgetower, are -printed in an appendix to Vol. II of the first German edition of -this biography and as foot-notes and otherwise in Vol. III. What is -essential in the memoranda and documents can be put into a much smaller -compass. The subscription for the concert amounted to 1140 florins and -the list was headed by the English envoy. Bridgetower's father was -known in England as the "Abyssinian Prince," and Mr. Thayer speculates -whether the title was genuine or but a sobriquet given to him suggested -by Dr. Johnson's "Rasselas"; but it will appear presently that he was -called an "African Prince," not an Abyssinian; how his father got to -Biala in Poland, where Bridgetower was born, or whether his mother was -a German or a Pole, remains a mystery which has not yet been cleared -up. The first memorandum of information in Mr. Thayer's collection was -in the shape of an excerpt from a communication from London written by -Abt Vogler and printed in Bossler's "Musikalische Correspondenz" on -July 7, 1790. Abt Vogler's letter bears date London, June 6, 1790; in -it he said: - -"Last Wednesday, June 2nd, I attended a concert here in Hanover Square -where two young heroes contested with each other on the violin and -all music-lovers and cognoscenti found most agreeable entertainment -for three hours. The two played concertos alternately and both won -the warmest applause. The quartet, however, which was played by young -virtuosi whose combined ages did not reach 40 years, by virtue of a -fine, cheerful, witty and yet harmonious performance exceeded all the -expectations that experienced players could gratify. The first violin -was played by Clement of Vienna, eight and one-half, the second by -Bridgetower of Africa, ten years of age." - -The Prince of Wales, afterwards King George IV, took the youth into his -service as first violinist in the Pavilion at Brighton. The next piece -of information which reached Thayer told of Bridgetower's first concert -in Dresden on July 24, 1802. A second concert was given on March 18, -1803, at which a brother of the violinist, who played the violoncello, -took part. A letter from Friedrich Lindemann, a member of the Prince of -Wales's orchestra, dated January 14, 1803, contained the information -that a letter of Bridgetower's forwarded to Brighton by a certain -"Billy" Cole had been placed in the hands of the Prince, who read it at -once, appeared to be highly satisfied, and granted the writer's request -to be permitted to go to Vienna. Thayer did not learn the dates of -Bridgetower's birth or death, but Dr. Riemann in his revision of the -second Volume says that he died "between 1840 and 1850." This is an -error. - -In the May number for 1908 of "The Musical Times" (London) Mr. F. G. -Edwards printed the results of an investigation into Bridgetower's -life, and provided some new and definite information from a collection -of letters and documents in the possession of Arthur F. Hill, -F.S.A. From this article it appears that Bridgetower was a pupil of -Barthélemon, Giornovichi, Thomas Attwood and--as he claimed--Haydn. -If he really was a pupil of Haydn, he must, as Mr. Edwards pointed -out, have been in the neighborhood of Vienna before he had completed -his tenth year. To this the present writer adds that if he had been -a pupil of Haydn's the latter would not have omitted his name in the -list of names which he made of the London musicians on his first visit -to the English metropolis, for he included "Clement ~petit~," who was -then between ten and eleven years old. (See, "Music and Manners in -the Classical Period," by H. E. Krehbiel, p. 77.) He made his first -public appearance in Paris at a Concert Spirituel on April 13, 1789. -In the announcement of this concert he was described as "Mr. Georges -Bridgetower, né aux colonies anglaises, âgé de 9 ans." (Yet his -passport issued by the police authorities, gives Biala in Poland as his -birthplace.) A concert for his benefit was given on May 27, 1789, at -the Salle du Panthéon. Soon thereafter he crossed the channel and, if -his father is to be believed, he played for the first time in England -before George III and his court at Windsor Castle. Next he appears at -Bath, the "Morning Post" of November 25, 1789, reporting "Amongst those -added to the Sunday promenade were the African Prince in the Turkish -attire. The son of this African Prince has been celebrated as a very -accomplished musician." The same newspaper, on December 8, a fortnight -later, tells of a concert given on the Saturday morning immediately -preceding the publication which was "more crowded and splendid than has -ever been known at this place, upwards of 550 people being present. -Rauzzini was enraptured, and declared that he had never heard such -execution before, even from his friend La Motte, who was, he thought, -much inferior to this wonderful boy. The father was in the gallery, and -so affected by the applause bestowed on his son, that tears of pleasure -and gratitude flowed in profusion." - -It would seem as if the modern methods of advertising musical artists -is far behind the old in the impudent display of charlantanry. The -plain "Georges" of the first Paris concert, the later George Polgreen, -in the announcement of his first concert in Bath becomes George -Augustus Frederick. Why? The Christian name of the Prince of Wales was -George Augustus Frederick. In this announcement he is described as "a -youth of Ten Years old, Pupil of the celebrated HAYDN." The newspapers -were amiable or gullible, or both. - -The lad played a concerto between "the 2d and 3d Acts" of "The Messiah" -at a performance of Handel's oratorio given for the benefit of Rauzzini -on Christmas eve of the same year. He gave a concert in Bristol on -December 18, 1789, leading the band "with the coolness and spirit -of a Cramer to the astonishment and delight of all present," and on -New Year's day, 1790. Next he went to London, where, at Drury Lane -Theatre on February 19, 1790, he played a solo at a performance of -"The Messiah." Referring to the Lenten concerts of that year, Parke -says in his "Musical Memoirs": "Concertos were performed on the oboe -by me and on the violin for the first time by Master Bridgetower, son -of an African Prince, who was attended by his father habited in the -costume of his country." The concert described by Abt Vogler was under -the patronage of the Prince of Wales. At the Handel Commemoration of -1791 in Westminster Abbey, Bridgetower and Hummel, in scarlet coats, -sat on either side of Joah Bates at the organ and pulled out the stops -for him. He played in the orchestra at the Haydn-Salomon concerts in -1791, at several of the Lenten concerts in the King's Theatre in 1792, -and on May 28 he performed a concerto by Viotti at Mr. Barthélemon's -concert, the announcement stating that "Dr. Haydn will preside at the -pianoforte." (Haydn's note-book contains no mention of the concert, -which would in likelihood have been the case had Bridgetower ever been -his pupil.) He was plainly on terms of intimacy with such musicians as -Viotti, François Cramer, Attwood, and later of Samuel Wesley, who wrote -of him in a tone of enthusiastic appreciation. - -In 1802, being then in the Prince of Wales's band at Brighton, he -obtained leave, as Thayer notes, to visit Dresden and take the baths -at Teplitz and Carlsbad; eventually, too, as we have seen, to visit -Vienna. The passport issued to him in Vienna for his return to London -described him as "a musician, native of Poland, aged 24 years, medium -height, clean shaven, dark brown hair, brown eyes and straight, rather -broad nose." He seems to have become a resident of London and to have -continued in favor with musical and other notables for a considerable -space, for Dr. Crotch asks his aid in securing the patronage of the -Prince Regent for a concert. - -He received the degree of Bachelor of Music, on presentation of the -usual exercise, from the University of Cambridge in 1811. There follow -some years during which his life remains obscure, but in which he lived -on the Continent. He was in Rome in 1825 and 1827; back in London in -1843, when Vincent Novello sent him a letter which he signed "your -much obliged old pupil and professional admirer." John Ella met him in -Vienna in 1845, but he was again in London in 1846, and there he died, -apparently friendless and in poverty, on February 29, 1860. In the -registry of his death, discovered by Mr. Edwards, his age is set down -as 78 years; but he must have been eighty if he was nine when he played -at the first concert in Paris in 1789. He was born either in 1779 or -1780. He published some pianoforte studies in 1812 under the title -"Diatonica Armonica" which, with a few other printed pieces, are to be -found in the British Museum. A ballad entitled "Henry," which was "Sung -by Miss Feron and dedicated with permission to Her Royal Highness the -Princess of Wales," was evidently composed in 1810. - -[9] "Hr. Karl v. Beethoven lives auf-der-Wien 26." -"Staats-Schematismus," 1803, p. 150; and ~ibid.~ 1804, p. 154. "Hr. -Ludwig van Beethofen, auf-der-Wien 26."--See "Auskunftsbuch," 1804, -p. 204. "An-der-Wien, No. 26. Bartolomä Zitterbarth, K. K. Prin. -Schauspielhaus."--See "Vollständiges Verzeichniss aller ... der -numerirten Häuser, deren Eigenthümer," etc., etc., Wien, 1804, p. 133. - -[10] A letter printed in 1909 by Leopold Schmidt in his collection -from the archives of the Simrock firm, confirms the change of lodgings -to the theatre and also brother Karl's activity as correspondent -and arranger. In it he offers a grand Sonata for violin, to appear -simultaneously in London, Leipsic, Vienna and Bonn, for 30 florins; -a grand Symphony for 400 florins. When the "Kreutzer" Sonata was -published (it was announced by Träg on May 18, 1805) Karl acknowledged -the receipt of a copy in a letter to Simrock, adding that all the other -publishers sent six copies of the works printed by them and asking for -the remaining five. Simrock took him to task rather sharply for what -he considered a piece of presumption, in a letter which he enclosed to -Ferdinand Ries with the statement that he might read it if he wanted -to. "I bought the Sonata of Louis van Beethoven," says the indignant -publisher, "and in his letter concerning it there is not a word about -giving him six copies in addition to the fees--a matter important -enough to have been mentioned; I was under the impression that Louis -van Beethoven composed his own works; what I am certain of is that -I have fully complied with all the conditions of the contract and -am indebted to nobody." In the note to Ries he calls Karl's conduct -"impertinent and deserving of a harsher treatment, for Herr Karl seems -to me incorrigible." - -[11] Thayer considered the "first street to the left" to be the -Herrengasse. J. Böck (Gnadenau) argued in "Die Musik." Vol. II, No. -6, that the house in which the "Eroica" was composed was the present -Hauptstrasse No. 92 of Döbling and bore the old No. 4 of the Hofzeile. -In 1890 the owner of the house and the Männergesangsverein of Döbling -placed a tablet on the "Eroica" house, whose occupants "were still in -possession of a tradition concerning Beethoven's occupation of it." So -says Dr. Riemann. - -[12] Th. von Frimmel discusses the Beethoven portraits in his "Neue -Beethoveniana," p. 189 ~et seq.~, and "Beethoven-Studien," Vol. II -(1905). - -[13] A copy of this portrait which belonged to Thayer is now in the -possession of Mrs. Jabez Fox, and is presented in photogravure as -frontispiece to the present volume. - -[14] The publication of a complete edition of his composition -frequently occupied the mind of Beethoven. In 1806 Breitkopf and Härtel -tried to get all of Beethoven's works for publication by them; it is -likely that similar efforts on the part of Viennese publishers date -back as far as 1803. Later the plan plays a rôle in the correspondence -with Probst and Simrock. As late as 1824 it was urged by Andreas -Streicher. It has already been said that Beethoven at an early date -desired to make an arrangement with a publisher by which he might be -relieved of anxiety about monetary matters. He wanted to give all his -compositions to one publisher, who should pay him a fixed salary. - -[15] Nottebohm, "Skizzenbuch, etc., 1803," p. 56, says "quartet." - -[16] Kreutzer came to Vienna with Bernadotte in 1789. - - - - -Chapter II - - The Year 1804--The "Sinfonia Eroica"--Beethoven and Breuning--The - "Waldstein" Sonata--Sonnleithner, Treitschke and Gaveaux--"Fidelio" - Begun--Beethoven's Popularity. - - -During the winter 1803-04 negotiations were in progress the result of -which put an end for the present to Beethoven's operatic aspirations. -Let Treitschke, a personal actor in the scenes, explain:[17] - - On February 24, 1801, the first performance of "Die Zauberflöte" - took place in the Royal Imperial Court Theatre beside the - Kärnthnerthor. Orchestra and chorus as well as the representatives - of ~Sarastro~ (Weinmüller), the ~Queen of Night~ (Mme. - Rosenbaum), ~Pamina~ (Demoiselle Saal) and the ~Moor~ (Lippert) - were much better than before. It remained throughout the year - the only admired German opera. The loss of large receipts and - the circumstance that many readings were changed, the dialogue - shortened and the name of the author omitted from all mention, - angered S. (Schikaneder) greatly. He did not hesitate to give free - vent to his gall, and to parody some of the vulnerable passages - in the performance. Thus the change of costume accompanying the - metamorphosis of the old woman into ~Papagena~ seldom succeeded. - Schikaneder, when he repeated the opera at his theatre, sent a - couple of tailors on to the stage who slowly accomplished the - disrobing, etc. These incidents would be trifles had they not been - followed by such significant consequences; for from that time dated - the hatred and jealousy which existed between the German operas - of the two theatres, which alternately persecuted every novelty - and ended in Baron von Braun, then manager of the Court Theatre, - purchasing the Theater-an-der-Wien in 1804, by which act everything - came under the staff of a single shepherd but never became a single - flock. - -Zitterbarth had, some months before, purchased of Schikaneder all his -rights in the property, paying him 100,000 florins for the privilegium -alone; and, therefore, being absolute master, "had permitted a -dicker down to the sum of 1,060,000 florins Vienna standard.... -The contract was signed on February 11th and on the 16th the -Theater-an-der-Wien under the new arrangement was opened with Méhul's -opera 'Ariodante.'"[18] - -Zitterbarth had retained Schikaneder as director; but now Baron Braun -dismissed him, and the Secretary of the Court Theatres, Joseph von -Sonnleithner, for the present acted in that capacity. - -The sale of the theatre made void the contracts with Vogler and -Beethoven, except as to the first of Vogler's three operas, "Samori" -(text by Huber), which being ready was put in rehearsal and produced -May 7th. - -It was no time for Baron Braun, with three theatres on his hands, to -make new contracts with composers, until the reins were fairly in his -grasp, and the affairs of the new purchase brought into order and in -condition to work smoothly; nor was there any necessity of haste; -the repertory was so well supplied, that the list of new pieces for -the year reached the number of forty-three, of which eighteen were -operas or ~Singspiele~. So Beethoven, who had already occupied the -free lodgings in the theatre building for the year which his contract -with Zitterbarth and Schikaneder granted him, was compelled to move. -Stephan von Breuning even then lived in the house in which in 1827 he -died. It was the large pile of building belonging to the Esterhazy -estates, known as "das rothe Haus," which stood at a right angle to -the Schwarzspanier house and church, and fronted upon the open space -where now stands the new Votiv-Kirche. Here also Beethoven now took -apartments.[19] - -It is worth noting, that this was the year--October, 1803 to October, -1804--of C. M. von Weber's first visit to Vienna, and of his studies -under Vogler. He was then but eighteen years old and "the delicate -little man" made no very favorable impression upon Beethoven. But at -a later period, when Weber's noble dramatic talent became developed -and known, no former prejudice prevented the great symphonist's due -appreciation and hearty acknowledgment of it. - -[Sidenote: CLEMENTI COMES TO VIENNA] - -Among the noted strangers who came to Vienna this spring was Clementi. - -"He sent word to Beethoven that he would like to see him." "Clementi -will wait a long time before Beethoven goes to him," was the reply. -Thus Czerny. - - When he came (says Ries) Beethoven wanted to go to him at once, but - his brother put it into his head that Clementi ought to make the - first visit. Though much older Clementi would probably have done - so had not gossip begun to concern itself with the matter. Thus it - came about that Clementi was in Vienna a long time without knowing - Beethoven except by sight. Often we dined at the same table in the - Swan, Clementi with his pupil Klengel and Beethoven with me; all - knew each other but no one spoke to the other, or confined himself - to a greeting. The two pupils had to imitate their masters, because - they feared they would otherwise lose their lessons. This would - surely have been the case with me because there was no possibility - of a middle-way with Beethoven. ("Notizen," p. 101.) - -[Sidenote: THE "EROICA" AND NAPOLEON] - -Early in the Spring a fair copy of the "Sinfonia Eroica" had been -made to be forwarded to Paris through the French embassy, as Moritz -Lichnowsky informed Schindler. - - In this symphony (says Ries) Beethoven had Buonaparte in his mind, - but as he was when he was First Consul. Beethoven esteemed him - greatly at the time and likened him to the greatest Roman consuls. - I as well as several of his more intimate friends saw a copy of - the score lying upon his table, with the word "Buonaparte" at the - extreme top of the title-page and at the extreme bottom "Luigi van - Beethoven," but not another word. Whether, and with what the space - between was to be filled out, I do not know. I was the first to - bring him the intelligence that Buonaparte had proclaimed himself - emperor, whereupon he flew into a rage and cried out: "Is then he, - too, nothing more than an ordinary human being? Now he, too, will - trample on all the rights of man and indulge only his ambition. He - will exalt himself above all others, become a tyrant!" Beethoven - went to the table, took hold of the title-page by the top, tore it - in two and threw it on the floor. The first page was rewritten and - only then did the symphony receive the title: "Sinfonia eroica." - -There can be no mistake in this; for Count Moritz Lichnowsky, who -happened to be with Beethoven when Ries brought the offensive news, -described the scene to Schindler years before the publication of the -"Notizen," - -The Acts of the French Tribunate and Senate, which elevated the -First Consul to the dignity of Emperor, are dated May 3, 4, and 17. -Napoleon's assumption of the crown occurred on the 18th and the -solemn proclamation was issued on the 20th. Even in those days, -news of so important an event would not have required ten days to -reach Vienna. At the very latest, then, a fair copy of the "Sinfonia -Eroica," was complete early in May, 1804. That it was a copy, the -two credible witnesses, Ries and Lichnowsky, attest. Beethoven's -own score--purchased at the sale in 1827, for 3 fl. 10 kr., Vienna -standard (less than 3-1/2 francs), by the Vienna composer Hr. Joseph -Dessauer--could not have been the one referred to above. It is, from -beginning to end, disfigured by erasures and corrections, and the -title-page could never have answered to Ries' description. It is this: - - (At the top:) N. B. 1. Cues for the other instruments are to be - written into the first violin part. - - ~Sinfonia Grande~ - [Here two words are erased] - ___ - 804 im August - del Sigr - Louis van Beethoven - Sinfonie 3 Op. 55 - - (At the bottom:) N. B. 2. The third horn is so written that it - can be played by by [~sic~] a ~primario~ as - well as a ~secundario~. - -A note to the funeral march, is evidently a direction to the copyist, -as are the remarks on the title-page: - - N. B. The notes in the bass which have stems upwards are for the - violoncellos, those downward for the bass-viol. - -One of the two words erased from the title was "Bonaparte"; and just -under his own name Beethoven wrote with a lead pencil in large letters, -nearly obliterated but still legible, "Composed on Bonaparte." - -It is confidently submitted, therefore, that all the traditions derived -from Czerny, Dr. Bertolini and whomsoever, that the opening Allegro -is a description of a naval battle, and that the ~Marcia funebre~ -was written in commemoration of Nelson or Gen. Abercrombie,[20] are -mistakes, and that Schindler is correct; and again, that the date "804 -im August," is not that of the composition of the Symphony. It is -written with a different ink, darker than the rest of the title, and -may have been inserted long afterwards, Beethoven's memory playing him -false. The two "violin adagios with orchestral accompaniment" offered -by Kaspar van Beethoven to André in November, 1802, cannot well be -anything but the two Romances, yet that in G, Op. 40, bears the date -1803. Perhaps Kaspar wrote before it was complete. But what can be -said to this? It is perfectly well known that Op. 124 was performed -on October 3, 1822; yet the copy sent to Stumpff in London bore this -title: "Overture by Ludwig van Beethoven, composed for the opening -of the Josephstadt Theatre, towards the end of September, 1823, and -performed for the first time on October 3, 1824, Op. 124." That the -"804 im August" may be an error, is at all events possible, if not -established as such. "Afterwards," continues Ries, "Prince Lobkowitz -bought this composition for several years' [?] use, and it was -performed several times in his palace." - -There is "an anecdote told by a person who enjoyed Beethoven's -society,"[21] in Schmidt's "Wiener Musik-Zeitung" (1843, p. 28), -according to which, as may readily be believed, this work, then so -difficult, new, original, strange in its effects and of such unusual -length, did not please. Some time after this humiliating failure -Prince Louis Ferdinand of Prussia paid a visit to the same cavalier -(Lobkowitz) in his countryseat.... To give him a surprise, the new -and, of course, to him utterly unknown symphony, was played to the -Prince, who "listened to it with tense attention which grew with -every movement." At the close he proved his admiration by requesting -the favor of an immediate repetition; and, after an hour's pause, as -his stay was too limited to admit of another concert, a second. "The -impression made by the music was general and its lofty contents were -now recognized." - -To those who have had occasion to study the character of Louis -Ferdinand as a man and a musician, and who know that at the precise -time here indicated he was really upon a journey that took him near -certain estates of Prince Lobkowitz, there is nothing improbable in -the anecdote. ~If~ it be true, and the occurrence really took place at -Raudnitz or some other "countryseat" of the Prince's, the rehearsals -and first performances of the Symphony at Vienna had occurred, weeks, -perhaps months, before "804 im August." However this be, Ries was -present at the first rehearsal and incurred the danger of receiving a -box on the ear from his master. - - In the first Allegro occurs a wicked whim (~böse Laune~) of - Beethoven's for the horn; in the second part, several measures - before the theme recurs in its entirety, Beethoven has the horn - suggest it at a place where the two violins are still holding a - second chord. To one unfamiliar with the score this must always - sound as if the horn player had made a miscount and entered at the - wrong place. At the first rehearsal of the symphony, which was - horrible, but at which the horn player made his entry correctly, - I stood beside Beethoven, and, thinking that a blunder had been - made I said: "Can't the damned hornist count?--it sounds infamously - false!" I think I came pretty close to receiving a box on the - ear. Beethoven did not forgive the slip for a long time. (P. 79, - "Notizen.") - -It was bad economy for two young, single men, each to have and pay -for a complete suite of apartments in the same house, especially for -two who were connected by so many ties of friendship as Breuning and -Beethoven. Either lodging contained ample room for both; and Beethoven -therefore very soon gave up his and moved into the other. Breuning -had his own housekeeper and cook and they also usually dined together -at home. This arrangement had hardly been effected when Beethoven was -seized with a severe sickness, which when conquered still left him the -victim of an obstinate intermittent fever. - -[Sidenote: A QUARREL WITH VON BREUNING] - -Every language has its proverbs to the effect that he who serves not -himself is ill served. So Beethoven discovered, when it was too late, -that due notice had not been given to the agent of Esterhazy, and that -he was bound for the rent of the apartments previously occupied. The -question, who was in fault, came up one day at dinner in the beginning -of July, and ended in a sudden quarrel in which Beethoven became so -angry as to leave the table and the house and retire to Baden with the -determination to sacrifice the rent here and pay for another lodging, -rather than remain under the same roof with Breuning. "Breuning," -says Ries, "a hot-head like Beethoven, grew so enraged at Beethoven's -conduct because the incident occurred in the presence of his brother." -It is clear, however, that he soon became cool and instantly did his -best to prevent the momentary breach from becoming permanent, by -writing--as may be gathered from Beethoven's allusions to it--a manly, -sensible and friendly invitation to forgive and forget. But Beethoven, -worn with illness, his nerves unstrung, made restless, unhappy, -petulant by his increasing deafness, was for a time obstinate. His -wrath must run its course. It found vent in the following letters to -Ries, and then the paroxysm soon passed. - -The first of the letters was written in the beginning of 1804, - - Dear Ries: Since Breuning did not scruple by his conduct to present - my character to you and the landlord as that of a miserable, - beggarly, contemptible fellow I single you out first to give my - answer to Breuning by word of mouth. Only to the one and first - point of his letter which I answer only in order to vindicate my - character in your eyes. Say to him, then, that it never occurred - to me to reproach him because of the tardiness of the notice, and - that, if Breuning was really to blame for it, my desire to live - amicably with all the world is much too precious and dear to me - that I should give pain to one of my friends for a few hundreds - and more. You know yourself that altogether jocularly I accused - you of being to blame that the notice did not arrive on time. I am - sure that you will remember this; I had forgotten all about the - matter. Now my brother began at the table and said that he believed - it was Breuning's fault; I denied it at once and said that you - were to blame. It appears to me that was plain enough to show that - I did not hold him to blame. Thereupon Breuning jumped up like a - madman and said he would call up the landlord. This conduct in the - presence of all the persons with whom I associate made me lose my - self-control; I also jumped up, upset my chair, went away and did - not return. This behavior induced Breuning to put me in such a - light before you and the house-steward, and to write me a letter - also which I have answered only with silence. I have nothing more - to say to Breuning. His mode of thought and action in regard to me - proves that there never ought to have been a friendly relationship - between him and me and such certainly will not exist in the future. - I have told you all this because your statements degraded all my - habits of thinking and acting. I know that if you had known the - facts you would certainly not have made them, and this satisfies me. - - Now I beg of you, dear Ries! immediately on receipt of this letter - go to my brother, the apothecary, and tell him that I shall leave - Baden in a few days and that he must engage the lodgings in Döbling - immediately you have informed him. I was near to coming to-day; - I am tired of being here, it revolts me. Urge him for heaven's - sake to rent the lodgings at once because I want to get into them - immediately. Tell it to him and do not show him any part of what - is written on the other page; I want to show him from all possible - points of view that I am not so small-minded as he and wrote to him - only after this (Breuning's) letter, although my resolution to end - our friendship is and will remain firm. - - Your friend - Beethoven. - -Not long thereafter there followed a second letter, which Ries gives as -follows: - - Baden, July 14, 1804. - - If you, dear Ries, are able to find better quarters I shall be - glad. I want them on a large quiet square or on the ramparts.... - I will take care to be at the rehearsal on Wednesday. It is not - pleasant to me that it is at Schuppanzigh's. He ought to be - grateful if my humiliations make him thinner. Farewell, dear Ries! - We are having bad weather here and I am not safe from people; I - must flee in order to be alone. - -[Sidenote: END OF A FRIENDSHIP THREATENED] - -From a third letter, dated "Baden, July 24, 1804," Ries prints the -following excerpt: - - ... No doubt you were surprised at the Breuning affair; believe - me, dear (friend), my eruption was only the outburst consequent on - many unpleasant encounters between us before. I have the talent in - many cases to conceal my sensitiveness and repress it; but if I am - irritated at a time when I am more susceptible than usual to anger, - I burst out more violently than anybody else. Breuning certainly - has excellent qualities, but he thinks he is free from all faults - and his greatest ones are those which he thinks he sees in others. - He has a spirit of pettiness which I have despised since childhood. - My judgment almost predicted the course which affairs would take - with Breuning, since our modes of thinking, acting and feeling - are so different, but I thought these difficulties might also be - overcome;--experience has refuted me. And now, no more friendship! - I have found only two friends in the world with whom I have never - had a misunderstanding, but what men! One is dead, the other still - lives. Although we have not heard from each other in nearly six - years I know that I occupy the first place in his heart as he - does in mine. The foundation of friendship demands the greatest - similarity between the hearts and souls of men. I ask no more than - that you read the letter which I wrote to Breuning and his letter - to me. No, he shall never again hold the place in my heart which - once he occupied. He who can think a friend capable of such base - thoughts and be guilty of such base conduct towards him is not - worth my friendship. - -The reader knows too well the character of Breuning to be prejudiced -against him by all these harsh expressions written by Beethoven in a -fit of choler of which he heartily repented and "brought forth fruits -meet for repentance." But, as Ries says, "these letters together -with their consequences are too beautiful a testimony to Beethoven's -character to be omitted here," the more so as they introduce, by the -allusions in them, certain matters of more or less interest from the -"Notizen" of Ries. Thus Ries writes: - - One evening I came to Baden to continue my lessons. There I found - a handsome young woman sitting on the sofa with him. Thinking - that I might be intruding I wanted to go at once, but Beethoven - detained me and said: "Play for the time being." He and the lady - remained seated behind me. I had already played for a long time - when Beethoven suddenly called out: "~Ries, play some love music~"; - a little later, "~Something melancholy!~" then, "~Something - passionate!~" etc. - - From what I heard I could come to the conclusion that in some - manner he must have offended the lady and was trying to make - amends by an exhibition of good humor. At last he jumped up - and shouted: "Why, all those things are by me!" I had played - nothing but movements from his works, connecting them with short - transition-phrases, which seemed to please him. The lady soon went - away and to my great amazement Beethoven did not know who she was. - I learned that she had come in shortly before me in order to make - Beethoven's acquaintance. We followed her in order to discover her - lodgings and later her station. We saw her from a distance (it - was moonlight),[22] but suddenly she disappeared. Chatting on all - manner of topics we walked for an hour and a half in the beautiful - valley adjoining. On going, however, Beethoven said: "I must find - out who she is and you must help me." A long time afterward I met - her in Vienna and discovered that she was the mistress of a foreign - prince. I reported the intelligence to Beethoven, but never heard - anything more about her either from him or anybody else. - -The rehearsal at Schuppanzigh's on "Wednesday" (18th) mentioned in -the letter of July 14th, was for the benefit of Ries, who was to play -in the first of the second series of the regular Augarten Thursday -concerts which took place the next day (19th) or, perhaps, the 26th. -Ries says on page 113 of the "Notizen": - - Beethoven had given me his beautiful Concerto in C minor (Op. 37) - in manuscript so that I might make my first public appearance ~as - his pupil~ with it; and I am the only one who ever appeared as such - while Beethoven was alive.... Beethoven himself conducted, but - he only turned the pages and never, perhaps, was a concerto more - beautifully accompanied. We had two large rehearsals. I had asked - Beethoven to write a cadenza for me, but he refused and told me to - write one myself and he would correct it. Beethoven was satisfied - with my composition and made few changes; but there was an - extremely brilliant and very difficult passage in it, which, though - he liked it, seemed to him too venturesome, wherefore he told me to - write another in its place. A week before the concert he wanted to - hear the cadenza again. I played it and floundered in the passage; - he again, this time a little ill-naturedly, told me to change it. I - did so, but the new passage did not satisfy me; I therefore studied - the other, and zealously, but was not quite sure of it. When the - cadenza was reached in the public concert Beethoven quietly sat - down. I could not persuade myself to choose the easier one. When - I boldly began the more difficult one, Beethoven violently jerked - his chair; but the cadenza went through all right and Beethoven was - so delighted that he shouted "Bravo!" loudly. This electrified the - entire audience and at once gave me a standing among the artists. - Afterward, while expressing his satisfaction he added: "But all the - same you are willful! If you had made a slip in the passage I would - never have given you another lesson." - -A little farther on in his book Ries writes (p. 115): - - The pianoforte part of the C minor Concerto was ~never completely - written out~ in the score; Beethoven wrote it down on separate - sheets of paper expressly for me. - -This confirms Seyfried, as quoted on a preceding page. - -"Not on my life would I have believed that I could be so lazy as I am -here. If it is followed by an outburst of industry, something worth -while may be accomplished," Beethoven wrote at the end of his letter -of July 24. He was right. His brother Johann secured for him the -lodging at Döbling where he passed the rest of the summer, and where -the two Sonatas Op. 53 and 54, certainly "something worth while," were -composed. In one of the long walks, previously described by Ries, - - in which we went so far astray that we did not get back to Döbling, - where Beethoven lived, until nearly 8 o'clock, he had been all the - time humming and sometimes howling, always up and down, without - singing any definite notes. In answer to my question what it - was he said: "A theme for the last movement of the sonata has - occurred to me." When we entered the room he ran to the pianoforte - without taking off his hat. I took a seat in a corner and he soon - forgot all about me. Now he stormed for at least an hour with the - beautiful finale of the sonata. Finally he got up, was surprised - still to see me and said: "I cannot give you a lesson to-day, I - must do some more work." - -[Sidenote: THE F MINOR SONATA, OP. 57] - -The Sonata in question was that in F minor, Op. 57. Ries had in the -meantime fulfilled Beethoven's wish for a new lodging on the ramparts, -by engaging for him one on the Mölkerbastei three or four houses only -from Prince Lichnowsky in the Pasqualati house--"from the fourth -storey of which there was a beautiful view," namely, over the broad -Glacis, the northwestern suburb of the city and the mountains in the -distance. "He moved out of this several times," says Ries, "but always -returned to it, so that, as I afterwards heard, Baron Pasqualati was -good-natured enough to say: 'The lodging will not be rented; Beethoven -will come back.'" To what extent Ries was correctly informed in this -we will not now conjecture. The lessons of Förster's little boy had -been interrupted so long as his teacher dwelt in the distant theatre -buildings; they were now renewed, the first being particularly -impressed upon his memory by a severe reproof from Beethoven for -ascending the four lofty flights of stairs too rapidly, and entering -out of breath: "Youngster, you will ruin your lungs if you are not more -careful," said he in substance. - -The two new Sonatas were finished and were now made known to -Beethoven's intimates. In the one in C major, Op. 53, there was a -long Andante. A friend of Beethoven's said to him that the Sonata was -too long, for which he was terribly taken to task by the composer. -But after quiet reflection Beethoven was convinced of the correctness -of the criticism. The Andante was therefore excluded and its place -supplied by the interesting Introduction to the Rondo which it now has. -A year after the publication of the Sonata it also appeared separately. -In these particulars Ries is confirmed by Czerny, who adds: "Because -of its popularity (for Beethoven played it frequently in society) he -gave it the title 'Andante favori.' I am the more sure of this since -Beethoven sent me the proof together with the manuscript for revision." -The arrangement for string quartet may have been made much later, -probably by Ries (?). - - This Andante (Ries continues) has left a painful memory in me. When - Beethoven played it for the first time to our friend Krumpholtz and - me, it delighted us greatly and we teased him until he repeated it. - Passing the door of Prince Lichnowsky's house (by the Schottenthor) - on my way home I went in to tell the Prince of the new and glorious - composition of Beethoven's, and was persuaded to play it as well - as I could remember it. Recalling more and more of it the Prince - urged me to repeat it. In this way it happened that the Prince also - learned a portion of the piece. To give Beethoven a surprise the - Prince went to him the next day and said that he too had composed - something which was not at all bad. In spite of Beethoven's remark - that he did not want to hear it the Prince sat down and to the - amazement of the composer played a goodly portion of the Andante. - Beethoven was greatly angered, and this was the reason why I ~never - again heard Beethoven play~. - -Prince Louis Ferdinand, now on his way into Italy, made a short stay -at Vienna, renewing his acquaintance with Beethoven; but of their -intercourse few particulars are known. Ries relates ("Notizen," p. -111), that an old countess gave a little musical entertainment "to -which, naturally, Beethoven was invited. When the company sat down to -supper, plates for the high nobility only were placed at the Prince's -table--none for Beethoven. He flew into a rage, made a few ugly -remarks, took his hat and went away. A few days later Prince Louis gave -a dinner to which some members of the first company, including the old -countess, were invited. When they sat down to table the old countess -was placed on one side of the Prince, Beethoven on the other, a mark of -distinction which Beethoven always referred to with pleasure." - -[Sidenote: BEETHOVEN AND BREUNING RECONCILED] - -The Pianoforte Concerto in C minor was then in the hands of the -engraver; upon its publication in November, Prince Louis Ferdinand's -name appeared upon the title. Concerning the compositions of the -Prince, Beethoven remarked: "Now and then there are pretty bits in -them"--so said Czerny. Before this time Beethoven and Breuning "met -each other by accident and a complete reconciliation took place -and every inimical resolve of Beethoven's, despite their vigorous -expression in the two letters, was wholly forgotten."--(Ries.) -And not this alone; he "laid his peace offering on the altar of -reconciliation." It was the best picture of himself which exists from -those years, a beautiful miniature painted upon ivory by Hornemann, -still in the possession of Breuning's heirs. With it he sent the -following letter: - - Let us bury behind this picture forever, my dear Steffen, all - that for a time has ~passed between us~. I know that I broke your - heart. The feelings within me which you must have noticed have - sufficiently punished me for that. It was not ~wickedness~ that - I felt towards you; no, if that were so I should never again be - worthy of your friendship; passion on ~your part~ and ~on mine~; - but mistrust of you arose in me; men came between us who are not - worthy of ~you~ and ~me~. My portrait was long ago intended for - you; you know that I always intended it for somebody. To whom could - I give it with so warm a heart as to you, faithful, good, noble - Steffen! Forgive me if I have pained you; I suffered no less. When - I no longer saw you near me I felt for the first time how dear to - ~my~ heart you are and always will be. - - Surely you will come to my arms again as in past days. - -Nor was the reconciliation on Breuning's part less perfect. On the 13th -of November he writes to Wegeler and, to excuse his long silence, says: - - He who has been my friend from youth is often largely to blame that - I am compelled to neglect the absent ones. You cannot conceive, - my dear Wegeler, what an indescribable, I might say, fearful - effect the gradual loss of hearing has had upon him. Think of the - feeling of being unhappy in one of such violent temperament; in - addition reservedness, mistrust, often towards his best friends, - in many things want of decision! For the greater part, with only - an occasional exception when he gives free vent to his feelings on - the spur of the moment, intercourse with him is a real exertion, - at which one can scarcely trust to oneself. From May until the - beginning of this month we lived in the same house, and at the - outset I took him into my rooms. He had scarcely come before he - became severely, almost dangerously ill, and this was followed - by an intermittent fever. Worry and the care of him used me - rather severely. Now he is completely well again. He lives on the - Ramparts, I in one of the newly-built houses of Prince Esterhazy in - front of the Alstercaserne, and as I am keeping house he eats with - me every day. - -Not a word about the quarrel! Not a word to intimate that Beethoven had -not occupied his rooms with him until at the usual time for changing -lodgings he had crossed the Glacis to Pasqualati's house; not a word of -complaint--nothing but deepest pity and heartiest sympathy. - -In December the famous Munich oboist Ramm was in Vienna and took part -with Beethoven in one of Prince Lobkowitz's private concerts. Beethoven -directed the performance of the "Sinfonia Eroica" and in the second -part of the first Allegro, "where the music is pursued for so many -measures in half-notes against the beat," he, as Ries says, threw the -orchestra into such confusion that a new beginning had to be made. - - On the same evening he played his Quintet for Pianoforte and - Wind-instruments with Ramm as oboist. In the last Allegro there - are several holds before the theme is resumed. At one of these - Beethoven suddenly began to improvise, took the Rondo for a theme - and entertained himself and the others for a considerable time, - but not the other players. They were displeased and Ramm even - very angry. It was really very comical to see them, momentarily - expecting the performance to be resumed, put their instruments - to their mouths only to put them down again. At length Beethoven - was satisfied and dropped into the Rondo. The whole company was - transported with delight. - -Turn we again to the Theater-an-der-Wien, for a new contract has been -made with Beethoven, by which his operatic aspirations and hopes are -again awakened, with a better prospect of their gratification. At the -end of August Sonnleithner retired from the direction and Baron Braun -took the extraordinary step of reinstating his former rival and enemy, -Schikaneder--a remarkable proof of the Baron's high opinion of his tact -and skill in the difficult business of management. - -When one calls to mind the extraordinary praises which have been -bestowed upon Baron Braun for his supposed patronage of Beethoven, -it is worth noting, as a coincidence if nothing more, that now when -Schikaneder finds himself in a strait for novelty and new attractions -for his stage, the project of appealing to Beethoven's genius is -revived. - -Before proceeding, a word upon Sonnleithner and Treitschke may be -permitted. - -[Sidenote: SONNLEITHNER AND TREITSCHKE] - -The eldest son, born 1765, of Christoph Sonnleithner, Doctor of Laws -and Dean of the Juridical Faculty at Vienna, Joseph Ferdinand by -name, was educated to his father's profession, and early rose to the -positions of Circuit Commissioner and Royal Imperial Court Scrivener -(~Kreis-Kommissär und K. K. Hof-Concipist~). All the Sonnleithners, -from Dr. Christoph down to the excellent and beloved representative of -the family, Leopold, his grandson who died in 1878, have stood in the -front ranks of musical dilettanti, as composers, singers, instrumental -performers and writers on topics pertaining to the art. Joseph -Ferdinand was no exception. He gave his attention particularly to -musical and theatrical literature, edited the Court Theatre Calendars, -1794-5, so highly lauded by Gerber, and prepared himself by appropriate -studies to carry out Forkel's plan of a "History of Music in Examples," -which was to reach the great extent of 50 volumes, folio. To this end -he spent nearly three years, 1798-1802, in an extensive tour through -northern Europe making collections of rare, old music. Upon his return -to Vienna, resigning this project again into the hands of Forkel, he -became one of the earliest partners, if not one of the founders, of the -publishing house known as the "Kunst- und Industrie-Comptoir" (Bureau -d'Arts et d'Industrie), of which Schreyvogel was the recognized head. -The latter had been appointed Secretary of the Court Theatre in 1802, -but resigned, and, on February 14, 1804, Sonnleithner "was appointed, -and on this account was most honorably retired from his former post -as Court Scrivener." On what grounds he has been called an "actor" -(~Schauspieler~) is unknown. - -One of his colleagues in the various offices of the Court Theatres -was Georg Friedrich Treitschke, born in 1776, a native of Leipsic, -who came to the Court Theatre in 1800 as an actor, but whose talents -and fine character raised him in the course of the next two years to -the position of poet and stage-manager of the German Court Opera, -a post which he still and for many years continued to hold. He was -therefore now (1804) in close business relations with Baron Braun and -Sonnleithner; and, until some proof be adduced of lapse of memory--for -his known probity forbids all suspicion of intentional or careless -misrepresentation--his statements in regard to them may be accepted -with perfect confidence. - -Treitschke wrote thus in the "Orpheus" of 1841 (p. 258): - - At the end of 1804 Baron von Braun, the new owner of the Royal - Imperial priv. Theater-an-der-Wien, commissioned Ludwig van - Beethoven, then in the full strength of youth, to write an opera - for that playhouse. Because of his oratorio, "Christus am Ölberg," - it was believed that the master might do as much for dramatic music - as he had done for instrumental. Besides his honorarium[23] he was - offered free lodgings in the theatre buildings. Joseph Sonnleithner - undertook to provide the text, and chose the French book, "L'Amour - conjugal," although it had already been set by Gaveaux and to - Italian words as "Leonora" by Paër, but had been translated from - both dramatizations into German. Beethoven had no fear of his - predecessors and went to work with eager delight, so that the opera - was nearly finished by the middle of 1805.[24] - -Such is Treitschke's simple and compendious statement of the facts; a -statement which has been affirmed to contain "manifold errors," yet, in -truth, not a single point in it can be controverted. - -In Paris, at the close of the 18th century, Shakespeare's "being taken -by the insolent foe and redemption thence" was by far the most popular -subject for the stage. Doubtless so many facts stranger than fiction -in recent narratives of escape from dungeon and guillotine, rendered -doubly fascinating by beautiful exhibitions of disinterested affection, -exalted generosity and heroic self-sacrifice, were not without their -effect upon public taste. Certain it is that no other class of subjects -is so numerously represented in the French drama of that precise period -as this. "Les deux Journées" by J. N. Bouilly stands confessedly at -its head. In Beethoven's opinion in 1823, this and "La Vestale" were -the two best texts then ever written. Two years before the "Deux -Journées"--that is, on February 19th, 1798--the same poet had produced -another of that class of texts, which, if less abounding in pleasing -and exciting scenes, still contained one supreme moment that cannot -readily find its like. This was "Léonore, ou l'Amour conjugal"; the -seventeenth and last in Fétis' list of Pierre Gaveaux's thirty-five -operas and operettas. - -[Sidenote: THE FRENCH ORIGINAL OF "FIDELIO"] - -Gaveaux was a singer at the Théâtre Feydeau in Paris--a man of no great -musical science, but gifted with a natural talent for melody and for -pleasing though not always correct instrumentation, which secured the -suffrages of the Feydeau audience for nearly all the long list of his -productions. These were mostly short pieces in one act, in which he -wrote the principal tenor part for himself. His "Le petit Matelot" -(1794), as "Der kleine Matrose," became immediately popular throughout -Germany; Rellstab at Berlin published a pianoforte arrangement of it -in 1798; and it so endured the fluctuations in public taste as still -to be performed at Frankfort-on-the-Main in 1846. This was followed by -his "L'Amour filial," and others, so that, in short, whatever faults -the critics found in his music, he was one of those French composers, -to whose productions the managers of German opera houses ever had an -eye. As the "Léonore" was published in score soon after its production, -the names of its authors, Bouilly and Gaveaux, as well as its success -at the Théâtre Feydeau, ensured its becoming known in Germany, and, but -for the use of its subject by Paër, it might perhaps have been simply -translated and performed with the original music. Rewritten in Italian, -it was one of the first texts put into Paër's hands after his removal -to Dresden, and was produced on the 3d of October, as the opening piece -of the winter season 1804-5. - -The first performance was another triumph for Paër, who, satisfied with -it, departed for Vienna next day on his way to Italy. It requires no -great sagacity to perceive, on the one hand, that the Directors of the -Imperial Italian Opera--on whose stage at the least eleven of Paër's -works had been given, several of them originally written for it--would -not fail to secure a copy of the new composition; and, on the other, -that the composer would seek the fame and profit of its reproduction -there.[25] Jahn in his preface to Beethoven's "Leonore" has discussed -the great inferiority of the Dresden Italian text to the original; -its defects would be equally apparent to Sonnleithner; and this -consideration, with perhaps later news from Dresden, would convince him -that the performance of Paër's composition at Vienna would be at best a -doubtful venture.[26] - -[Sidenote: POPULARITY OF BEETHOVEN'S MUSIC] - -At this point, when the first of the solo sonatas written for the -enlarged pianoforte (Op. 53) is ready for the press; when the -Pianoforte Concerto in C minor has just been published; the "Sinfonia -Eroica," with its daring novelties of ideas and construction is -awaiting public performance, and the composer has entered the lists to -compete with Cherubini in another form of the art--here seems to be the -fitting place for a few notes upon the degree of popularity, and the -extent of circulation, to which his previous compositions had already -attained. - -We have not written very lucidly, if it be not sufficiently clear that, -at Vienna, the works of no other of the younger generation of composers -had so ready and extensive a sale as Beethoven's, notwithstanding their -most attractive qualities to many, were repellent to others. That was -a question of taste. But in these last weeks of 1804, a proof of their -general popularity was in preparation by Schreyvogel and Rizzi, which, -so far as the present writer has examined the German periodical press -from 1790 to 1830, is without a parallel. It was a complete classified -catalogue of the "Works of Herrn Ludwig van Beethoven," published as an -advertisement, January 30, 1805, in the "Wiener Zeitung," announcing -them as "to be had at the Kunst- und Industrie-Comptoir at Vienna in -the Kohlmarkt, No. 269." - -At the end of 1796--a few sets of Variations excepted--only the first -three of Beethoven's ~opera~ had appeared. Four years afterwards the -first publishing houses of Leipsic contend with those of Vienna for his -manuscripts, notwithstanding the worse than contemptuous treatment of -his works by the newly founded musical journal. - -In January, 1801, at Breslau "the pianoforte players gladly venture -upon Beethoven and spare neither time nor pains to conquer his -difficulties." In June, Beethoven has "more commissions, almost, than -it was possible to fill" from the publishers--he "demands and they -pay." In 1802, Nägeli of Zürich, passing all the older composers by, -applies to him for sonatas with which to introduce to the public his -costly enterprise of the "Répertoire des Clavecinistes." In 1803, -although Simrock, of Bonn, had a branch house at Paris, and printed -editions of his townsman's more important works for circulation in -France, Zulehner of Mayence finds the demand for them sufficient to -warrant the announcement of a complete and uniform edition of the -"Works for Pianoforte and String Instruments." In May of the same -year the "Correspondence des Amateurs-Musiciens" informs us that at -Paris a part of the pianoforte virtuosos play only Haydn, Mozart and -Beethoven, and spite of the difficulties offered by their works there -are "quelquefois des Amateurs qui croient les jouer"; and, soon after -this, an application comes to Beethoven from distant Scotland for half -a dozen sonatas, on Scotch themes.[27] - -The first two Concertos for Pianoforte and Orchestra, published in -1801, are reported to have been played in public within two years -at Berlin and Frankfort-on-the-Main; the third, advertised in -November, 1804, was produced the next month at Berlin. The first -Symphony had hardly left Hoffmeister's press, when it was added to -the repertory of the Gewandhaus Concert, at Leipsic, and during the -three following years was repeatedly performed at Berlin, Breslau, -Frankfort-on-the-Main, Dresden, Brunswick and Munich; the second, -advertised in March, 1804, was the opening symphony of Schick and -Bohrer's (Berlin) concerts in the Autumn. The "Prometheus" overture was -played in the same concerts, December 2, 1803--ten days earlier than -the oldest discovered advertisement of its publication. The instant -popularity of the Septet in all its forms is well known. - -A public performance of the Horn Sonata, March 20, 1803, at the concert -of Dulon, the blind flute player, is worth noting, because the pianist -was "young Bär"--Meyerbeer. - -In our day and generation, to offer so meagre a list of public -productions as a proof of popularity in the case of a new author of -orchestral works, would be ridiculous. In the multiplication of musical -journals and the greatly extended interest taken in musical news -wherever an orchestra exists equal to the performance of a symphony, -there is also someone to report its doings. This is as it should be. -Then, except in the larger capitals, this was rarely so. Hence the few -notes above, compiled from the correspondence of the single musical -journal of the time, are more than suggestive--they are proof--of many -an unrecorded production of the works they name. But more noteworthy -than the statistics given by the various correspondents, is this: that, -whatever praises they bestow upon the concertos and symphonies of -others, they rank Beethoven alone with Haydn and Mozart; and this they -do, even before the publication of the third Concerto and the Second -Symphony. - -Beethoven, then, though almost unknown personally beyond the limits -of a few Austrian cities--unaided by apostles to preach his gospel, -owing nothing to journalist or pamphleteer, disdaining, in fact, all -the arts by which dazzling but mediocre talent pushes itself into -notoriety--had, in the short space of eight years, by simple force of -his genius as manifested in his published works, placed himself at the -head of all writers for the pianoforte, and in public estimation risen -to the level of the two greatest of orchestral composers. The unknown -student that entered Vienna in 1792, is now in 1804 a recognized -member of the great triumvirate, to whose names in 1870, in spite of -all the polemics of preachers of a new gospel, the world still persists -in giving the place of highest honor in the roll of instrumental -composers. Then, as now--now, as then--they are Haydn, Mozart and -Beethoven. - -The lists of the ascertained compositions and publications for the year -1804 are surprisingly short; but as no really sufficient reason for the -fact can be given, none shall be attempted.[28] The former are only the -two Sonatas, Op. 53 and Op. 54, and the "Andante favori"; but the final -revision of the "Sinfonia Eroica" probably was made at the beginning of -the year. - -The publications were these: - - 1--Second Symphony, D major, Op. 36, dedicated to Prince Carl - Lichnowsky, advertised by the Kunst- und Industrie-Comptoir, - Vienna, March 10. - - The arrangement of this Symphony for pianoforte, violin and - violoncello, which was published by the same firm in 1806, is - indirectly claimed by Ries as his work, notwithstanding the title - bears the words "par l'auteur même." Czerny confirms Ries in these - terms: "The arrangement of the second Symphony as a Pianoforte Trio - was made by Ries; Beethoven gave it to me for correction of certain - things with which he was dissatisfied." - - 2--Song with pianoforte accompaniment: "Der Wachtelschlag," - advertised with the preceding. - - 3--VII Variations on "God save the King," for Pf., advertised with - the preceding. - - 4--III Marches for Pf., four hands. Op. 45, dedicated to Princess - Esterhazy, advertised with the preceding. - - 5--V Variations for Pf., on "Rule Britannia," advertised by the - same, June 20th. - - 6--Sonata in E-flat major, Op. 31, No. 3, published by Nägeli in - his "Répertoire des Clavecinistes," Cat. II. - -FOOTNOTES: - -[17] "Orpheus," 1841, p. 248. - -[18] Allg. Mus. Zeit. XXIV, p. 320. - -[19] But Ries says that Beethoven hired these lodgings besides those in -the theatre. - -[20] See, in the "Allg. Mus. Zeit." III, a criticism of "Nelson's Great -Seabattle," for pianoforte, violin and violoncello by Ferd. Kauer. -Years afterward this piece may have been confounded with the Symphony -in Dr. Bertolini's memory. From Otto Jahn's papers we learn that Dr. -Bertolini told him that the first idea of the "Sinfonia eroica" was -suggested to Beethoven by Bonaparte's expedition to Egypt (May, 1798); -and the rumor of Nelson's death at the battle of Aboukir (June 22), -at which Nelson was wounded in the head, was the cause of the funeral -march. Czerny wrote: "According to Beethoven's long-time friend, Dr. -Bertolini, the first idea of the 'Sinfonia eroica' was suggested by -the death of the English general Abercrombie; hence the naval (not -land-military) character of the theme and the entire first movement." -Music of a naval character to celebrate the death of an army officer! -Czerny seems to have been at least temporarily weak either in history -or logic. - -[21] Dr. Schmidt is of opinion that this anecdote was contributed to -his journal by Hieronymus Payer, certainly good authority. - -[22] "Full moon, July 22," almanac of 1804. - -[23] This honorarium was a share in the receipts. - -[24] In the second (German) edition of Thayer's "Life," etc., Dr. -Riemann amends this statement in the text as follows: These statements -of Treitschke's prove to be inaccurate, inasmuch as it has definitively -been determined that Beethoven began work on "Leonore" before Paër's -opera had been produced in Dresden, i. e., October 3, 1804. This is -proved by the discovery of sketches for the early numbers of the opera -among sketches for the "Eroica" symphony, and is confirmed by Ries. -The latter says: "When he composed 'Leonore' he had free lodgings for -a year in the Wiedener Theatre; but as these opened on the courtyard -they were not agreeable to him. He therefore hired, ~at the same time~, -quarters in the Rothes Haus on the Alserkaserne." "Now," Nottebohm -continues, "Beethoven lived in the Theater-an-der-Wien in May, 1803, -and later in the Rothes Haus in the spring of 1804." Consequently he -must have worked on the opera ~before~ the spring of 1804. Nottebohm -assumes that between the abandonment of work on Schikaneder's text -and the beginning of work on "Leonore" there could not be more than -a quarter of a year. It is very probable that Beethoven dropped -work on Schikaneder's text when the latter's activity as director -came to an end on February 11, 1804; but it does not follow that he -may not already have approached the setting of Bouilly's text, as -translated into German by Sonnleithner, who now undertook the work -of administration. At any rate it is an error to assert that the -commission to compose the book was not offered to him until the fall -of 1804. Indeed, the question is whether or not Beethoven's occupancy -of lodgings in the theatre was interrupted at all. It ought also to be -borne in mind that in view of his relations with Baron von Braun and -Sonnleithner, Beethoven may have known before the conclusion of the -contract that Schikaneder's direction was to be terminated--reasons -enough for believing that there is nothing improbable in the theory -that the composer began work on "Leonore" before the end of 1803. - -[25] Dr. Riemann here inserts: "If this was not the case the -explanation lies in the fact that the attention of Sonnleithner, who -had to provide texts for both Beethoven and Cherubini, had previously -been directed to the 'Léonore' of Bouilly and Gaveaux, and Beethoven -had already begun work on it." - -[26] It was not until February 8, 1809, that Paër's opera was performed -in Vienna, long after Beethoven had withdrawn his opera and when Baron -von Braun was no longer Intendant. The story to which Ferdinand Hiller -gave currency about the production of Paër's opera and the attendance -of Beethoven upon it in company with the composer must be rejected for -chronological reasons. (Riemann.) - -[27] In September, 1804, Muzio Clementi, who was not only a fine -musician but also a clever business man, made an arrangement with -Breitkopf and Härtel, by which he secured all the compositions which -Beethoven might bring that firm, for England at one-half the honorarium -paid to the composer. (See an article by Max Unger in "The Monthly -Record," Nov.-Dec., 1908.) - -[28] Nottebohm's researches (~cf.~ "Zweite Beethoveniana," p. 416 ~et -seq.~) show that Beethoven sketched all the movements of the Triple -Concerto, Op. 56, in 1804; that the beginning of the work on the -"Waldstein" Sonata. Op. 53, dates back to 1803, or at the latest the -early part of 1804; sketches for Op. 54 are missing, but the three -numbers of Op. 57 are so fully represented among the opera sketches -that Schindler's statement that the so-called "Appassionata" Sonata was -composed at Count Brunswick's in 1806 is to be understood as referring -only to its definitive working out and the making of a fair copy; the -date of the performance of "Leonore" ("Fidelio"), taken in connection -with a revision of the air in E major, show that the "Leonore" -sketchbook, between which and the book of 1803 there seems to have been -another, of which no trace has been found, may have extended to the -beginning of 1805. - - - - -Chapter III - - The Year 1805--First Public Performance of the "Heroic - Symphony"--The Opera "Leonore," or "Fidelio"--A Study of the - Sketchbook--The Singers and the Production. - - -The life of an author or composer, when absorbed in the study of a -great work, falls into a routine of daily labor that presents few -salient points to the biographer. Thus it was with Beethoven during -the first two-thirds of the year 1805. What has been preserved of his -correspondence is very little in quantity and of slight value. Ries -was away with Lichnowsky in Silesia during all the warm season, and, -very soon after his return, was forced to depart again from Vienna -for Bonn; hence the "Notizen" fail us in perhaps the most interesting -period of the young man's four years of pupilage under Beethoven--that -of the composition of "Leonore," or "Fidelio." The history of the year -is, in the main, the history of that work; and unfortunately a very -unsatisfactory one. Not to break the thread of the story hereafter, the -few events of the first half of the year unconnected with it, shall -first be disposed of. - -Schuppanzigh had discovered and taught a boy of great genius for the -violin, Joseph Mayseder by name (born October 16, 1789), who was -already, in his sixteenth year, the subject of eulogistic notices -in the public press. With this youth as second, Schreiber, "in the -service of Prince Lobkowitz," for the viola, and the elder Kraft, -violoncellist, Schuppanzigh during the winter 1804-5 gave quartets "in -a private house in the Heiligenkreuzerhof, the listeners paying five -florins in advance for four performances." Up to the end of April the -quartets given were by Mozart, Haydn, Beethoven, Eberl, Romberg, with -"occasionally larger pieces. Of the latter great pleasure was given by -the beautiful Beethoven Sextet in E-flat, a composition which shines -resplendent by reason of its lively melodies, unconstrained harmonies, -and a wealth of new and surprising ideas." So it is reported in the -"Allg. Mus. Zeit.," VII, 535, of the Sextet for wind-instruments, which -afterwards received the opus number 71, but was composed "in 1796 at -the latest," says Nottebohm, and, not improbably in its original form, -in Bonn. - -It was to the discredit of Vienna, where instrumental performers -of rare ability so abounded, that for several years regular public -orchestral concerts, save those at the Augarten in summer, had been -abandoned. Sensible of this, the bankers Würth and Fellner during -the winter of 1803-4 "had gathered together on all Sunday mornings a -select company (nearly all dilettanti) for concerts restricted for the -greater part to pieces for full orchestra, such as symphonies (among -them Beethoven's First and Second), overtures, concertos, which they -played in really admirable style." There were also "some overtures by -a certain Count Gallenberg" who "imitated, or rather copied, Mozart -and Cherubini so slavishly, following them even in the details of keys -and modulations so faithfully, that it was easy to tell the titles of -the overtures over whose lasts his had been made with the greatest -certainty." Thus the correspondent of the "Allg. Mus. Zeit." (VI, 467). -In these concerts Clement of the Theater-an-der-Wien was director. - -They were renewed the present winter, and new performances of -Beethoven's first two Symphonies, and the Concerto in C minor (Op. -37)--pianoforte part by Ries[29]--prepare the way for the production -of "an entirely new symphony"--"a long composition extremely difficult -of performance, in reality, a tremendously expanded, daring and wild -fantasia"; wanting "nothing in the way of startling and beautiful -passages, in which the energetic and talented composer must be -recognized; but often it loses itself in lawlessness"; the writer -"belongs to Herr van Beethoven's sincerest admirers, but in this -composition he must confess that he finds too much that is glaring and -bizarre, which makes a survey too difficult; and the principle of unity -is almost wholly lost sight of." It was the "Sinfonia Eroica"--its -first semi-public production. Its first really public performance -was in the Theater-an-der-Wien, on Sunday evening, April 7th, where -it began the second part of a concert given for his own benefit by -Clement. The programme announces it thus: "A new grand symphony in -D-sharp by Herrn Ludwig van Beethoven, dedicated to his Serene Highness -Prince Lobkowitz. The composer has kindly consented to conduct the -work." - -[Sidenote: PUBLIC PERFORMANCE OF THE "EROICA"] - -Czerny remembered, and told Jahn, that on this occasion "somebody -in the gallery cried out: 'I'll give another kreutzer if the thing -will but stop!'" This is the key-note to the strain in which the -Symphony was criticized in communications to the press, that are now -among the curiosities of musical literature. The correspondent of the -"Freymüthige" divided the audience into three parties. - - Some, says he, Beethoven's particular friends, assert that it is - just this symphony which is his masterpiece, that this is the true - style for high-class music, and that if it does not please now, - it is because the public is not cultured enough, artistically, to - grasp all these lofty beauties; after a few thousand years have - passed it will not fail of its effect. Another faction denies - that the work has any artistic value and professes to see in it - an untamed striving for singularity which had failed, however, to - achieve in any of its parts beauty or true sublimity and power. By - means of strange modulations and violent transitions, by combining - the most heterogeneous elements, as for instance when a pastoral - in the largest style is ripped up by the basses, by three horns, - etc., a certain undesirable originality may be achieved without - much trouble; but genius proclaims itself not in the unusual and - the fantastic, but in the beautiful and the sublime. Beethoven - himself proved the correctness of this axiom in his earlier works. - The third party, a very small one, stands midway between the - others--it admits that the symphony contains many beauties, but - concedes that the connection is often disrupted entirely, and that - the inordinate length of this longest, and perhaps most difficult - of all symphonies, wearies even the cognoscenti, and is unendurable - to the mere music-lover; it wishes that H. v. B. would employ his - acknowledgedly great talents in giving us works like his symphonies - in C and D, his ingratiating Septet in E-flat, the intellectual - Quintet in D (C major?) and others of his early compositions which - have placed B. forever in the ranks of the foremost instrumental - composers. It fears, however, that if Beethoven continues on his - present path both he and the public will be the sufferers.... The - public and Herr van Beethoven, who conducted, were not satisfied - with each other on this evening; the public thought the symphony - too heavy, too long, and Beethoven himself too discourteous, - because he did not nod his head in recognition of the applause - which came from a portion of the audience. - -This clear, compendious and valuable statement of the conflicting -opinions of the first auditors of the "Eroica" renders farther -citations superfluous; but a story--characteristic enough to be -true--may be added: that Beethoven, in reply to the complaints of too -great length, said, in substance: "If ~I~ write a symphony an hour -long it will be found short enough!" He refused positively to make any -change in the work, but deferred to public opinion so far, as, upon -its publication, to affix to the title of the Symphony a note to the -effect, that on account of its great length it should be played near -the beginning of a concert, before the audience was become weary. - -Beethoven, though choleric and violent in his anger, was placable. -The theft of the Quintet in C dedicated to Count Fries, as related by -Ries, and Beethoven's warning against the pirated edition, will be -remembered. Nottebohm has sufficiently established the fact that the -engraved plates were not destroyed, as supposed by Ries, but afterwards -again used with the composer's consent and even his corrections. A -short letter to the offending publisher (June 1) shows that his wrath -was already appeased, and seems to indicate a purpose to grant him the -copyright of a new quintet--a purpose which, under the pressure of his -opera, and the subsequent invasion of the French, remained unexecuted. - -Ignatz Pleyel, born in 1757, the twenty-fourth child of a schoolmaster -at Ruppersthal, a village a few miles from Vienna, a favorite pupil -of Haydn and just now the most widely known and popular living -instrumental composer except his master, came from Paris this season to -revisit, after many years' absence, the scenes of his youth. He brought -with him his last new quartets, "which," writes Czerny, - - were performed before a large and aristocratic society at the house - of Prince Lobkowitz. At the close, Beethoven, who was also present, - was requested to play something. As usual he let himself be begged - for an infinitely long time and at last almost dragged by two - ladies to the pianoforte. In an ill humor he grabs a second violin - part of the Pleyel quartet from a music desk, throws it on the rack - of the pianoforte and begins to improvise. He had never been heard - to improvise more brilliantly, with more originality and splendor - than on this evening! but through the entire improvisation there - ran through the middle voices like a thread or ~cantus firmus~ the - notes, in themselves utterly insignificant, which he found on the - accidentally opened page of the quartet, upon which he built up the - most daring melodies and harmonies in the most brilliant concerto - style. Old Pleyel could show his amazement only by kissing his - hands. After such improvisations Beethoven was wont to break out - into a ringing peal of amused laughter. - -Beethoven's abandonment (if there really was one) of the rooms in the -theatre in the spring of 1804, and his subsequent relinquishment of the -apartments in "das Rothe Haus" to share those of Breuning, compelled -his brother Kaspar to seek a lodging of his own, which he found for the -present on the Hohen Markt. But the new contract, with Baron Braun, -gave the composer again a right to the apartments in the theatre -building, which he improved, at the same time retaining the dwelling in -the Pasqualati house. The city directory for 1805 gives his address -at the theatre, and there he received visitors; at the Pasqualati -house he was accustomed to seclude himself for work, forbidding his -servant to admit any person whatever. In the summer he retired to -Hetzendorf, and wrought out his opera, sitting in the same crotched -oak in the Schönbrunn Garden where, four years before, he had composed -the "Christus am Ölberg." Thus again he had three lodgings at the same -time, as in the preceding summer; with this difference, that now one -was no expense to him. The thousand times repeated story of Ries, that -in 1804 he had ~four~ dwellings at once, is a mistake. - -[Sidenote: THE SKETCHES FOR "FIDELIO"] - -Before his migration to Hetzendorf--say about the middle of -June--Beethoven had completely sketched the music of his opera. This -is made sufficiently certain by one of those whimsical remarks that he -was in the habit of making on the blank spaces of whatever manuscript -he happened to have before him. In this case he writes: "June 2d Finale -always simpler. All pianoforte music also. God knows why my pianoforte -music always makes the worst impression, especially when it is badly -played." This is in the midst of sketches to the final chorus of the -opera, and is written upon the upper outer corner of page 291 of the -"Leonore" sketchbook which became the property of Mr. Paul Mendelssohn, -of Berlin. The principal value of this manuscript lies of course in -the insight which it gives the musician into the master's methods of -composition;[30] but for the biographer the volume is by no means -without its value. Its striking confirmation of the previously formed -opinion, that two current notions in relation to the composition of -the opera are erroneous, well repays the toil of studying it through. -First: A misinterpreted sentence in Jahn's article on "Leonore, -oder Fidelio," has originated and given currency to the idea that -Beethoven's "daring enthusiasm for the welfare of men and their rights" -led him to begin his sketches for the opera with the "second finale, -with its hymn-like character." But the sketchbook, if it proves -anything, proves this: that Beethoven began at the beginning and took -up all the principal numbers in order, as they stood in Sonnleithner's -text; that the final choruses were the last to be sketched; and -that this sketchbook happens to begin in the midst of the chorus of -prisoners (originally the second finale) because the previous studies -are wanting. - -This volume contains the first sketches of Nos. 11, 18, 15a, 17a and -18a (appendix) of Jahn's edition; Nos. 1 and 5 occur, but not in the -original studies; Nos. 2, 3, 4, 6, 7, 8, 9 and 10 are either entirely -wanting or only come up in mere fragmentary afterthoughts, as No. 9, -on page 51, where Beethoven has written at the top of the page: "in -the duet between P. and R." and just below: "dann schleich ich," with -a hint (4 bars of music unisono) for the accompaniment. Afterthoughts -for the duet "Um in die Ehe"--~Fidelio~ and ~Marcelline~--occur also -on pages 23, 344, and possibly one or two others, but not more. -The studies for ~Fidelio's~ recitative "Ach brich noch nicht" and -aria "Komm Hoffnung" (No. 11), which are found near the end of the -volume, seem to form a marked exception to the rule; but if these are -really the first sketches, their appearance after the final scenes is -explained by two remarks in Beethoven's hand on page 344: "Duetto with -Müller (~Marcelline~) and ~Fidelio~ aside," and "Aria for ~Fidelio~, -another text which agrees with her." These notes clearly indicate a -change of plan in connection with the duet, and that the beautiful air, -"Komm Hoffnung," did not stand in Sonnleithner's original text. - -[Sidenote: PATIENT LABOR ON THE OPERA] - -The other current error thoroughly exploded by the sketchbook is -this, namely, that the noblest passages in the opera are a sort of -spontaneous outpouring in music of feelings and sentiments awakened, -or rendered intense and vivid, by the unfortunate love-affairs of the -composer. Now, there is nothing from the first page to the last of this -manuscript that conveys the impression of any such spontaneity. Every -number, as it now stands complete in the score, was the tardy result of -persevering labor--of the most painstaking study. - -Where Jahn says: "I have not had an opportunity to study many of -Beethoven's sketchbooks, but I have found no instance in which one was -not compelled to recognize that the material chosen was not the best, -or to deplore that the material which he rejected had not been used," -he might have added, with truth, that some of the first ideas noted to -passages, now among the gems of the opera, are commonplace and trivial -to such a degree, that one can hardly attribute them to Beethoven. Yet, -there they are in his own hand. Jahn's compendious general description -of the contents of this manuscript cannot be improved, except in a -single passage, in which, probably trusting his memory a little too -much, he conveys the mistaken (as we think) impression, that the aria -of ~Marcelline~ is here first sketched. - - The sketches [says he] are, naturally enough, of very different - kinds; in part they are widely varying efforts to give musical - expression to the same text, and many numbers, like the airs - of ~Marcelline~ and ~Pizarro~, the grave duet, a few striking - passages, appear for the first time with motivi wholly different - from those now to be found in the opera.... At other times, whole - pieces are written down in a breath essentially as they have - remained. - -This is rather too strongly expressed, unless Jahn had in mind the -arias of ~Rocco~ and ~Marcelline~. - - By the side of such passages are examples of indefatigable detail - work, which cannot find a conclusion, of turning not only single - motivi and melodies but the tiniest elements of them this way and - that, and out of all conceivable variations to draw out the form - that is best. One is amazed at this everlasting experimentation - and cannot conceive how it will be possible to create an organic - whole out of such musical scraps. But if one compares the completed - art-work with the chaos of sketches one is overwhelmed with wonder - at the creative mind which surveyed its task so clearly, grasped - the foundation and the outlines of the execution so firmly and - surely that with all the sketches and attempts in details the - whole grows naturally from its roots and develops. And though - the sketches frequently create the impression of uncertainty - and groping, admiration comes again for the marvelously keen - self-criticism, which, after everything has been tested with - sovereign certainty, retains the best.[31] - -In the notices of the "Leonore" sketchbook, made for use in this -work, are copied ~eighteen~ different beginnings to ~Florestan's~ -air, "In des Lebens Frühlingstagen," and ten to the chorus, "Wer ein -holdes Weib"; others being omitted, because illegible or little more -than repetitions. The studies for that wondrous outburst of joy, "O -namenlose Freude," are numerous; but the first bars of the duet are the -same in all of them, having been taken by Beethoven from an "old opera." - -It certainly seems a little like cold-blooded cruelty thus ruthlessly -to demolish the structure of romance which has been rising for thirty -years on the sandy foundation laid by Schindler in his story of the -Countess Guicciardi, and of which, through some fancied connection, the -opera "Leonore" has become an imposing part. But facts are stubborn -things, and here they are irreconcilable with the romance. - -Inborn genius for musical composition, untiring industry, and the -ambition to rival Cherubini in his own field, sufficiently explain the -extraordinary merits of this work of Beethoven; want of practice and -experience in operatic writing, its defects. - -Beethoven's seclusion at Hetzendorf from June to September (probably) -and his labor of reducing the chaos of the sketchbook into the -order and beauty of the score of "Leonore"--on which, as he told -Schindler, he wrought in the bright summer days, sitting in the -shades of Schönbrunn--are unbroken for us except by his first meeting -with Cherubini. Some time in July--for that master arrived in Vienna -after the 5th of that month, and Vogler was in Salzburg before the -28th--"Cherubini, Beethoven and Vogler were gathered together at -Sonnleithner's; everybody played, Vogler first, and without ceasing, -so that the company meanwhile sat down to table. Beethoven was full -of attention and respect toward Cherubini." Such is Jahn's note of a -communication to him by Grillparzer; and Czerny told him: "B. did not -give Cherubini a friendly reception in 1805, as the latter complained -to Czerny later." - -At the end of the summer season Beethoven returned to town with his -opera ready to be put in rehearsal. Here Ries found him. "He was really -fond of me," says he, "and gave me a comical proof of the fact in one -of his fits of absentmindedness"; and Ries goes on to relate in the -"Notizen": - - When I came back from Silesia, where, on Beethoven's - recommendation, I had spent a considerable time as pianoforte - player for Prince Lichnowsky on his estate, I went into his room; - he was about to shave and had lathered himself up to the eyes (for - his fearful beard extended so far). He jumped up, embraced me - cordially and, behold! he had transferred the soap from his left - cheek to my right so completely that there was nothing left of it - on him. Didn't we laugh! - -With all his kindness to Ries, Beethoven had neither forgotten nor -forgiven the affair of the "Andante favori": - - One day when a small company including Beethoven and me breakfasted - with Prince (Lichnowsky) after the concert in the Augarten (8 - o'clock in the forenoon), it was proposed that we drive to - Beethoven's house and hear his opera "Leonore," which had not - yet been performed. Arrived there Beethoven demanded that I go - away, and inasmuch as the most urgent appeals of all present were - fruitless, I did so with tears in my eyes. The entire company - noticed it and Prince Lichnowsky, following me, asked me to wait - in an anteroom, because, having been the cause of the trouble, he - wanted to have it settled. But the feeling of hurt to my honor - would not admit of this. I heard afterward that Prince Lichnowsky - had sharply rebuked Beethoven for his conduct, since only love for - his works had been to blame for the incident and consequently for - his anger. But the only result of these representations was that - Beethoven refused to play any more for the company. - -It so happened, that Ries thus lost his only opportunity ever to hear -the "Leonore-Fidelio" music in its original form; but this Beethoven -could not anticipate, as he could have no suspicion that they were -so soon to be parted. Bonn, being now under French rule, Ries was -liable to conscription, and notice came that he was among the first -drawn. "He was therefore," says the 'Harmonicon,' "obliged to return -home immediately, for his disobedience would have exposed his father -and family to the risk of ruin." Before Ries' departure from Vienna, -Beethoven, himself unable to afford him pecuniary assistance, again -proved his kindly feelings towards his pupil by giving him a letter -commending him to the benevolence of Princess Liechtenstein. - -"To Beethoven's rage," says Ries, "the letter was not delivered, but I -kept the original, written on an unevenly cut quarto sheet, as a proof -of Beethoven's friendship and love for me." Three years will elapse -before we meet Ries again in Vienna--the greater part of which period -he passed at Paris in such discouraging circumstances, that he thought -seriously of abandoning his profession. - -[Sidenote: FIRST PERFORMANCE OF "FIDELIO"] - -At the Theater-an-der-Wien none of the new operas produced this season -had long kept the stage; although two of them--Schikaneder's "Swetard's -Zaubergürtel," music by Fischer, and his "Vesta's Feuer," music by -J. Weigl--were brought out "with very extraordinary splendor of -decorations and costumes." It was now Autumn and the receipts did not -cover the expenses of the theatre. "From the distance," says Treitschke, - - the storm of war rolled towards Vienna and robbed the spectators of - the calm essential to the enjoyment of an art-work. But just for - this reason all possible efforts were made to enliven the sparsely - attended spaces of the house. "Fidelio" was relied upon to do its - best, and so, under far from happy auspices, the opera was produced - on November 20 (1805). It was possible efficiently to cast only the - female parts with Mlles. Milder and Müller; the men left all the - more to be desired. - -Anna Milder (born December 13, 1785), now just completing her -twentieth year, was that pupil of Neukomm to whom Haydn had said half -a dozen years before: "My dear child! You have a voice like a house!" -Schikaneder gave her her first engagement and she began her theatrical -career April 9, 1803, in the part of ~Juno~ in Süssmayr's "Spiegel von -Arkadien," with a new grand aria composed for her by him. Beethoven -had now written the part of ~Fidelio~ for her. In later years it was -one of her grand performances; though, judging from the contemporary -criticisms, it was now somewhat defective, simply from lack of stage -experience. Louise Müller, the ~Marcelline~, "had already (in April, -1805) developed in a few years into a tasteful and honest singer, -although she did not have the help of a voice of especial volume." She -became, in the opinion of Castelli, "a most amiable actress and good -singer, particularly in the comic genre." - -Demmer, "trained in Cologne," is reported in 1799, when singing at -Frankfort-on-the-Main, as having "a firm, enduring voice with a high -range; he played semi-comic rôles admirably. He was best in airs -in which there was little agility and more sustained declamation." -Castelli praises him; but all contemporary accounts agree that he was -not equal to the part of ~Florestan~, for which he was now selected. - -Sebastian Meier, brother-in-law to Mozart (the musical reformer of -this theatre), "was insignificant as a singer, but a valiant actor," -says Castelli, who knew him most intimately. Schindler has an anecdote -of him as ~Pizarro~, apparently derived from Beethoven, to the effect -that he had a high opinion of his own powers; that he used to swear by -Mozart and confidently undertake everything. In view of this Beethoven -resolved to cure him of his weakness, and to this end wrote the passage -in Pizarro's air: - -[Illustration: Pizarro - -Bass - - Bald wird sein Blut verrinnen - Bald krümmet sich der Wurm -] - - the voice moves over a series of scales, played by all the strings, - so that the singer at each note which he has to utter, hears an - appogiatura of a minor second from the orchestra. The ~Pizarro~ - of 1805 was unable with all his gesticulation and writhing to - avoid the difficulty, the more since the mischievous players in - the orchestra below maliciously emphasized the minor second by - accentuation. ~Don Pizarro~, snorting with rage, was thus at the - mercy of the bows of the fiddlers. This aroused laughter. The - singer, whose conceit was thus wounded, thereupon flew into a rage - and hurled at the composer among other remarks the words: "My - brother-in-law would never have written such damned nonsense." - -Weinkopf (~Don Fernando~) had "a pure and expressive bass voice," -but his part was too meagre and unimportant to affect the success or -failure of the opera. - -Caché (~Jaquino~), according to Castelli, was a good actor, - - who was also made serviceable in the opera because Meyer, the - stage-manager, knew that good acting, in comic operas, was - frequently more effective than a good voice. It was necessary to - fiddle his song-parts into his head before he came to rehearsals. - -Rothe (~Rocco~) was so inferior both as actor and singer, that his name -is not to be found in any of the ordinary sources of Vienna theatrical -history. - -One can well believe that very considerable difficulties attended -the performance, as Treitschke states. His words, in a passage above -cited, as well as certain expressions of Beethoven's a few months -later, indicate that the opera was hurriedly put upon the stage, and -the inadequacy of the singers thus increased by the lack of sufficient -rehearsals. Seyfried says, "I directed the study of the parts with -all the singers according to his suggestions, also all the orchestral -rehearsals, and personally conducted the performance." In 1805 Seyfried -was young, talented, ambitious, zealous, and nothing was wanting on his -part to insure success. - -[Sidenote: INCIDENTS AT THE REHEARSALS] - -Speaking of the rehearsals recalls to mind one of those bursts -of puerile wrath, which were passed over with a smile by some of -Beethoven's friends, but gave serious offense to others. Mähler -remembered that at one of the general rehearsals the third bassoon -was absent; at which Beethoven fretted and fumed. Lobkowitz, who was -present, made light of the matter: two of the bassoons were present, -said he, and the absence of the third could make no great difference. -This so enraged the composer, that, as he passed the Lobkowitz Place, -on his way home, he could not restrain the impulse to turn aside and -shout in at the great door of the palace: "Lobkowitzian ass!" - -There were various stumbling-blocks in the vocal score of "Leonore." -Schindler on this point has some judicious remarks (in his third -edition), and they are borne out by his record of conversations with -Cherubini and Anna Milder. During his years of frequent intercourse -with Beethoven and subsequently, "Leonore" was a work upon whose origin -and failure he took much pains to inform himself, and its history as -finally drawn up by him is much more satisfactory and correct than -others of greater pretensions. - -Outside the narrow circle of the playhouse, weightier matters than a -new opera now occupied and agitated the minds of the Viennese. On the -20th October, Ulm fell. On the 30th Bernadotte entered Salzburg, on -his way to and down the Danube. Vienna was defenceless. The nobility, -the great bankers and merchants--all whose wealth enabled and whose -vocations permitted it--precisely those classes of society in which -Beethoven moved, which knew how to appreciate his music, and of whose -suffrages his opera was assured, fled from the capital. On November 9th -the Empress departed. On the 10th the French armies had reached and -occupied the villages a few miles west of the city. On November 13th, -about 11 o'clock in the forenoon, the vanguard of the enemy, Murat and -Lannes at the head, 15,000 strong, representing all branches of the -service, entered Vienna in order of battle, flags flying and music -sounding. - -On the 15th, Bonaparte issued his proclamation from Schönbrunn, which -he made his headquarters. Murat quartered himself in the palace of -Archduke Albert; General Hulin, in that of Prince Lobkowitz. It was -just at this most unlucky of all possible periods that Beethoven's -opera was produced; on November 20, 21 and 22. - -Beethoven's friend, Stephan von Breuning, prepared a pretty surprise -for him by printing a short complimentary poem and having it -distributed in the theatre at the second performance. It is preserved -in the "Notizen" (p. 34).[32] Beethoven desired to retain the original -title of the opera, "Leonore," and the directors of the theatre have -been severely censured from that day to this for persisting in giving -and retaining the title "Fidelio"; but unjustly; for, considering the -relations in which Paër stood to Baron Braun, it was surely enough to -have taken his subject, without stealing his title. - -[Sidenote: RECOLLECTIONS OF A SINGER] - -A young man, educated at the University of Munich, had for some time -past been private secretary to the Bavarian ~Chargé des Affaires~ at -Salzburg. The approach of the French armies after the fall of Ulm -made his position and prospects very uncertain. It was just then that -an agent of Baron Braun came thither in search of a young, fresh -tenor to succeed Demmer, whose powers were fast yielding to time. The -engagement was offered him and thus it came about, that J. A. Röckel, -in the Autumn of 1805, became first tenor in the Theater-an-der-Wien. -After appearing in divers characters with much success, considering -his inexperience, he was offered the part of ~Florestan~ in the -contemplated revival of "Fidelio." A conversation with the singer at -Bath in April, 1861, is authority for these particulars, and a letter -from him dated February 26 of the same year adds more. Röckel wrote: - - It was in December, 1805--the opera house An-der-Wien and both - the Court theatres of Vienna having been at that time under the - intendance of Baron Braun, the Court Banker--when Mr. Meyer, - brother-in-law to Mozart and Regisseur of the opera An-der-Wien, - came to fetch me to an evening meeting in the palace of Prince - Charles Lichnowsky, the great patron of Beethoven. "Fidelio" was - already a month previously performed An-der-Wien--unhappily just - after the entrance of the French, when the city was shut against - the suburbs. The whole theatre was taken up by the French, and - only a few friends of Beethoven ventured to hear the opera. These - friends were now at that soirée, to bring Beethoven about, to - consent to the changes they wanted to introduce in the opera in - order to remove the heaviness of the first act. The necessity of - these improvements was already acknowledged and settled among - themselves. Meyer had prepared me for the coming storm, when - Beethoven should hear of leaving out three whole numbers of the - first act. - - At the soirée were present Prince Lichnowsky and the Princess, his - lady, Beethoven and his brother Kaspar, [Stephan] von Breuning, - [Heinrich] von Collin, the poet, the tragedian Lange (another - brother-in-law to Mozart), Treitschke, Clement, leader of the - orchestra, Meyer and myself; whether Kapellmeister von Seyfried was - there I am not certain any more, though I should think so. - - I had arrived in Vienna only a short time before, and met Beethoven - there for the first time. - - As the whole opera was to be gone through, we went directly to - work. Princess L. played on the grand piano the great score of the - opera and Clement, sitting in a corner of the room, accompanied - with his violin the whole opera by heart, playing all the solos - of the different instruments. The extraordinary memory of Clement - having been universally known, nobody was astonished by it, except - myself. Meyer and I made ourselves useful, by singing as well as - we could, he (basso) the lower, I the higher parts of the opera. - Though the friends of Beethoven were fully prepared for the - impending battle, they had never seen him in ~that~ excitement - before, and without the prayers and entreaties of the very delicate - and invalid princess, who was a second mother to Beethoven and - acknowledged by himself as such, his united friends were not likely - to have succeeded in this, even to themselves, very doubtful - enterprise. But when after their united endeavors from seven - till after one o'clock, the sacrifice of the three numbers was - accomplished, and when we, exhausted, hungry and thirsty, went to - restore ourselves by a splendid supper--then, none was happier and - gayer than Beethoven. Had I seen him before in his fury, I saw him - now in his frolics. When he saw me, opposite to him, so intently - occupied with a French dish, and asked me what I was eating, and I - answered: "I don't know!" with his lion-voice he roared out: "He - eats like a wolf--without knowing what! Ha, ha, ha!" - - The condemned three numbers were: - - 1. A great aria with chorus of ~Pizarro~; - - 2. A comic duo between ~Leonore~ (~Fidelio~) and ~Marcelline~, with - violin and violoncello solo; - - 3. A comic terzetto between ~Marcelline~, ~Jacquino~ and ~Rocco~. - - Many years after, Mr. Schindler found the scores of these three - pieces amongst the rubbish of Beethoven's music, and got them as a - present from him. - -A question has been raised as to the accuracy of Röckel's memory in -his statement of the numbers cancelled on this occasion; to which it -may be remarked, that the particulars of this first and extraordinary -meeting with Beethoven would naturally impress themselves very deeply -upon the memory of the young singer; that the numbers to be condemned -had been previously agreed upon by the parties opposed to the composer -in the transaction, and doubtless made known to Röckel; that Röckel's -relations to Meyer were such as to render it in the highest degree -improbable, that he should confound ~Rocco's~ gold aria with either of -the ~Pizarro~ airs with chorus belonging to Meyer's part; that both of -these belong to the first and second original acts--i. e., to the first -act of the opera as Röckel knew it; that he (Röckel) in his letter -to the writer is not reporting upon the pieces actually omitted in -the subsequent performance three or four months later, but upon those -which, at this meeting, Beethoven was with great difficulty persuaded -to omit: that the objections made to them were not to the music, but -because they retarded the action; and, therefore, that the decision -now reached was by no means final, provided the end desired could be -attained in some other way. Perhaps it may yet appear that Beethoven, -now cunningly giving way, succeeded in winning the game, and retaining -all three of the pieces condemned. - -Outside theatrical circles we catch also a glimpse or two of Beethoven -in these months. Pierre Baillot, the violinist, was in Vienna just -before the French invasion on his way to Moscow, and was taken by Anton -Reicha to see Beethoven. - - They did not find him in his lodgings but in a by no means - elegant inn in the Vorstadt. What first attracted the attention - of the Frenchman was that Beethoven did not have the bulldog, - gloomy expression which he had expected from the majority of - his portraits; he even thought he recognized an expression of - good-nature in the face of the composer. The conversation had just - got well under way when it was interrupted by a terrific snore. It - came from a stableman or coachman who was taking his little nap in - a corner of the room. Beethoven gazed at the snorer a few moments - attentively and then broke out with the words: "I wish I were as - stupid as that fellow."[33] - -Schindler closes his account of these last five years in Beethoven's -life with great propriety and elegance by quoting a passage copied by -the master from Christian Sturm's "Betrachtungen." It is made up of -scattered sentences which may be found on page 197 of the ninth edition -(Reutlingen, 1827): - - To the praise of Thy goodness I must confess that Thou hast tried - all means to draw me to Thee. Now it hath pleased Thee to let me - feel the heavy hand of Thy wrath, and to humiliate my proud heart - by manifold chastisements. Sickness and misfortune hast Thou sent - to bring me to a contemplation of my digressions. But one thing - only do I ask, O God, cease not to labor for my improvement. Only - let me, in whatsoever manner pleases Thee, turn to Thee and be - fruitful of good works. - -[Sidenote: WORKS PUBLISHED IN 1805] - -The publications for the year 1805 were the Two Easy Sonatas, G minor -and G major, Op. 49, advertised by the Kunst- und Industrie-Comptoir, -on January 23; Trio (arranged from the Septet) for Pf., Violin (or -Clarinet) and Violoncello, E-flat, Op. 38, advertised by the same -institution on the same date; Prelude for the Pf., F minor, advertised -by the same on January 30; Romance for Violin and Orchestra, F major, -Op. 50, advertised by the same on May 15; Sonata in C major for Pf., -Op. 53, dedicated to Count Waldstein, advertised with the Romance; -song, "An die Hoffnung," Op. 32, advertised by the same on September -18; Six Variations for Pf. four hands, on "Ich denke Dein," advertised -by the same on January 23; Minuet in E-flat for Pf., advertised by same -on January 30; Scene and Air, "Ah, perfido! spergiuro," in pianoforte -score, published by Hoffmann and Kühnel. - -The compositions which were completed were the opera "Leonore" -("Fidelio") in its first form; the Concerto for Pf. and Orchestra, G -major, Op. 58 (this on the authority of Nottebohm); the Pf. Sonata in F -major. Op. 54; perhaps also may be added the Concerto for Pf., Violin -and Violoncello, C major. Op. 56. It was sketched at the beginning of -the year and was written, as Schindler states, for Archduke Rudolph, -Seidler, violin, and Kraft, violoncello; it may well have been -completed so as to be played by the winter of 1805-1806. - -FOOTNOTES: - -[29] Again played by him at the opening of Schuppanzigh's Augarten -concerts in the Spring. - -[30] See Nottebohm's study of the sketches for "Fidelio" in "Zweite -Beethoveniana," p. 409 ~et seq.~; also what Jahn has to say, and the -results of Erich Prieger's labors in connection with the reprint of the -original form of the opera. - -[31] Jahn, "Gesammelte Schriften," p. 244. - -[32] To the opinions of the reviewers some attention must be given; it -does not seem advisable to quote them ~in extenso~. The "Freymüthige" -describes the military occupation of Vienna, the officers quartered -in the city proper, the private soldiery in the suburbs. At first -the theatres were empty, but gradually the French began to visit -them and at the time of writing were more numerous in the playhouses -than the Austrians. "Fidelio," the new opera by Beethoven, did not -please. It was given a few times only and the house was empty after -the first performance. The music did not meet the expectations of -the cognoscenti and music-lovers, lacking the passionate expression -which is so compelling in Mozart and Cherubini. The music is beautiful -in places, but as a whole the opera is far from being a perfect or -successful work. The "Zeitung für the Elegante Welt" records that the -music is "ineffective and repetitious," and did not add to the writer's -opinion of Beethoven's talent for vocal writing formed on hearing his -cantata ("Christus am Ölberg"). In its issue of January 8, 1806, the -correspondent of the "Allg. Mus. Zeitung" says that he had expected -something very different, in view of Beethoven's undisputed talent. -Beethoven had often sacrificed beauty to newness and singularity and -therefore something new and original had been expected, but these were -the qualities which were least noticeable. The music is distinguished -neither by invention nor execution. The overture is not comparable -with that of "Prometheus." As a rule there is nothing new in the -vocal parts; they are generally too long, the text is ceaselessly -repeated and the characterization misses fire, as, for instance, in -the duet after the recognition. A canon in the first act and an aria -in F [E] are more successful, though the pretty accompaniment with -its three horns ~obbligato~ and bassoon is somewhat overloaded. The -choruses, especially the song of the prisoners, are a failure. Dr. -Henry Reeve, of Norwich, England, one of the earliest collaborators -on the "Edinburgh Review," then a young man of 25, was in Vienna at -the time of the French invasion and attended the second representation -of the opera on November 21st. Sir George Grove sent a copy of a page -from his journal to Thayer. He thought the plot a sad mixture of bad -action and romantic situations, but the airs, duets and choruses worthy -of all praise. The "overtures," of which there was one for every act, -were too artificial to be generally agreeable and an appreciation of -their beauties would require frequent hearing. Beethoven sat at the -pianoforte and conducted the performance--a little, dark, young-looking -man, who wore spectacles. - -[33] "Signale für die Musikalische Welt," June 21, 1866. - - - - -Chapter IV - - The Year 1806--Repetition of "Fidelio"--Changes in the Opera--Its - Withdrawal--Journey to Silesia--Correspondence with Thomson--The - Scottish Songs. - - -Excerpts from a letter written on June 2, 1806, by Stephan von Breuning -to his sister and brother-in-law, make a fair opening for the story -of the year 1806. In it he reports on "Fidelio." The letter, though -written in the middle of the year, has reference to the period between -the original performance late in 1805 and the repetition in the spring -of 1806, a period in which it would seem, from the absence of all -epistolary writings, Beethoven was in no mood, or too much occupied -otherwise, for correspondence. Von Breuning writes: - - Nothing, perhaps, has caused Beethoven so much vexation as - this work, the value of which will be appreciated only in the - future.... Beethoven, who had also observed a few imperfections - in the treatment of the text in the opera, withdrew it after - three representations. After order had been restored he and I - took it up again. I remodelled the whole book for him, quickening - and enlivening the action; he curtailed many pieces, and then it - was performed three[34] times with great success. Now, however, - his enemies in the theatre arose, and as he had offended several - persons, especially at the second representation, they succeeded in - preventing further performances. Before this, many obstacles had - been placed in his way; to let one instance stand as proof for the - others, he could not even get permission to secure an announcement - of the opera under the changed title "Fidelio," as it is called in - the French original, and as it was put into print after the changes - were made. Contrary to promise the first title "Leonore" appeared - on the poster. This is all the more unpleasant for Beethoven since - the cessation of the performances on which he was depending for - his honorarium, which consists in a percentage of the receipts, - has embarrassed him in a financial way. He will recover from the - set-back all the more slowly since the treatment which he has - received has robbed him of a great deal of his pleasure in and love - for work.... - -The words "Fidelio" and "Leonore" are here misplaced, interchanged, -whether by Breuning or his copyist is not known. The letter is a -reflection of Beethoven's disappointment and indignation at fancied -injuries; it was written in ignorance of divers material facts, and -contains inaccuracies, which--since its publication by Wegeler in -1838--have colored many attempts to write the early history of the -opera. - -It is a circumstance, noteworthy and not easily to be explained, that -Breuning, instead of Sonnleithner, revised the text and made the new -disposition of the scenes. For the alterations and suppressions, both -in the text and the music, made at this time, the reader is referred -to the edition of "Leonore" prepared by Otto Jahn, and published by -Breitkopf and Härtel in 1852, and the preface to the edition of the -"Fidelio" of 1805 published by Erich Prieger. - -At the performances in November, the effect of the overture had been -ruined by a passage in the Allegro, which was too difficult for the -wood-wind instruments. "Instead of simply removing this obstacle (31 -measures)," says Schindler, "Beethoven thought it advisable to rewrite -the whole, inasmuch as he was already engaged upon a revision of other -parts of the work. He retains the motivi of the Introduction as well -as the Allegro, has the motivo of the latter played by violoncellos -and violins simultaneously for the sake of greater sonority, and on -the existing foundation rears a new structure, including several new -thoughts."[35] - -[Sidenote: THE OVERTURES TO "FIDELIO"] - -And thus for Beethoven the winter passed. To compete with successful -new works which Schikaneder offered the Vienna audiences of 1806, -was no light matter; and it is easy to imagine, that Beethoven felt -this, and determined, at all events in his own field of instrumental -composition, to leave no doubt who was master. Hence, that monumental -work, the great overture to "Leonore" in its second form. He was, as -usual, dilatory in meeting his engagements. January and February passed -and March drew to its close, and the overture was not ready. This was -too much for Baron Braun's patience. He, therefore, selected the best -night of the season--Saturday, March 29, the last before the closing -of the theatre for Holy Week and Easter--and gave Beethoven distinctly -to understand, that if the opera was not performed on that evening, it -should not be given at all. This was effectual and the new score was -sent in; but so late, as Röckel well remembered, as to allow but two or -three rehearsals with pianoforte and one only with orchestra; and these -were directed by Seyfried--the composer appearing at neither. - -Beethoven and Breuning supposed that a change of title from "Fidelio" -to "Leonore" had been agreed to by the directors, and indeed the new -text-book and Breuning's poem on the occasion were so printed; but -it was determined otherwise. By the new arrangement of the scenes, -the number of acts was reduced to two. The new playbill therefore -substitutes "Opera in two Acts" for "three"; excepting this, the -change of date, and of Röckel's for Demmer's name as ~Florestan~, it -is a facsimile of the previous ones, and announces: "Fidelio oder die -Eheliche Liebe." For this determination the directors may well have -urged, not only a proper regard for the composer of "Sargino" and the -(Italian) "Leonore," but the manifest impropriety of misleading the -public by giving a new title to a work which remained essentially -unchanged. As on the original production, Breuning wrote a poem: "To -Herr Ludwig van Beethoven, on the occasion of the reproduction of the -opera composed by him and first performed on November 20, 1805, now -given under the new title 'Leonore.'" - -[Sidenote: UNSUCCESSFUL PERFORMANCES] - -The correspondent of the "Allg. Mus. Zeit.," under date of April 2, -writes: "Beethoven has again produced his opera 'Fidelio' on the -stage with many alterations and abbreviations. An entire act has been -omitted, but the piece has benefited and pleased better." On Thursday, -the 10th, it was given again. The following letters from Beethoven -to Sebastian Meier, referring to this performance, complain of "many -blunders" in the choruses, ask for new rehearsals, and say: - - Please ask Mr. Seyfried to conduct my opera to-day, I want to look - at and hear it from a distance, thus at least my patience will not - be so greatly tried as if I were to hear my music bungled close - at hand! I cannot think otherwise than that it is done purposely. - I will say nothing about the wind-instruments, but that all ~pp~, - ~crescendo~, all ~decres.~ and all ~forte~, ~ff~, have been elided - from my opera; at any rate they are not played. All delight in - composing departs when one hears it (one's music) played ~thus~! - -Seyfried's autograph record of all performances in the -Theater-an-der-Wien, through a long series of years, gives "Sargino" -instead of "Fidelio," for Saturday the 12th--and "Agnes Bernauer" -for the Sunday and Monday following. That this old, well-known drama -was so repeated affords a strong presumption that an opera--we think -"Fidelio"--was withdrawn "because obstacles had suddenly appeared" -after it was too late to supply its place with another. At all events, -the production of "Fidelio" on Thursday, April 10th, was the last; for -which fact, two explanations are given--that in Breuning's letter, and -one by Röckel in his letter to the author. Breuning attributes it to -the composer's enemies--to a cabal, to "several persons whom Beethoven -had offended, especially at the second representation"; Röckel, to -Beethoven's own imprudence and folly. - -Breuning, a Secretary in the War Office, could have had little leisure -for theatrical matters in those melancholy days during the French -occupation and immediately after; it is a cause of surprise, that -he found time for the revision of the "Fidelio" text; his record, -therefore, could hardly have been made except upon the representations -of his friend--the last man to admit that he was in fault. But -Röckel was behind the scenes in a double sense: he sang the part of -~Florestan~ and while Beethoven's "friends were, most of them, married -men, not able to walk and dine out with him (as he writes) like myself, -another bachelor, to whom he took a fancy--I could call upon him in the -morning and in fine weather stroll and dine with him in the country." -Breuning and Röckel are alike men of unimpeachable veracity; but the -latter speaks from personal knowledge and observation. - -Breuning's statement is improbable. Who were Beethoven's enemies? Who -formed the cabal? Baron Braun, Schikaneder, Seyfried, the Stage-manager -Meier, Director Clement, the solo singers (Mlle. Milder, Weinkopf, -Röckel), were all his friends; and, for anything now known, so were -Mlle. Müller, Rothe and Caché. As to orchestra and chorus, they might -refuse to play under Beethoven as conductor--nothing more; and, as he -had already conducted four if not five times, this would create no -great difficulty, as the baton would necessarily pass into the hands -of Seyfried at the first or second subsequent performance. Moreover, -now that the opera was fairly upon the stage and making its way, it -was for the interest of all parties, from Baron Braun down to the -scene-shifters, to continue it so long as it would draw an audience. -That it was making its way is proved not only by all the contemporary -accounts, but by this: that notwithstanding the necessarily empty -houses in November, Beethoven's percentage of the receipts finally -amounted to nearly 200 florins. - -[Sidenote: THE COMPOSER IN A RAGE] - -In the second of the notes to Meier, Beethoven is guilty of monstrous -injustice. A moment's reflection shows this. The orchestra and chorus -had duly rehearsed and three times publicly performed "Fidelio" as -first written. Since then (see Jahn's edition) most of the numbers, -perhaps every one, had been more or less changed. Now every musician -knows that it is easier to play a piece of new music correctly at -sight, than a well-known composition in which material alterations -have been made. And yet, because some forty men--playing on a dozen -different instruments, and after a single rehearsal at which the -composer was not present to explain his intentions--did not effect -the impossibility of reading the music correctly and at the same time -note all the marks of expression, Beethoven writes: "I cannot think -otherwise than that is done purposely!" - -All things considered, there can be no hesitation in preferring the -testimony of the singer of ~Florestan~, to that of the Court War -Councillor. - - When the opera was produced in the beginning of the following - year (writes Röckel) it was exceedingly well received by a select - public, which became more numerous and enthusiastic with each new - representation; and no doubt the opera would have become a favorite - if the evil genius of the composer had not prevented it, and as - he, Beethoven, was paid for his work by a percentage, instead of - a mere honorarium, an advantage which none enjoyed before him, - it would have considerably advanced his pecuniary arrangements. - Having had no theatrical experience, he was estimating the receipts - of the house much higher than they really were; he believed - himself cheated in his percentage, and without consulting his real - friends on such a delicate point, he hastened to Baron Braun--that - high-minded and honorable nobleman--and submitted his complaint. - The Baron, seeing Beethoven excited and conscious of his ~one - susceptibility~ (i. e., suspicious temper), did what he could to - cure him of his suspicions against his employees, of whose honesty - he was sure. Were there any fraud, the Baron said, his own loss - would be beyond comparison more considerable than Beethoven's. He - hoped that the receipts would increase with each representation; - until now, only the first ranks, stalls and pit were occupied; by - and by the upper ranks would likewise contribute their shares. - - "I don't write for the galleries!" exclaimed Beethoven. - - "No?" replied the Baron, "My dear Sir, even Mozart did not disdain - to write for the galleries." - - Now it was at an end. "I will not give the opera any more," said - Beethoven, "I want my score back." Here Baron Braun rang the bell, - gave orders for the delivery of the score to the composer, and - the opera was buried for a long time. From this encounter between - Beethoven and Baron Braun one might conclude that the former's - feelings had been injured by the comparison with Mozart; but since - he revered Mozart highly, it is probable that he took offence - more at the manner in which they were uttered than at the words - themselves.--He now realized plainly that he had acted against his - own interests, and in all probability the parties would have come - to an amicable understanding through the mediation of friends if - Baron Braun had not very soon after retired from the management of - the united theatres, a circumstance that led to a radical change of - conditions. - -In truth, Beethoven had overshot the mark. The overture was too novel -in form and grand in substance to be immediately understood; and, in -1806, there was not an audience in Europe able to find, in the fire and -expression of the principal vocal numbers, an adequate compensation -for the superficial graces and melodic beauties of the favorite operas -of the time, and which seemed to them to be wanting in "Fidelio." Even -Cherubini, who was all this time in Vienna, failed to comprehend fully -a work which, though a first and only experiment, was destined to an -ever-increasing popularity, when nearly all his own then universally -admired operas had disappeared from the stage. Schindler records that -he "told the musicians of Paris concerning the overture that because of -its confusion of modulations he was unable to recognize the principal -key." And farther, that he (Cherubini), in listening to "Fidelio," had -come to the conclusion that till then Beethoven had paid too little -heed to the art of singing, for which Salieri was not to blame. - -In 1836, Schindler conversed with the ~Fidelio~ of 1805-06, Madame -Milder-Hauptmann, on the subject: "She said, among other things, that -she, too, had had severe struggles with the master chiefly about the -unbeautiful, unsingable passages, unsuited to her voice, in the Adagio -of the air in E major--but all in vain, until, in 1814, she declared -that she would never sing the air again in its then shape. That worked." - -Anselm Hüttenbrenner, who became a pupil of Salieri a dozen years -later, wrote in a letter to Ferdinand Luib, under date February 21, -1858: "Speaking of Beethoven Salieri told me the composer had submitted -'Fidelio' to him for an opinion: he had taken exception to many -things and advised Beethoven to make certain changes; but Beethoven -had 'Fidelio' performed just as he had written it--and never visited -Salieri again." These last words are too strong; Beethoven's pique -against his old master was in time forgotten; for Moscheles (also in a -letter to Luib) writes on February 28, 1858: "I cannot recall seeing -Schubert at Salieri's, but I do remember the interesting circumstance -that once I saw a sheet of paper lying at Salieri's on which in great -letters written by Beethoven were the words: '~The pupil Beethoven was -here!~'" - -A letter by Beethoven to Baron von Braun refers to the incidents just -described and asks permission to get from the theatre orchestral parts, -as follows: - - ~Flauto primo~, the three trombones and the four horn parts of my - opera. I need these parts, but only for a day, in order to have a - few trifles copied for myself which ~could not be written into the - score for want of room~, also because ~Prince Lobkowitz~ thinks ~of - giving the opera at his house~ and has asked it of me. - -There were other reasons why Beethoven desired to render his score -perfect. Whether the opera was performed in the Lobkowitz palace is not -recorded; but Breuning ends his letter of June 2nd thus: "I will not -write you the news that Prince Lichnowsky has now sent the opera to the -Queen of Prussia, and that I hope the performances in Berlin will show -the Viennese what they have at home." - -Breuning's hope was vain; the opera was not given in Berlin. - -[Sidenote: MARRIAGE OF KARL KASPAR VAN BEETHOVEN] - -The order of time requires a passing notice of a family event which -proved in the end a cause of infinite trouble and vexation to Beethoven -and all connected with him by the ties of kindred or friendship. -Whether his brother Kaspar's salary was increased above 250 florins, -before his appointment in 1809 as Liquidators'-Adjunct with 1000 -florins and 160 fl. for lodgings, does not appear; beyond a doubt it -had been. But, be this as it may, he now found himself in a position to -marry, and on the 25th of May "a marriage contract was closed between -Carl Caspar v. Beethoven, R. I. Officer of the Revenue, and of this -city (Vienna) and Theresia Reiss, daughter of Anton Reiss, civilian, -upholsterer." Their only child, a son, was born--according to the -baptismal certificate--on September 4th, 1806. - -Reiss was a man of considerable wealth, for one in his sphere of life, -and able, it is said, to give his daughter a marriage portion of 2000 -florins; it appears, too, that the valuable house in the Alservorstadt, -owned by Karl at the time of his death, was an inheritance of his wife -from her father's estate; indeed, half the right to the property was -legally secured to her. So much has been wantonly and falsely written -upon this marriage and its consequences, as to render it proper to add -here: Karl van Beethoven's character and temperament were not fitted to -render a wife permanently happy; on the other hand his wife, before her -husband's death, dishonored him by an intrigue with a medical student; -but there is no reason whatever to believe that the marriage, at the -time it took place, was not considered a good one for, and by, all -parties concerned. - -The notices of Beethoven's own movements during this year are scanty. -"Fidelio" and studies to instrumental works employed him during the -winter (1805-6), but not to the exclusion of the claims of social -intercourse, as one of his characteristic memoranda indicates. It is -written with lead pencil on a page of the new quartet sketches: "Just -as you are now plunging into the whirlpool of society--just so possible -is it to compose ~operas~ in spite of social obstacles. Let your -deafness no longer be a secret--even in art." - -Breuning's report (June 2), that Beethoven "had lost a great deal of -his pleasure in and love for work," had even then ceased to be true. -On the 26th of May, the first of the Rasoumowski Quartets had been -begun--and with it began a series of works which distinguished the -year 1806 as one of astonishing productiveness--but more on this point -in due time. It is quite certain that he took no summer lodgings: this -and other considerations confirm Schindler's statement, that, when the -revision of a copy of his opera for Berlin had been finished, he went -into Hungary to enjoy "a short rest with his friend Count Brunswick." -Thence he journeyed into Silesia to the seat of Prince Lichnowsky near -Troppau. - -[Sidenote: NEGOTIATIONS WITH BREITKOPF AND HÄRTEL] - -Two documents now come up for consideration which fill a hiatus left by -the author in the original edition of this work. They are the letters -to which reference was made by the English editor in his comments -on Beethoven's love-affairs (Vol. I, p. 344). Both are addressed to -Breitkopf and Härtel, the first dated "Vienna, July 5, 1806," the -second "Grätz, den 3ten Heumonath, 1806"--"Heumonath" meaning July. -The inaccuracy of the latter date is too obvious to call for extended -comment; Beethoven could not apologize on the third day of the month -for tardiness in replying to a letter in answer to one which he had -dispatched on the fifth. It is not permissible to play fast and loose -with Beethoven's dates, despite their frequent faultiness; we must -accept them when they are upheld by corroborative evidence, but reject -them when it is plainly impossible to conceive them as correct. In -explanation of the obvious incorrectness of the second date it is -suggested that when Beethoven wrote "Heumonath," i. e., July, he meant -to write "Herbstmonath," i. e., September. Irrespective of their dates, -however, the letters furnish evidence of Beethoven's creative activity -during the summer of 1806. The first letter is as follows: - - Vienna, July 5, 1806. - - I inform you that my brother is going to Leipsic on business of - his chancellary and I have given him to carry the overture to my - opera in pianoforte arrangement, my oratorio and a new pianoforte - concerto--you may also negotiate with him touching some new violin - quartets of which I ~have already completed one~ and am purposing - to devote myself almost wholly to this work. As soon as you have - come to an understanding with my brother I will send you the - pianoforte arrangement of my opera--you may also have the score. - - I hear that the symphony which I sent you last year and ~which you - returned to me~ has been roundly abused in the Musikal. Zeitung, - I have not read it, if you think that you do ~me~ harm by this - you are mistaken, on the contrary you bring your newspaper into - discredit by such things--all the more since I ~have not made any - secret~ of the fact that you sent back ~this symphony~ and other - compositions--Please present my compliments to Herr V. Rochlitz, I - hope his bad blood toward me has become a little diluted, say to - him that I AM BY NO MEANS SO IGNORANT of foreign literature not to - know that ~Herr v. Rochlitz has written some very pretty things~, - and if I should ever come to Leipsic I am convinced that we shall - become right good friends without ~causing injury or loss to his - criticisms~.... - -The pianoforte concerto referred to is that in G major, Op. 58; the -Quartets, the set Op. 59; the symphony, the "Eroica." The second letter -was written from Prince Lichnowsky's castle, Grätz, near Troppau in -Silesia. Breitkopf and Härtel's endorsement shows that it was received -and answered in September: - - Grätz, Heu-Monath 3rd, 1806. - - Rather too much to do and the little journey here I could not - answer your letter at once--although I at once decided to accept - your offer, since my comfort, too, will be promoted by such an - arrangement and many unavoidable disorders obviated--I willingly - obligate myself not to sell any more of my works to any one except - you nor abroad except in the cases now specified, viz: whenever - advantageous offers are made to me by foreign publishers I will - inform you of the fact; and if you are otherwise inclined I will at - once arrange that you shall have ~the same work for Germany~ for - a smaller honorarium.--The second case is this: if I should leave - Germany, which is easily possible, that you may ~still participate - as above~, if you so desire--If these conditions are agreeable to - you write me--I believe the plan mutually helpful--as soon as I - learn your opinion of the matter--you may have at once 3 violin - quartets, a new pianoforte concerto, a new symphony, the score of - my opera and my oratorio. - - My present place of sojourn is here in Silesia so long as autumn - lasts--with Prince Lichnowsky--who sends greetings to you--My - address is L. v. Beethoven in Troppau. - -Breitkopf and Härtel's endorsement is as follows: "~Resp.~ (i. e., -~responsum~). Let him propose the honorarium; if acceptable we will -send him a contract for three years." In reply to this Beethoven wrote -a letter dated Vienna, Nov. 18, 1806, in which he said: - - Partly my distractions in Silesia, partly the events which have - taken place in your country, were to blame that I did not answer - your letter before now--should the present condition of affairs - prevent your entering into an engagement with me, you are not bound - to anything--only I beg you to answer at once by post, so that in - case you do not care to make a contract with me--I need not let - my works lie idle. With regard to a contract for three years I am - disposed to enter into it with you at once if you will agree that - I sell several works to England or Scotland. It is understood of - course ~that the works which you have received from me or which - I sold you belong only to you, namely are your sole property and - have nothing to do with those of France, England or Scotland--but - I must have the privilege to dispose of other works in those - countries--But in Germany, you and no other publisher would be - the owner of my works~. I would willingly renounce the sale of my - works in those countries, but I have received from Scotland such - weighty offers and such an honorarium as I could not ask of you, - besides a connection with foreign countries is always important - for the fame of an artist and in the event of his travelling--As, - for instance, in the case of Scotland, I have the right to sell - the same works in Germany and France, I would gladly let you have - them for Germany and France--so that only London and Edinburgh (in - Scotland) would be lost to your sales.... For the present I offer - you three quartets and a pianoforte concerto--I cannot give you the - promised symphony yet--because a gentleman of quality has taken it - from me, but I have the privilege of publishing it in half a year. - I ask of you 600 florins for the three quartets and 300 fl. for the - concerto, ~both amounts~ in Convention Florins according to the 20 - florin scale. - -The negotiations were without result and the compositions mentioned -were published by the Industrie-Comptoir. The symphony referred to was -doubtless the fourth, in B-flat, and the "gentleman of quality" in all -likelihood Count von Oppersdorff, to whom it was dedicated. - -In October Breuning wrote to Wegeler: "Beethoven is at present in -Silesia with Prince Lichnowsky and will not return till near the end of -this month. His circumstances are none of the best at present, since -his opera, owing to the cabals of his opponents, was performed but -seldom, and therefore yielded him nothing. His spirits are generally -low and, to judge by his letters, the sojourn in the country has not -cheered him." This visit to the Prince came to an abrupt termination in -a scene which has been a fruitful theme for the silly race of musical -novelette writers. The simple truth is related by Seyfried in the -appendix to his "Studien" (page 23) and is here copied literally except -for a few additional words interspersed, derived by the present writer -from a conversation with the daughter of Moritz Lichnowsky: - - When he (Beethoven) did not feel in the mood it required repeated - and varied urgings to get him to sit down to the pianoforte. - Before he began playing he was in the habit of hitting the keys - with the flat of his hand, or running a single finger up and down - the keyboard, in short, doing all manner of things to kill time - and laughing heartily, as was his wont, at the folly. Once while - spending a summer with a Mæcenas at his countryseat, he was so - pestered by the guests (French officers), who wished to hear him - play, that he grew angry and refused to do what he denounced as - menial labor. A threat of arrest, made surely in jest, was taken - seriously by him and resulted in Beethoven's walking by night to - the nearest city, Troppau, whence he hurried as on the wings of the - wind by extra post to Vienna.[36] - - In the "Grenzboten," Vol. XVI, No. 14, April 3, 1857, Fräulein - Giannatasio del Rio relates that, in 1816, Beethoven told how once - during the invasion when the Prince had a number of Frenchmen as - his guests, he (the Prince) repeatedly tried to coerce him to - play for them on the pianoforte and that he had stoutly refused; - which led to a scene between him and the Prince, whereupon B. - indiscreetly and suddenly left the house.--He once said that it - is easy to get along with nobility, but it was necessary to have - something to impress them with. - -To propitiate him for the humiliation which he had suffered, the bust -of his patron had to become a sacrifice; he dashed it into pieces from -its place on a cabinet to the floor. Alois Fuchs recorded an anecdote -which illustrates the feeling which made Beethoven so unwilling to play -before the French officers. After the battle at Jena (October 14, 1806) -Beethoven met his friend Krumpholz, to whom he was warmly attached, -and, as usual, asked him, "What's the news?" Krumpholz answered -that the latest news was the report just received that the great -hero Napoleon had won another decisive victory over the Prussians. -Greatly angered, Beethoven replied to this: "It's a pity that I do not -understand the art of war as well as I do the art of music, I would -conquer him!" - -A very natural query arises here: how did Beethoven meet the expenses -of these costly journeys? In answer it may be said that there is good -reason to believe that he borrowed and used his brother Johann's scanty -savings. - -[Sidenote: THOMSON AND SCOTTISH SONGS] - -A letter by Beethoven, dated November 1, introduces a new topic. At -the time of the Union of the Kingdoms of England and Scotland, 1707, -a "Board of Trustees for the Encouragement of Arts and Manufactures -in Scotland" was established. About 1785 George Thomson became its -Secretary. He had some knowledge of musical science, and was an -enthusiastic lover of Scottish airs and melodies. His official position -brought him into correspondence with educated and influential people in -all parts of the kingdom, and afforded him singular facilities for the -execution of an early formed project--that of making the most extensive -collection possible of the music of Scotland. Many compilations, -various in extent and merit, had been published, but all of them, as -Thomson justly remarks, "more or less defective and exceptionable." In -one of his prefaces he says: - - To furnish a collection of all the fine airs, both of the plaintive - and the lively kind, unmixed with trifling and inferior ones--to - obtain the most suitable and finished accompaniments, with the - addition of characteristic symphonies to introduce and conclude - each air--and to substitute congenial and interesting songs, every - way worthy of the music, in the room of insipid or exceptionable - verses, were the great objects of the present publication.... - - For the composition of the symphonies and accompaniments, he - entered into terms with Mr. Pleyel, who fulfilled part of his - engagement satisfactorily; but having then stopped short, the - editor found it necessary to turn his eyes elsewhere. He was so - fortunate, however, as to engage Mr. Kozeluch, and afterwards, Dr. - Haydn, to proceed with the work, which they have finished in such a - manner as to leave him nothing to regret on Mr. Pleyel's breach of - engagement, etc., etc. - -Doubtless Thomson would have applied sooner to Haydn, had he known -that the great master would condescend to such a labor. The appearance -of William Napier's two volumes of "Original Scots Songs, in three -parts, the Harmony by Haydn," removed any doubt on this point. For -Napier, Haydn simply added a violin part and a figured bass; for -Thomson, a full pianoforte score, parts for violin and violoncello, -and an instrumental introduction and coda. A very remarkable feature -of the enterprise was, that the composers of the accompaniments had -no knowledge of the texts, and the writers of the poetry no knowledge -of the accompaniments. The poets, in many cases, had a stanza of the -original song as a model for the metre and rhythm; in all others, they -and the composers alike received the bare melody, with nothing else to -guide them in their work but Italian musical terms: allegro, moderato, -andante, etc., etc., affettuoso, espressivo, scherzando, and the like. -This is also true of the Welsh and Irish melodies. Beethoven began his -labors for Thomson with the last named. In the preface to the first -volume, dated "Edinburgh, anno 1814," after describing his work in -collecting Irish airs, Thomson says: - - They were sent to Haydn to be harmonized along with the Scottish - and Welsh airs; but after that celebrated composer had finished - the greater part of those two works, his declining health only - enabled him to harmonize a few of the Irish Melodies; and upon his - death, it became necessary to find another composer to whom the - task of harmonizing them should be committed.[37] Of all composers - that are now living, it is acknowledged by every intelligent and - unprejudiced musician, that the only one, who occupies the same - distinguished rank with the late Haydn is BEETHOVEN. Possessing - the most original genius and inventive fancy, united to profound - science, refined taste and an enthusiastic love of his art--his - compositions, like those of his illustrious predecessor, will - bear endless repetition and afford ever new delight. To this - composer, therefore, the Editor eagerly applied for symphonies - and accompaniments to the Irish Melodies; and to his inexpressible - satisfaction, Beethoven undertook the composition. After years of - anxious suspense and teazing disappointment, by the miscarriage - of letters and manuscripts, owing to the unprecedented difficulty - of communication between England and Vienna, the long expected - symphonies and accompaniments at last reached the Editor, three - other copies having previously been lost upon the road. - -Near the close of his preface, Thomson says: "After the volume was -printed and some copies of it had been circulated, an opportunity -occurred of sending it to Beethoven, who corrected the few inaccuracies -that had escaped the notice of the Editor and his friends; and he -trusts it will be found without a single error." - -[Sidenote: BEETHOVEN'S SUGGESTED ARRANGEMENTS] - -Following is a translation of the letter to Thomson referred to: - - Vienna, November 1, 1806. - - Dear Sir: - - A little excursion to Silesia which I have made is the reason why - I have postponed till now answering your letter of July 1. On my - return to Vienna I hasten to communicate to you what I have to say - and what I have decided as to the proposals you were so kind as to - make me. I will speak with all candor and exactitude, which I like - in business affairs, and which alone can forestall any complaint on - either side. Here, then, my dear Sir, are my statements: - - 1^{mo}. I am not indisposed, on the whole, to accept your - propositions. - - 2^{do}. I will take care to make the compositions easy and - pleasing, as far as I can and as far as is consistent with that - elevation and originality of style which, as you yourself say, - favorably characterize my works and from which I shall never - derogate. - - 3^{tio}. I cannot bring myself to write for the flute, as this - instrument is too limited and imperfect. - - 4^{to}. In order to give the compositions which you will publish - greater variety and to leave myself a freer field in them, though - the task of making them easy would always be an embarrassment to - me, I shall promise you only three trios for violin, viola and - violoncello, and three quintets for two violins, two violas and one - violoncello. Instead of the remaining three trios, I will send you - three quartets and, finally, two sonatas for pianoforte with an - accompanying instrument, and a quintet for two violins and flute. - In a word, I would ask you with regard to the second series of the - compositions you ask for, to rely upon my taste and good faith and - I assure you that you shall be entirely satisfied. - - If you cannot agree to any of these changes, I shall not insist - upon them obstinately. - - 5^{to}. I should be glad if the second series of compositions were - published six months after the first. - - VI^{to}. I desire a clearer explanation of the expression which - I find in your letter that no copy printed under my name shall - be introduced into Great Britain; for if you agree that these - compositions are to be published also in Germany and even in - France, I do not understand how I shall be able to prevent copies - from being taken to your country. - - 7^{mo}. Finally as to the honorarium, I shall expect you to send - me 100 pounds sterling, or 200 Vienna ducats in gold, and not in - Vienna bank-notes, which under the present circumstances are at too - great a discount; for if paid in these notes the sum would be as - little in proportion to the works which I should deliver to you as - to the fees which I receive for all my other compositions. Even a - fee of 200 ducats in gold is by no means excessive payment for all - that is demanded to meet your wishes. - - The best way of making the payment will be for you, on the dates - when I forward you the first and second series of compositions, to - send me each time by post a bill of exchange for 100 ducats in gold - drawn upon a house in Hamburg; or for you to commission somebody in - Vienna to hand me such a bill of exchange each time, as he receives - from me the first and second series. - - At the same time please let me know the date on which each series - will be published by you in order that I may engage the publishers - who issue these compositions in Germany and France, to abide by the - same. - - I hope that you will find my explanations reasonable and of such - a sort that we can reach some definite agreement. In this case it - will be best to draw up a formal contract which please have the - kindness to prepare in duplicate; and I will return you one copy - signed by me. - - I await your answer, that I may begin on the work; and I remain - with distinguished consideration, my dear Sir, - - Your obedient servant, - - Louis van Beethoven. - - P.S. - - I shall be glad to meet your wish that I provide little Scottish - songs with harmonized accompaniments; and in this matter I await - a more definite proposal; since it is well known to me that Herr - Haydn was paid one pound sterling for each song. - -The original of this letter--in possession of the heirs of Mr. -Thomson--is in French, the signature only being in Beethoven's hand. -Of its various propositions, that in the postscript alone led to any -results. - -[Sidenote: COMPOSITIONS OF 1806] - -And now to the compositions of the year. A song translated by Breuning -from a French opera, "Le Secret," was probably the first fruits of -the newly awakened "desire and love for work," which proved so nobly -productive during his summer absence from Vienna; it is the one -published at different times under the titles "Empfindungen bei Lydiens -Untreue," and "Als die Geliebte sich trennen wollte." A slight token -of gratitude for the recent zealous kindness of Breuning in the matter -of the opera, such as this song, would not long be delayed even by -Beethoven. But, whether or not this was the first composition after -the withdrawal of "Fidelio," it is certain that, just one week before -the date of Breuning's letter, Beethoven had set himself resolutely -to work upon grander themes than Empfindungen bei Lydiens or any -other Mädchens Untreue. These are now to be considered. He began -the quartets, Op. 59, on May 26. Certain studies to "Fidelio," not -previously mentioned, are contained in a sketchbook of the Landsberger -Collection of Autographs, the principal contents of which are sketches -for the second, fourth, fifth, sixth and ninth Symphonies, and for -"Fidelio." This, at first view, seems to confirm an assertion of -Czerny's--not accepted by Schindler, who in this case is the better -authority--namely, that the Ninth Symphony, except its choral Finale, -was projected many years before its composition; but the book itself -affords a strong argument against it; it being, as the present writer -is convinced, not a manuscript in its original form, but one made up -of parts of several different books, stitched together subsequently -for the better preservation of these various symphonic studies. In -it, however, the sketches for the Fourth Symphony are in immediate -connection with those for "Fidelio." The list, then, of important -works sketched during the progress of the opera, is this: Triple -Concerto, Op. 56; Sonata in F minor, Op. 57; Pf. Concerto in G, Op. -58; Rasoumowsky Quartets, Op. 59; Fourth Symphony, B-flat, Op. 60; -Fifth Symphony, C minor, Op. 67; Sixth Symphony, "Pastorale," Op. 68. -Omitting the first as belonging to 1805, and the last two as belonging -to 1807-1808, the other four, we conceive, may be dated 1806. They -afford a striking example of Beethoven's habit of working on several -compositions at the same time, and, moreover, as we believe, of his -practice in such cases of giving the works opus numbers in the order of -their completion. In this order we will take them up. "The first work -which followed the exertions caused by the opera," writes Schindler, -"was the Sonata in F minor, Op. 57.... The master composed it -straightway from beginning to end, during a short period of rest at the -house of his friend Count Brunswick, to whom, as is known, the sonata -is dedicated." - -Beethoven, journeying into Silesia after his visit to Brunswick, took -the manuscript and had it also with him on his return to Vienna per -extra post from Troppau after the explosion at Lichnowsky's. "During -his journey," wrote M. Bigot half a century afterwards on a printed -copy belonging to the pianist Mortier de Fontaine, - - he encountered a storm and pouring rain which penetrated the trunk - into which he had put the Sonata in F minor which he had just - composed. After reaching Vienna he came to see us and laughingly - showed the work, which was still wet, to my wife, who at once began - to look carefully at it. Impelled by the striking beginning she sat - down at the pianoforte and began playing it. Beethoven had not - expected this and was surprised to note that Madame Bigot did not - hesitate at all because of the many erasures and alterations which - he had made. It was the original manuscript which he was carrying - to his publisher for printing. When Mme. Bigot had finished playing - she begged him to give it to her; he consented, and faithfully - brought it to her after it had been printed. - -Czerny says, very justly, of the unauthorized change afterwards made in -the title: "In a new edition of the Sonata in F minor, Op. 57, which -Beethoven himself considered his greatest, the title 'Appassionata,' -for which it is too great, was added to it. This title would be more -fitly applied to the E-flat Sonata, Op. 7, which he composed in a very -impassioned mood." - -The Pf. Concerto in G, Op. 58, is dated by Schindler 1804, "according -to information given by F. Ries"; the new edition of Breitkopf and -Härtel's thematic catalogue says (p. 197): "The Concerto was finished -in the year 1805," without mentioning its authority. If it had nothing -better than Ries's anecdote to offer in proof, the opinion may still -be entertained confidently, that this work remained still unfinished -until the approach of the concert season, towards the end of the year -1806.[38] - -[Sidenote: THE RASOUMOWSKY QUARTETS] - -The Quartets, Op. 59, certainly belong to this year. "Quartetto -1^{mo}.... Begun on May 26, 1806," are Beethoven's own words; and the -opus number, the reports of their production during the next winter, -and, especially, the date of their publication, making allowance for -Rasoumowsky's right to them for a year, all point to November or -December as the latest possible date for their completion. The idea -of employing popular airs as themes was by no means new to Beethoven. -Without referring to the example set by Haydn, Pleyel, Kozeluch, it had -been proposed to him by Thomson; and as to Russian melodies, he must -have read the "Allg. Musik-Zeitung" very carelessly not to have had -his curiosity aroused by the articles on Russian music published in -that journal in 1802--a curiosity which, in the constant intercourse -between Vienna, Moscow and St. Petersburg, there would be no difficulty -in gratifying. Czerny writes, however, "He had pledged himself to weave -a Russian melody into every quartet." But Lenz, himself a Russian and -a musician, says: "The Russian themes are confined to the Finale of -No. 1 and the third movement of the second Quartet." This is a case -in which Czerny's authority can scarcely be gainsaid; otherwise, it -might be supposed that the composer of his own motion introduced these -two themes in compliment to Rasoumowsky. "The Adagio, E major, in the -second Rasoumowsky Quartet, occurred to him when contemplating the -starry sky and thinking of the music of the spheres," writes Czerny in -Jahn's notes. - -Perhaps no work of Beethoven's met a more discouraging reception from -musicians, than these now famous Quartets. One friendly contemporary -voice alone is heard--that of the "Allg. Mus. Zeit." Czerny told Jahn, -that "when Schuppanzigh first played the Rasoumowsky Quartet in F, -they laughed and were convinced that Beethoven was playing a joke -and that it was not the quartet which had been promised." And when -Gyrowetz bought these Quartets he said: "Pity to waste the money!" -The Allegretto vivace of the first of these quartets was long a rock -of offence. "When at the beginning of the year 1812," says Lenz, "the -movement was to be played for the first time in the musical circle of -Field Marshal Count Soltikoff in Moscow, Bernhard Romberg trampled -under foot as a contemptible mystification the bass part which he was -to play. The Quartet was laid aside. When, a few years later, it was -played at the house of Privy Councillor Lwoff, father of the famous -violinist, in St. Petersburg, the company broke out in laughter when -the bass played his solo on ~one~ note.--The Quartet was again laid -aside." - -Thomas Appleby, father of Samuel Appleby, collector of valuable papers -referring to the violinist Bridgetower, was a leader in the musical -world of Manchester, England, and a principal director of concerts -there. When these quartets came out in London, Clementi sent a copy -of them to him. They were opened and thrown upon the pianoforte. Next -day Felix Radicati and his wife, Mme. Bertinotti, called and presented -letters, they being upon a concert tour. During the conversation the -Italian went to the pianoforte, took up the quartets and seeing what -they were, exclaimed (in substance): "Have you got these here! Ha! -Beethoven, as the world says, and as I believe, is music-mad;--for -these are not music. He submitted them to me in manuscript and, at his -request, I fingered them for him. I said to him, that he surely did not -consider these works to be music?--to which he replied, 'Oh, they are -not for you, but for a later age!'" - -Young Appleby believed in them, in spite of Radicati, and after he -had studied his part thoroughly, his father invited players of the -other instruments to his house and the first in F was tried. The first -movement was declared by all except Appleby to be "crazy music." At the -end of the violoncello solo on one note, they all burst out laughing; -the next four bars all agreed were beautiful. Ludlow, an organist, who -played the bass, found so much to admire and so much to condemn in the -half of this second movement, which they succeeded in playing, as to -call it "patchwork by a madman." They gave up the attempt to play it, -and not until 1813, in London, did the young man succeed in hearing the -three Quartets entire, and finding them, as he had believed, worthy of -their author. - -[Sidenote: THE YEAR'S PUBLICATIONS] - -The Symphony in B-flat, Op. 60, was the great work of this summer -season. Sketches prove that its successor, the fifth in C minor, had -been commenced, and was laid aside to give place to this. Nothing more -is known of the history of its composition except what is imparted by -the author's inscription on the manuscript: "Sinfonia 4^{ta} 1806. L. -v. Bthvn." - -In singular contrast to these grand works and contemporary with -their completion, as if written for amusement and recreation after -the fatigue of severer studies, are the thirty-two Variations for -Pianoforte in C minor. They belong to this Autumn, and are among the -compositions which their author would gladly have seen pass into -oblivion. Jahn's notes contain an anecdote in point. "Beethoven once -found Streicher's daughter practising these Variations. After he had -listened for a while he asked her: "By whom is that?" "By you." "Such -nonsense by me? O Beethoven, what an ass you were!"" - -Although the composer did not succeed in bringing his new Symphony and -Concerto to public performance this year, an opportunity offered itself -for him to give the general public as fine a taste of his quality as -composer for the violin, as he had just given to the frequenters of -Rasoumowsky's quartet parties in the Op. 59, namely, Op. 61, the work -superscribed by its author: ~Concerto par Clemenza pour Clement, primo -Violino e Direttore al Theatro a Vienne, dal L. v. Bthvn., 1806~;--or, -as it stands on Franz Clement's concert programme of December 23 in -the Theater-an-der-Wien: "2. A new Violin Concerto by Hrn. Ludwig van -Beethoven, played by Hrn. Clement." It was preceded by an overture by -Méhul, and followed by selections from Mozart, Cherubini and Handel, -closing with a fantasia by the concert-giver. When Dr. Bertolini told -Jahn that "Beethoven as a rule never finished commissioned works until -the last minute," he named this Concerto as an instance in point; and -another contemporary notes that Clement played the solo ~a vista~, -without previous rehearsal. The list of publications this year is short: - -~LI^{me} Sonata pour le Pianoforte~, F major, advertised April 9 in -the "Wiener Zeitung" by the Kunst- und Industrie-Comptoir. There is -no tradition that Beethoven ever explained why he called this his -~fifty-first~, or the F minor his ~fifty-fourth~ Sonata. The best -that Czerny could suggest is that "perhaps he sketched that number -in manuscript and then destroyed them or used them in another form." -Others have made lists of all the works in sonata-form, including -the symphonies; but none has been so probably right as to produce -conviction. - -~Grand Trio pour deux Hautbois et un Cor Anglais~, C major, advertised -by Artaria and Co., April 12, without opus number. At a later date it -was called Op. 87. The same work for two violins and viola, and as a -sonata for pianoforte and violin, was advertised at the same time. -"Andante" (Favori) in F major, for Pianoforte. This was originally the -second movement of the Sonata, Op. 53--according to the anecdote before -given from Ries's "Notizen." - -"Sinfonia eroica," Op. 55, dedicated to Prince Lobkowitz, advertised by -the Kunst- und Industrie-Comptoir on October 29. - -Besides these works, Johann Traeg advertised on June 18 "6 Grands Trios -pour le Pianoforte, violon obligé et violoncello ad lib.," Op. 60, -Nos. 1 and 2. These are arrangements of the Quartets, Op. 18. Also "3 -Grands Trios pour le Pianoforte, Violon et Violoncello," Op. 61, No. -1; arrangements of the Trios, Op. 9. Before February, 1807, the other -numbers of the two works had been completed and had left the press. The -opus numbers were not recognized by Beethoven, for, as is seen above, -60 and 61 belong to original works of a very different order. - -FOOTNOTES: - -[34] Twice only. - -[35] In the chapter immediately preceding the present one in the -revised German edition of this biography, Dr. Riemann introduces the -following: "Through the efforts of Otto Jahn, Gustav Nottebohm and -Erich Prieger, it has been made possible measurably to observe the -transformations which 'Fidelio' underwent between its first production -and its publication. The mysterious disappearance (possibly theft) of -several scores made it extremely difficult to determine the form in -which it was represented--'Fidelio' in three acts in 1805, 'Leonore' -in two acts in 1806, and 'Fidelio' in two acts in 1814--the statements -touching the omissions and restorations of single numbers being -insufficient and not free from contradictions. About 1850, however. -Otto Jahn succeeded in putting together a score of the second revision -of 1806 from the separate parts; of this he published a vocal score -with pianoforte accompaniment towards the close of 1853 through -Breitkopf and Härtel. He also gave some hints concerning its variations -from the score of 1805. After another half-century Erich Prieger -collected the material for a restoration of the work as it was at the -first production in 1805, compiled a vocal score and gave it to the -public through Breitkopf and Härtel. More than that--he occasioned its -performance at the centennial celebration in the Royal Opera House -in Berlin." From Prieger's preface we take in part the following -statements: - -"In 1807 Breitkopf and Härtel published three numbers from the second -revision of 1806--viz: the Trio in E-flat, 'Ein Mann ist bald gewonnen' -(afterwards elided), the canon quartet, and the duet 'Gut, Söhnchen, -gut'; not until 1810 was a vocal score of the second version published. -It came from the press of Breitkopf and Härtel, but was without -overtures and finales. The overture in C, No. 3, which was performed -with the opera in 1806, was published by Breitkopf and Härtel, also -in 1810; the overture in C, No. 2, with which the representation of -1805 began, edited by Otto Jahn, was published by B. and H. at the end -of 1853. (It was performed in Leipsic on January 27 of that year.) -Nottebohm notes the performance of the four overtures on January -11, 1840, and a publication in 1842; but this refers to the work as -disfigured by cuts. The so-called 'first' C major overture found -amongst Beethoven's posthumous effects and published by Haslinger as -Op. 138 is in reality the first of the series, the one which, according -to Schindler's report (third edition, I, 127), was tried over once at -Prince Lichnowsky's and put aside as too simple, but purchased at once -by Haslinger. It is true that Nottebohm discovered sketches for the -overture in company with sketches for the symphony in C minor and, from -this fact, argued that the overture had been composed between April, -1807, and December, 1808 (see 'Beethoveniana,' pp. 60 ~et seq.~): but -in his analysis of the sketchbook of 1803, extending from October, -1802, to April, 1804, he shows the presence of sketches for 'Leonore' -among such for the 'Eroica,' which proves that Beethoven worked on the -opera as early as 1803 and that 'these labors were so far advanced -when the performance of Paër's opera became known (October 3, 1804) -that there could be no thought of an abandonment.' But this demolishes -the theory that Op. 138 must have been composed in 1807-08, and we are -compelled to believe with Kalischer that Schindler's account is correct -and that Haslinger (Steiner and Co.) had for years been in possession -of the first overture to 'Leonore' which 'had been laid aside after -a trial in 1805,' and that in 1823, at a time when Schindler was -Beethoven's confidant, the composer demanded that it be published and -Haslinger refused, saying: 'We bought those manuscripts and paid for -them; consequently they are our property, and we can do with them as we -will.' Only one thing remains problematical, and that is, what could -have persuaded Haslinger to state that he had found the overture in a -packet of dances which he purchased at the sale of Beethoven's effects. -Kalischer calls attention to a letter from Fanny Hensel to Rebekka -Dirichlet, written after the music festival at Düsseldorf in 1836 under -the direction of Mendelssohn (see 'Die Familie Mendelssohn,' II, 9): -'Oh, Becky! We have got acquainted with an overture to 'Leonore'; a -new piece. It is notorious that it has never been played; it did not -please Beethoven and he put it aside. The man had no taste! It is so -refined, so interesting, so fascinating that I know few things which -can be compared with it. Haslinger has printed a whole edition and will -not release it. Perhaps he will do so after this success.' That seems -to have been the case; but Haslinger permitted the work to be played -as early as February 7, 1828, at a concert of Bernhard Romberg's and -elsewhere. In his book 'Beethoven's Studien im Generalbass, etc.,' -1832, Seyfried connects this overture with the project, never carried -out, of a production of the opera in Prague in 1807. 'For the theatre -in Prague,' he says, 'Beethoven wrote a less difficult overture which -Haslinger, afterward R. I. Court Music Dealer, ~acquired at auction~'; -to which Haslinger replied: 'This overture is already engraved in score -and orchestral parts and, together with other arrangements of it, will -yet appear in the course of this year.' Nottebohm, too, convinced that -the sketches for the overture had to be placed in 1807, and doubtless -influenced by Seyfried's statement, accepted the theory that it had -been intended for Prague. Seyfried's statement, however, in view of -the involved story of the manuscript in the hands of Haslinger, lacks -credibility, and is probably to be charged to the account of Haslinger, -who may not have wanted to tell the truth for fear that it might lessen -the market value of the work."-- - -To this the English editor feels in duty bound to say that Nottebohm's -argument seems to him at all points invulnerable. The autograph of -the overture is no longer in existence. The score bought by Haslinger -and the parts are copies which Beethoven corrected. On the first -violin part the copyist had written "Ouvertura"; Beethoven added "in -C, Characteristic Overture." Under this title the composition was -announced by Haslinger in 1828. He did not publish it at the time, -but there were many references to it at its performance at Romberg's -concert and at other times as a "Characteristic" overture which had -been found among Beethoven's posthumous papers. Between 1828 and 1832, -when Haslinger finally gave the work to the public, somebody made the -discovery, which ought to have been made at sight of the manuscript, -certainly at the first performance in 1828 (the melody of ~Florestan's~ -song occurring in it as one of the themes), that there was a connection -between it and "Fidelio." When Haslinger published it, therefore, he -abandoned the title under which he had announced it four years before, -and called it: "Overture in C, composed in the year 1805 for the opera -'Leonore,' etc." Every student knows how valuable Nottebohm's studies -of the sketches are in the determination of dates. Composers usually -write the overtures to their operas last; indeed, they must do so when -utilizing thematic material drawn from the vocal numbers. Mr. Thayer -has already called attention to the fact that the vocal numbers were -taken up in the order of their occurrence, as Beethoven's sketches -show. They also show that the overture was sketched after all the vocal -numbers had been planned. And the overture thus sketched was that known -as No. 2. There is no hint of the overture No. 1 in the sketches made -in 1804 and the beginning of 1805. Schindler says that Haslinger bought -the overture immediately after it had been laid aside by Beethoven. -That would have been in 1805. But Haslinger was not in Vienna till -1810. If Steiner and Co., with which firm Haslinger associated himself -shortly after his arrival in the Austrian capital and of which the -firm of Tobias Haslinger was the successor, was meant by Schindler, -it remains a mystery that the publishers, so intimately connected -with Beethoven, should have kept an overture under lock and key for -23 years and then have given it out as a work bought at the sale of -Beethoven's effects. That circumstance could only awaken the suspicion -that the composer did not think it worthy of his name and fame. If he -did so think, he would not have demanded that Haslinger publish it in -1823. Judging by internal evidence the overture certainly seems to be -an earlier work than the overtures which the world knows by the titles -"Leonore," Nos. 2 and 3; but contemporary reports (a letter from Vienna -printed in the "Journal des Luxus und der Moden," Weimar, 1808) offer -evidence in addition to the testimony of Seyfried that Beethoven did -write a new overture for the projected Prague performance. No doubt -Beethoven was convinced, soon after the revival in 1806, that the -third "Leonore" was too long and too severe a piece for its purpose; -he was still of that opinion when he revised the opera for the revival -of 1814, as is evidenced by his composing the "Fidelio" overture in -E, and, more than that, consenting to the use of the overture to "The -Ruins of Athens" at the first performance. Mr. Thayer was quite as -capable of judging of the value of the evidence in the case as his -editors; he was familiar with Nottebohm's contention; and in his -history of the year 1807 he unhesitatingly sets down the overture -known as "Leonore, No. 1" as that designed for Prague. There is no new -evidence so far as this writer knows which could justify a reversal of -the opinion which has prevailed amongst musical scholars since 1872. - -[36] Frimmel, in his "Beethoven" (second edition, 1893 p. 42), tells -the story in essentially the same manner on the authority of a grandson -of Dr. Weiser, house physician of Prince Lichnowsky; Dr. Weiser's -version had previously been printed by Franz Xaver Bach in the "Wiener -Deutsche Zeitung" of August 31, 1873. In both cases the story ends with -Beethoven's sending a letter to Lichnowsky containing this passage: -"Prince, what you are you are by accident and birth; what I am I am -through myself. There have been and will still be thousands of princes; -there is only one Beethoven." Authentic or not, the expression might -well have come from the lips of Beethoven in a fit of anger. - -[37] Thomson's memory was a little at fault when this preface was -written; the proposal was made to Beethoven before Haydn's death. - -[38] But on March 27, 1806, Beethoven offered the Concerto to -Hoffmeister and Kühnel together with "Christus am Ölberg" for 600 -florins. The work, if not completed, must have been well under way -early in the year. - - - - -Chapter V - - Beethoven's Friends and Patrons in the First Lustrum of the - Nineteenth Century--An Imperial Pupil, Archduke Rudolph--Count - Rasoumowsky--Countess Erdödy--Baroness Ertmann--Marie - Bigot--Therese Malfatti--Nanette Streicher--Zizius--Anecdotes. - - -He who dwells with wife and children in a fixed abode, usually finds -himself, as age draws on, one of a small circle of old friends; and -hoary heads, surrounded by their descendants, the inheritors of -parental friendships, sit at the same tables and make merry where they -had gathered in the prime of life. The unmarried man, who can call no -spot on earth's surface his own, who spends his life in hired lodgings, -here to-day and there to-morrow, has, as a rule, few friendships of -long standing. By divergency in tastes, opinions, habits, increasing -with the years, often by the mere interruption of social intercourse, -or by a thousand equally insignificant causes, the old ties are -sundered. In the memoranda and correspondence of such a man familiar -names disappear, even when not removed by death, and strange ones take -their places. The mere passing acquaintance of one period becomes the -chosen friend of another; while the former friend sinks into the mere -acquaintance, or is forgotten. Frequently no cause for the change can -be assigned. One can only say--it happened so. - -Thus it was with Beethoven, even to a remarkable degree; in part -because of his increasing infirmity, in part owing to peculiarities of -his character. It was his misfortune, also, that--having no pecuniary -resource but the exercise of his talents for musical composition, and -being at the same time too proud and too loyal to his ideas of art to -write for popular applause--he was all his life long thrown more or -less upon the generosity of patrons. But death, misfortune or other -causes deprived him of old patrons, as of old friends, and compelled -him to seek, or at least accept, the kindness of new ones. A part of -this chapter must be devoted to certain new names in both categories, -which become prominent in his history in the years immediately before -us. - -[Sidenote: A TALENTED ARCHDUKE] - -Archduke Rudolph Johann Joseph Rainer, youngest son of Emperor Leopold -II, and half-brother of Emperor Franz, was born January 8, 1788, and -therefore was, at the end of 1805, just closing his seventeenth year. -Like his unfortunate uncle, Elector Maximilian, he was destined to the -church, and like him, too, he had much musical taste and capacity. His -private tutors were all men of fine culture, and one of them, Joseph -Edler von Baumeister, Doctor of Laws, remained in later years in his -service and will be met with hereafter. In music he, with the children -of the imperial family, was instructed by the R. I. Court Composer, -Anton Tayber, and made such good progress that, if tradition may be -trusted, he, while still but a boy, played to general satisfaction in -the salons of Lobkowitz and others. But an archduke has not much to -fear from hostile criticism; a better proof that he really possessed -musical talent and taste is afforded by the fact that, so soon as he -could emancipate himself from Tayber, and have a voice in the selection -of a teacher, he became a pupil of Beethoven. It is largely possible -that the old relation of the composer to Maximilian may have had -some influence upon the determination of his nephew; and it is very -probable that Rudolph's decision was based upon the great reputation of -Beethoven and the respect in which, as he saw, the artist was held by -the Schwarzenbergs, Liechtensteins, Kinskys, and their compeers. But -whatever weight be allowed to these and like considerations, it must -have been something more than a capricious desire to call the great -pianist "master," which made him his pupil, friend and patron until -death parted them. One necessarily thinks better of his musical talents -for this, just as Maximilian's musical taste and insight stand higher -in our estimation because of his early appreciation of Mozart's genius. - -The precise date of Beethoven's engagement has eluded the research of -even the accurate and indefatigable Köchel. There is so little doubt, -however, that he was the immediate successor of Tayber, as to render -reasonably certain that it occurred at the end of the young Archduke's -fifteenth year--that is, in the winter of 1803-4. It is perhaps worth -remarking, that the "Staats-Schematismus" for 1803 first gives, in the -R. I. Household, a separate chamber to the boys, Rainer and Rudolph; -three years later "Archduke Rudolph, coadjutor of the Archbishopric of -Olmütz," is given one alone; but before 1806 he certainly was the pupil -of Beethoven. - -In Fräulein Giannatasio's notices from the years 1816-18,[39] she -relates: - - At that time Beethoven gave lessons to Archduke Rudolph, a brother - of Emperor Franz. I once asked him if the Archduke played well. - "When he is feeling just right," was the answer, accompanied by - a smile. He also laughingly referred to the fact that he would - sometimes hit him on the fingers, and that when the august - gentleman once tried to refer him to his place, he pointed for - justification to a passage from a poet, Goethe, I think. - -It must have been a mistake of the young lady's to make Beethoven speak -here in the present tense; for it is incredible that he should have -taken such a liberty in 1816-17, when Rudolph was a man of some thirty -years; or indeed at any time after the first lessons in his boyhood. -The anecdote therefore in some degree supports the conjecture above -offered. So also does Schindler's statement--a point on which he was -likely to be well informed by the master himself--that the pianoforte -part of the Triple Concerto, Op. 56, was written for the Archduke; -for this work was sketched, at the latest, in the spring of 1805, and -surely would not have been undertaken until the composer thoroughly -knew his pupil's powers, and that his performance would do the master -no discredit. And finally, what Ries relates is in the tone of one -who had personal knowledge of the circumstances detailed; and thus -determines the date as not later than 1804: - - Etiquette and all that is connected with it was never known to - Beethoven [?] nor was he ever willing to learn it. For this - reason he often caused great embarrassment in the household of - Archduke Rudolph when he first went to him. An attempt was made - by force to teach him to have regard for certain things. But this - was intolerable to him; he would promise, indeed, to mend his - ways but--that was the end of it. Finally one day when, as he - expressed it, he was being tutored [~als man ihn, wie er es nannte, - hofmeisterte~] he angrily forced his way to the Archduke and flatly - declared that while he had the greatest reverence for his person, - he could not trouble himself to observe all the regulations which - were daily forced upon him. The Archduke laughed good-naturedly - and commanded that Beethoven be permitted to go his own gait - undisturbed--it was his nature and could not be altered. - -At all events it may be accepted as certain that Beethoven had -now, 1805-6, formed those relations with the Archduke, which were -strengthened and more advantageous to him with each successive year, -until death put an end to them. - -Two brothers, differing in age by nineteen years, owed their rise -from the condition of singers at the Russian Court into positions -of great wealth and political importance to their gratification of -the lascivious lusts of two imperial princesses, afterwards known in -history as the Empresses Elizabeth Petrowna and Catherine II. Thus the -two Rasums, born in 1709 and 1728, of half-Cossack parentage, in the -obscure Ukraine village of Lemeschi, became the Counts Rasoumowsky, -nobles of the Russian Empire. They were men of rare ability, and, like -Shakespeare's ~Duncan~, "bore their faculties so meek," that none of -the monarchs under whom they served, not even those who personally -disliked either of them, made him the victim of imperial caprice or ill -will. A whimsical proof of the rapidity with which the new name became -known throughout Europe is its introduction in 1762 into a farce of the -English wit, Samuel Foote.[40] The Empresses provided their paramours -with wives from noble families and continued their kindness to the -children born of these unions--one of whom came in time to occupy a -rather prominent place among the patrons of Beethoven. - -[Sidenote: COUNT ANDREAS RASOUMOWSKY] - -Andreas Kyrillovitch (born October 22, 1752), fourth son of the -younger Rasoumowsky, was destined for the navy and received the best -education possible in those days for his profession, even to serving in -what was then the best of all schools, an English man-of-war. He had -been elevated to the rank of captain when, at the age of 25, he was -transferred to the diplomatic service. He was Ambassador successively -at Venice, Naples, Copenhagen and Stockholm; less famous, perhaps, for -his diplomacy than notorious for the profuseness of his expenditures, -and for his amours with women of the highest rank, the Queen of Naples -not excepted. - -Rasoumowsky was personally widely known at Vienna, where he had -married (November 4, 1788) Elizabeth, Countess Thun, elder sister of -the Princess Charles Lichnowsky, and whither he was transferred as -Ambassador early in 1792, being officially presented to the Emperor on -Friday, May 25, as the "Wiener Zeitung" records. Near the end of Czar -Paul's reign (in March, 1799) he was superseded by Count Kalichev; -but on the accession of Alexander was restored, his "presentation -audience" taking place October 14, 1801. His dwelling and office -had formerly been in the Johannes-Gasse, but now (1805-6) he was in -the Wallzeil, but on the point of removing to a new palace built by -himself. Schnitzer says: "Rasoumowsky lived in Vienna like a prince, -encouraging art and science, surrounded by a luxurious library and -other collections and admired and envied by all; what advantages -accrued from all this to Russian affairs is another question." This -palace, afterwards nearly destroyed by fire and rebuilt, is now, after -various vicissitudes, the seat of the Imperial Geological Institute, -Landstrasse, Rasoumowsky-Gasse No. 3. - -True to the traditions of his family, the Count was a musician and one -of the best connoisseurs and players of Haydn's quartets, in which he -was accustomed to play the second violin. It is affirmed, evidently -on good authority, that he had studied these works under that master -himself. It would seem a matter of course, that this man, so nearly -connected, too, with Lichnowsky, was one of the first to appreciate -and encourage the genius of the young Beethoven upon his removal from -Rome to Vienna. In fact, this has been affirmed most positively and -discoursed upon at great length; and yet the few known data on this -point--all of a negative character--are in conflict with that opinion. -Neither Wegeler nor Ries mentions Rasoumowsky. Whatever Seyfried and -Schindler may conjecture, all the facts given by them belong to the -period on which we are now entering. Up to Op. 58, inclusive, not -a composition of Beethoven's is dedicated to Rasoumowsky. Just now -(end of 1805), the Count has given the composer an order for quartets -with Russian themes, original or imitated; but only once, in all the -contemporary printed or manuscript authorities yet discovered, have the -two names been brought into connection; namely, in the subscription to -the Trios in 1795, where we find the Countess of Thun, her daughters -and the Lichnowskys down (in the aggregate) for 32 copies, and "S. E. -le Comte Rasoumoffsky, Embassadeur de Russie"--for one. - -[Sidenote: COUNTESS ERDÖDY AND BARONESS ERTMANN] - -The Hungarian Count Peter Erdödy married, June 6, 1796, the Countess -Anna Marie Niczky (born 1779), then just seventeen years of age. -Reichardt describes her, in December, 1808, as a "very beautiful, fine -little woman who from her first confinement (1799) was afflicted with -an incurable disease which for ten years has kept her in bed for all -but two to three months"--in which he greatly exaggerates the evil -of her condition--"but nevertheless gave birth to three healthy and -dear children who cling to her like burs; whose sole entertainment -was found in music; who plays even Beethoven's pieces right well and -limps with still swollen feet from one pianoforte to another, yet is -so merry and friendly and good--all this often saddens me during an -otherwise joyous meal participated in by six or eight good musical -souls." There is nothing to show how or when the very great intimacy -between the Countess and Beethoven began; but for many years she is -prominent among the most useful and valued of his many female friends, -and it is not at all improbable that the vicinity of the Erdödy estate -at Jedlersee am Marchfelde was one reason for his frequent choice of -summer lodgings in the villages on the Danube, north of the city. Their -intercourse was at length (about 1820) abruptly terminated by the -banishment for life of the Countess beyond the limits of the Austrian -Empire--unhappily, for reasons that cannot be impugned. It is a sad and -revolting story, over which a veil may be drawn. There is no necessity, -arising from Beethoven's relations to her, to give it now the publicity -which was then so carefully and effectually avoided. It is even -possible that Beethoven's heart was never wrung by a knowledge of the -particulars. - -The Baroness Dorothea von Ertmann, wife of an Austrian officer who -was stationed in those years at or near Vienna, studied Beethoven's -compositions with the composer, and became, as all contemporary -authorities agree, if not the greatest player of these works at least -the greatest of her sex. Reichardt, a most competent judge, heard her -repeatedly in the winter of 1808-09 and recorded a highly favorable -impression of her. - -Well might the master call her his "Dorothea-Cäcilia!" In that -delightful letter, in which the young Felix Mendelssohn describes his -visit at Milan (1831) to the Ertmanns, "the most agreeable, cultured -people conceivable, both in love as if they were a bridal couple, and -yet married 34 years," where he and the lady delighted each other by -turns in the performance of Beethoven's compositions and "the old -General, who now appeared in his stately gray commander's uniform, -wearing many orders, was very happy and wept with joy"; and in the -intervals he told "the loveliest anecdotes about Beethoven, how, in -the evening when she played for him, he used the candle snuffers as a -toothpick, etc." In this letter there is one touching and beautiful -reminiscence of the Baroness. "She related," says Mendelssohn, "that -when she lost her last child, Beethoven at first did not want to come -into the house; at length he invited her to visit him, and when she -came he sat himself down at the pianoforte and said simply: 'We will -now talk to each other in tones,' and for over an hour played without -stopping, and as she remarked: 'he told me everything, and at last -brought me comfort.'" - -It was noted in a former chapter, that the leading female pianists -also of Vienna were divided into ~pro~ and ~anti~ Beethovenists. The -former party just at this time gained a valuable accession in a young -lady who, during her five years' residence there, became one of the -most devoted as well as most highly accomplished players of Beethoven's -compositions--Marie Bigot. From 1809 to her death in 1820 she lived in -Paris, where her superiority, first as dilettante, then as professional -player and teacher, made her the subject of one of the most pleasing -sketches in Fétis's "Biographie Universelle des Musiciens." From this -we learn that she was born of a family named Kiene on March 3, 1786, at -Colmar in Alsatia and married M. Bigot, who took her to Vienna in 1804. -In the Austrian capital she became acquainted with Haydn, and formed a -friendship also with Beethoven and Salieri. Such associations naturally -fired her ardently musical nature, and at 20 years of age she had -already developed great skill and originality. The first time that she -played in the presence of Haydn, the old gentleman was so moved that he -clasped her in his arms and cried: "O, my dear child, I did not write -this music--it is you who have composed it!" And upon the printed sheet -from which she had played he wrote: "On February 20, 1805, Joseph Haydn -was happy." The melancholy genius of Beethoven found an interpreter in -Madame Bigot, whose enthusiasm and depth of feeling added new beauties -to those which he had conceived. One day she played a sonata which he -had just composed, in such a manner as to draw from him the remark: -"That is not exactly the character which I wanted to give this piece; -but go right on. If it is not wholly mine it is something better." (~Si -ce n'est pas tout à fait moi, c'est mieux que moi.~) - -[Sidenote: BEETHOVEN AND MADAME BIGOT] - -Bigot, according to Reichardt, was "an honest, cultivated Berliner, -Librarian of Count Rasoumowsky." As this was precisely in those years -when Beethoven was most patronized by that nobleman, the composer and -the lady were thus brought often together and very warm, friendly -relations resulted. Jahn possessed for many years the copy of a very -characteristic letter of Beethoven to the Bigots, which leads one to -suspect that his attentions to the young wife had at one time the -appearance of being a little too pointed. The letter is undated; but -as the precise date happens to be of no importance, and was of course -before 1809, it may be inserted here in order to explode at the outset -the nonsense which has been published concerning a fancied inordinate -passion of the master for the young lady. Perhaps for this very reason -Jahn finally sent it to the "Grenzboten" (II, 1867): - - Dear Marie, dear Bigot! - - It is only with the deepest regret that I am compelled to - recognize that the purest and most harmless feelings can often be - misunderstood--as affectionately as you have met me I have never - thought of interpreting it otherwise than that you were giving - me your friendship. You must deem me very vain and contemptible - if you assume that the advances of such excellent persons as - yourselves could make me believe that I had at once won your - love--moreover, it is one of my first principles never to stand in - other than friendly relations with the wife of another man, I do - not wish by such relations to fill my soul with distrust against - her who may some day share my fate with me--and thus ruin for - myself the loveliest and purest life. It is possible that I have - jested with Bigot a few times in a way that was not too refined, I - told you myself that I am occasionally ill behaved. I am natural - in my intercourse with all my friends and hate all restraint. I - count Bigot amongst them, if something that I do displeases him, - friendship demands that he tell me so--and I will certainly have - a care never to offend again--but how can good Marie put so bad a - construction on my actions.... - - With regard to my invitation to go driving with you and Caroline - it was but natural that I should believe, Bigot having opposed - your going with me alone, that both of you deemed it unbecoming - or objectionable--and when I wrote I had no other purpose than to - make you understand that I saw no ~harm~ in it, and when I declared - that it was a matter of great importance to me that you should - not refuse it was only to persuade you to enjoy the gloriously - beautiful day, I had your and Caroline's pleasure in mind more than - my own and I thought to compel you to accede to my wishes when I - said that ~mistrust on your part or a refusal would really offend - me~--you ought really to ponder how you will make amends for having - spoilt for me a day that was so bright because of my cheerful - mood and the cheerful weather--if I said that you misunderstood - me, your present judgment of me shows that I may have been right, - not to think about that which you thought about in connection - with the matter--when I said that ~something evil~ might come of - it if I came to you, that was more than anything else a ~joke~ - which had only the one purpose of showing how everything about you - attracts me, that I have no greater wish than always to live with - you, is also the truth--even in case there was a hidden meaning - in it even the most sacred friendship can yet have secrets, but - to ~misinterpret~ the secret of a friend--because one cannot at - once guess it, that you ought not to do--dear Bigot, dear Marie, - ~never, never~ will you find me ignoble, from childhood I learned - to love virtue--and all that is beautiful and good--you have hurt - me to the heart. It shall only serve to make our friendship the - firmer. I am really not at all well to-day and I shall scarcely - be able to see you, yesterday after the quartets my feelings and - imagination continually called up before me the fact that I had - made you suffer, I went to the Ridotto (ball) last night to seek - distraction, but in vain, everywhere I was haunted by the vision of - all of you, ceaselessly it said to me they are so good and probably - are suffering because of you. Dejected in spirits I hurried - away.[41] Write me a few lines. - - Your true - - Friend Beethoven - - embraces you all. - -[Sidenote: MALFATTI, BERTOLINI AND MME. STREICHER] - -Gleichenstein introduced Beethoven to a family named Malfatti. The -culture, refinement, musical taste and high character of the parents, -and the uncommon grace and beauty of their two charming children, -young girls now of twelve to fourteen years, rendered the house very -attractive to the composer. There was less than a year's difference -in the ages of the children; Therese was born January 1st and Anna -December 7th of the same year; whether 1792 or 1793, our friendly -authority was not certain. Anna became, in due time (1811), the wife -of Gleichenstein; and Therese was at one time the object of one of -Beethoven's short-lived, unrequited passions. Her niece writes: "That -Beethoven loved my aunt, and wished to marry her, and also that her -parents would never have given their consent, is true."[42] There is -nothing to determine conclusively when the master's fondness assumed -this intenser form; but there are good reasons (which may perhaps -appear hereafter) for believing, that it was at least five years later -than our present date. His attentions to the young lady, at all events, -attracted no notice outside the family circle, nor did her rejection -of them prevent the continuance of warm, friendly relations between -the parties, up to and after her marriage in 1817. Dr. Sonnleithner -establishes both these facts: - - Frau Therese Baroness von Drosdick, ~née~ Malfatti (died in Vienna, - 60 years old, on April 27, 1851), was the wife of Court Councillor - Wilhelm Baron von Drosdick. She was a beautiful, lively and - intellectual woman, a very good pianoforte player and, besides, - the cousin of the famous physician and friend of Beethoven's, - Dr. von Malfatti. Herein lies the explanation of an unusually - kind relationship with Beethoven which resulted in a less severe - regard for conventional forms. Nothing is known of a particular - intimacy between her and Beethoven. A relative of the Baroness, - who knew her intimately, knows also that she and Beethoven formed - a lasting friendship, but as to any warmer feeling on either side - he knew nothing, nor anything to the contrary; but he says: "When - conversation turned on Beethoven, she spoke of him reverentially, - but with a certain reserve." - -Through these Malfattis, Beethoven became also known personally to -the physician of the same name and "they were great friends for a -long time. Towards each other they were like two hard millstones, and -they separated. Malfatti used to say of Beethoven: 'He is a disorderly -(~konfuser~) fellow--but all the same he may be the greatest genius.'" -The assistant of Malfatti, Dr. Bertolini, was long the confidential -physician of Beethoven; and through him he became personally known -to the present head of the great firm of "Miller & Co.," wholesale -merchants in Vienna, who for many years was fond of describing his -interviews, in youth, with the "great Beethoven." Though nothing -specially worthy of record took place, Mr. Miller's recollections are -interesting as additional testimony to the activity of the master's -mind and his enjoyment of jocose, witty and improving conversation. -Through a caprice of Beethoven, his cordial relations to Dr. Bertolini -came to an abrupt end about 1815; but the doctor, though pained and -mortified, retained his respect and veneration for his former friend to -the last. In 1831, he gave a singular proof of his delicate regard for -Beethoven's reputation; supposing himself to be at the point of death -from cholera, and being too feeble to examine his large collection of -the composer's letters and notes to him, he ordered them all to be -burned, because a few were not of a nature to be risked in careless -hands. - -The reader will not have forgotten Marie Anna Stein of -Augsburg--pianoforte-maker Stein's "Mädl," as Mozart called her. After -the death of her father (February 29, 1792), she, being then just 23 -years of age, assisted by her brother, Matthäus Andreas, a youth of -sixteen years, took charge of and continued his business. The great -reputation of the Stein instruments led to the removal of the Steins to -Vienna. An imperial patent, issued January 17, 1794, empowered Nanette -and Andreas Stein to establish their business "in the Landstrasse 301, -zur Rothen Rose," and in the following July they arrived, accompanied -by Johann Andreas Streicher, an "admirable pianist and teacher" of -Munich, to whom Nanette was engaged. The business flourished nobly -under the firm-name "Geschwister Stein" until 1802, "when they -separated and each carried on an independent business." It is known -that Beethoven, immediately upon the arrival of the Steins, renewed his -intercourse with them, of which, however, there is but a single record -worth quoting, until a period several years later than that before us. -Reichardt writes in his letter of February 7, 1809: - - Streicher has abandoned the soft, yielding, repercussive tone of - the other Vienna instruments, and at Beethoven's wish and advice - given his instruments greater resonance and elasticity, so that - the virtuoso who plays with strength and significance may have - the instrument in better command for sustained and expressive - tones. He has thereby given his instruments a larger and more - varied character, so that they must give greater satisfaction than - the others to all virtuosi who seek something more than mere easy - brilliancy in their style of playing. - -This shows us Beethoven in a new character--that of an improver of the -pianoforte. The "young Stein" mentioned by Ries, was Nanette's brother -Carl Friedrich, who followed his sister to Vienna in 1804. - -One of Beethoven's characteristic notes to Zmeskall, not dated, but -belonging in these years, adds another name to the long list which -proves that, however unpopular the composer may have been with his -brother musicians, he possessed qualities and tastes that endeared him -to the best class of rising young men in the learned professions: - - The Jahn brothers are as little attractive to me as to you. But - they have so pestered me, and finally referred me to you as one of - their visitors, that at the last I consented. Come then in God's - name, it may be I will call for you at Zizius's, if not, come there - direct, so that I may not be left there without the company of - human beings. We will let our commissions wait until you are better - able to look after them. If you cannot, come to the Swan to-day - where I shall surely go. - -Dr. Johann Zizius, of Bohemia (born January 7, 1772), appears at the -early age of 28, in the Staats-Schematismus for 1800, as professor -of political science to the R. I. Staff of Guards; three years -later he has the same professorship in the Theresianum, which he -retained to his death in 1824, filling also in his later years the -chair of constitutional law in the University. Dr. Sonnleithner made -his acquaintance about 1820. In his very valuable and interesting -"Musikalische Skizzen aus Alt-Wien" ("Recensionen," 1863), he describes -Zizius in a way which shows him to have been a man after Beethoven's -own heart until his increasing infirmity excluded him in great measure -from mixed society. - -The attraction of Beethoven's personal character for young persons of -more than ordinary genius and culture has been already noted. Another -illustration of this was Julius Franz Borgias Schneller, born (1777) at -Strasburg, educated at Freiberg in the Breisgau, and just now (1805) -professor of history in the Lyceum at Linz on the Danube. Driven into -exile because of his active resistance to the French, he had made his -way to Vienna, where his fine qualities of head and heart made him a -welcome guest in literary circles and gained him the affection of the -young writers of the capital. In 1803, he received his appointment at -Linz, whence, three years later, he was advanced to the same position -in the new university at Gratz. Perhaps the most beloved of his friends -was Gleichenstein. - -[Sidenote: BEETHOVEN AND HIS PREDECESSORS] - -We pass to the notices of Ries, Czerny and others, which record -divers characteristic anecdotes and personal traits of the master, -not susceptible of exact chronological arrangement but which belong -to this period. "Of all composers," says Ries ("Notizen," p. 84), -"Beethoven valued most highly Mozart and Handel, then S. Bach. -Whenever I found him with music in his hand or lying on his desk it -was surely compositions of these heroes. Haydn seldom escaped without -a few sly thrusts." Compare this with what Jahn heard from Czerny: -"Once Beethoven saw at my house the scores of six quartets by Mozart. -He opened the fifth, in A, and said: 'That's a work! that's where -Mozart said to the world: Behold what I might have done for you if -the time were here!'" And, touching Handel: "Graun's 'Tod Jesu' was -unknown to Beethoven. My father brought the score to him, which he -played through ~a vista~ in a masterly manner. When he came to a place -where Graun had written a twofold ending to be left to the choice of -the performer, he said: 'The man must have had the gripes not to be -able to say which ending is the better!' At the end he said that the -fugues were passable, the rest ordinary. Then he picked up Handel's -'Messiah' with the words: 'Here is a different fellow!' and played -the most interesting numbers and called our attention to several -resemblances to Haydn's 'Creation,' etc." "Once," says Ries (p. 100), -"when after a lesson we were talking about fugue themes, I sitting -at the pianoforte and he beside me, I played the first fugue theme -from Graun's 'Tod Jesu'; he began to play it after me with his left -hand, then brought in the right and developed it for perhaps half an -hour. I am still unable to understand how he could have endured the -uncomfortable position so long. His enthusiasm made him insensible to -external impressions." In another place (p. 87) he relates: "During a -walk I mentioned to Beethoven two pure fifth progressions which sound -striking and beautiful in his C minor Quartet (Op. 18). He did not know -them and denied that they were fifths. It being his habit always to -carry ruled paper with him, I asked him for a sheet and wrote down the -passage in all four voices; seeing that I was right he said: '~Well, -and who has forbidden them?~' Not knowing how to take the question, I -had him repeat it several times until I finally answered in amazement: -'But they are first principles!' The question was repeated again, -whereupon I answered: 'Marpurg, Kirnberger, Fux, etc., etc., all -theoreticians!'--'And I allow them ~thus~!' was his answer."[43] - -We quote again from Ries (p. 106): - - I recall only two instances in which Beethoven told me to add a few - notes to his composition: once in the theme of the rondo of the - 'Sonate Pathétique' (Op. 13), and again in the theme of the rondo - of his first Concerto in C major, where he gave me some passages - in double notes to make it more brilliant. He played this last - rondo, in fact, with an expression peculiar to himself. In general - he played his own compositions very freakishly, holding firmly to - the measure, however, as a rule and occasionally, but not often, - hurrying the tempo. At times he would hold the tempo back in his - ~crescendo~ with ~ritardando~, which made a very beautiful and - highly striking effect. In playing he would give a passage now in - the right hand, now in the left, a lovely and absolutely inimitable - expression; but he very seldom added notes or ornaments.... (p. - 100). He played his own compositions very unwillingly. Once he - was making serious preparations for a long trip which we were to - make together, on which I was to arrange the concerts and play his - concertos as well as other compositions. He was to conduct and - improvise. - -[Sidenote: BEETHOVEN'S IMPROVISATIONS] - -And now something more on the subject of Beethoven's improvisations. -Says Ries: "This last was certainly the most extraordinary -(performance) any one was ever privileged to listen to, especially when -he was in good humor or excited. Not a single artist of all that I have -heard ever reached the plane in this respect which Beethoven occupied. -The wealth of ideas which crowded in upon him, the moods to which he -surrendered himself, the variety of treatment, the difficulties which -offered themselves or were introduced by him, were inexhaustible." And -Czerny: - - Beethoven's improvisation (with which he created the greatest - sensation in the first years of his sojourn in Vienna and even - caused Mozart to wonder) was of the most varied kind, whether he - was treating themes chosen by himself or set for him by others. - - 1. In the first-movement form or the final rondo of a sonata, - when he regularly closed the first section and introduced a - second melody in a related key, etc., but in the second section - gave himself freely to all manner of treatment of the motivi. In - Allegros the work was enlivened by bravura passages which were - mostly more difficult than those to be found in his compositions. - - 2. In the free-variation form, about like his Choral Fantasia, Op. - 80, or the choral finale of his Ninth Symphony, both of which give - a faithful illustration of his improvisations in this form. - - 3. In the mixed genre, where, in the potpourri style, one thought - follows upon another, as in his solo Fantasia, Op. 77. Often a few - tones would suffice to enable him to improvise an entire piece (as, - for instance, the Finale of the third Sonata, D major, of Op. 10). - - Nobody equalled him in the rapidity of his scales, double trills, - skips, etc.--not even Hummel. His bearing while playing was - masterfully quiet, noble and beautiful, without the slightest - grimace (only bent forward low, as his deafness grew upon him); his - fingers were very powerful, not long, and broadened at the tips by - much playing, for he told me very often indeed that he generally - had to practise until after midnight in his youth. - - In teaching he laid great stress on a correct position of the - fingers (after the school of Emanuel Bach, which he used in - teaching me); he could scarcely span a tenth. He made frequent - use of the pedals, much more frequent than is indicated in his - works. His playing of the scores of Handel and Gluck and the fugues - of Seb. Bach was unique, in that in the former he introduced a - full-voicedness and a spirit which gave these works a new shape. - - He was also the greatest ~a vista~ player of his time (even in - score-reading); he scanned every new and unfamiliar composition - like a divination and his judgment was always correct, but, - especially in his younger years, very keen, biting, unsparing. Much - that the world admired then and still admires he saw in an entirely - different light from the lofty point of view of his genius. - - Extraordinary as his playing was when he improvised, it was - frequently less successful when he played his printed compositions, - for, as he never had patience or time to practise, the result would - generally depend on accident or his mood; and as his playing, - like his compositions, was far ahead of his time, the pianofortes - of the period (until 1810), still extremely weak and imperfect, - could not endure his gigantic style of performance. Hence it was - that Hummel's purling, brilliant style, well calculated to suit - the manner of the time, was much more comprehensible and pleasing - to the public. But Beethoven's performance of slow and sustained - passages produced an almost magical effect upon every listener and, - so far as I know, was never surpassed. - -[Sidenote: CHARACTERISTICS OF THE COMPOSER] - -Pass we to certain minor characteristic traits which Ries has recorded -of his master: - - Beethoven recalled his youth, and his Bonn friends, with great - pleasure, although his memory told of hard times, on the whole. Of - his mother, in particular, he spoke with love and feeling, calling - her often an honest, good-hearted woman. He spoke but little and - unwillingly of his father, who was most to blame for the family - misery, but a single hard word against him uttered by another would - anger him. On the whole he was a thoroughly good and kind man, on - whom his moods and impetuousness played shabby tricks. He would - have forgiven anybody, no matter how grievously he had injured - him or whatever wrong he had done him, if he had found him in an - unfortunate position. ("Notizen," p. 122.) - - Beethoven was often extremely violent. One day we were eating our - noonday meal at the Swan inn; the waiter brought him the wrong - dish. Scarcely had Beethoven spoken a few words about the matter, - which the waiter answered in a manner not altogether modest, when - Beethoven seized the dish (it was a mess of lungs with plenty of - gravy) and threw it at the waiter's head. The poor fellow had an - armful of other dishes (an adeptness which Viennese waiters possess - in a high degree) and could not help himself; the gravy ran down - his face. He and Beethoven screamed and vituperated while all the - other guests roared with laughter. Finally, Beethoven himself was - overcome with the comicalness of the situation, as the waiter - who wanted to scold could not, because he was kept busy licking - from his chops the gravy that ran down his face, making the most - ridiculous grimaces the while. It was a picture worthy of Hogarth. - ("Notizen," p. 121.) - - Beethoven knew scarcely anything about money, because of which - he had frequent quarrels; since he was always mistrustful, and - frequently thought himself cheated when it was not the case. Easily - excited, he called people cheats, for which in the case of waiters - he had to make good with tips. At length his peculiarities and - absentmindedness became known in the inns which he frequented most - often and he was permitted to go his way, even when he went without - paying his bill. ("Notizen," p. 122.) - - Beethoven had taken lessons on the violin even after he reached - Vienna from Krumpholz and frequently when I was there we played his - Sonatas for Pianoforte and Violin together. But it was really a - horrible music; for in his enthusiastic zeal he never heard when he - began a passage with bad fingering. - - In his behavior Beethoven was awkward and helpless; his uncouth - movements were often destitute of all grace. He seldom took - anything into his hands without dropping and breaking it. Thus he - frequently knocked his ink-well into the pianoforte which stood - near by the side of his writing-table. No piece of furniture - was safe from him, least of all a costly piece. Everything was - overturned, soiled and destroyed. It is hard to comprehend how he - accomplished so much as to be able to shave himself, even leaving - out of consideration the number of cuts on his cheeks. He could - never learn to dance in time. ("Notizen," p. 119.) - - Beethoven attached no value to his manuscripts; after they were - printed they lay for the greater part in an anteroom or on the - floor among other pieces of music. I often put his music to - rights; but whenever he hunted something, everything was thrown - into confusion again. I might at that time have carried away the - original manuscripts of all his printed pieces; and if I had asked - him for them he would unquestionably have given them to me without - a thought. ("Notizen," p. 113.) - -Beethoven felt the loss of Ries very sensibly; but it was in part -supplied by young Röckel, to whom he took a great liking. Inviting -him to call, he told him he would give special orders to his servant -to admit him at all times, even in the morning when busy. It was -agreed that, when Röckel was admitted, if he found Beethoven very -much occupied he should pass through the room into the bed-chamber -beyond--both rooms overlooked the Glacis from the fourth story of the -Pasqualati house on the Mölker Bastei--and there await him a reasonable -time; if the composer came not, Röckel should quietly pass out again. -It happened one morning upon his first visit, that Röckel found at the -street door a carriage with a lady in it; and, on reaching the fourth -storey, there, at Beethoven's door, was Prince Lichnowsky in a dispute -with the servant about being admitted. The man declared he dared not -admit anybody, as his master was busy and had given express orders -not to admit any person whatever. Röckel, however, having the entrée, -informed Beethoven that Lichnowsky was outside. Though in ill humor, he -could no longer refuse to see him. The Prince and his wife had come to -take Beethoven out for an airing; and he finally consented, but, as he -entered the carriage, Röckel noticed that his face was still cloudy. - -That Beethoven and Ignatz von Seyfried were brought much together -in these years, the reader already knows. Their acquaintance during -thirty years--which, for at least half of the time, was really the -"friendly relationship" which Seyfried names it--was, he says, "never -weakened, never disturbed by even the smallest quarrel--not that we -were both always of a mind, or could be, but we always spoke freely and -frankly to each other, without reserve, according to our convictions, -without conceitedly trying to force upon one another our opinions as -infallible." - - Besides, Beethoven was much too straightforward, open and tolerant - to give offence to another by disapprobation, or contradiction; - he was wont to laugh heartily at what did not please him and I - confidently believe that I may safely say that in all his life he - never, at least not consciously, made an enemy; only those to whom - his peculiarities were unknown were unable quite to understand - how to get along with him; I am speaking here of an earlier time, - before the misfortune of deafness had come upon him; if, on the - contrary, Beethoven sometimes carried things to an extreme in his - rude honesty in the case of many, mostly those who had imposed - themselves upon him as protectors, the fault lay only in this, - that the honest German always carried his heart on his tongue and - understood everything better than how to flatter; also because, - conscious of his own merit, he would never permit himself to be - made the plaything of the vain whims of the Mæcenases who were - eager to boast of their association with the name and fame of the - celebrated master. And so he was misunderstood only by those who - had not the patience to get acquainted with the apparent eccentric. - When he composed "Fidelio," the oratorio "Christus am Ölberg," the - symphonies in E-flat, C minor and F, the Pianoforte Concertos in C - minor and G major, and the Violin Concerto in D, we were living in - the same house[44] and (since we were each carrying on a bachelor's - apartment) we dined at the same restaurant and chatted away many an - unforgettable hour in the confidential intimacy of colleagues, for - Beethoven was then merry, ready for any jest, happy, full of life, - witty and not seldom satirical. No physical ill had then afflicted - him [?]; no loss of the sense which is peculiarly indispensable to - the musician had darkened his life; only weak eyes had remained - with him as the results of the smallpox with which he had been - afflicted in his childhood, and these compelled him even in his - early youth to resort to concave, very strong (highly magnifying) - spectacles.[45] - - He had me play the pieces mentioned, recognized throughout the - musical world as masterpieces, and, without giving me time to - think, demanded to know my opinion of them; I was permitted to give - it without restraint, without fearing that I should offend any - artistic conceit--a fault which was utterly foreign to his nature. - -The above is from "Cäcilia," Vol. IX, 218, 219. In the so-called -"Studien" (appendix) are other reminiscences, which form an admirable -supplement to it. Those which belong to the years 1800-1805 follow: - - Our master could not be presented as a model in respect of - conducting, and the orchestra always had to have a care in - order not to be led astray by its mentor; for he had ears only - for his composition and was ceaselessly occupied by manifold - gesticulations to indicate the desired expression. He used to - suggest a ~diminuendo~ by crouching down more and more, and at a - ~pianissimo~ he would almost creep under the desk. When the volume - of sound grew he rose up also as if out of a stage-trap, and with - the entrance of the power of the band he would stand upon the - tips of his toes almost as big as a giant, and waving his arms, - seemed about to soar upwards to the skies. Everything about him was - active, not a bit of his organism idle, and the man was comparable - to a ~perpetuum mobile~. He did not belong to those capricious - composers whom no orchestra in the world can satisfy. At times, - indeed, he was altogether too considerate and did not even repeat - passages which went badly at the rehearsal: "It will go better - next time," he would say. He was very particular about expression, - the delicate nuances, the equable distribution of light and shade - as well as an effective ~tempo rubato~, and without betraying - vexation, would discuss them with the individual players. When he - then observed that the players would enter into his intentions and - play together with increasing ardor, inspired by the magical power - of his creations, his face would be transfigured with joy, all his - features beamed pleasure and satisfaction, a pleased smile would - play around his lips and a thundering "Bravi tutti!" reward the - successful achievement. It was the first and loftiest triumphal - moment for the genius, compared with which, as he confessed, the - tempestuous applause of a receptive audience was as nothing. When - playing at first sight, there were frequent pauses for the purpose - of correcting the parts and then the thread would be broken; but he - was patient even then; but when things went to pieces, particularly - in the scherzos of his symphonies at a sudden and unexpected change - of rhythm, he would shout with laughter and say he had expected - nothing else, but was reckoning on it from the beginning; he was - almost childishly glad that he had been successful in "unhorsing - such excellent riders." - - [Sidenote: DEAFNESS AND DISORDERLINESS] - - Before Beethoven was afflicted with his organic ailment, he - attended the opera frequently and with enjoyment, especially the - admirable and flourishing Theater-an-der-Wien, perhaps, also, for - convenience' sake, since he had scarcely to do more than to step - from his room into the parterre. There he was fascinated more - especially by the creations of Cherubini and Méhul, which at that - time were just beginning to stir up the enthusiasm of all Vienna. - There he would plant himself hard against the orchestra rail and, - dumb as a dunce, remain till the last stroke of the bows. This was - the only sign, however, that the art work had interested him; if, - on the contrary, the piece did not please him he would turn on his - heel at the first fall of the curtain and take himself away. It - was, in fact, difficult, yes, utterly impossible to tell from his - features whether or not he was pleased or displeased; he was always - the same, apparently cold, and just as reserved in his judgments - concerning his companions in art; his mind was at work ceaselessly, - but the physical shell was like soulless marble. Strangely enough, - on the other hand, hearing wretched music was a treat to him - which he proclaimed by a peal of laughter. Everybody who knew him - intimately knew that in this art he was a virtuoso, but it was a - pity that those who were near him were seldom able to fathom the - cause of such explosions, since he often laughed at his most secret - thoughts and conceits without giving an accounting of them. - - He was never found on the street without a small note-book in which - he was wont to record his passing ideas. Whenever conversation - turned on the subject he would parody Joan of Arc's words: "I dare - not come without my banner!"--and he adhered to his self-given rule - with unparalleled tenacity; although otherwise a truly admirable - disorder prevailed in his household. Books and music were scattered - in every corner; here the remnants of a cold luncheon; here sealed - or half-emptied bottles; here upon a stand the hurried sketches of - a quartet; here the remains of a déjeuner; there on the pianoforte, - on scribbled paper the material for a glorious symphony still - slumbering in embryo; here a proof-sheet awaiting salvation; - friendly and business letters covering the floor; between the - windows a respectable loaf of strachino, ~ad latus~ a considerable - ruin of a genuine Veronese salami--yet despite this varied mess our - master had a habit, quite contrary to the reality, of proclaiming - his accuracy and love of order on all occasions with Ciceronian - eloquence. Only when it became necessary to spend days, hours, - sometimes weeks, in finding something necessary and all efforts - remained fruitless, did he adopt a different tone, and the innocent - were made to bear the blame. "Yes, yes," was the complaint, "that's - a misfortune! Nothing is permitted to remain where I put it; - everything is moved about; everything is done to vex me; O men, - men!" But his servants knew the good-natured grumbler; let him - growl to his heart's content, and--in a few minutes all would be - forgotten, until another occasion brought with it a renewal of the - scene. - - He often made merry over his illegible handwriting and excused - himself by saying: "Life is too short to paint letters or notes; - and prettier notes would scarcely help me out of needs."[46] - - The whole forenoon, from the first ray of light till the meal hour, - was devoted to mechanical labor, i. e., to transcribing; the rest - of the day was given to thought and the ordering of ideas. Hardly - had he put the last bit in his mouth before he began his customary - promenade, unless he had some other excursion ~in petto~; that is - to say, he hurried in double-quick time several times around the - city, as if urged on by a goad; and this, let the weather be what - it might. - -And his hearing--how was it with that? - -A question not to be answered to full satisfaction. It is clear that -the "Notizen" of Wegeler and Ries, the Biography (first editions) of -Schindler, and especially the papers from Beethoven's own hand printed -in those volumes, have given currency to a very exaggerated idea of the -progress of his infirmity. On the other hand, Seyfried as evidently -errs in the other direction; and yet Carl Czerny, both in his published -and manuscripts notices, goes even farther. For instance, he writes to -Jahn: "Although he had suffered from pains in his ears and the like -ever since 1800, he still heard speech and music perfectly well until -nearly 1812," and adds in confirmation: "As late as the years 1811-1812 -I studied things with him and he corrected with great care, as well -as ten years before." This, however, proves nothing, as Beethoven -performed feats of this kind still more remarkable down to the last -year of his life. Beethoven's Lamentation, the testament of 1802, is -one extreme, the statements of Seyfried and Czerny the other; the truth -lies somewhere between. - -[Sidenote: NEGLECT OF MEDICAL TREATMENT] - -In June, 1801, Beethoven is "obliged to lean down to the orchestral -rail to hear a drama." The next summer he cannot hear a flute or -pipe to which Ries calls his attention. In 1804, as Dolezalek tells -Jahn, "in the rehearsals to the 'Eroica' he did not always hear the -wind-instruments distinctly and missed them when they were playing." -The evil was then making, if slow, still sure progress. "In those -years," says Schindler, "there was a priest named Pater Weiss in the -Metropolitan Church of St. Stephen who occupied himself with healing -the deaf and had accomplished many fortunate cures. He was not a -mere empiricist, but was familiar with the physiology of the ear; he -effected his cures with simple remedies, and enjoyed a wide fame among -the people, and also the respect of medical practitioners. With the -consent of his physician our terrified tone-poet had also entrusted -his case to the priest." Precisely when this was, is unknown; it could -not, however, have been until after Dr. Schmidt's treatment had proved -hopeless. The so-called Fischoff Manuscript, evidently on the authority -of Zmeskall himself, gives a more particular account than Schindler -of Pater Weiss's experience with his new patient. "Herr v. Zmeskall -with great difficulty persuaded Beethoven to go there with him. At -first he followed the advice of the physician; but as he had to go -to him every day in order to have a fluid dropped into his ear, this -grew unpleasant, the more since, in his impatience, he felt little or -no improvement; and he remained away. The physician, questioned by -Zmeskall, told him the facts, and Zmeskall begged him to accommodate -himself to the self-willed invalid, and consult his convenience. The -priest, honestly desirous to help Beethoven, went to his lodgings, -but his efforts were in vain, inasmuch as Beethoven in a few days -refused him entrance, and thus neglected possible help or at least an -amelioration of his condition." - -Probably the evil was of such a nature that, with all the resources -of our present medical science, it could hardly have been impeded, -much less arrested. This is poor consolation, but the best we have. -The sufferer now resigned himself to his fate. On a page of twenty-one -leaves of sketches to the Rasoumowsky Quartets, Op. 59, stands written -in pencil--if correctly deciphered--these words from his hand: - - Even as you have plunged into the whirlpool of society, you will - find it possible to compose ~operas~ in spite of social obstacles. - - Let your deafness no longer remain a secret--not even in art! - -FOOTNOTES: - -[39] See the "Grenzboten," April 3, 1857. - -[40] ~Young Wilding~: "Oh how they [the women] melt at the Gothic names -of General Swapinbach, Count Rousoumoffsky, Prince Montecuculi and -Marshal Fustinburgh." ("The Liar.") - -[41] In June, 1906, Dr. Kalischer published two short notes written -by Beethoven to Bigot. They are without date. The first explains -Beethoven's departure from Bigot's house on the occasion of a visit as -due to a sudden attack of fever; the second, accompanying some music, -reads as follows: "I intended to visit you last night, but recalled in -time that you are not at home on Saturdays--and I discover that I must -~visit you very often~ or ~not at all~--I do not yet know which shall -be my choice, but I almost believe the latter--because by so doing I -shall evade all compulsion of having to come to you." - -[42] Here Dr. Riemann has introduced into the text: "The serious -interest which Beethoven felt for Therese could be questioned or -ignored by the biographers so long as certain letters of Gleichenstein -were accepted as belonging to the year 1807, which we must certainly -now assign to the spring of 1810, a time when Therese had passed her -18th year and may have been 20 since (if the record of her age at her -death is correct) she may have been born in 1791, so that, in view -moreover of the Italian origin of her family, it was scarcely apposite -to speak of her as 'half a child' in 1810." - -[43] ~Quid licet Jovi non licet bovi~; the maxim ought to be repeated -every time this familiar story is told. Moreover, those who repeat -Beethoven's remark oftenest always omit a very significant word in it: -"Und so erlaube ich sie!" i. e., "When used in the manner illustrated -in the measure in question, I allow them." Beethoven gave no general -license. - -[44] Seyfried's memory has here in part played him false. - -[45] Another slight mistake. Schindler was in possession of Beethoven's -glasses and they were by no means "very strong." - -[46] One of Beethoven's puns, the point of which is lost in the -translation: "Schönere ~Noten~ brächten mich schwerlich aus den -~Nöthen~." - - - - -Chapter VI - - Princes as Theatrical Directors--Disappointed - Expectations--Subscription Concerts at Prince Lobkowitz's--The - Symphony in B-flat--The "Coriolan" Overture--Contract with - Clementi--The Mass in C--The Year 1807. - - -A controversy for the possession of the two Court Theatres and that -An-der-Wien involved certain legal questions which, in September, -1806, were decided by the proper tribunal against the old directors, -who were thus at the end of the year compelled to retire. Peter, -Baron von Braun, closed his twelve years' administration with a -circular letter addressed to his recent subordinates, dated December -28, in which, after bidding them an affectionate adieu, he said: -"With imperial consent I have turned over the vice-direction of the -Royal Imperial Court Theatre to a company composed of the following -cavaliers: the Princes Lobkowitz, Schwarzenberg and Esterhazy and the -Counts Esterhazy, Lodron, Ferdinand Palffy, Stephen Zichy and Niklas -Esterhazy." - -[Sidenote: PLANS TO KEEP BEETHOVEN IN VIENNA] - -Beethoven naturally saw in this change a most hopeful prospect of an -improvement in his own theatrical fortunes, and immediately, acting on -a hint from Lobkowitz, addressed to the new directors a petition and -proposals for a permanent engagement, with a fixed salary, in their -service. The document was as follows: - - To the Worshipful R. I. Theatre Direction: - - The undersigned flatters himself that during his past sojourn in - Vienna he has won some favor with not only the high nobility but - also the general public, and has secured an honorable acceptance of - his works at home and abroad. - - Nevertheless, he has been obliged to struggle with difficulties - of all kinds and has not yet been able to establish himself here - in a position which would enable him to fulfil his desire to live - wholly for art, to develop his talents to a still higher degree - of perfection, which must be the goal of every true artist, and - to make certain for the future the fortuitous advantages of the - present. - - Inasmuch as the undersigned has always striven less for a - livelihood than for the interests of art, the ennoblement of - taste and the uplifting of his genius toward higher ideals and - perfection, it necessarily happens that he often was compelled to - sacrifice profit and advantage to the Muse. Yet works of this kind - won for him a reputation in foreign lands which assures him of a - favorable reception in a number of considerable cities and a lot - commensurate with his talents and opportunities. - - But in spite of this the undersigned cannot deny that the many - years during which he has lived here and the favor and approval - which he has enjoyed from high and low have aroused in him a wish - wholly to fulfil the expectations which he has been fortunate - enough to awaken; and let him say also, the patriotism of a German - has made this place more estimable and desirable than any other. - - He can, therefore, not forbear before deciding to leave the city - so dear to him, to follow the suggestion kindly made to him by His - Serene Highness the ruling Prince Lobkowitz, who intimated that a - Worshipful Direction was not disinclined under proper conditions to - engage the undersigned for the service of the theatre under their - management and to ensure his further sojourn here by offering him - the means of a permanent livelihood favorable to the exercise of - his talent. - - Inasmuch as this intimation is in perfect accord with the desires - of the undersigned, he takes the liberty to submit an expression - of his willingness as well as the following stipulations for the - favorable consideration of the Worshipful Direction: - - 1. He promises and contracts to compose every year at least one - grand opera, to be selected jointly by the Worshipful Direction and - the undersigned; in return he asks a fixed remuneration of 2400 - florins per annum and the gross receipts of the third performance - of each of such operas. - - 2. He agrees to deliver gratis each year a small operetta, - divertissement, choruses or occasional pieces according to the - wishes or needs of the Worshipful Direction, but hopes that the - Worshipful Direction will not hesitate in return for such works to - give him one day in each year for a benefit concert in the theatre - building. - - If one reflects what an expenditure of capacity and time is - required for the making of an opera to the absolute exclusion of - every other intellectual occupation, and further, that in cities - where the author and his family have a share in the receipts at - every performance, a single successful work may make the fortune of - an author; and still further how small a compensation, owing to the - monetary condition and high prices for necessaries which prevail - here, is at the command of a local artist to whom foreign lands - are open, the above conditions can certainly not be thought to be - excessive or unreasonable. - - But whether or not the Worshipful Direction confirms and accepts - this offer, the undersigned appends the request that he be given - a day for a musical concert in one of the theatre buildings; - for, in case the proposition is accepted, the undersigned will - at once require his time and powers for the composition of the - opera and therefore be unable to use them for his profit in - another direction. In the event of a declination of the present - offer, moreover, since the permission for a concert granted last - year could not be utilized because of various obstacles which - intervened, the undersigned would look upon the fulfilment of last - year's promise as a highest sign of the great favor heretofore - enjoyed by him, and he requests that in the first case the day be - set on the Feast of the Annunciation, in the second on one of the - approaching Christmas holidays. - - Ludwig van Beethoven, m. p. - - Vienna, 1807. - -Neither of these requests was granted directly; one of them only -indirectly. Nor is it known that any formal written reply was conveyed -to the petitioner. The cause of this has been strangely suggested -to lie in an old grudge--the very existence of which is a mere -conjecture--cherished against Beethoven by Count Palffy, director of -the German Drama. But it is quite needless to go so far for a reason. -The composer's well-known increasing infirmity of hearing, his habits -of procrastination, and above all his inability, so often proved, to -keep the peace with orchestra and singers--all this was too well known -to the new directors, whatever may have been their own personal wishes, -to justify the risk of attaching him permanently to an institution for -the success of which they were responsible to the Emperor. It is very -evident, that they temporized with him. His petition must have been -presented at the very beginning of the year; otherwise the grant of a -theatre for a concert at the Feast of the Annunciation (March 25) would -have been useless, for want of time to make the necessary preparations; -and an allusion to the "princely rabble" in a letter written in May, -proves that no answer had then been given him; and a reference to the -matter by the correspondent of the "Allg. Mus. Zeitung" near the end -of the year shows that at least none had then been made public. So -far as is known, the Directors chose to let the matter drop quietly -and gave him none; nor did they revive "Fidelio"--for which abundant -reasons suggest themselves. But they gave Beethoven ample proof that no -motives of personal animosity, no lack of admiration for his talents or -appreciation of his genius, governed their decision. Prince Esterhazy -ordered the composition of a mass, and immediate preparations were -made for the performance of his orchestral works "in a very select -circle that contributed a very considerable sum for the benefit of -the composer," as a writer in the "Allg. Mus. Zeitung" remarks. These -performances took place in March "at the house of Prince L." according -to the "Journal des Luxus." - -[Sidenote: THE SYMPHONY IN B-FLAT] - -Was "Prince L." Lobkowitz or Lichnowsky? The details above given point -decisively to the former. It is true that the paroxysm of wrath, in -which Beethoven had so unceremoniously parted from Lichnowsky in -the Autumn, had so far subsided that he now granted the Prince the -use of his new manuscript overture; but the contemporary notice, -from which this fact is derived, is in such terms as of itself to -preclude the idea that this performance of it was in one of the two -subscription concerts. In these subscription concerts three new works -were performed: the Fourth Symphony,[47] in B-flat major, the Fourth -Pf. Concerto, in G major, and the "Coriolan" Overture. About the -latter something is to be said. The manuscript bears the composer's -own date, 1807. Collin's tragedy was originally performed November -24, 1802, with "between-acts music" arranged by Abbé Stadler from -Mozart's "Idomeneus." The next year Lange assumed the leading part with -a success of which he justly boasts in his autobiography, and played -it so often down to March 5, 1805, as to make the work thoroughly -familiar to the theatre-going public. From that date to the end of -October, 1809 (how much longer we have no means at hand of knowing), -it was played but once--namely, on April 24, 1807. The overture was -assuredly not written for that one exceptional performance; for, if -so, it would not have been played in March in two different concerts. -Nor was it played, April 24th, in the theatre; if it had been, the -correspondent of the "Allg. Mus. Zeitung," writing after its public -performance in the Liebhaber Concerts near the end of the year, could -not have spoken of it as "a ~new~ overture." It is, therefore, obvious -that this work was composed for these subscription concerts. Beethoven -had at this time written but three overtures--two to "Fidelio" (one of -which was laid aside), and that to "Prometheus," which had long ceased -to be a novelty. He needed a new one. Collin's tragedy was thoroughly -well known and offered a subject splendidly suited to his genius. An -overture to it was a compliment to his influential friend, the author, -and, if successful, would be a new proof of his talent for dramatic -composition--certainly, an important consideration just then, pending -his application for a permanent engagement at the theatre. How nobly -the character of ~Coriolanus~ is mirrored in Beethoven's music is well -enough known; but the admirable adaptation of the overture to the -play is duly appreciated by those only, who have read Collin's almost -forgotten work. - -The year 1807 was one of the years of Beethoven's life distinguished -by the grandeur and extent of his compositions; and it was probably -more to avoid interruption in his labor than on account of ill health, -that early in April he removed to Baden. A letter (to Herr von Troxler) -in which occur these words: "I am coming to Vienna. I wish very much -that you would go with me on Tuesday to Clementi, as I can make myself -better understood to foreigners with my notes than by my speech," seems -to introduce a matter of business which called him to the city for a -few days. - -[Sidenote: CLEMENTI SECURES A CONTRACT] - -Clementi, called to Rome by the death of his brother, had arrived in -Vienna on his way thither, and embraced the opportunity to acquire -the exclusive right of publication in England of various works of -Beethoven, whose great reputation, the rapidly growing taste for his -music, and the great difficulty of obtaining continental publications -in those days of "Napoleonic ideas," combined to render such a right in -that country one of considerable value. Clementi reported the results -of the negotiations with Beethoven in a letter to his partner, F. W. -Collard, with whom he had been associated in business for five years, -which J. S. Shedlock made public in the "Athenæum" of London on August -1, 1902. It runs as follows: - - Messrs. Clementi and Co., No. 26 Cheapside, London. - - Vienna, April 22d, 1807. - - Dear Collard: - - By a little management and without committing myself, I have at - last made a complete conquest of the ~haughty beauty~, Beethoven, - who first began at public places to grin and coquet with me, which - of course I took care not to discourage; then slid into familiar - chat, till meeting him by chance one day in the street--"Where do - you lodge?" says he; "I have not seen you this ~long~ while!"--upon - which I gave him my address. Two days after I found on my table - his card brought by himself, from the maid's description of his - lovely form. This will do, thought I. Three days after that he - calls again, and finds me at home. Conceive then the mutual ecstasy - of such a meeting! I took pretty good care to improve it to our - ~house's~ advantage, therefore, as soon as decency would allow, - after praising very handsomely some of his compositions: "Are you - engaged with any publisher in London?"--"No" says he. "Suppose, - then, that you prefer ~me~?"--"With all my heart." "Done. What have - you ready?"--"I'll bring you a list." In short I agree with him to - take in MSS. three quartets, a symphony, an overture and a concerto - for the violin, which is beautiful, and which, at my request he - will adapt for the pianoforte with and without additional keys; and - a concerto for the pianoforte, for ~all~ which we are to pay him - two hundred pounds sterling. The property, however, is only for the - British Dominions. To-day sets off a courier for London through - Russia, and he will bring over to you two or three of the mentioned - articles. - - Remember that the violin concerto he will adapt himself and send it - as soon as he can. - - The quartets, etc., you may get Cramer or some other very clever - fellow to adapt for the Piano-forte. The symphony and the overture - are wonderfully fine so that I think I have made a very good - bargain. What do you think? I have likewise engaged him to compose - two sonatas and a fantasia for the Piano-forte which he is to - deliver to our house for sixty pounds sterling (mind I have treated - for Pounds, not Guineas). In short he has promised to treat with no - one but me for the British Dominions. - - In proportion as you receive his compositions you are to remit him - the money; that is, he considers the whole as consisting of six - articles, viz: three ~quartets~, symphony, overture, Piano-forte - concerto, violin concerto, and the adaptation of the said concerto, - for which he is to receive £200. - - For three articles you'll remit £100 and so on in proportion. The - agreement says also that as soon as you receive the compositions, - you are to pay into the hands of Messrs. E. W. and E. Lee, the - stated sum, who are to authorize Messrs. J. G. Schuller and Comp. - in Vienna to pay to Mr. van Beethoven, the value of the said sum, - according to the course of exchange, and the said Messrs. Schuller - and Co. are to reimburse themselves on Messrs. R. W. and E. Lee. - On account of the impediments by war, etc., I begged Beethoven to - allow us 4 months (after the setting of his MSS.) to publish in. - He said he would write to your house in French ~stating the time~, - for of course he sends them likewise to Paris, etc., etc., and they - must appear on the same day. You are also by agreement to send - Beethoven by a ~convenient~ opportunity, two sets of each of the - new compositions you print of his.... Mr. van Beethoven says, you - may publish the 3 articles he sends by ~this courier~ on the 1st of - September, next.[48] - -The closing of the contract with Clementi had been preceded by -negotiations with Breitkopf and Härtel for the same compositions. On -the same day that Clementi wrote to Collard he also wrote a letter -to the Leipsic publishers in which he said that he had purchased -the right of publication for the British Dominions in consequence of -their letter of January 20th, in which they had said that because of -the war they had declined Beethoven's proposition. He also promised -to ask Beethoven to treat with them for the German rights. (This fact -is already known to the readers from the letters written by Beethoven -to Breitkopf and Härtel dated September 3 and November 18, 1806.) -Count Gleichenstein witnessed the signing of the contract (which is in -French), the substance of which is as follows: - - Beethoven grants Clementi the manuscripts of the works afterwards - enumerated, with the right to publish them in Great Britain, but - reserving the rights for other countries. The works are: three - Quartets, one Symphony ("the fourth that he has composed"), the - Overture to "Coriolan," a Concerto for Violin and the arrangement - of the same for Pianoforte "with additional notes." - - Clementi is to pay for these works the equivalent of £200 in - Viennese funds at Schuller and Co.'s as soon as the arrival of the - manuscripts is reported from London. If Beethoven cannot deliver - all the compositions at once he is to be paid only in proportion. - Beethoven engages to sell these works in Germany, France or - elsewhere only on condition that they shall not be published until - four months after they have been despatched to England. In the case - of the Violin Concerto, the Symphony and the Overture, which have - just been sent off, not until September 1, 1807. Beethoven also - agrees to compose on the same terms, within a time not fixed, and - at his own convenience, three Sonatas or two Sonatas and a Fantasia - for Pianoforte with or without accompaniment, as he chooses, for - which he is to be paid £60. Clementi engages to send Beethoven two - copies of each work. The contract is executed in duplicate and - signed at Vienna, April 20, 1807, by Clementi and Beethoven.[49] - -The quartets, in parts, had been lent to Count Franz Brunswick and were -still in Hungary, which gave occasion to one of Beethoven's peculiarly -whimsical and humorous epistles: - -[Sidenote: THE FAMOUS LOVE-LETTER AGAIN] - - To Count Franz von Brunswick: - Dear, dear B! I have only to say to you that I came to a right - satisfactory arrangement with Clementi. I shall receive 200 pounds - Sterling--and besides I am privileged to sell the same works in - Germany and France. He has also offered me other commissions--so - that I am enabled to hope through them to achieve the dignity of a - true artist while still young. ~I need, dear B,~ the QUARTETS. I - have already asked your sister to write to you about them, it takes - too long to copy them from my score--therefore make haste and send - them direct to me by LETTER POST. You shall have them back in 4 or - 5 days at the latest. I beg you urgently for them, since otherwise - I might lose a great deal. - - If you can arrange it that the Hungarians want me to come for a few - concerts, do it--you may have me for 200 florins in gold--then I - will bring my opera along. I will not get along with the princely - rabble. - - Whenever WE (several) (~amici~) drink your wine, we drink you, i. - e., we drink your health. Farewell--hurry--hurry--hurry and send me - the quartets--otherwise you may embarrass me greatly. - - Schuppanzigh has married--it is said with ONE ~very like him~. What - a family???? - - Kiss your sister Therese, tell her I fear I shall become great - without the help of a monument reared by her. Send me to-morrow the - quartets--quar-tets--t-e-t-s. - - Your friend Beethoven.[50] - -If an English publisher could afford to pay so high a price for the -manuscripts of a German composer, why not a French one? So Beethoven -reasoned, and, Bonn being then French, he wrote to Simrock proposing a -contract like that made with Clementi. The letter, which was dictated -and signed by Beethoven but written by another, expresses a desire to -sell six new works to a publishing house in France, one in England and -one in Vienna simultaneously, with the understanding that they are to -appear only after a certain date. They are a symphony, an overture for -Collin's "Coriolan," a violin concerto, 3 quartets, 1 concerto for -the pianoforte, the violin concerto arranged for pianoforte "avec des -notes additionelles." The price, "very cheap," is to be 1200 florins, -Augsburg current. As regards the day of publication, he thinks he can -fix the first of September of that year for the first three, and the -first of October for the second three. - -Simrock answered that owing to unfavorable circumstances due to the -war, all he could offer, in his "lean condition," was 1600 livres. He -also proposed that in case Beethoven found his offer fair, he should -send the works without delay to Breuning. Simrock would at once pay -Breuning 300 livres in cash and give him a bill of exchange for 1300 -livres, payable in two years, provided nobody reprinted any of his -works in France, he taking all measures to protect his property under -the laws. - -A series of letters written from Baden and bearing dates in June -and July, addressed to Gleichenstein, are of no special interest or -importance except as they, when read together, establish beyond cavil -that Beethoven made no journey to any distant watering-place during -the time which they cover. By proving this they have a powerful -bearing on the vexed question touching the true date of Beethoven's -famous love-letter supposed by Schindler to have been addressed to -the young Countess Guicciardi. That it was written in 1806 or 1807 -was long since made certain; and it was only in a mistaken deference -to Beethoven's "Evening, Monday, July 6"--which, if correct, would be -decisive in favor of the latter year--that the letter was not inserted -in its proper place as belonging to the year 1806. That this deference -~was~ a mistake, and that Beethoven should have written "July 7," is -made certain by Simrock's letter, which, by determining the dates -of the notes to Gleichenstein, affords positive evidence that the -composer passed the months of June and July, 1807, in Baden. A cursory -examination of the composer's correspondence brings to light other -similar mistakes. There is a letter to Breitkopf and Härtel with this -date, "Wednesday, November 2, 1809"--Wednesday was the 1st; a letter -to Countess Erdödy has "29 February, 1815"--in that year February -had but 28 days; and a letter to Zmeskall is dated "Wednesday, July -3rd, 1817"--July 3rd that year falling on a Thursday. Referring the -reader to what has appeared in a previous chapter, for the letter and -a complete discussion of the question of its date, it need only be -added here, that it was, beyond a doubt, written from some Hungarian -watering-place (as Schindler says), where Beethoven tarried for a time -after his visit to Brunswick and before that to Prince Lichnowsky. This -fact being established, it follows, as a necessary consequence, that -it was not written to Julia Guicciardi--already nearly three years the -wife of Gallenberg--nor to Therese Malfatti--then a girl but thirteen -or at most fourteen years--nor, in short, to any person whose name -has ever been given by biographer or novelist as among the objects -of Beethoven's fleeting passions. Thus we are led to the obvious and -rational conclusion, that a mutual appreciation had grown up between -the composer and some lady not yet known; that there were obstacles to -marriage just now insuperable, but not of such a nature as to forbid -the expectation of conquering them in the future; and that--in 1807 -as in 1806--they were happy in their love and looking forward with -hope.[51] - -The following letter to Prince Esterhazy, dated July 26, belongs to -the same period and refers to the composition of the Mass in C: - - Most Serene, most Gracious Prince! - - Having been told that you, my Prince, have asked concerning the - mass which you commissioned me to write for you, I take the - liberty, my Serene Prince, to inform you that you shall receive the - same at the latest by the 20th of the month of August--which will - leave plenty of time to have it performed on the name-day of her - Serene Highness, the Princess--an extraordinarily favorable offer - which I received from London when I had the misfortune to make a - failure of my benefit at the theatre, which made me grasp the need - with joy, retarded the completion of the mass, much as I wished, - Serene Prince, to appear with it before you, and to this was added - an illness of the head, which at first permitted me to work not at - all and now but little; since everything is so eagerly interpreted - against me, I inclose a letter from my physician--may I add that - I shall give the mass into your hands with great fear since you, - Serene Highness, are accustomed to have the inimitable masterpieces - of the great Haydn performed for you. - -[Sidenote: COMPOSITION OF THE MASS IN C] - -At the end of July, Beethoven removed from Baden to Heiligenstadt, -devoting his time there to the C minor Symphony and the Mass in C. One -of Czerny's notes relates to the mass: - - Once when he (Beethoven) was walking in the country with the - Countess Erdödy and other ladies, they heard some village musicians - and laughed at some false notes which they played, especially - the violoncellist, who, fumbling for the C major chord, produced - something like the following: - - [Illustration] - - Beethoven used this figure for the "Credo" of his first mass, which - he chanced to be composing at the time. - -The name-day of Princess Esterhazy, ~née~ Princess Marie von -Liechtenstein, for which Beethoven promises in the letter above given -to have the Mass ready, was the 8th of September. In the years when -this date did not fall upon a Sunday it was the custom at Eisenstadt to -celebrate it on the first Sunday following. In 1807 the 8th fell on a -Tuesday and the first performance of Beethoven's Mass, therefore, took -place on the 13th. Haydn, as Pohl informs us, had written his masses -for this day and had gone to Eisenstadt from Vienna to conduct their -performance. So Beethoven now; who seems to have had his troubles with -the singers here as in Vienna, if one may found such an opinion upon -an energetic note of Prince Esterhazy copied and printed by Pohl. In -this note, which is dated September 12, 1807, the Prince calls upon -his vice-chapelmaster, Johann Fuchs, to explain why the singers in his -employ were not always on hand at his musical affairs. He had heard -on that day with displeasure that at the rehearsal of Beethoven's -Mass only one of the five contraltos was present, and he stringently -commanded all the singers and instrumentalists in his service to be on -hand at the performance of the mass on the following day. - -[Sidenote: ILL FEELING BETWEEN BEETHOVEN AND HUMMEL] - -The Mass was produced on the next day--the 13th. "It was the custom at -this court," says Schindler, - - that after the religious service the local as well as foreign - musical notabilities met in the chambers of the Prince for the - purpose of conversing with him about the works which had been - performed. When Beethoven entered the room, the Prince turned - to him with the question: "But, my dear Beethoven, what is this - that you have done again?" The impression made by this singular - question, which was probably followed by other critical remarks, - was the more painful on our artist because he saw the chapelmaster - standing near the Prince laugh. Thinking that he was being - ridiculed, nothing could keep him at the place where his work had - been so misunderstood and besides, as he thought, where a brother - in art had rejoiced over his discomfiture. He left Eisenstadt the - same day. - -The laughing chapelmaster was J. N. Hummel, who had been called to -the post in 1804 in place of Haydn, recently pensioned because of his -infirmities, due to old age. Schindler continues: - - Thence dates the falling-out with Hummel, between whom and - Beethoven there never existed a real intimate friendship. - Unfortunately they never came to an explanation which might have - disclosed that the unlucky laugh was not directed at Beethoven, - but at the singular manner in which the Prince had criticized the - mass (in which there is still much that might be complained of). - But there were other things which fed the hate of Beethoven. One of - these was that the two had an inclination for the same girl; the - other, the tendency which Hummel had first introduced not only in - pianoforte playing but also composition.... Not until the last days - of Beethoven, ~post tot discrimina rerum~, was the cloud which had - settled between the two artists dispelled. - -In the earlier editions of his book, Schindler gives a still gloomier -tinge to the story: - - His hatred of Hummel because of this (the laugh after the mass) was - so deeply rooted that I know of no second one like it in his entire - history. After the lapse of 14 years he told me the story with a - bitterness as if it had happened the day before. But this dark - cloud was dissipated by the strength of his spirit, and this would - have happened much earlier had Hummel approached him in a friendly - manner instead of always holding himself aloof. - -That Schindler heard Beethoven speak of the occurrence in Eisenstadt, -fourteen years thereafter, with "great bitterness" is not to be -doubted; but this does not prove the existence of so lasting and deep -a hatred towards Hummel as is asserted. That he was dissatisfied -with Hummel's later course as pianist and composer is most probable, -and hardly needs Schindler's testimony; but it is not so with other -statements of his; and facts have come to light since his book appeared -(1840) which he could not well have known, but which leave little doubt -that he was greatly mistaken in his view of the relations between -the two men. That something very like an "intimate friendship" ~had~ -characterized their intercourse, the reader already knows; and that, -three or four years later, they were again friendly, if not intimate, -will in due time appear. As to the girl whom both loved, but who -favored Hummel, if Schindler refers to the sister of Röckel--afterwards -the wife of Hummel--it is known from Röckel himself that there is -nothing in the story. If, on the other hand, he had in mind a ludicrous -anecdote--not quite fit to be printed--the "wife of a citizen," who -plays the third rôle in the comedy, was not of such a character as to -cause any lasting ill blood between the rivals for her passing favor. - -In short, while we accept the Eisenstadt anecdote, as being originally -derived from Beethoven himself, we must view all that Schindler adds in -connection with it with a certain amount of distrust and doubt--if not -reject it altogether--as a new illustration of his proneness to accept -without examination old impressions for established facts. - -This year is remarkable not only in Beethoven's life, but in the -history of music, as that in which was completed the C minor Symphony. -This wondrous work was no sudden inspiration. Themes for the Allegro, -Andante and Scherzo are found in sketchbooks belonging, at the very -latest, to the years 1800 and 1801. There are studies also preserved, -which show that Beethoven wrought upon it while engaged on "Fidelio" -and the Pianoforte Concerto in G--that is, in 1804-6, when, as -before noted, he laid it aside for the composition of the fourth, in -B-flat major. That is all that is known of the rise and progress of -this famous symphony, except that it was completed this year in the -composer's favorite haunts about Heiligenstadt.[52] - -In the "Journal des Luxus" of January, 1808, there appeared a letter -in which it was stated that "Beethoven's opera 'Fidelio,' which -despite all contradictory reports has extraordinary beauties, is to -be performed in Prague in the near future with a new overture." The -composer was also said to have "already begun a second mass." Of this -mass we hear nothing more, but there was a foundation of fact in the -other item of news. Guardasoni had for some time kept alive the Italian -opera in Prague, only because his contract required it. It had sunk -so low in the esteem of the public, that performances were actually -given to audiences of less than twenty persons in the parterre--the -boxes and galleries being empty in proportion. That manager died early -in 1806, and the Bohemian States immediately raised Carl Liebich from -his position of stage-manager of the German drama to that of General -Director, with instructions to dismiss the Italian and engage a German -operatic company. Such a change required time; and not until April -24th, 1807, did the Italians make their last appearance, selecting for -the occasion Mozart's "Clemenza di Tito"--originally composed for that -stage. On the 2d of May the new German opera opened with Cherubini's -"Faniska." - -Beethoven, in view of his relations to the Bohemian nobles, naturally -expected, and seems to have had the promise, that his "Fidelio" -should be brought out there as well as its rival, and, as Seyfried -expresses it, "planned a new and less difficult overture for the Prague -theatre." This was the composition published in 1832 with the title: -"Overture in C, composed in the year 1805, for the opera 'Leonore' by -Ludwig van Beethoven"--an erroneous date, which continued current -and unchallenged for nearly forty years. Schindler's story--that it -was tried at Prince Lichnowsky's and laid aside as inadequate to the -subject--was therefore based on misinformation; but that it was played -either at Lichnowsky's or Lobkowitz's is very probable, and, if so, -it may well have made but a tame and feeble impression on auditors -who had heard the glorious "Leonore" Overture the year before. A -tragical and lamentable consequence of establishing the true date of -Op. 138--of the discovery that the supposed No. I is really No. III -of the "Leonore-Fidelio" overtures--is this; that so much eloquent -dissertation on the astonishing development of Beethoven's powers as -exhibited in his progress from No. I to No. III, has lost its basis, -and all the fine writing on this topic is, at a blow, made ridiculous -and absurd! As to the performance of "Fidelio" at Prague, Beethoven was -disappointed. It was not given. Another paragraph from the "Journal -des Luxus, etc." (November, 1806) gives the only satisfactory notice, -known to us, of the origin of one of Beethoven's minor but well-known -compositions. - -[Sidenote: "IN QUESTA TOMBA OSCURA"] - - A bit of musical pleasantry (says the journal last mentioned) - recently gave rise to a competition amongst a number of famous - composers. Countess Rzewuska[53] improvised an aria at the - pianoforte; the poet Carpani at once improvised a text for it. He - imagined a lover who had died of grief because of the indifference - of his ladylove; she, repenting of her hard-heartedness, bedews the - grave; and now the shade calls to her: - - In questa tomba oscura - Lasciami riposar; - Quando viveva, ingrata, - Dovevi a me pensar. - - Lascia che l'ombra ignude - Godansi pace almen, - E non bagnar mie ceneri - D'inutile velen. - - These words have been set by Paër, Salieri, Weigl, Zingarelli, - Cherubini, Asioli and other great masters and amateurs. Zingarelli - alone provided ten compositions of them; in all about fifty have - been collected and the poet purposes to give them to the public in - a volume. - -The number of the compositions was increased to sixty-three, and they -were published in 1808, the last (No. 63) being by Beethoven. This was -by no means considered the best at the time, although it alone now -survives. - -[Sidenote: THE PUBLICATIONS OF THE YEAR 1807] - -Though disappointed in December, as he had been in March, in the hope -of obtaining the use of a theatre for a concert, Beethoven was not -thereby prevented from coming prominently before the public as composer -and director. It was on this wise: The want of better opportunities -to hear good symphony music well performed, than Schuppanzigh's -Concerts--which were also confined to the summer months--and the -occasional hastily arranged "Academies" of composers and virtuosos, -afforded, induced a number of music-lovers early in the winter to -form an institute under the modest title: "Concert of Music-Lovers" -(~Liebhaber-Concert~). Says the "Wiener Vaterländische Blätter" of May -27, 1808: "An orchestra was organized, whose members were chosen from -the best of the local music-lovers (dilettanti). A few wind-instruments -only--French horns, trumpets, etc., were drafted from the Vienna -theatres.... The audiences were composed exclusively of the nobility of -the town and foreigners of note, and among these classes the preference -was given to the cognoscenti and amateurs." The hall "zur Mehlgrube," -which was first engaged, proved to be too small, and the concerts were -transferred to the hall of the University, where "in twenty meetings -symphonies, overtures, concertos and vocal pieces were performed -zealously and affectionately and received with general approval." -"Banker Häring was a director in the earlier concerts but gave way to -Clement 'because of disagreements.'" The works of Beethoven reported as -having been performed in these concerts, are the Symphony in D (in the -first concert), the overture to "Prometheus" in November, the "Eroica" -Symphony and "Coriolan" Overture in December, and about New Year the -Fourth Symphony in B-flat, which also on the 15th of November had been -played in the Burgtheater at a concert for the public charities. Most, -if not all of these works were directed by their composer. The works -ascertained as belonging to this year are: (1) The transcription of the -Violin Concerto for Pianoforte, made (as Clementi's letter to Collard -says) at Clementi's request; (2) the overture to "Coriolan"; (3) the -Mass in C;[54] (4) the so-called "Leonore" Overture, No. 1, published -as Op. 138; (5) the Symphony in C minor; (6) the Arietta, "In questa -tomba." The original publications of the year were few, viz., (1) -"LIV^{e} Sonata" for Pianoforte, Op. 57, dedicated to Count Brunswick, -advertised in the "Wiener Zeitung" of February 18, by the Kunst- und -Industrie-Comptoir; (2) Thirty-two Variations in C minor, advertised -by the same firm on April 29; (3) Concerto concertant for Pianoforte, -Violin and Violoncello, Op. 56, dedicated to Prince Lobkowitz, -advertised in the "Wiener Zeitung" on July 1. - -The following advertisements are evidence of the great and increasing -popularity of Beethoven's name: On March 21, Traeg announces 12 -Écossaises and 12 Waltzes for two violins and bass (2 flutes, 2 horns -~ad lib.~); also for pianoforte; other works are being arranged; on -April 20, the Kunst- und Industrie-Comptoir announces an arrangement of -the "Eroica" Symphony for pianoforte, violin, viola and violoncello; -on May 27 (Artaria), a Sonata for Pianoforte and Violoncello, Op. 64, -transcribed from Op. 3; on June 13 (Traeg), the Symphony in D major -arranged by Ries as a Quintet with double-bass, flute, 2 horns ~ad -lib.~; on September 12 (the Chemical Printing Works), a Polonaise, Op. -8, for two violins and for violin and guitar. - -FOOTNOTES: - -[47] The genesis of the fourth symphony, in B-flat, Op. 60, is but -imperfectly known. Nottebohm's studies of the sketchbooks, which are so -frequently helpful, fail us utterly here. The autograph score bears the -inscription, "Sinfonia 4^{ta}, 1806, L. v. Bthvn." Having been played -in March, 1807, at one of the two subscription concerts at Lobkowitz's, -it was, of course, finished at that time. Beethoven referred to it in -his letter to Breitkopf and Härtel from Grätz on September 3, 1806. -This is not convincing proof that it was all ready at the time, but -certainly that it was well under way. On November 18 he wrote to the -same firm that he could not then give them the promised symphony, -because a gentleman of quality had purchased its use for six months. -It is within the bounds of possibility that this reference was to the -symphony in C minor, the sketches for which date back at least to 1805, -though it was not completed till March, 1808, at the earliest. It would -seem that work on the C minor symphony was laid aside in favor of the -fourth, which was either written or sketched in the late summer and -fall of 1806, and completed in Vienna in time for the performance in -March, 1807. - -The symphony is dedicated to Count Oppersdorff, a Silesian nobleman. -The castle of the Counts Oppersdorff lies near the town of Ober-Glogau, -which in early times was under their rule. Count Franz von Oppersdorff, -who died in Berlin in 1818, was a zealous lover of music who maintained -in his castle an orchestra which he strove to keep complete in point -of numbers by requiring all the officials in his employ to be able to -play upon an orchestral instrument. Partly through bonds of blood and -marriage, partly through those of friendship, the family of Oppersdorff -was related to many of the noble families of Austria--Lobkowitz, -Lichnowsky, etc. The castle of Lichnowsky at Grätz, near Troppau, -was scarcely a day's journey from Ober-Glogau. Thus it happened that -Prince Lichnowsky, in company with Beethoven, paid a visit to Count -Oppersdorff at his castle, on which occasion the orchestra played the -Second Symphony. This, as the evidence indicates, was in the fall of -1806. - -[48] Dr. Riemann, who introduced this letter in the body of the text -of this biography, preceded it with the following observations on the -significance of the transaction between Beethoven and Clementi: "This -business plays an extraordinarily important rôle in the next three -years of Beethoven's life (until the spring of 1810). The publication -of its details has made portions of the account in the first edition -of this work wholly untenable, since those portions were based on -the assumption that the conclusion of the contract with Clementi had -been followed also by the prompt payment of the honorarium (in 1807), -whereas, as a matter of fact, the payment was delayed for three years, -as has been plainly shown by the correspondence between Clementi and -Collard. Clementi, it would seem, spent the eight years following 1802, -when he went to St. Petersburg with Field, till 1810, entirely on the -Continent (in St. Petersburg, Berlin, Leipsic, Rome) and sojourned -several times in Vienna. We know from Ries's account that he did not -come into contact with Beethoven during his extended stay in 1804, but -we also know that as early as the fall of 1804, he tried to secure the -right of publishing Beethoven's works in England." - -[49] This is given from Jahn's copy, to which is appended the following -note: "Titles of the 6 works with changed dedications: 3 quartets, -the name Rasoumowsky changed in Beethoven's handwriting to ~à son -Altesse le Prince Charles de Lichnowsky~. The name of Frau von Breuning -stricken out of the dedication of the arrangement of the Concerto. -The Pianoforte Concerto originally dedicated with a German title to -Archduke Rudolph, then with a French title ~à son ami Gleichenstein~." -None of these changes was made; the "six works" came out with the -dedications originally intended. - -[50] This letter (to which allusion has been made in the chapter -devoted to Beethoven's love-affairs) was first printed from the -original owned by Count Géza von Brunswick in the "Blätter für -Theater und Musik" (No. 34). If the date, "May 11, 1806," was written -by Beethoven and is not an error by a copyist, it provides another -instance of the composer's irresponsibility in dating his letters; for -the reference to the contract with Clementi is irrefutable evidence -that it was written in 1807. Beethoven's remark about getting great -without the help of a monument reared by Therese von Brunswick is -evidently an allusion to the fact that the Countess erected a monument -to her father in the grounds of the family-seat in Hungary, and might -properly enough be cited, together with the commissioned kiss, as proof -of the intimacy between the Brunswicks and Beethoven. Had there been -talk of another family monument at Martonvásár? Beethoven's remark -might easily be thus interpreted. The sister whom he had asked to -write about the quartets was doubtless Josephine, Countess von Deym. -The sportive remark about Schuppanzigh's marriage with one like him is -explained by the fact that the violinist was of Falstaffian proportions. - -[51] The Editor of the English edition feels it to be his duty to -permit Thayer to reiterate his argument in favor of the year 1807, -as that in which the love-letter was written, notwithstanding Dr. -Riemann's curt rejection of it in the German edition. The question is -still an open one. - -[52] Nottebohm concludes from a study of the sketches that the Symphony -in C minor was completed in March, 1808, and the "Pastoral" Symphony -later, though the two were sketched during the same period, in part, -and there is a remote possibility that the latter, which was written -down with unusual speed, was finished as soon as the former. In support -of this theory is the circumstance that at the concert on December 22, -1808, at which both were produced, the "Pastoral" was numbered 5 and -the C minor 6. Both symphonies were offered to Breitkopf and Härtel in -June, 1808, and bought by the firm in September. In the letter offering -them Beethoven observed the present numbering. A stipulation in the -letter that the symphonies should not be published until six months -after June 1, suggests the probability that the right to perform them -in private had been sold to Prince Lobkowitz and Count Rasoumowsky, to -whom in common the works are dedicated. - -[53] Query: The same whom in 1812 Count Ferd. Waldstein married? - -[54] On June 8, 1808, Beethoven offered the Mass in C to Breitkopf -and Härtel, along with the fifth and sixth symphonies and the sonata -for pianoforte and violoncello, Op. 69, for 900 florins. He wrote: "I -do not like to say anything about my mass or myself, but I believe -I have treated the text as it has seldom been treated." The answer -of Breitkopf and Härtel is not of record, but to the offer which it -contained, Beethoven replied on July 16 with a letter in which he -offered the mass, two symphonies, the sonata for 'cello and two other -pianoforte sonatas (or in place of these, "probably" another symphony) -for 700 florins. Then he says: "You see that I give more and take -less--but that is the limit; ~you must take the mass, or I cannot give -you the other works~--for I am considering honor and not profit merely. -'There is no demand for church music,' you say, and you are right, if -the music comes from mere thorough-bassists, but if you will only have -the mass performed once you will see if there will not be music-lovers -who will want it.... I will guarantee its success in any event." In -a third letter, without date, which throws light on the well-nigh -insuperable difficulties experienced by a famous composer a century -or so ago in securing the publication of a large ecclesiastical work, -Beethoven says: "To the repeated proposal made by you through Wagener, -I reply that I am ready ~to relieve you of everything concerning the -mass--I make you a present of it, you need not pay even the cost of -copying~, firmly convinced that if you once have it performed in your -winter concerts at Leipsic you will surely provide it with a German -text and publish it.... The reason for my having wished to bind you to -publish this mass is ~in the first place and chiefly because it is dear -to my heart~ and in spite of the coldness of our age to such works." A -later letter (of date April 5, 1809) to Breitkopf and Härtel shows that -the gift of the mass was not accepted. Beethoven changed its dedication -several times. On October 5, 1810, he wrote to Breitkopf and Härtel -that it was dedicated to Zmeskall; on October 9, 1811, he gives notice -that a change in the dedication would have to be made because "the -woman is now married and the name must be changed; let the matter rest, -therefore, write to me when you will publish it and then the work's -saint will doubtless be found." Eventually the "saint" proved to be -Prince Kinsky. - - - - -Chapter VII - - The Year 1808--Beethoven's Brother Johann--Plans for New - Operas--The "Pastoral Symphony" and "Choral Fantasia"--A Call to - Cassel--Appreciation in Vienna. - - -[Sidenote: SLANDERS AGAINST JOHANN VAN BEETHOVEN] - -The history of the year 1808 must be preceded by the following letter -to Gleichenstein: - - Dear good Gleichenstein: - - Please be so kind as to give this to the copyist to-morrow--it - concerns the symphony as you see--in case he is not through - with the quartet to-morrow, take it away and deliver it at the - Industriecomptoir.... You may say to my brother that I shall - certainly not write to him again. I know the cause, it is this, - because he has lent me money and spent some on my account he is - already concerned, I know my brothers, since I cannot yet pay - it back to him, and the other probably who is filled with the - spirit of revenge against me and him too--it were best if I were - to collect the whole 1500 florins (from the Industriecomptoir) - and pay him with it, then the matter will be at an end--heaven - forefend that I should be obliged to receive benefactions from my - brothers.[55] - - Beethoven. - -Of all the known letters of Beethoven, perhaps no one is so much to -be regretted as this, written near the end of 1807, just when the -contracts with the Kunst- und Industrie-Comptoir, and Simrock--he had -received nothing as yet on the Clementi contract--made his pecuniary -resources abundant, doubtless increased by a handsome honorarium out of -the receipts of the Liebhaber Concerts. True, the letter was intended -for Gleichenstein's eye alone; still it is sad to know that even in a -moment of spleen or anger and in the privacy of intimate friendship, -the great master could so far forget his own dignity, and write thus -abusively of his brother Johann, whose claim was just and whose future -career was dependent upon its payment at this time. - -The case, in few words, was this:--Eleonore Ordley, sole heir of -her sister, Theresia Tiller, was, in the autumn of 1807, seeking a -purchaser for the house and "registered apothecary shop" which, until -1872, still existed directly between the market-place and the bridge at -Linz on the Danube, and was willing to dispose of them on such terms of -payment, as to render it possible even for Johann van Beethoven with -his slender means to become their owner. "I know my brothers," writes -Beethoven. His brothers also knew him; and Johann had every reason to -fear that if he did not secure his debt now when his brother's means -were abundant, he might at the crisis of his negotiation find himself -penniless. His demand was too just to be resisted and Gleichenstein -evidently drew the money from the Kunst- und Industrie-Comptoir and -paid it; for on the 13th of March, 1808, the contract of sale was -signed at Vienna. By the terms of the contract which fixed the price -at 25,000 florins, the vendee agreed to assume incumbrances on the -property amounting to 12,600 florins, pay 10,400 florins in cash and 5% -interest on 2,000 florins to the vendor during her life, and to be in -Linz and take possession of the property on or before March 20, i. e., -within a week after the signing of the contract. - -The expenses incurred in the negotiations, in his journey to Linz, -and in taking possession, left the indigent purchaser barely funds -sufficient to make his first payment and ratify the contract; in fact, -he had only 300 florins left. The profits of his shop and the rents -of his house were so small, that Johann was almost at his wit's end -how to meet his next engagements. He sold the iron gratings of the -windows--but they produced too little to carry him through. It was a -comical piece of good luck for him that the jars and pots upon his -shelves were of pure, solid English tin--a metal which Napoleon's -non-intercourse decrees fulminated against England had just then raised -enormously in price. The cunning apothecary sold his tin, furnished -his shop with earthenware, and met his payments with the profits of -the transaction. But it is an ill wind that blows nobody any good; the -reverses of the Austrian arms in April, 1809, opened the road for the -French armies to Linz, and gave Apothecary Beethoven an opportunity -to make large contracts for the supply of medicines to the enemy's -commissariat, which not only relieved him in his present necessities -but laid the foundation for his subsequent moderate fortune. - -This concise record of facts effectually disposes of the current -errors, which are, first: that about 1802-3 Beethoven established -his brother in Linz as apothecary, advancing to him the necessary -capital; second: that, through his personal influence, he obtained -for Johann profitable contracts with the Austrian Commissariat for -medicines--which contracts were the basis of his subsequent prosperity; -third: that consequently, in obtaining monies from his brother, -Beethoven was only sharing in the profits on capital furnished by -himself; and, fourth: that hence, Johann's urgent request for payment -in 1807 was an exhibition of vile selfishness and base ingratitude! All -this is the exact reverse of the truth. - -No other performances of Beethoven's works at the Liebhaber Concerts, -than those before enumerated, are reported; perhaps none were given, -for reasons indicated in a letter from Stephan von Breuning to Wegeler, -written in March, 1808: "Beethoven came near losing a finger by a -~Panaritium~ [felon], but he is again in good health. He escaped a -great misfortune, which, added to his deafness, would have completely -ruined his good humor, which, as it is, is of rare occurrence." - -The series of concerts closed with the famous one of March 27th, at -which in honor of Haydn, whose 76th birthday fell on the 31st, his -"Creation" with Carpani's Italian text was given. It is pleasant to -know that Beethoven was one of those who, "with members of the high -nobility," stood at the door of the hall of the university to receive -the venerable guest on his arrival there in Prince Esterhazy's coach, -and who accompanied him as "sitting in an armchair he was carried, -lifted high, and on his entrance into the hall was received with the -sound of trumpets and drums by the numerous gathering and greeted with -joyous shouts of 'Long live Haydn!'" - -Some pains have been taken in other chapters to show that the want of -taste and appreciation so often alleged for the works of Beethoven -at Vienna is a mistake. On the contrary, generally in the concerts -of those years, whenever an orchestra equal to the task was engaged, -few as his published orchestral compositions then were, they are as -often to be found on the programmes as those of Mozart or even Haydn; -none were more likely to fill the house. Thus, immediately after the -close of the Liebhaber Concerts, Sebastian Meier's annual benefit -in the Theater-an-der-Wien opened with the "Sinfonia Eroica." This -was on Monday evening, April 11. Two days after (13th) the Charity -Institute's Concert in the Burg Theatre offered a programme of six -numbers; No. 1 was Beethoven's Fourth Symphony in B-flat; No. 5, one -of his Pianoforte Concertos, played by Friedrich Stein; and No. 6, the -"Coriolan" Overture--all directed by the composer; and, at a benefit -concert in May, in the Augartensaal, occurred the first known public -performance of the Triple Concerto, Op. 56. - -[Sidenote: RUST'S MEETINGS WITH THE COMPOSER] - -The once famous musical wonder-child, Wilhelm Rust, of Dessau, at -the time a young man of some twenty-two years, had come to Vienna in -1807, and was now supporting himself by giving "children instructions -in reading and elementary natural science." In a letter to his "best -sister, Jette," dated Haking (a village near Vienna), July 9, 1808, he -wrote of Beethoven. - - You want much to hear something about Beethoven; unfortunately - I must say first of all that it has not been possible for me - to get intimately acquainted with him. What else I know I will - tell you now: He is as original and singular as a man as are his - compositions. On the other hand he is also very childlike and - certainly very sincere. He is a great lover of truth and in this - goes too far very often; for he never flatters and therefore - makes many enemies. A good fellow played for him, and when he was - finished Beethoven said to him: "You will have to play a long - time before you will realize that you can do nothing." I do not - know whether you heard that I also played for him. He praised my - playing, particularly in the Bach fugue, and said: "You play that - well," which is much for him. Still he could not omit calling my - attention to two mistakes. In a Scherzo I had not played the notes - crisply enough and at another time I had struck one note twice - instead of binding it. He must be unable to endure the French; - for once when Prince Lichnowsky had some French guests, he asked - Beethoven, who was also with him, to play for them as they had - requested; but he refused and said he would not play for Frenchmen. - In consequence he and Lichnowsky had a falling out.[56] - - Once I met him at a restaurant where he sat with a few - acquaintances. He berated Vienna soundly and the decay of its - music. In this he is certainly right, and I was glad to hear his - judgment, which confirmed mine. Last winter I frequently attended - the Liebhaber Concerts, the first of which under Beethoven's - direction were very beautiful; but after he retired they became so - poor that there was not one in which something was not bungled.... - - It is very possible that Beethoven will leave Vienna; at any rate - he has frequently spoken of doing so and said: "They are forcing - me to it." He also asked me once how the orchestras were in the - North. You wanted to know if any new sonatas by him have been - published. His last works were symphonies and he is now writing an - opera, which is the reason why I cannot go to him any more. Last - year he composed a piece which I have not heard and an overture - "Coriolan" which is extraordinarily beautiful. Perhaps you have had - an opportunity to hear it in Berlin. The theme and variations in C - minor which you refer to I also have; it is very beautiful, etc. - -In December Rust, writing to his brother Carl, was obliged to correct -what he had said about Beethoven's new opera; "All new products which -have appeared here are more or less mediocre except those of Beethoven. -I think I have written you that he has not yet begun his new opera. I -have not yet heard his first opera; it has not been performed since I -have been here." These last sentences of Rust remind us of the once -current notion that disgust and disappointment at the (assumed) failure -of "Fidelio" prevented Beethoven from ever undertaking the composition -of another opera. The error was long since exploded, and, indeed, -amply refuted by his proposition to the "princely theatre rabble" for -a permanent engagement. It is now universally known how earnestly -Beethoven all his life long sought a satisfactory text for an opera -or an oratorio; his friends always knew it; and his essays in vocal -composition had, in spite of the critics, so favorably impressed them -and the dramatic writers of the day, that all were eager to serve him. - -Thus Schindler writes to Gleichenstein from Gratz, on March 19, 1807: -"Speak at once to our friend Beethoven and particularly with the worthy -Breuning, and learn if Beethoven has a mind to set a comic opera to -music. I have read it, and found it varied in situation, beautiful in -diction." Nothing came of this. - -A somewhat more promising offer came from another quarter, but also -without result. The celebrated Orientalist, Hammer-Purgstall, had just -returned from the East to Vienna. Although but thirty-three years of -age, he was already famous, and his translations and other writings -were the talk of the day. An autograph note by Beethoven without -address or date, preserved in the Petter Collection, was evidently -written to him: - - Almost put to shame by your courtesy and kindness in communicating - your still unknown literary treasures in manuscript, I thank - you heartily while returning the opera texts; overwhelmed in my - artistic calling it is impossible for me just now to go into - details about the Indian opera particularly, as soon as time - permits I shall visit you in order to discuss this subject as well - as the oratorio, "The Deluge," with you. - -No oratorio on the subject of the deluge appears in the catalogue of -Hammer-Purgstall's works.[57] - -[Sidenote: AN OPERATIC "MACBETH" IN CONTEMPLATION] - -The new directors of the theatres began their operatic performances at -the Kärnthnerthor January 1 and 2, and at the Burg January 4, 1807, -with Gluck's "Iphigenia in Tauris." It was new to Collin and awakened -in his mind new ideas of the ancient tragedy, which he determined to -embody in a text for a musical drama in oratorio form. According to his -biographer, Laban, he projected one on the Liberation of Jerusalem, -to offer to Beethoven for setting; but it was never finished. Another -essay in the field of musical drama was a "Macbeth," after Shakespeare, -also left unfinished in the middle of the second act, "because it -threatened to become too gloomy." He carried to completion a grand -opera libretto, "Bradamante," for which he had an unusual predilection. -It also was offered to Beethoven, but "seemed too venturesome" to him -in respect of its use of the supernatural; there were probably other -reasons why it did not appeal to him. "And so it happened that although -at a later period Beethoven wanted to undertake its composition, Collin -gave the book to Reichardt, who set it to music during his sojourn in -Vienna in 1808." - -A writer in Cotta's "Morgenblatt" remarks: "The clever Beethoven -has a notion to compose Goethe's 'Faust' as soon as he has found -somebody who will adapt it for the stage for him." Nottebohm ("Zweite -Beethoveniana," p. 225 ~et seq.~) says that the first act of Collin's -"Macbeth" was printed in 1809 and must have been written in 1808 at the -latest. He also prints a sketch showing that Beethoven had begun its -composition. The "Macbeth" project therefore preceded the negotiations -about "Bradamante." Collin's opera begins, like Shakespeare's, with -the witches' scene, and the sketch referred to is preceded by the -directions: "Overture Macbeth falls immediately into the chorus of -witches."[58] - -The consequence of Beethoven's fastidiousness and indecision was that -on removing again to Heiligenstadt for the summer, he had no text for a -vocal composition and devoted his time and energies to an instrumental -composition--the "Sinfonia Pastorale." - -Those who think programme music for the orchestra is a recent -invention, and they who suppose the "Pastoral" Symphony to be an -original attempt to portray nature in music, are alike mistaken. It was -never so much the ambition of Beethoven to invent new forms of musical -works, as to surpass his contemporaries in the use of those already -existing. There were few great battles in those stormy years, that -were not fought over again by orchestras, military bands, organs and -pianofortes; and pages might be filled with a catalogue of programme -music, long since dead, buried and forgotten. - -A remark of Ries, confirmed by other testimony, as well as by the form -and substance of many of his master's works, if already quoted, will -bear repetition: "Beethoven in composing his pieces often thought -of a particular thing, although he frequently laughed at musical -paintings and scolded particularly about trivialities of this sort. -Haydn's 'Creation' and 'The Seasons' were frequently ridiculed, though -Beethoven never failed to recognize Haydn's high deserts," etc. But -Beethoven himself did not disdain occasionally to introduce imitations -into his works. The difference between him and others in this regard -was this: they undertook to give musical imitations of things -essentially unmusical--he never. - -On a bright, sunny day in April, 1823, Beethoven took Schindler for a -long ramble through the scenes in which he had composed his Fifth and -Sixth symphonies. Schindler writes: - - After we had looked at the bath-house and its adjacent garden - at Heiligenstadt and he had given expression to many agreeable - recollections touching his creations, we continued our walk towards - the Kahlenberg in the direction past Grinzing [?]. Passing through - the pleasant meadow-valley between Heiligenstadt and the latter - village,[59] which is traversed by a gently murmuring brook which - hurries down from a near-by mountain and is bordered with high - elms, Beethoven repeatedly stopped and let his glances roam, full - of happiness, over the glorious landscape. Then seating himself on - the turf and leaning against an elm, Beethoven asked me if there - were any yellowhammers to be heard in the trees around us. But - all was still. He then said: "Here I composed the 'Scene by the - Brook' and the yellowhammers up there, the quails, nightingales - and cuckoos round about, composed with me." To my question why he - had not also put the yellowhammers into the scene, he drew out his - sketchbook and wrote: - - [Illustration] - - "That's the composer up there," he remarked, "hasn't she a more - important rôle to play than the others? ~They~ are meant only for - a joke." And really the entrance of this figure in G major gives - the tone-picture a new charm. Speaking now of the whole work and - its parts, Beethoven said that the melody of this variation from - the species of the yellowhammers was pretty plainly imitated in the - scale written down in Andante rhythm and the same pitch.[60] As a - reason for not having mentioned this fellow-composer he said that - had he printed the name it would only have served to increase the - number of ill-natured interpretations of the movement which has - made the introduction of the work difficult not only in Vienna but - also in other places. Not infrequently the symphony, because of - its second movement, had been declared to be child's play. In some - places it shared the fate of the "Eroica." - -[Sidenote: JOKES IN THE "PASTORAL SYMPHONY"] - -Equally interesting, valuable and grateful is Schindler's account of -the origin of Beethoven's "Merrymaking of the Countryfolk" in this -symphony. Somewhat curtailed it is this: - - There are facts to tell us of how particular was the interest - which Beethoven took in Austrian dance-music. Until his arrival - in Vienna (1792), according to his own statement, he had not - become acquainted with any folkmusic except that of the mountains, - with its strange and peculiar rhythms. How much attention he - afterwards bestowed on dance-music is proved by the catalogue of - his works. He even made essays in Austrian dance-music, but the - players refused to grant Austrian citizenship to these efforts. - The last effort dates from 1819 and, strangely enough, falls in - the middle of his work on the "Missa Solemnis." In the tavern "To - the Three Ravens" in the ~vordern Brühl~ near Mödling there had - played a band of seven men. This band was one of the first that - gave the young musician from the Rhine an opportunity to hear the - national tunes of his new home in an unadulterated form. Beethoven - made the acquaintance of the musicians and composed several sets - of ~Ländler~ and other dances for them. In the year mentioned - (1819), he had again complied with the wishes of the band. I was - present when the new opus was handed to the leader of the company. - The master in high good humor remarked that he had so arranged - the dances that one musician after the other might put down his - instrument at intervals and take a rest, or even a nap. After the - leader had gone away full of joy because of the present of the - famous composer, Beethoven asked me if I had not observed how - village musicians often played in their sleep, occasionally letting - their instruments fall and remaining entirely quiet, then awaking - with a start, throwing in a few vigorous blows or strokes at a - venture, but generally in the right key, and then falling asleep - again; he had tried to copy these poor people in his "Pastoral" - symphony. Now, reader, take up the score and see the arrangement - on pages 106, 107, 108 and 109. Note the stereotyped accompaniment - figure of the two violins on page 105 and the following; note - the sleep-drunken second bassoon[61] with his repetition of a - few tones, while contra-bass, violoncello and viola keep quiet; - on page 108 we see the viola wake up and apparently awaken the - violoncello--and the second horn also sounds three notes, but - at once sinks into silence again. At length contra-bass and the - two bassoons gather themselves together for a new effort and the - clarinet has time to take a rest. Moreover, the Allegro in 2-4 time - on page 110 is based in form and character on the old-time Austrian - dances. There were dances in which 3-4 time gave way suddenly - to 2-4. As late as the third decade of the nineteenth century I - myself saw such dances executed in forest villages only a few hours - distant from the metropolis--Laab, Kaltenleutgeben and Gaden. - -The subject of Beethoven's imitations, even in play, are therefore -musical, not incongruous; and in ~his~ "Portrait musical de la Nature" -are so suggestive as to aid and intensify the "expression of feelings," -which was his professed aim. - -[Sidenote: COUNT OPPERSDORFF AND THE FOURTH SYMPHONY] - -Beethoven wrote to Count Oppersdorff on November 1: - - You will view me in a false light, but necessity compelled me to - sell the symphony which was written for you and also another to - someone else--but be assured that you shall soon receive the one - intended for you soon.... I live right under Prince Lichnowsky, in - case you ever make me a visit in Vienna, at Countess Erdödy's. My - circumstances are improving--~without the help of persons who wish - to treat their friends with a threshing~. I have also been called - to be Chapelmaster to the King of Westphalia, and it is easily - possible that I shall accept the call. - -Such an apology for not having dedicated the promised Symphony to -Oppersdorff, and the promise soon to supply its place with another, -are ample testimony that the relations between the composer and that -nobleman were of a character well worth the trouble of investigation by -any one who has the opportunity to make it. Whatever information can be -obtained upon this matter will be new.[62] - -The allusion in the above letter to Lichnowsky's lodging renders it -certain that the Prince had made no recent change. Now Carl Czerny -writes to Ferdinand Luib (May 28, 1852): "About 1804, he (Beethoven) -already lived on the Mölkerbastei in the vicinity of Prince Lichnowsky, -who lived in the house (now demolished) over the Schottenthor. -In the years 1806-7-8-9, he certainly lived on the Mölkerbastei -with Pasqualati, and, as I believe, for a time hard by. It is thus -ascertained, that, on returning from Heiligenstadt at the close of -the summer, 1808, Beethoven left the rooms which he had now occupied -for four years, for others in the house (now demolished) over the -Schottenthor." In his words: "persons who wish to treat their friends -with a threshing," he doubtless refers to Lichnowsky. Now, it is -hardly conceivable that he should have taken up his abode in the very -house in part occupied by the Prince, unless at the time they had -been, ostensibly at least, on amicable terms. It has been seen that -the old quarrel of 1806 was so far made up, as to admit of the loan by -the composer to Lichnowsky of the "Coriolan" overture in manuscript. -There must have been, therefore, some new and very recent outbreak -between them. But here again, doubtless through the good offices of the -motherly Princess Christine, all difficulties between them were soon -adjusted. - -The circumstance that the composer's new apartments were in the lodging -of Count Peter Erdödy strongly suggests the probability that his great -intimacy with the Countess dates from the time when he became her near -neighbor upon his moving into the Pasqualati house four years before. - -The close of the letter to Oppersdorff contains the earliest discovered -allusion to one of the most singular events in Beethoven's life. In -the autumn of 1807, Jerome Bonaparte, the Corsican lawyer's youngest -son, who had spent his boyhood and youth mostly at sea, and had not -yet completed his 23d year, found himself at Cassel, bearing the -pompous title of "King of Westphalia." What could have induced this -half-educated, frivolous, prodigal and effeminate young satrap and -sybarite to sanction an invitation to his court of the composer -most distinguished since Handel for his masculine vigor and manly -independence in his art, is one of those small mysteries which seem -impenetrable. The precise time when, and by what agency this call was -communicated to Beethoven are alike unknown; we only know that before -the first of November, 1808, "Beethoven received the same through the -High Chamberlain of the King of Westphalia, Count Truchsess-Waldburg, -that it was to the office of first Chapelmaster"; and that it led -to events, which will be noticed hereafter. The lists of "Arrivals -in Vienna" during this season contain the names of several old and -new friends of Beethoven, the dates of whose arrival avail in some -instances to correct certain current errors. The following seem worth -copying: - - June 1, Joseph Linke, musician, from Breslau; June 23, Count von - Brunswick, comes from Pressburg; July 2, Dominik Dragonetti, - musician, from Venice [London], comes from Trieste; July 10, - Alexander Macco, painter of Anspach, comes from Munich; July 11, - Count Rasoumowsky, comes from Carlsbad; August 27, Herr Ferdinand - Ries, musical composer of Bonn; Nov. 24, Joh. Fried. Reichardt, - Chapelmaster of Hesse-Cassel. - -[Sidenote: FOUNDING OF THE RASOUMOWSKY QUARTET] - -In the carefully considered "Übersicht des gegenwärtigen Zustandes -der Tonkunst in Wien" of the "Vaterländische Blätter" for May 27 and -31, 1808, it is noted that the violinists Anton Wranitzky and Herr -Volta are "in the service of Prince Lobkowitz; Herr Schlesinger in -that of the Graf Erdödy; Herr Schmidgen of Count Armadé; Breimann of -Esterhazy"; and the like of various performers on other instruments. -But no such note follows the name of Schuppanzigh, "who is particularly -distinguished among quartet players and probably stands alone as a -performer of Beethoven's compositions." Nor do the names of Weiss and -Linke appear in the article. This of itself is perhaps enough to expose -the mistake as to the time when the famous Rasoumowsky Quartet was -founded, and to correct the erroneous conclusions drawn from it. But -the date of Linke's arrival in Vienna is proof positive. - -Rasoumowsky lived in his new palace on the Donau Canal, into which he -had very recently removed from the Wallzeil and in which he had put -his domestic establishment on a footing of great splendor. It suited -his taste to have the first string quartet of Europe in his service. -His own skill rendered him amply competent to play the second violin, -which he usually did; but the young Mayseder, or some other of the -first violinists of the city, was ever ready to take his part when -required. Three permanent engagements only were, therefore, necessary, -and these now, in late summer or early autumn, 1808, were made. To -Schuppanzigh--then the first of quartet players, but still without any -permanent engagement--was given the appointment for life of ~violino -primo~, and to him was entrusted the selection of the others. He -recommended Weiss for the viola, whom Rasoumowsky accepted and to whom, -for himself and family, he granted a suitable lodging in one of the -houses connected with the palace. - -Schuppanzigh had been so favorably impressed with the talents and -skill of Linke as to secure him the place of violoncellist. He was a -young man of 25 years--slightly deformed in person--an orphan from his -childhood. - -As before stated, Förster was the Count's instructor in musical -theory, the accomplished Bigot was librarian and his talented wife -pianist. These were the years (1808-1815) when, says Seyfried, "as -is known Beethoven was, as it were, cock of the walk in the princely -establishment; everything that he composed was rehearsed hot from the -griddle and performed to the nicety of a hair, according to his ideas, -just as he wanted it and not otherwise, with affectionate interest, -obedience and devotion such as could spring only from such ardent -admirers of his lofty genius, and with a penetration into the most -secret intentions of the composer and the most perfect comprehension -of his intellectual tendencies; so that these quartet players achieved -that universal celebrity concerning which there was but one voice in -the art-world." - -The date of Dragonetti's arrival in Vienna, on this, his second visit, -disposes of an English tradition, that Beethoven wrote the famous -contrabass passage in the Scherzo of the C minor Symphony expressly for -him. The story contains doubtless so much of truth as this: that it -was the display of the possibilities of that instrument, made by its -greatest master, which induced Beethoven to venture the introduction -into that symphony of what has so often proved a stumbling-block and -rock of offence to contrabassists of no common and ordinary skill. - -But a new topic demands our attention. Beethoven in his later years, in -moments of spleen and ill humor, gave utterance both in conversation -and in writing to expressions, which have since served as the basis -of bitter diatribes against the Vienna public. Czerny--than whom no -man could be better informed on the subject of the master's actual -position--takes occasion in his notes for Jahn to remark: - - It has repeatedly been said in foreign lands that Beethoven was - not respected in Vienna and was suppressed. The truth is that - already as a youth he received all manner of support from our high - aristocracy and enjoyed as much care and respect as ever fell to - the lot of a young artist.... Later, too, when he estranged many - by his hypochondria, nothing was charged against his often very - striking peculiarities; hence his predilection for Vienna, and it - is doubtful if he would have been left so undisturbed in any other - country. It is true that as an artist he had to fight cabals, but - the public was innocent in this. He was always marvelled at and - respected as an extraordinary being and his greatness was suspected - even by those who did not understand him. Whether or not to be rich - rested with him, but he was not made for domestic order. - -[Sidenote: THE COURT THEATRES CHANGE MANAGERS] - -Upon the correctness of these statements, in so far as they relate to -Beethoven's last years, the reader will have ample means of judging -hereafter; he knows, that Czerny is right, up to the present date. -Indeed, this month of November, to which the letter to Oppersdorff has -brought us, affords him excellent confirmation. For, as in the spring -so now in autumn, it is Beethoven's popularity that must insure success -to the Grand Concert for the public charities; it is his name that is -known to be more attractive to the Vienna public than any other, save -that of the venerable Haydn; and as Haydn's oratorios are the staple -productions at the great charity concerts of vocal music in the Burg -theatre, so the younger master's symphonies, concertos and overtures -form the most alluring programmes for the instrumental "Academies" -in the other theatres--at all events, in 1808, this was the opinion -of Joseph Hartl. Beethoven's "princely rabble" had, after a year's -experience and pecuniary losses, turned over the direction of the -theatre to Government Councillor, now Court Councillor, Joseph Hartl. -It was not so much for his love of art, as for the great reputation -which his administrative talents had gained him, that Hartl was called -to assume the labors of directing the three theatres, then sunk "into -the most embarrassing conditions"--a call which he accepted. For three -years he administered them wisely, and with all the success possible in -the troubled state of the public business and finances. - -A supervisor of the public charities, who at the same time controlled -the theatres, he was of course able to secure the highest talent for -benevolent concerts on terms advantageous to all parties concerned; and -thus it came about, that at the concert for public charities in the -Theater-an-der-Wien on the evening of Leopold's day, Tuesday, November -15th, Beethoven conducted one of his symphonies, the "Coriolan" -Overture, and a pianoforte concerto--perhaps he played the solo of the -last; but the want of any detailed report of the concert leaves the -point in doubt. Which of the symphonies and concertos were performed on -this occasion is not recorded; it is only known that they were not new. -In return for Beethoven's noble contribution of his works and personal -services to the charity concerts of April 17 and November 15, Hartl -gave him the free use of the Theater-an-der-Wien for an ~Akademie~, -thus advertised in the "Wiener Zeitung" of December 17. - - MUSICAL ACADEMY. - - On Thursday, December 22, Ludwig van Beethoven will have the honor - to give a musical academy in the R. I. Priv. Theater-an-der-Wien. - All the pieces are of his composition, entirely new, and not - yet heard in public.... First Part: 1, A Symphony, entitled: "A - Recollection of Country Life," in F major (No. 5). 2, Aria. 3, 3 - Hymns with Latin text, composed in the church style with chorus and - solos. 4, Pianoforte Concerto played by himself. - - Second Part. 1, Grand Symphony in C minor (No. 6). 2, Holy, with - Latin text composed in the church style with chorus and solos. 3, - Fantasia for Pianoforte alone. 4, Fantasia for the Pianoforte which - ends with the gradual entrance of the entire orchestra and the - introduction of choruses as a finale. - - Boxes and reserved seats are to be had in the Krugerstrasse No. - 1074, first storey. Beginning at half past six o'clock. - -The importance of the works produced on this occasion, the whimsical -occurrences that are related as having taken place, and the somewhat -conflicting statements of persons present, justify an effort to sift -the evidence and get at the truth, even at the risk of being tedious. -It is unfortunate that the concert of November 15 was so completely -forgotten by all whose contemporary notices or later reminiscences are -now the only sources of information; for it is certain that, either in -the rehearsals or at the public performance, something happened which -caused a very serious misunderstanding and breach between Beethoven and -the orchestra; but even this is sufficient to remove some difficulties -otherwise insuperable. Ries records in the "Notizen" (p. 84) that a -scene is said once to have happened in which the orchestra compelled -the composer to realize his injustice "and in all seriousness insisted -that he should not conduct. In consequence, at the rehearsal, Beethoven -had to remain in an anteroom, and it was a long time before the quarrel -was settled." Such a quarrel did arise at the time of the November -concert. In Spohr's Autobiography is a story of Beethoven's first -sweeping off the candles at the piano and then knocking down a choir -boy deputed to hold one of them, by his too energetic motions at this -concert, the two incidents setting the audience into a "bacchanalian -jubilation" of laughter. It is absolutely certain, however, that -nothing of the kind occurred at the concert itself, and that the story -has its only foundation in Spohr's fancy. - -Compare now these statements by Ries and Spohr with citations from -notes of a conversation with Röckel: "Beethoven had made the orchestra -of the Theater-an-der-Wien so angry with him that only the leaders, -Seyfried, Clement, etc., would have anything to do with him, and it was -only after much persuasion and upon condition that Beethoven should not -be in the room during the rehearsals, that the rank and file consented -to play. During the rehearsals, in the large room back of the theatre, -Beethoven walked up and down in an anteroom, and often Röckel with him. -After a movement Seyfried would come to him for criticisms." Röckel -believed the story (i. e., if told of a rehearsal) of Beethoven in his -zeal having knocked the candles off the pianoforte, and he himself saw -the boys, one on each side, holding candles for him. - -But the concert-giver's troubles were not ended even by his yielding to -the demands of the orchestra. A solo singer was to be found and vocal -pieces to be selected. In a note to Röckel Beethoven wrote: "... in the -matter of the vocal pieces I think that we ought to have one of the -women singers who will sing for us, sing an aria first--then we will -make two numbers out of the Mass, but with German text, find out who -can do this for us. It need not be a masterpiece, provided it suits the -Mass well." And again: "Be clever in regard to Milder--say to her only -that to-day you are begging her in my name not to sing anywhere else, -to-morrow I will come in person to kiss the hem of her garment--but do -not forget Marconi...." - -Milder was to sing the aria "Ah, perfido! spergiuro," said Röckel, -and accepted the invitation at once. But an unlucky quarrel provoked -by Beethoven resulted in her refusal. After other attempts, Röckel -engaged Fräulein Kilitzky, Schuppanzigh's sister-in-law. Being a young -and inexperienced singer, her friends wrought her up to such a point -that when Beethoven led her upon the stage and left her, stage fright -overcame her and she made wretched work of the aria. Reichardt in a -letter describes the ~Akademie~: - - I accepted the kind offer of Prince Lobkowitz to let me sit in his - box with hearty thanks. There we endured, in the bitterest cold, - too, from half past six, to half past ten, and made the experience - that it is easy to get too much of a good thing and still more of - a loud. Nevertheless, I could no more leave the box before the - end than could the exceedingly good-natured and delicate Prince, - for the box was in the first balcony near the stage, so that the - orchestra and Beethoven conducting it in the middle below us, - were near at hand; thus many a failure in the performance vexed - our patience in the highest degree.... Singers and orchestra - were composed of heterogeneous elements, and it had been found - impossible to get a single full rehearsal for all the pieces to be - performed, all filled with the greatest difficulties. - -[Sidenote: PRODUCTION OF THE CHORAL FANTASIA] - -Such a programme, exclusive of the Choral Fantasia, was certainly an -ample provision for an evening's entertainment of the most insatiably -musical enthusiast; nor could a grander termination of the concert be -desired than the Finale of the C minor Symphony; but to defer that work -until the close was to incur the risk of endangering its effect by -presenting it to an audience too weary for the close attention needful -on first hearing to its fair comprehension and appreciation. This -Beethoven felt, and so, says Czerny, - - there came to him shortly before the idea of writing a brilliant - piece for this concert. He chose a song which he had composed - many years before,[63] planned the variations, the chorus, etc., - and the poet Kuffner was called upon to write the words in a - hurry according to Beethoven's hints. Thus originated the Choral - Fantasia, Op. 80. It was finished so late that it could scarcely be - sufficiently rehearsed. Beethoven related this in my presence in - order to explain why, at the concert, he had had it repeated. "Some - of the instruments had counted wrong in the rests," he said; "if I - had let them play a few measures more the most horrible dissonances - would have resulted. I had to make an interruption." - -The particulars of this scene, in which Reichardt suffered so, are more -or less circumstantially related by Ries, Seyfried, Czerny, Moscheles -and Dolezalek. Their statements when compared are not inconsistent -and supplement each other, except as to Ries, whose memory evidently -exaggerated what really occurred. Substantially they are as follows: - - Seyfried (Appendix to "Beethoven's Studien," p. 15): When the - master brought out his orchestral Fantasia with choruses, he - arranged with me at the somewhat hurried rehearsal, with wet - voice-parts as usual, that the second variation should be played - without the repeat. In the evening, however, absorbed in his - creation, he forgot all about the instructions which he had given, - repeated the first part while the orchestra accompanied the second, - which sounded not altogether edifying. A trifle too late, the - Concertmaster, Unrath, noticed the mistake, looked in surprise at - his lost companions, stopped playing and called out drily: "Again!" - A little displeased, the violinist Anton Wranitsky asked "With - repeats?" "Yes," came the answer, and now the thing went straight - as a string. - - The "Allg. Mus. Zeit." reported: The wind-instruments varied the - theme which Beethoven had previously played on the pianoforte. The - turn came to the oboes. The clarinets, if I am not mistaken, make a - mistake in the count and enter at once. A curious mixture of tones - results. Beethoven jumps up, tries to silence the clarinets, but - does not succeed until he has called out quite loudly and rather - ill-temperedly: "Stop, stop! That will not do! Again--again!" - - Czerny: In the Pianoforte with chorus he called out at the mistake: - "Wrong, badly played, wrong, again!" Several musicians wanted to go - away. - - Dolezalek: He jumped up, ran to the desks and pointed out the place. - - Moscheles: I remember having been present at the performance - in question, seated in a corner of the gallery, in the - Theater-an-der-Wien. During the last movement of the Fantasia - I perceived that, like a run-away carriage going down-hill, an - overturn was inevitable. Almost immediately after it was, that - I saw Beethoven give the signal for stopping. His voice was - not heard; but he had probably given directions where to begin - again, and after a moment's respectful silence on the part of the - audience, the orchestra recommenced and the performance proceeded - without further mistakes or stoppage. To those who are acquainted - with the work, it may be interesting to know the precise point at - which the mistake occurred. It was in the passage where for several - pages every three bars make up a triple rhythm. - - Seyfried says further: At first he could not understand that he - had in a manner humiliated the musicians. He thought it was a duty - to correct an error that had been made and that the audience was - entitled to hear everything properly played, for its money. But he - readily and heartily begged the pardon of the orchestra for the - humiliation to which he had subjected it, and was honest enough to - spread the story himself and assume all responsibility for his own - absence of mind. - -The pecuniary results of this concert to Beethoven are not known. - -[Sidenote: THE FOURTH PIANOFORTE CONCERTO] - -One of the two December concerts for the Widows and Orphans Fund was -on the 22d, the same evening as Beethoven's; the other on the next. -The vocal work selected was, in compliment to the venerable Haydn, his -"Ritorno di Tobia," first performed in these concerts thirty-three -years before. Being too short to fill out the evening, it was preceded, -on the 22d, by an orchestral fantasia of Neukomm--on the 23d by a -pianoforte concerto of Beethoven. Ries says - - that Beethoven asked him to play his fourth Concerto in G, giving - him only five days in which to learn it. Thinking the time too - short, Ries asked permission to play the C minor Concerto instead. - Beethoven in a rage went to young Stein, who was wise enough to - accept the offer; but as he could not prepare the Concerto in time, - he begged Beethoven, on the day before the concert, as Ries had - done, for permission to play the C minor Concerto. Beethoven had to - acquiesce. Whether the fault was the theatre's, the orchestra's, or - the player's, says Ries, the Concerto made no effect. Beethoven was - very angry. - -For this concert Beethoven received 100 florins from Esterhazy, who -apparently ranked the composer with the leading actors of the theatre. -Towards the close of 1808, Clementi again arrived in Vienna and was -not a little surprised to learn from Beethoven that he had not yet -received from London payment for the compositions which he had sold to -Clementi in April, 1807. He wrote on December 28, 1808, to his partner -asking that the money, £200, due Beethoven, as he had delivered the -six compositions contracted for, be sent at once. But in September, -1809, the account had not yet been liquidated, as we shall see. There -is reason to believe that a large number of compositions of greater -or less extent was projected and in part sketched during this year; -but the number known to have been completed, and therefore properly -bearing the date 1808, is small. These compositions are: The "Pastoral" -Symphony, Op. 69; the Sonata for Pianoforte and Violoncello, Op. 69; -the Trios for Pianoforte, Violin and Violoncello, in D and E-flat, Op. -70; the Fantasia for Pianoforte, Orchestra and Chorus, Op. 80; the -Song (with four melodies) "Die Sehnsucht." - - * * * * * - -The Sonata for Pianoforte and 'cello was sketched in 1807, and -practically completed in that year, the only sketches appearing among -those of 1808 being a couple evidently made while the work was being -written out. The earlier sketches appear among those of the C minor -Symphony. It is dedicated to Gleichenstein. On June 8 Beethoven offered -it, as has been seen, to Breitkopf and Härtel, and it was included in -the works for which Härtel signed a contract in person on September -14. On January 7, 1809, Beethoven wrote to Breitkopf and Härtel asking -that Gleichenstein's title "K. K. Hofconcipist" be elided from the -dedication, because it was distasteful to him. It was published in -1809, but with a large number of errors which gave occasion to three -letters from the composer to the publishers. (La Mara, "Musikerbriefe -aus fünf Jahrhunderten," 1886; Frimmel, "II. Beethoven Jahrbuch"; -Kalischer, "Beethoven's Sämtliche Briefe," II, 262--where the date is -incorrectly given as 1815.) - -The two Trios are dedicated to Countess Erdödy, in whose house -Beethoven lived when they were written. The first sketches for them -found by Nottebohm belong to the second in E-flat and occur amongst the -sketches for the Finale of the "Pastoral" symphony. The Trios are not -mentioned in the first letter, in which Beethoven offers the Fifth and -Sixth Symphonies besides other works to Breitkopf and Härtel. In the -second letter, of July, Beethoven speaks of two pianoforte sonatas, -and in a later letter of two trios. This has led to the conclusion -that Beethoven first conceived them as solo sonatas and later -developed them as trios. Beethoven played them at Countess Erdödy's -in the Christmastide of 1808, when Reichardt was present; he wrote -an enthusiastic account of them under date December 31. On May 26, -Beethoven wrote to Breitkopf and Härtel suggesting changes in the text -and also asking that the name of Archduke Rudolph be substituted for -that of Countess Erdödy in the dedication. The reason given was that -the Archduke had become fond of the works and Beethoven had observed -that in such cases his patron felt a gentle regret when the music was -dedicated to somebody else. Beethoven, of course, says nothing of his -quarrel with the Countess (of which something will be said in the next -chapter). There was a reconciliation, and Beethoven's solicitude for -the feelings of the Archduke seems to have evaporated; at any rate, -the original dedication remained. - -The Choral Fantasia was obviously finished only a short time before -its performance and is plainly one of the few compositions on which -Beethoven worked continuously after once beginning it, though the plan -of the work had occurred to him long before. The early sketch, to which -allusion has been made, shows that the use of the melody of the song -"Gegenliebe" was part of the original scheme. A sketchbook of 1808, -whose contents were analyzed by Nottebohm ("Zweite Beethoveniana," -p. 495), is devoted entirely to the Fantasia and the Pianoforte -Concerto in E-flat, which was not worked out till later. The most -interesting disclosures of Nottebohm's study are that there is no -hint of a pianoforte introduction such as Beethoven improvised at the -performance; that Beethoven first thought of beginning with the string -quartet of the orchestra; that work was begun before a text had been -found; and that, as in the case of the Choral Symphony, of which the -Fantasia is so interesting a prototype in miniature, Beethoven thought -of paving the way for the introduction of the voices by words calling -attention to the newcomers among the harmonious company (~Hört ihr -wohl?~). Czerny's statement that the text was written by Kuffner is -questioned by Nottebohm, who points out that the poem is not included -in the collected writings of that author, though all manner of -fragments and trifles are. Because of the ingenuity and effectiveness -with which the words were adapted to the music, Nottebohm suspects -Treitschke of having written them in accordance with Beethoven's -suggestions as to form and contents. The introductory pianoforte -fantasia which was published to take the place of Beethoven's -improvisation at the first performance, was composed in 1809. - - * * * * * - -[Sidenote: SUMMARY OF A YEAR'S WORK] - -The publications of the year 1808 were: - - 1. ~Trois Quatuors pour deux Violons, Alto et Violoncello, - composés par Louis van Beethoven. OEuvre 59^{me}.~ Dedicated to His - Excellency Count von Rasoumowsky. Advertised by the Kunst- und - Industrie-Comptoir in the "Wiener Zeitung" of January 9. - - 2. ~Ouverture de Coriolan, Tragédie de M. de Collin, etc., composée - et dediée à Monsieur de Collin, etc.. Op. 62.~ Advertised in the - same place on the same date. - - 3. "Sehnsucht," by Goethe, No. 1 of the four melodies published as - a supplement to the periodical "Prometheus" in April. - - 4. Fourth Concerto for Pianoforte and Orchestra. Dedicated to His - Highness, Archduke Rudolph of Austria, Op. 58. Advertised by the - Kunst- und Industrie-Comptoir in the "Wiener Zeitung" on August 10. - - 5. ~Concerto pour le Pianoforte avec accompagnement de grand - Orchestre, arrangé d'après son 1^{er} Concerto de Violon et dédié - à Madame de Breuning. OEuvre 61.~ Advertised in the same journal on - August 10. - - 6. "~In questa tomba oscura~," the last of 63 settings of the same - text by various composers, published by T. Mollo, and advertised in - the "Wiener Zeitung" of September 3. - -FOOTNOTES: - -[55] This letter was doubtless followed by a billet to Gleichenstein -reading as follows: "I think--you would better have them pay you 60 -florins more than the 1500 or, if you think that it would be consistent -with my honesty--the sum of 1600--I leave this wholly to you, however, -only honesty and justice must be the polestar which is to guide you." -The transaction to which the letter and note refer must have been the -sale of the compositions, the British rights for which had been sold to -Clementi. The quartet was probably one of the Rasoumowsky set and the -symphony that in B-flat, since the fifth and sixth were not published -by the Viennese Bureau but by Breitkopf and Härtel. - -[56] Alois Fuchs related that when Beethoven heard from Krumpholz of -Napoleon's victory at Jena he exclaimed: "Pity that I do not understand -the art of war as well as I do the art of music; I would conquer him -yet!" - -[57] Nevertheless a letter, of which a copy was placed in the hands of -Thayer at a later date, indicates that an oratorio "Die Sündfluth" was -written by Hammer-Purgstall, and also that the correspondence between -Beethoven and the Orientalist took place in 1809. It is dated "Ash -Wednesday," the year not being mentioned, but refers to the departure -of the Persian Ambassador and the fact that H. Schick had acquainted -the writer with Beethoven's desire to have an Indian chorus of a -religious character for composition. - -[58] Röckel in his letter to Thayer says: "That Beethoven did not -abandon the idea of composing another opera was shown by the impatience -with which he could scarcely wait for his friend Collin to make an -opera book for him of Shakespeare's 'Macbeth.' At Beethoven's request, -I read the first act and found that it followed the great original -closely; unfortunately Collin's death prevented the completion of the -work." - -[59] Schindler here is mistaken. The "walk toward the Kahlenberg" took -them northerly into the valley between Heiligenstadt and Nussdorf, -where an excessively idealized bust of the composer now marks the -"Scene by the Brook." After thirty years of absence from Vienna, -Schindler's memory had lost the exact topography of these scenes; and -a friend to whom he wrote for information upon it mistook the Grinzing -brook and valley for the true ones. This explanation of his error was -made by Schindler to the present writer very soon after the third -edition of his (Schindler's) book appeared. - -[60] "But the note of the yellowhammer, both in England and in Austria, -is not an ~arpeggio~--cannot in any way be twisted into one, or -represented by one. It is a quick succession of the same note, ending -with a longer one, sometimes rising above the preceding note, but more -frequently falling. In fact, Schindler himself tells us that it was the -origin of the mighty theme which opened the C minor Symphony!"--Grove, -"Beethoven and His Nine Symphonies," p. 211. - -[61] Carl Holz related a story to Jahn, which he may very well have -heard from Beethoven himself. Jahn's memorandum of it is in the -following words: "Scherzo of the Pastorale. In Heiligenstadt a drunken -bassoonist thrown out of the tavern, who then blows the bass notes." - -[62] Some of the information for which Thayer hoped was supplied by his -translator, Dr. Deiters, and has been printed as a foot-note in the -preceding chapter. Something more appears from several documents which -have come to light since Mr. Thayer wrote, but, it must be confessed, -it seems more bewildering than illuminative. One of these is a letter -which was published in the "Signale" of Leipsic in September, 1880. -It is without date, but an allusion to the felon with which Beethoven -was afflicted fixes the time of its writing about March, 1808. The -significant part of the letter is as follows: "To-day I have little -time to write more to you, I only want to inform you that ~your -symphony~ has long been ready and I will send it to you by the next -post--you may retain 50 florins, for the copying, which I will have -done for you, will cost that sum at least--in case you do not want the -symphony, however, let me know the fact before the next post--in case -you accept it, rejoice me as soon as possible with the 300 florins -still due me--The last piece in the symphony is with 3 trombones and -~flautino~--not with 3 kettledrums, but will make more noise than 6 -kettledrums and, indeed, better noise--I am still under treatment for -my poor innocent finger and because of it have not been able to go -out for a fortnight--farewell--let me hear something from you soon, -dear Count--it goes ill with me." The document which Dr. Riemann says -"obviously" accompanied this letter (though we cannot see why) runs -as follows: "Receipt for 500 florins from Count Oppersdorff for a -~Sinfonie~ which I have written for him." This is dated "1807 on the -3rd of February." There is another receipt for 150 florins dated March -29, 1808, but nothing to show what the money was paid for except a -memorandum accompanying it which seems to be partly in the handwriting -of Beethoven, partly in that of Oppersdorff, and states that 200 -florins had been paid in June, 1807, for the "5 Sinfoni" (the numeral -is vague), but that the symphony had not been received. The reference -to the trombones in the finale of the symphony proves that it was the -fifth that was in question. - -On November 1, 1808, Beethoven writes the letter printed above in the -body of the text. Why Dr. Riemann should have thought it necessary -to consider the first letter of contemporaneous date with the first -receipt is not plain, nor why he should surmise that Beethoven had -enclosed the receipt in the letter before he received the money which -was not paid at the time. To this Editor it seems as if the confused -tangle might be explained in part, at least, as follows, though -the explanation leaves Beethoven under a suspicion which cannot be -dispelled until more is learned of the dealings between him and Count -Oppersdorff: On the occasion of Beethoven's visit to Count Oppersdorff -in company with Lichnowsky in the summer or fall of 1806, the Count -commissioned the composer to write a symphony for him; Beethoven had -begun work on the Fifth Symphony, but laid it aside and during the -remainder of his stay at Grätz and in the winter of 1807 wrote the -Symphony in B-flat which is dedicated to Count Oppersdorff; for this -he received 500 florins on February 3, 1807; he did not send the Count -the score, as was the custom, for exclusive use during a fixed period, -but turned it over to Lobkowitz for performance, being in urgent need -of money; a year later he substituted the Fifth for the Fourth and -accepted from Count Oppersdorff 150 florins in March and 200 in June -for it without delivering it, this sum being, it may be presumed, -a bonus for the larger work, the Count apparently having asked for -something employing an unusual apparatus (hence the "3 kettledrums"); -this symphony was also withheld in the end, for reasons which are not -known, and Oppersdorff had to content himself with the mere dedication -of the Symphony in B-flat originally designed for him. - -Dr. Riemann's comment on the transactions is this: "The letter of -November 1, 1808, proves conclusively that Count Oppersdorff could not -have received either the C minor or the B-flat Symphony for his use -for the customary half year; for the B-flat Symphony was performed -by Lobkowitz in March, 1807; it was sold to Clementi and also to the -Industriecomptoir in the summer, delivered for publication at the -latest in the fall of 1807 when Beethoven had to return the 1500 -florins to his brother Johann. The C minor Symphony was performed at -the concert in the Theater-an-der-Wien on December 22, 1808, offered -to Breitkopf and Härtel as early as June, 1808, sold on September -14, 1808, and published in April, 1809. To all appearances, Count -Oppersdorff was compelled to look upon the 350 florins as remuneration -for the mere dedication of the Symphony in B-flat which was published -by the Industriecomptoir in March, 1808 (score not until 1821 by -Simrock). The name of Count Oppersdorff does not appear again in the -life-history of Beethoven." - -[63] Czerny did not know that Beethoven had formed the idea of this -work full eight years before. See notice on the Petter sketchbook -~ante~, Chapter II. - - - - -Chapter VIII - - Jerome Bonaparte's Invitation--The Annuity Contract--Operatic - Projects--Seyfried's "Studies"--The Siege of Vienna--Increased Cost - of Living--Dilatory Debtors--The Year 1809. - - -The offer of an honorable position in Cassel--permanent, so long as -Napoleon's star might remain in the ascendant and his satellite retain -his nominal kingship of Westphalia--was one no less gratifying to -Beethoven, than surprising and perplexing to his friends. Knowing both -the strong and the weak points of his character, they saw the extreme -improbability that, with his increasing deafness, his removal thither -could in the end redound to his profit, honor, or happiness. On the -other hand, they saw him--at the very moment when he was giving new -proofs of those stupendous powers which elevate him far above all other -instrumental composers--forced to consider the question of seeking in -a small provincial capital that permanent provision for his future -necessities which, in the home of his choice at the end of sixteen -years' residence, he saw no hope of obtaining. What an inexcusable, -unpardonable disgrace to Vienna would be the departure of Beethoven -under such circumstances! It was the first time the question had been -presented; but being presented it was promptly met by a request from -persons of "high and the highest rank that he state the conditions -under which" he would decline the call to Cassel and remain in Vienna. - -Here was one of those happy opportunities for conferences, notes, -letters and despatches innumerable, which Beethoven all his life -seems to have so eagerly embraced and enjoyed. Several of his notes -to Gleichenstein on the topic have been preserved, but are not worth -transcribing, except those containing instructions for the drafting -of the conditions of his remaining in Vienna. A letter dated January -7, 1809, by Beethoven to Breitkopf and Härtel, indicates that at the -opening of the year 1809, Beethoven was still firmly resolved to go to -Cassel. In it occurs this passage: - - At last I am forced by the intrigues and cabals and contemptible - actions of all kinds to leave the only surviving German fatherland - on the invitation of his Royal Majesty of Westphalia, I am going - thither as chapelmaster with an annual salary of 600 ducats in - gold--I have only to-day sent my assurance that I will come by - post and am only waiting my decree before making preparations - for my journey which will be by way of Leipsic--therefore in - order that my journey shall be the more brilliant for me I beg - of you if not too prejudicial to your interests not to make - anything known of my works till Easter--in the case of the sonata - which is dedicated to Baron Gleichenstein, please omit the "K. - K. Concipist," as it is distasteful to him. In all probability - abusive letters will again be written from here about my last - musical academy to the "Musikalische Zeitung"; I do not ask - that what is against me be suppressed; yet somebody ought to be - convinced that nobody has more personal enemies here than I; this - is the more easily to be understood, since the state of music - here is steadily growing worse--we have chapelmasters who know - so little about conducting that they can scarcely read a score - themselves--it is worst of all, of course, ~auf der Wieden~--there - I had to give my academy and all kinds of obstacles were put - in my way. The Widows' Concert, and Herr Salieri is among the - first, was guilty of the hideous act of threatening to expel - every musician who played for me--notwithstanding that several - mistakes which I could not help were made, the public accepted - everything enthusiastically--nevertheless, scribblers from here - will certainly not fail again to send miserable stuff against me - to the "Musikalische Zeitung"--the musicians were particularly - angry because when a blunder was made through carelessness in the - simplest, plainest place in the world, I suddenly commanded silence - and loudly called ~Again~--such a thing had never happened to them - before; the public at this showed its enjoyment--but it is daily - growing worse. The day before my concert, in the easy little opera - Milton, at the theatre in the city, the orchestra fell into such - disorder that chapelmaster and director and orchestra veritably - suffered shipwreck--for the chapelmaster instead of being ahead was - behind in his beat and then came the director. - - (On the back of the cover): - - I beg of you to say nothing with certainty about my appointment - in Westphalia until I write to you that I have received my - decree.--Farewell, etc. - -[Sidenote: PLAN TO KEEP BEETHOVEN IN VIENNA] - -It seems likely that the suggestion that formal stipulations for a -contract under which Beethoven would decline the offer from Cassel and -remain in Vienna be drawn up came from Countess Erdödy. At any rate -Beethoven writes to Gleichenstein: "Countess Erdödy is of the opinion -that you ought to outline a plan with her according to which you might -negotiate in case they approach you as she is convinced they will. If -you have time this afternoon, the Countess will be glad to see you." - -The outline of the proposition which was to be submitted to certain -noble gentlemen was drawn up by Beethoven for Gleichenstein as follows: - - (On the outside: "Outline for a Musical Constitution.") - - First the offer of the King of Westphalia is to be set forth. B. - cannot be held down to any obligation on account of this salary - since the chief object, viz., the invention of new works would - suffer thereby--this remuneration must be assured to Beethoven - until he voluntarily renounces it--the Imperial title also if - possible--to alternate with Salieri and Eibeler--the promise of - active court service as soon as possible--or ~adjunction~ if it be - worth while. Contract with the theatres likewise with the title - of Member of one of the Committees of Theatrical Direction--a - fixed day forever for a concert, even if there be a change in the - directorate in the theatre, in return for which Beethoven binds - himself to compose a new work every year for one of the charity - concerts as may be thought most useful--or to conduct two--a place - at a money changer's or such kind where Beethoven would receive the - stipulated salary--the salary must be paid also by the heirs. - -On some of these points Beethoven changed his mind and wrote again thus: - - It is probably too late to-day--I could not get your writing back - from E.--until now, inasmuch as A. wanted to add a few ~items~, - buts, and inasmuches--I beg of you to have everything turn on - the true and proper practice of my art, thus you will write what - is in my heart and head--the introduction is what I am to get in - Westphalia, 600 ducats in gold, 150 ducats travelling expenses, - for which I have to do nothing except conduct the King's concerts - which are short and not numerous--I am not even bound to conduct - any opera that I may write--from all which it is clear that I can - devote myself wholly to the most important purpose of my art to - compose works of magnitude--also an orchestra at my disposal. - - N. B. The title of Member of one of the Theatrical Committees is - dropped--It could bring nothing but vexation--in respect of the - Imperial duties I think the point must be handled delicately--not - less than the demand for the title of Imperial Chapelmaster, than a - regard to my being placed in a position through a court salary to - give up the sum which the gentlemen are now paying me. I think that - this might best be expressed as a hope or a highest wish sometime - to enter the Imperial service, when I could at once accept as much - less as the sum received from his Imperial Majesty amounts to. - - (On the top of the last page): - - N. B. We shall need it to-morrow at 12 o'clock, because we must - then go to Kinsky. I hope to see you to-day. - -Under these instructions the "Conditions" were drawn up by some person -unknown, in manner and form following: - - It must be the striving and aim of every true artist to achieve a - position in which he can devote himself wholly to the elaboration - of larger works and not be hindered by other matters or economical - considerations. A musical composer can, therefore, have no livelier - desire than to be left undisturbedly to the invention of works of - magnitude and then to produce them in public. In doing this he must - also keep his old age in view and seek to make ample provision for - himself against that time. - - The King of Westphalia has offered Beethoven a salary of 600 ducats - in gold for life and 150 ducats travelling expenses, on the single - condition that he occasionally play for him and conduct his chamber - concerts, which are to be not numerous and short. - - This offer is certainly entirely in the interest of art and the - artist. - - Beethoven, however, has so great a predilection for life in this - city, so much gratitude for the many proofs of good will which - he has received here, and so much patriotism for his second - fatherland, that he will never cease to count himself among - Austrian artists and will never make his domicile elsewhere if the - opportunities mentioned above are measurably offered him here. - - Persons of high and the highest ranks, having asked him to state - under what conditions he would be willing to remain here, he has - complied with the request as follows: - - 1. Beethoven should receive from a great personage assurance of a - salary for life even if a number of persons of rank contribute to - the sum. This salary under the existing conditions of high cost - of living, could not be less than 4000 florins a year. Beethoven - desires that the donors of this salary consider themselves - co-authors of his new works in the large forms, because they place - him in a position to devote himself to their production and relieve - him of the need of attending to other affairs. - - 2. Beethoven should always have freedom to make artistic tours, - because only by such can he make himself very well known and - acquire some property. - - 3. It would be his greatest desire and most ardent wish sometime to - enter into the actual Imperial service and by reason of the salary - expected from such a source to be able to waive in whole or in part - the compensation set forth above; meanwhile the title merely of an - Imperial Chapelmaster would make him very happy; if it could be - obtained for him his stay here would be still dearer to him. - - Should this desire some day be fulfilled and he receive a salary - from His Majesty, Beethoven will forgo his claim on as much of the - 4000 florins as the Imperial salary amounts to, and if this is - 4000 florins, then he would forgo the entire 4000 florins above - specified. - - 4. As Beethoven desires to perform his new works in public, he - desires an assurance from the Court Theatrical Directors, for - themselves and their successors, that on Palm Sunday of each year - he shall have the use of the Theater-an-der-Wien for a concert for - his own benefit. - - In return for this assurance, Beethoven would bind himself to - arrange and conduct a charity concert every year or, in case - of inability to do this, to contribute a new work for such a - concert.[64] - -[Sidenote: BEETHOVEN GUARANTEED AN ANNUITY] - -The conditions proving acceptable, the business was concluded and -Beethoven retained in Vienna by this - - AGREEMENT: - - The daily proofs which Herr Ludwig van Beethoven is giving of - his extraordinary talents and genius as musician and composer, - awaken the desire that he surpass the great expectations which are - justified by his past achievements. - - But as it has been demonstrated that only one who is as free from - care as possible can devote himself to a single department of - activity and create works of magnitude which are exalted and which - ennoble art, the undersigned have decided to place Herr Ludwig van - Beethoven in a position where the necessaries of life shall not - cause him embarrassment or clog his powerful genius. - - To this end they bind themselves to pay him the fixed sum of 4000 - (four thousand) florins a year, as follows: - - His Imperial Highness, Archduke Rudolph Fl. 1500 - The Highborn Prince Lobkowitz " 700 - The Highborn Prince Ferdinand Kinsky " 1800 - ________ - Total Fl. 4000 - - which Herr van Beethoven is to collect in semi-annual installments, - ~pro rata~, against voucher, from each of these contributors. - - The undersigned are pledged to pay this annual salary until Herr - van Beethoven receives an appointment which shall yield him the - equivalent of the above sum. - - Should such an appointment not be received and Herr Ludwig van - Beethoven be prevented from practising his art by an unfortunate - accident or old age, the participants herein grant him the salary - for life. - - In consideration of this Herr Ludwig van Beethoven pledges himself - to make his domicile in Vienna, where the makers of this document - live, or in a city in one of the other hereditary countries of His - Austrian Imperial Majesty, and to depart from this domicile only - for such set times as may be called for by his business or the - interests of art, touching which, however, the high contributors - must be consulted and to which they must give their consent. - - Given in Vienna, March 1, 1809. - - (L. S.) Rudolph, - Archduke. - - (L. S.) Prince von Lobkowitz, - Duke of Raudnitz. - - (L. S.) Ferdinand Prince Kinsky. - -This document bears in Beethoven's hand these words: - - Received - On February 26, 1809 - from the hands - of Archduke - Rudolph, R. H. - -The remarks in a former chapter upon the singular attraction for the -young of Beethoven and his works are supported by this contract. -Lobkowitz, it is true, was near the master's age, being then 35; but -Rudolph and Kinsky were respectively but 21 and 27. Ries, who was -then much with Beethoven, asserts that the contract with the King of -Westphalia "was all ready; it lacked only the signature" before his -Vienna friends moved in the matter and "settled a salary on him for -life." He continues: - - The first fact I knew; of the second I was in ignorance until - suddenly Chapelmaster Reichardt came to me and said: "Beethoven - positively would not accept the post in Cassel; would I as - Beethoven's only pupil go there on a smaller salary?" I did not - believe the first, went at once to Beethoven to learn the truth - about it and to ask his advice. I was turned away for three - weeks--even my letters on the subject were unanswered. Finally I - found Beethoven at the Ridotto. I went to him and told him the - reason of my inquiries, whereupon he said in a cutting tone: - "~So--do you think that you can fill a position which was offered - to me?~" He remained cold and repellant. The next morning I went to - him to get an understanding. His servant said to me gruffly: "My - master is not at home," although I heard him singing and playing - in the next room. Since the servant positively refused to announce - me I resolved to go right in; but he sprang to the door and pushed - me back. Enraged by this I grabbed him by the throat and hurled - him down. Beethoven, hearing the racket, dashed out and found his - servant still lying on the floor and me pale as death. Angrily - excited, I so deluged him with reproaches that he stood motionless - and speechless with surprise. When the matter was finally explained - to him he said, "I did not understand it so; I was told that you - were trying to get the appointment behind my back." On my assuring - him that I had not yet even given an answer, he at once went out - with me to make the mistake good. But it was too late; I did not - get the appointment, though it would have been a piece of great - good fortune for me at that time. - -It requires no great sagacity to perceive from the text of the -"Agreement," that neither of its signers had any expectation that -Beethoven could ever perform the duties of an Imperial Conductor -acceptably; and his hope of obtaining the title must have rested upon -the influence, which he supposed Archduke Rudolph might exert upon -Emperor Franz. Be this as it may, the composer was justly elated by -the favorable change in his pecuniary condition; and his very natural -exultation peeps out in the correspondence of the time. While the -business was still undecided, Gleichenstein had departed on a visit -to his native Freiburg, via Munich, taking with him a letter of -introduction, the contents of which Beethoven himself thus epitomises: - - Here, my dear fellow, is the letter to Winter. First it says - that you are my friend--secondly, what you are, namely ~K. K. - Hofconcipist~--thirdly, that you are not a connoisseur of music but - nevertheless a friend of all that is ~beautiful~ and ~good~--in - view of which I have asked the chapelmaster in case anything of his - is performed to let you participate in it.... - -On March 18, Gleichenstein received a copy or abstract of the contract -enclosed in this: - - You see my dear, good Gleichenstein how honorable my remaining here - has turned out for me--the title of Imperial Chapelmaster will - also come later, etc. Write to me as soon as possible if you think - that I ought to make the journey in the present warlike state of - affairs--and if you are still firmly resolved to travel with me; - several have advised me against it, but in this matter I shall - follow you implicitly; since you already have a carriage it would - have to be arranged that for a stretch you travel towards me and - I towards you. Write quickly. Now you can help me hunt a wife, if - you find a beautiful one in F. who yields a sigh to my harmonies, - but it must be no Elise Bürger, tackle her at once. But she must be - beautiful, for I cannot love what is not beautiful--else I should - love myself. - -The jesting on matrimony in this letter and the allusion to Bürger's -unlucky marriage with Christine Elizabeth Hahn, attest the writer's -lightness of spirit, but are not to be taken seriously; for we -shall soon find reason to believe that at this moment he had a very -different project in view than to make a wife of the greatest beauty in -Freiburg.[65] - -[Sidenote: THE INVITATION TO CASSEL DECLINED] - -Under date "Vienna, March 4, 1809," Beethoven wrote a letter to -Breitkopf and Härtel in which he informed them, by means of an -inclosure to which he called their attention, of his change of -plans touching the appointment at Cassel and told them that he -was contemplating a "little journey," provided the "threatening -storm-clouds did not become more dense." The letter accompanied the -Violoncello Sonata dedicated to Baron Gleichenstein and the Fifth and -Sixth Symphonies, together with a memorandum of slight improvements -which had suggested themselves to him at the performance; also a -formula for the dedication of the Trios (then numbered 62) to Countess -Erdödy. About this time came out new compositions and new editions or -arrangements of old ones which occupied the opus numbers from 59 to -66 and compelled Beethoven to change these proposed numbers, 59-62 to -67-70. The "Allg. Mus. Zeit." had printed a notice about the offer -from Cassel in which Reichardt was represented as having been the -intermediary in the negotiations. This brought out from Beethoven a -correction dated April 5, addressed to Breitkopf and Härtel: - - Your letter was received by me with pleasure. I thank you for the - article in the A. M. Z., only I wish that when occasion offers, - you would make a correction in respect of Reichardt, I was not at - all engaged by R., on the contrary, the Chief Chamberlain of his - Majesty, the King of Westphalia, Count Truchsess-Waldburg, conveyed - to me the offer of ~First Chapelmaster~ of H. R. H., the King of - Westphalia. This offer was made ~before Reichardt came to Vienna~ - and he was surprised, as he himself said, that nothing of it had - reached his ears. ~R. took all manner of pains to dissuade me from - going there.~ As I have besides very many reasons for questioning - the character of Mr. R.--and he may, for political reasons, perhaps - have communicated this to you--I think that I am entitled to the - greater credence and that on an occasion which might easily be - created, you will print the truth about the affair--~since it is - important as touching my honor~. Also by next post I shall send you - all three works, the ~oratorio~, ~opera~, ~mass~--and ask no more - for them than 250 florins in convention money--I do not believe - that you will complain at this--I cannot find the letter just now - in which Simrock offered 100 florins, convention money, for the - mass, here too I could get this sum and even something more from - the Chemical Printing Co., for them; I am not hoaxing you, that you - know--I nevertheless send you all three works because I know that - you will not take advantage of the fact. Make the inscriptions in - French as you please. Next time you shall receive a few lines about - the other matter--it is impossible to-day. - - Your most obedient - Friend and Servant - Beethoven. - - It need not be a pompous retraction, but the truth ought to be made - plain. - - Do not forget the ~First Chapelmaster~, I laugh at such things, but - there are ~Miserables~ who know how to dish up such things in the - manner, of the cook. - -The allusions to a tour in the letters to Gleichenstein and Breitkopf -and Härtel, and the provision made in the Agreement for the composer's -temporary absence from Austria, acquire a particular significance -from one of the notes of Röckel's conversation, namely: "Beethoven in -those days was full of the project of traveling, and a plan was marked -out of visiting the German cities, then England and finally ~Spain~; -upon which last Röckel laid great stress. He was to have accompanied -Beethoven; but he could not leave Vienna, on account of having so many -of his brothers and sisters[66] sent to him to care for." - -[Sidenote: RELATIONS WITH FRANZ OLIVA] - -In March, 1809, Beethoven, forwarding a letter to his brother, "to -be delivered at the apothecary shop 'To the Golden Crown'" in Linz, -enclosed in it an envelope, inside of which he wrote the words quoted -in a previous chapter, in which he prayed God to put feeling in place -of insensibility into his brothers, and bemoaned the fact that, needing -some one to help him, he knew not whither to turn. The breach between -Beethoven and his brother Karl was now, in business matters, complete; -and he needed some one to perform for him many little offices which he -could not with propriety demand of Zmeskall, Gleichenstein or Röckel, -even had they had the leisure and the will. Hence, about this time, was -formed his connection with a certain Franz Oliva, clerk in the employ -of Offenheimer and Herz. A singular obscurity rests upon this man's -personal history and the exact nature of his relations to Beethoven--an -obscurity which even the indefatigable investigator Ferdinand Luib did -not succeed in removing. What is certain is this: the relations between -them were exceedingly close up to the spring of 1812; afterwards less -so; but never broken off entirely until the departure of Oliva in 1820 -to St. Petersburg, where he found it for his interest to establish -himself as a teacher of languages. In due time the "Wiener Zeitung" -published an official notice from the Austrian Government calling -upon him immediately to return and justify himself for overstaying -his leave of absence under pain otherwise of being proceeded against -under the emigration laws of the country. Oliva's reply to this was -a very practical one; he took a wife, fixed his Lares and Penates in -St. Petersburg and begat a daughter, who, under date of August 26, -answered a letter of Otto Jahn's inquiring about her father's relations -and correspondence with Beethoven by saying that a fire and the death -of Oliva from cholera in 1848, had caused the loss and dissipation of -Beethoven's letters and that she was unable to write the details of the -intercourse between her father and Beethoven. Inasmuch as she fixed -the beginning of this intercourse in 1814, it is not likely that her -contribution to this history would have been valuable. - -But the threatening war-clouds became more dense. The same French -armies which laid the foundations for Johann van Beethoven's prosperity -not only prevented Ludwig's contemplated journey but affected him -disastrously both pecuniarily and professionally. On May 4th, the -Empress left Vienna with the Imperial family. Archduke Rudolph -accompanied her, and Beethoven mourned his departure in the well-known -first movement of the Sonata, Op. 81a. This work has been described by -Marx as a "Soul picture, which brings before the mind the Parting--let -us assume of two lovers; the deserted--let us assume again sweet-heart -or wife--and Reunion of the Parted Ones." But unfortunately for that -writer Beethoven's manuscript bears these inscriptions in his own hand: -"The Farewell, Vienna, May 4, 1809, on the departure of His Imperial -Highness the revered Archduke Rudolph"; on the Finale: "The Arrival of -His Imperial Highness the revered Archduke Rudolph, January 30, 1810." - -With a garrison of 16,000 troops, 1000 students and artists, the civil -militia and a small number of summoned men, Archduke Maximilian was -ordered to defend Vienna. Thus it came about that Beethoven, on the -10th of May, found himself shut up in a beleaguered city. - -Beethoven's experiment of lodging with Countess Erdödy, as might -have been predicted, was not a successful one; he was too irritable, -whimsical, obstinate; too ready to take offense, too lax in asking -or giving explanations. We have seen in divers cases, how, when he -discovered himself to be in the wrong, he gladly made every due -acknowledgment; but, as in the case of Ries, this was often too late to -remedy the mischief already caused. Before the close of the winter, he -was evidently becoming discontented; so much so as to take ill even the -singular proof of the Countess' good will spoken of in the following -note: - - I think, my dear Zmeskall, that even after the war is over, if ever - it begins, you will be ready to carry on negotiations for peace. - What a glorious office!! I leave it wholly in your hands to settle - the affair about my servant, but the Countess must not have the - slightest influence over him. She has, as she says, given him 25 - fl. and 5 fl. a month ~only to make him remain with me~. Now I - ~must necessarily~ believe in this magnanimity--but do not wish it - to be continued.... - -Another note bears Zmeskall's date: "March 7, 1809": - - I might easily have thought it. About the blows, this is dragged - in by the hair of the head; this story is at least 3 months - old--and is by no means--what he now makes out of it--the whole - miserable affair was brought about by a huckster woman and other - wretches--but I shall not lose much, because he was really spoiled - in the house where I am. - -What cause of dissension, beyond the ill-advised gratifications to the -servant, had arisen between Beethoven and the Countess is not known; -but something had occurred, the blame of which he soon saw was all -his own, and for which he thus humbly expresses his contrition and -beseeches forgiveness: - - My dear Countess, I have erred, that is true--forgive me, it was - assuredly not intentional malice on my part, if I have pained - you--only since last night do I know the truth about the matter, - and I am very sorry that I acted as I did--read your billet coolly - and judge for yourself if I deserve all and if you did not pay - me back six-fold since I offended you unintentionally; send my - note back to me to-day, and write me only one word that you are - no longer angry, I shall suffer infinitely if you do not do this, - I can do nothing if things are to continue thus--I await your - forgiveness. - -There are sufficient grounds for belief that an immediate -reconciliation took place; nevertheless, Beethoven decided to go into -another lodging, and one was found for him in the "Klepperstall in -der Teinfaltstrasse im 3ten Stock beym Advokaten Gotischa," as he -describes it in a letter to Breitkopf and Härtel dated August 3, 1809. -He does not seem to have occupied the lodging, however, for as a letter -written to Zmeskall in the same month[67] shows he was still in Baden, -much interested in the exhibitions of an aeronaut named Degen. If he -took possession at all he soon gave it up and removed to one in the -Walfischgasse looking out over the city wall and glacis directly upon -the place where the Polytechnic Institute now stands. - -The French commanders demanded the capitulation of Vienna, but Archduke -Maximilian rejected the demands, and the French erected a battery on -the Spittelberg to shell the city. Every shot directed by this battery -against the Kärnthnerthor and the Wasserkunst Bastei was liable to -plunge into Beethoven's windows. - -At 9 o'clock at night (on the 11th) the battery of 20 howitzers -opened fire. Rich and poor, high and low, young and old at once found -themselves crowded indiscriminately in cellars and fireproof vaults. - -Beethoven took refuge in the Rauhensteingasse and "spent the greater -part of the time in a cellar in the house of his brother Kaspar (Karl), -where he covered his head with pillows so as not to hear the cannons," -so says Ries. More probably Beethoven took this wise precaution to save -his feeble organs of hearing from the effect of the sharp reports of -bursting shells, for it does not appear that either the cannons on the -bastions or those mounted in the streets were fired. "At half-past 2 -(the afternoon of the 12th) the white flag was sent up as notice of -capitulation to the outposts of the enemy." - -[Sidenote: FRENCH OCCUPATION OF VIENNA] - -The occupation of the capital by the French and the gathering together -of opposing armies for the terrible battles of Aspern, Esslingen, -Wagram and Znaim produced the inevitable effects of increased -consumption and deficient supply of the necessaries of life. Even -before the capitulation "the rate of interest went up fearfully, -especially in the sale of food, particularly bread, and because of -the disappearance of copper coins." From the capitulation to the -armistice of July 12th, two months, "the enemy had drawn from the -city nearly 10,000,000 florins and demanded enormous requisitions of -supplies." There was one requisition, perhaps more than one, which -touched Beethoven directly: "A forced loan on the houses of the city -and the suburbs amounting to one-quarter of the rentals from owners -or the parties to a contract for rent on from 101 to 1000 florins and -one-third on from 1001 to 2000 florins, etc." Perhaps at no other time -was Beethoven so well able to meet the extraordinary demands upon his -purse as now. He had received from Archduke Rudolph 750 florins and -from Prince Lobkowitz 350 florins, his first payment of the annuity; -and doubtless Breitkopf and Härtel and his other publishers had -remitted money or bills. Still he must have felt the pressure of the -time severely before Vienna again became free. To whom could he go for -aid? Kinsky departed to Prague on February 26; his wife and Prince -Lobkowitz on March 14. The Lichnowskys, Palfys, Waldstein, etc., were -all away; some in the war; some in the civil service; some on their -estates--the Erdödys, for instance, took refuge in Hungary or Croatia. -Of personal friends, Breuning seems to have remained--no other is known -to have done so. Bigot and his wife went off to Paris, never to return; -Zmeskall and the public officials in general had followed the Court -and the Ministers to places of safety. The posts were interrupted and -for many weeks communication with the country prohibited. It was not -until near the end of July that the Prater, the Augarten, Schwarzenberg -Garten, and the Schönbrunner Garten were opened to the public. For -Beethoven, this confinement during this season of the year when he -was accustomed to breathe inspiration in vale and forest, was almost -intolerable, and increased if possible his old hatred of Napoleon and -the French. Young Rust met him one day in a coffee-house and saw him -shake his fist at a passing French officer, with the exclamation: "If -I, as general, knew as much about strategy as I the composer know of -counterpoint, I'd give you something to do!" - -Under such circumstances, and with no immediately pressing necessity -for composition, even the genius of a Beethoven must sleep. We may -suppose, that under the impulse of the departure of the Archduke, -Beethoven completed the "Farewell" and "Absence" of the Sonata, Op. -81a; and that he gave the final touches to the Pianoforte Concerto -in E-flat, Op. 73, and made some studies for new symphonies, and -sonatas; but the fountain soon ran dry, and the tedious weeks of this -miserable summer were mainly devoted to the laborious task of selecting -and copying in order extracts from the theoretical works of C. P. E. -Bach, Türk, Kirnberger, Fux and Albrechtsberger, for subsequent use -in the instruction of Archduke Rudolph--a task which, in our opinion, -he had for some time had in mind, and had begun, at the very latest, -early in the year. The "Materials for Thoroughbass" and "Materials for -Counterpoint"--as two of his books are respectively headed by him--are -largely the basis of that extraordinary imposition upon the musical -public, prepared by Seyfried and published by Haslinger as Beethoven's -Studies under Haydn and Albrechtsberger--an imposition which was -successful for 30 years! Schindler early warned the public against the -fraud. His charges were never answered; nor was his challenge to prove -the genuineness of the work taken up. - -[Sidenote: A MEMBER OF THE DUTCH INSTITUTE] - -Some time in August a letter from Amsterdam, which was preserved by -the widow of Beethoven's nephew Karl, was received by the composer, -notifying to him his appointment as a Correspondent of the Fourth -Class of the Royal Institute of Science, Literature and the Fine -Arts. It gave occasion shortly after its receipt for a letter to -Breitkopf and Härtel in which Beethoven says: "Do you know that I have -become a member of the Society of Fine Arts and Sciences?--after all -a title--ha-ha, it makes me laugh!" In another letter to Breitkopf -and Härtel, dated August 8, he says he has sent them the Sextet for -Wind-instruments, Op. 71, and two German songs as a "return gift for -all the things ~which I have asked as gifts from you~." "The Sextet is -one of my early things and, besides, was written in one night; nothing -more can be said of it except that it was written by an author who at -least has done better things--~but to many people such things are the -best~." He also asks for the complete works of Goethe and Schiller, his -"favorite poets, with Ossian and Homer." One of the two songs referred -to was undoubtedly "Ich denke dein." The second song was probably the -"Lied aus der Ferne," the first of five settings which Beethoven made -of poems by C. L. Reissig and which gave rise to much annoyance. In a -letter to Breitkopf and Härtel, dated February 4, 1810, he wrote: - - The "Gesang in der Ferne" which my brother sent you recently[68] - was written by a dilettante, as you no doubt observed for - yourselves, who pressed me urgently to set it to music, but has - also taken the liberty to have the a(ria) printed, I therefore - have thought it well to give you a proof of my friendly feeling - by informing you of the fact, I hope you will print it at once on - receipt, you can send it here and elsewhere as you please, if you - make haste you may have it here before it can be printed here, I - know for a certainty that it will be published by Artaria--I wrote - the A. only as a favor, and as a favor I give it to you--but I beg - you to send me the following book, namely "Bechstein's Natural - History of Birds in two large volumes with copper-plates," with - which I wish to give great pleasure to a good friend of mine.... I - am not yet sound in health--we are given poor food and have to pay - incredibly--things are not quite in order with my appointment, I - have not yet received a heller from Kinsky--I fear or rather almost - hope that I shall be compelled to go away perhaps even for the sake - of my health, it may be a long time before conditions grow better - than they are now--there can be no thought of what they were. - -In this letter Beethoven offers Breitkopf and Härtel the Fantasia -(Op. 77), the Choral Fantasia (Op. 80), three Pianoforte Sonatas (Op. -78, 79 and 81a), the Variations (Op. 76, in D major), the Quartet -(Op. 74), the Pf. Concerto in E-flat, and "12 songs with pianoforte -accompaniment, texts partly in German, partly in Italian, nearly all -composed throughout." That among these songs were four others to -Reissig's words ("An den fernen Geliebten," "Der Zufriedene," "Der -Jüngling in der Fremde" and "Der Liebende"), which were not published -till some years later, is a natural conclusion from a passage in a -letter to Breitkopf and Härtel, dated September 11, 1810: - - That Cavalry Captain Reissig ever paid me anything for my - compositions is an abominable lie, I composed them for him as a - friendly favor because he was a cripple at the time and excited my - compassion. In writing this I declare that Breitkopf and Härtel are - the sole owners of the songs which I have sent you, of which the - words are by Cavalry Captain Reissig. - -In a still angrier mood he recurs to the songs again in a letter of -October 15: - - You ought to add "ich denke dein" to this collection, I have seen - it printed separately and somewhere in it I do not remember where, - not having it, a wrong mordent. Another thing: you ought to publish - the "Gesang aus der Ferne" at once if you have not already done - so, the poetry is by that rascal Reissig, it was not published at - the time and it took nearly half a year before this rascal told - me that, as he said, he had had it "printed by Artaria only for - his friends." I sent it to you by letter-post and received for it - instead of thanks, stench (~statt Dank Stank~). - -[Sidenote: A CONCERT FOR THE FRENCH INVADERS] - -Beethoven's longing desire for the country was not to be gratified -immediately. Manager Hartl had projected a new charity, a theatrical -poor fund, and as usual called upon him to give attraction to the -first public concert for its benefit, by directing one or more of his -works. During the French occupation the ordinary performances of both -Court Theatres were given in the Kärnthnerthor. At the Burg--the real -Court Theatre, forming, indeed, a part of the Imperial residence--after -being closed some weeks, a French company opened on the 18th of July, -played for a time alternately with a German one, and then held--as if -in bitter irony--exclusive possession of the stage. Was not Vienna a -French city? the Burg a French palace? Did not Napoleon's eagle head -the "Wiener Zeitung"? At Schönbrunn the theatre was devoted almost -exclusively to Italian opera and ballet, for the amusement of the -French Court. Under these circumstances Hartl might reasonably expect -munificent support from the conquerors for at least one charity concert -for the benefit of the actors and their families. Hence, as on the 8th -of September (the Nativity of the Virgin Mary) the Court Theatres would -be closed, he selected that day. The programme has eluded search; but -one number was the "Sinfonia Eroica," conducted by its author. Was this -selected, in the expectation that Napoleon would be present, to do him -homage? If so, it failed of its aim. The day before, Napoleon journeyed -from Schönbrunn to Krems and Mölk. Or was it in bitter sarcasm that -Beethoven chose it? - -An undated letter to von Collin refers to this concert. In it he -asked the Court Secretary to rewrite a note which he had addressed to -Beethoven when Hartl gave him the commission for the concert, and which -he had lost. He goes on: - - I beg of you, dear Friend, to recall to mind the contents as near - as I can recollect: "that you wrote to me that you had spoken to - H. v. Hartl concerning ~a day for a concert~ and that then he gave - you instructions to write to me that if at this year's concert for - the theatrical poor, I gave ~important works~ for performance, and - would myself conduct, I might at once pick out a day for a concert - at the Theater-an-der-Wien, and that under these conditions I might - have a day ~every year~. ~Vive vale.~" - -Give to this note the earliest date possible, still there remain to -Beethoven less than four months to the Christmas holidays, in which -to complete, copy and rehearse whatever new works he intended to -produce in the concert. The Pianoforte Concerto in E-flat major is -the only work known to have been ready; what others may he have had -in contemplation? The question is, in itself, rather interesting than -important; its bearing, however, upon other matters hereafter warrants -its discussion at some length. - -[Sidenote: STUDY-MATERIAL FOR A ROYAL PUPIL] - -Let us turn again for a moment to the so-called "Studien." On the -margin of the "Materialien zum Generalbass," Beethoven wrote: "from 101 -to 1000 florins a quarter--all residents or parties to rent-contracts -without distinction." This was, of course, written at the time of the -forced contribution of June 28th, but is no proof that the book was -then just begun. It shows merely that it was lying before him, offered -him a convenient vacant space for the memorandum.[69] Again on page -17, on the upper margin, stands: "Printer's errors in the sonata for -pianoforte with ~obbligato~ violoncello." This sonata, beyond all -question, was the one dedicated to Gleichenstein, published early -in April by Breitkopf and Härtel, and sent to the composer before -the breaking of post communications by the advance of Napoleon's -armies. Now, whether Beethoven's words were merely a memorandum, -or--as Nottebohm is of opinion--were the heading of a sheet intended -to receive a list of the printer's errors--in either case we must -suppose them to have been written immediately upon the composer's first -examination of the printed work--at the latest in April.[70] - -Now, it cannot be reasonably supposed that the idea of selecting and -arranging such a series of "Studien" for the Archduke's instruction as -these bound sheets contain was suddenly conceived and executed with -no previous study nor protracted examination of the then existing -authorities, and all during the few weeks when Beethoven was confined -to the city. It is equally improbable that the Archduke's studies in -the theory of music did not begin until after his return to Vienna -(January, 1810), when he was 22 years of age. We can discover no -objection to the following hypothesis as to the origin of the bound -sheets in question; namely, that Beethoven began by making his -extracts from Bach, Türk, etc., as they were needed in the progress -of his lessons; and that the execution of the task complete was an -afterthought, arising from want of occupation at a time when he felt -himself unfitted for original composition. The inference is, that, -for several months, his thoughts had been more than ordinarily turned -toward theoretical studies. - -Now, to the question just proposed. - -[Sidenote: Study-Material for a Royal Pupil] - -In the late Gustav Petter's Collection of Autography (in Vienna) is -a sketchbook of Beethoven's--148 pages in extent--largely devoted to -studies for two works, but containing themes and hints for many others, -with an occasional characteristic note or name: random, not always -strictly musical. Those who have had occasion to study this book--the -present writer included--have heretofore assumed, that it belongs to -the year 1812. The correctness of this assumption must be tested.[71] - -On the first page are two measures of music--merely a succession of -chords--with this remark: "Such (passages) should produce another -effect than the miserable enharmonic evasions which every school -~Miserabili~ can write, they ought to disclose the change to every -hearer." This, though not fixing the date, does at least suggest the -time when its writer's mind was unusually occupied with theoretical -studies. On the same page is this: "Cotton in my ears at the pianoforte -frees my hearing from the unpleasant buzzing (~das unangenehme -rauschende~)"--which suggests a time when his organs of hearing were -still very sensitive, and he had not yet abandoned his pianoforte -playing. Suggestions so vague cannot be offered as argument; but if -any weight be granted to them, it is in favor of the winter 1808-9. -Something more than a mere suggestion is offered on page 18. Here -Beethoven has written: "Overture Macbeth, the chorus of witches comes -in at once." Whether the succeeding sketches belong to this overture -is a question for a musician. Now that first act of "Macbeth," read -by Röckel in 1808, together with the first act of the Oratorio, "Die -Befreiung Jerusalems"--both written for Beethoven--lay before the -composer in print early in the year 1809. Collin had inserted them -in the "Hoftheater-Taschenbuch" of that year. The poet died in 1811, -leaving both unfinished. To suppose that Beethoven, in 1812, gave -thought to an incomplete text by a deceased poet, is absurd. His -memorandum is evidently the record of an idea which occurred to his -mind on perusing the fragment, and determines the date of the first -part of the sketchbook to be the beginning of 1809. Passing to the -middle of page 22, one comes upon this: - -[Illustration] - -With few interruptions, such as a theme for a "symphony without drums," -"good triplets of another sort," the Allegretto and Finale of the -Seventh Symphony are the subjects of the studies for more than forty -pages. That modest gem--the theme of the Allegretto--is still the same -throughout; but how astonishing the number and variety of forms for its -setting, that were tested, before the majestic, the sublime simplicity -was attained, which satisfied the exquisite taste of its creator! - -On page 71 begin the sketches for the first, on page 83, for the last -movement of the Eighth Symphony. These two Symphonies, then, were -the grand orchestral works in preparation for the proposed concert. -Scattered along this part of the sketchbook are divers subjects for -pianoforte works; as if Beethoven had in mind a companion piece to the -E-flat Concerto for the farther display of his powers. In our notes -we find, "Overture-Concerto," p. 73; p. 83 "Concerto in G"--"Concerto -in G or E minor"--"Adagio in E-flat"--"Finale Tutti"; and near the -bottom of the same page--"Polonaise for Pianoforte alone." But the -master had no new vocal work for the occasion. Do not the following -memoranda--accompanied in the sketchbook by numerous studies--show -how the deficiency was to be supplied? Immediately following the -"Polonaise" we read: - - Freude schöner Götter Funken Tochter. Work out the overture. - -Again on leaf 43: - - Freude schöner Götter Funken Tochter aus Elysium. Detached - fragments, like princes are beggars, etc., not the whole. - -On the same page again: - - Detached fragments from Schiller's Freude brought together in a - whole. - -One of the sketches (according to our copy) begins thus: - -[Illustration: - - Freude, schöner Götter funken, Tochter -] - -At or near this point the book was for the present laid aside; for the -intended concert was abandoned, and Beethoven's studies were abruptly -turned in other directions. - -The explanation of this is easy. - -In the lists of "newly performed plays" in the two Vienna Court -Theatres from August 1, 1803 to July 31, 1805, and from August 1, 1806 -to December 31, 1807, Schiller's name does not once occur; not so in -the lists after Hartl's undertaking the direction, January 1, 1808. -Here we find: - - 1808: February 13, "Macbeth," after Shakespeare; July 23, "Kabale - und Liebe"; December 17, "Phædra," after Racine; 1809: August 23, - "Don Carlos"--all by Schiller. - -Thus had Schiller suddenly become a leading topic in the conversation -of theatrical circles. One sees now how Collin and Beethoven hit upon -the "Macbeth" as a subject for opera; and how the composer's youthful -idea [see Vol. I, p. 132] of making the "Ode to Joy" the subject of a -composition was recalled to mind. - -[Sidenote: MUSIC TO "EGMONT" PROJECTED] - -It does not appear from any records at hand, that either of the -above-named dramas was produced with music composed for it; but Hartl -now determined, with his next Schiller drama, to put one by Goethe -in rehearsal and to provide both with original music. "When it was -decided," writes Czerny, - - to perform Schiller's "Tell" and Goethe's "Egmont" in the city - theatres the question arose who should compose the music. Beethoven - and Gyrowetz were chosen. Beethoven wanted very much to have - "Tell." But a lot of intrigues were at once set on foot to have - "Egmont," supposed to be less adaptable for music, assigned to him. - It turned out, however, that he could make masterly music for this - drama also and he applied the full power of his genius to it.[72] - -Perhaps Beethoven's experience with the "Ode to Joy" and the "Egmont" -just at this time was the origin of a fine remark to Czerny. "Once, -when the talk was about Schiller, he said to me: 'Schiller's poems -are very difficult to set to music. The composer must be able to lift -himself far above ~the poet~; who can do that in the case of Schiller? -In this respect Goethe is much easier.'" - -The order for the immortal "Egmont" music, by presenting the completion -of new compositions, necessarily caused the concert to be abandoned, -and Beethoven was at last able to seek the much needed rest and -recreation, both physical and mental, away from the city, its cares -and duties. It needs scarcely to be said that the condition of affairs -prevented Beethoven from going into the country until late in the -summer of 1809. - -To what "happy corner in the country," if indeed to any, he now -retired, is not positively known. "He was often in Hungary," says -Czerny, and there is no good reason to doubt that he went thither -now to pass several weeks with the Brunswicks. It was already his -practice to grant manuscript copies of his new works for the collection -of Archduke Rudolph, whose catalogue, therefore, is of the highest -authority in determining their dates. From this source it is known -that the Pianoforte Fantasia, Op. 77, previously sketched, and the -great F-sharp Pianoforte Sonata, Op. 78, were completed in October. The -dedication of these two works to Count Franz and his sister Therese -leads to the inference, that they are memorials of happy hours spent in -their domestic circle.[73] - -Beethoven himself speaks in very strong terms of his extraordinary -industry during these weeks, the only probable explanation of -which, we think, is, that he now composed or completed and prepared -for publication several songs and minor pianoforte works--in part -previously sketched, in part quite new. There are several such -compositions, known to belong to this period of his life, although -their exact date has not been ascertained. - -It is conjectured, also, that, at this time and through the influence -of Count Brunswick, Beethoven received the order for his other -principal contributions to dramatic music. In 1808 Emperor Franz had -sanctioned the building at Pesth of "an entirely new grand theatre -with Ridotto room, casino, restaurant and coffee-house," an enterprise -which, notwithstanding the catastrophe of 1809, it was now thought -would be completed in 1810.[74] It was time therefore to consider the -programme for its opening performances, and as no living musician -could give the occasion so much splendor as Beethoven, it was of high -importance that his consent to compose the music should be secured -as early as possible. This, through Brunswick and other Hungarian -friends, was no difficult task; more especially as the master had a -work of the character required in hand--the "Egmont" music. Another -reason for hastening the business with the composer may have been, -that his consent or refusal must have some influence upon the form and -character of the drama or dramas, which were still to be written. After -Beethoven's return to the Walfischgasse, his time appears still to -have been exceedingly occupied in composition; so much so as to yield -nothing eventful for a biographer to record. There is, however, one -deeply touching and interesting letter to Gleichenstein which must -be copied complete. Its date is determined by these circumstances, -namely: Poor Breuning had, in April, 1808, married Julie, the beautiful -and highly accomplished daughter of Staff Physician von Vering. Less -than one year thereafter the young wife, by an imprudent use of cold -foot-baths, brought upon herself a hemorrhage of the lungs and died -suddenly, only 19 years of age, March 21, 1809. The letter dates from -this period: - -[Sidenote: CONCERNED ABOUT VON BREUNING] - - Dear good Gleichenstein! It is impossible for me to refrain from - letting you know of my anxiety for Breuning's convulsive and - feverish condition, and to beg of you that you strive to form a - closer attachment to him or rather to bind him closer to you; the - condition of my affairs allows me much too little opportunity to - perform the high duties of friendship, I beg of you, I adjure you - in the name of the good and noble sentiments which you surely - feel to take from me upon yourself this truly tormenting care, it - will be particularly beneficial if you can ask him to go here and - there with you, and (no matter how much he may seek to goad you to - diligence) restrain him from his immoderate, and what seems to me - unnecessary, labors. You would not believe in what an overwrought - state I have occasionally found him--you probably know of his worry - of yesterday. All results of the fearful irritability, which, if he - does not overcome it, will certainly be his ruin. - - I therefore place upon you, my dear Gleichenstein, the care of one - of my best and most proved friends, the more since your occupation - already creates a sort of bond between you, and this you will - strengthen by frequently showing concern for his welfare, which you - can easily do inasmuch as he is well disposed towards you--but your - noble heart, which I know right well, surely needs no injunctions - in respect of this; act for me and for your good Breuning. I - embrace you with all my heart. - -It was upon finding himself in the Walfischgasse without a servant -that Beethoven seems first to have thought of trying the experiment -of living independently of hotels and eating-houses, and dining at -home. It was therefore of importance to him, if possible, to obtain -the joint service of some man and wife, and such a couple now offered -themselves as servant and housekeeper. This, with the remark that the -rehearsal mentioned was of the Lobkowitz Quartet, Op. 74, is sufficient -introduction to the following excerpts from the Zmeskall correspondence: - - To-day comes Herzog, who wishes to become my servant for 30 fl., - you may negotiate with him with his wife ~obligato~--wood, candles, - no livery--I must have somebody to cook, as long as the present - wretched food continues I shall remain ill--to-day I eat at home, - because of the better wine, if you will order what you want, I - should be glad to have you come to me also, you will get the wine - gratis and better than that at the beastly Swan. - - Here comes Herzog with his wife--listen to their condescension--she - will cook when I want her to--also mend, etc., for this is a - highly important matter--I will come to you afterward in order to - hear the result--perhaps it would be best to ask what service they - are going to perform for me? - -Shakespeare's clowns in "A Midsummer Night's Dream" have enriched -theatrical speech with "lamentable comedy" and "very tragical mirth"; -phrases not inappropriate to the domestic dramas in which Beethoven -and his servants were the actors, and which he made the subjects -of numberless Jeremiads both in conversation and in letters to his -friends--especially to Zmeskall and Mme. Streicher. As one example--and -surely one is enough--take the case of the Herzogs. They were engaged -and were still in Beethoven's employ when the departure of Napoleon -and his armies enabled those belonging to the public service to return -and resume their duties in the Capital--Zmeskall among them. As in the -spring he had to accommodate himself to "peace negotiations" between -Beethoven and his servant, so now he must again officiate in this -"glorious office" between him and the Herzogs. The imagination can -readily form a lively and correct picture of Beethoven's troubles, -partly serious, partly tragi-comic, with these people, during that -wretched summer, shut up in the city, all the necessaries of life at -famine prices, and they on his hands to be provided for. The situation -certainly was not one fitted to sweeten the temper of either party; -no doubt both had good cause of complaint. We have, however, only -the master's side of the question and not the whole of that. One who -invariably has trouble with his servants must sometimes himself be in -fault; so, perhaps, the Herzogs were not such "very bad people" after -all. - - * * * * * - -His friend Clement of the Theater-an-der-Wien gave Beethoven a -pleasing compliment by reproducing in his annual concert (December 24) -the "Christus am Ölberg." On the same evening, by the way, Dobenz's -oratorio, "Die Sündfluth," with music by Kauer, was sung at the -Leopoldstadt Theatre, as it would seem, from the sarcastic notice in -the "Allg. Mus. Zeit.," with appropriate scenery! If Beethoven heard -it, which is doubtful unless at rehearsal, he found he had little -reason to mourn his non-acceptance of that text. - -[Sidenote: ARRANGEMENTS OF WELSH AND IRISH SONGS] - -Negotiations had been resumed about this time between George Thomson of -Edinburgh and Beethoven, touching the arrangement of national melodies. -In a letter dated September 25, 1809, Thomson sent Beethoven 43 Welsh -and Irish melodies with the request to provide them as soon as possible -with ritornellos and accompaniments for pianoforte or pedal harp, and -violin or violoncello, and held out the promise of 100 ducats, Vienna -standard, or even more as payment. Besides this, Thomson had requested -him to write three quintets, two for two violins, viola, flute and -violoncello, one without flute but two violas instead (with bassoon -or double-bass ~ad lib.~), and also three sonatas for pianoforte and -violin. For these works he offered him 120 ducats Vienna standard. -"I make you this offer," said Thomson, "more to show you my taste -and predilection for your music than in the hope to profit by the -publication."[75] To this proposition Beethoven replied as follows--in -French and his own wretched hand, under date of November 23, 1809: - - I will compose the ritornellos to the 43 little songs, but I ask - 10 pounds or 20 ducats ~de Vienne~ more than you offer, that is - instead of 50 pounds Sterling, or 100 ducats V. S. I ask 60 pounds - Sterling or 120 ducats V. S. This work, moreover, is of a kind that - gives a composer but little pleasure, but I shall nevertheless - always be ready to oblige you since I know that you can do a good - business with it. As regards the quintets and the three sonatas, - I find the honorarium too little for me--I ask of you for them - the sum of 120, i. e., one hundred and twenty pounds Sterling - or two hundred and forty ducats V. S., you offered me 60 pounds - Sterling and it is impossible for me to gratify you for such an - honorarium--we are living here in a time when a frightful price is - asked for everything, we are paying almost three times as much as - formerly--but if you are agreed with the sums that I ask I will - serve you with pleasure. So far as the publication of the works - here in Germany is concerned, I think that I would bind myself - not to publish them sooner than after seven or eight months if - you think this time long enough for your purposes. As regards the - double-bass or bassoon I wish that you would give me a free hand, - I may, perhaps find something that will be even more agreeable to - you--also we might use a bassoon or other wind-instrument with the - flute and write only the third quintet for two violins, two violas - and violoncello, since in this way the style would be purer. In - short, rest assured that you are dealing with a true artist who, - indeed, likes to be decently paid, but who loves fame and also the - fame of art more--and who is never satisfied with himself and is - always striving to make greater progress in his art. - - As regards the songs I have already begun them and will deliver - them in about a week to Fries--therefore please send me an answer - soon, my dear sir. - - Next time please send me the words of the songs along with them - as it is very necessary for me to have them in order to get the - correct expression--they will be translated for me. - -September came and still no payment from Clementi and Co. for the works -bought by them in April, 1807. Clementi was in Rome and thither, it -would seem, Beethoven sent several letters asking for payment. Clementi -now came to Vienna and sent a letter to his London partner, Collard, -which, though dateless as to year and day, was, no doubt, the result of -Beethoven's importunities. In it he complains of having written five or -six letters to them for money with which to meet Beethoven's demands, -the composer having "plagued" him with several letters--but in vain. At -last a firm of Viennese bankers informs him that a credit for £400 has -been sent him, but no letter. He concludes that of this sum £100 are -meant for Beethoven and £300 for himself, and that they had received -but half of Beethoven's manuscripts. "A most shabby figure you have -made me cut in this affair!--and that with one of the first composers -of the day! You certainly might have found means in the course of two -years and a half to have satisfied his demands. Don't lose a moment and -send me word ~what~ you have received from him, that I may settle with -him." - -Towards the end of the year Beethoven took ill, as he informs Breitkopf -and Härtel in a letter which was dated December 4 (but from which the -figure was stricken; the letter may have been delayed or Beethoven -become doubtful, as usual, about the day of the month). In this he -writes: "A fever which shook me up thoroughly, prevented me from -sending these tardily found ~errata~ [in the two Trios] at once." On -January 2, 1810, he writes another letter which begins: "Scarcely -recovered--my illness threw me back again for two weeks--is it a -wonder--we have not even eatable bread," concluding with: "I am too -weak to-day to answer your kind letter more fully, but in a few days -touching everything else in your letter." - -Beethoven had now entered his fortieth year, a year which forms a -marked and striking era in his life, but of which the most important -event is veiled in all the obscurity with which the care and efforts of -the parties concerned could envelop it. In the hope of a solution, at -least ~probable~, of the mystery which it presents, many minutiæ of the -years 1807-09 have been reserved to be presented consecutively, since -only thus can their relations to and their bearings upon the problem -before us be well understood. The next chapter must, therefore, be but -an introduction to the history of the year 1810. - -[Sidenote: BEETHOVEN IN FINANCIAL STRAITS] - -The compositions and publications of this year remain to be -enumerated--a task of some difficulty, requiring a preliminary remark -or two. The great cost of living and the various extraordinary demands -upon his purse this year, deranged Beethoven's pecuniary affairs -seriously; from the same cause the Vienna publishers were not in a -condition to pay him adequately and in advance for his manuscripts. The -dilatoriness of the London publishers has just been mentioned. Happily -his relations with Breitkopf and Härtel were such, that they were ready -to remunerate him handsomely for whatever new compositions he might -send them; and there seems to have been an arrangement made, under -which divers new works of this period were published simultaneously -by them in Leipsic and by Artaria in Vienna. Nevertheless, Beethoven -was pressed for money, not only from the causes above stated, but from -the need of an extra supply, in case the project of marriage, now in -his mind, should be effected. Of course he counted with certainty upon -the regular payment of his annuity, now that the war was over, and a -lasting peace apparently secured by the rumored union between Napoleon -and Archduchess Marie Louise. But a semi-annual payment of this annuity -was far from sufficient to meet the expenses of establishing himself as -a married man. Now that his concert was abandoned, no immediate profit -could arise from the completion of the new symphonies; nor was there -any immediate need of his beginning the "Egmont" music. It is obvious, -therefore, that his labors, during the "several weeks in succession" -when he worked "so that it seemed rather for death than immortality," -were, as before said, the completion and correction for the press of -various more or less important works existing in the sketchbooks, and -the composition of divers smaller pieces, such as would meet with a -ready sale, and hence be promptly and liberally paid for by publishers. -It is not at all surprising to find among them a number of songs the -texts of which were apt expressions of his feelings at this juncture. -Such considerations render it extremely probable, perhaps certain, that -a larger number of minor productions belong by date of completion to -this year, than they, who have endeavored to ascertain the chronology -of Beethoven's works, have heretofore suspected. But the following list -contains only works of which the date is certain--or probable almost to -certainty. - -[Sidenote: THE COMPOSER'S WORK IN 1809] - -Compositions of 1809: - - 1. Concerto for Pianoforte, E-flat major, Op. 73. - - 2. "Quartetto per due Violini, Viola e Violoncello, da Luigi van - Beethoven, 1809," Op. 74, E-flat major. - - 3. Sonata for Pianoforte: "Das Lebewohl, Wien am 4ten Mai 1809," - etc.; "Die Abwesenheit. Die Ankunft des ... Erzh. Rudolph, den 30. - Jänner 1810," Op. 81a, E-flat. We suppose the sonata to have been - completed in 1809, and ready for presentation to the Archduke - upon his return; but as this was delayed until January 30th, "Die - Ankunft," of course, took this date. - - 4. March in F major for Military Band. "For the Bohemian Landwehr, - 1809"; also inscribed by Beethoven: "For His Royal Highness, the - Archduke Anton, 1809." - - 5. Variations for the Pianoforte, D major, Op. 76. - - 6. Fantasia for Pianoforte, G major, Op. 77. - - 7. Sonata for Pianoforte, F-sharp major. Op. 78. - - 8. Sonatina for Pianoforte, G major, Op. 79. - - 9. Songs from "Blümchen der Einsamkeit" by C. L. Reissig: - - (a) "An den fernen Geliebten." A copy bears the words in - Beethoven's hand: "Fifth song," "1809," and corrections in the song - itself, Op. 75, No. 5. - - (b) "Der Zufriedene," Op. 75, No. 6. - - (c) "Lied aus der Ferne," "1809." - - (d) "Der Liebende." - - (e) "Der Jüngling in der Fremde." - -10. Other Songs: - - (a) "Gretel's Warnung." A copy bears the words in Beethoven's hand: - "Fourth song," "1809," and corrections in the song itself. - - (b) "Andenken," by Matthison. - - (c) "Die laute Klage," by Herder. - - (d) "L'amante impaziente," "1809"; and probably all the numbers of - - (e) "Four Ariettas and a Duet," Op. 82. - - * * * * * - -The first sketches for the Fifth Pianoforte Concerto, E-flat, Op. 73, -dedicated to Archduke Rudolph, are found in the so-called Grasnick -sketchbook after the sketches for the Choral Fantasia as it was -performed for the first time on December 22, 1808, and the pianoforte -introduction to the same which, as we have seen, is of a later date -("Zweite Beethoveniana," p. 495 ~et seq.~). It is mentioned by -Beethoven in the correspondence with his publishers for the first time -on February 4, 1810. It was in their hands on August 21 of that year, -when Beethoven prescribed the dedication to his distinguished pupil, -and was published in February, 1811. The Concerto had then already been -played in public by Johann Schneider with brilliant success toward the -close of 1810, and, as the "Allg. Mus. Zeit." reported, put a numerous -audience into such "a state of enthusiasm that it could hardly content -itself with the ordinary expressions of recognition and enjoyment." - -The E-flat Quartet, Op. 74 (the so-called "Harp Quartet"), dedicated -to Prince Lobkowitz, was written simultaneously with the Concerto -and Pianoforte Sonata in the same key. Beethoven was evidently hard -at work on them when he wrote to Breitkopf and Härtel on "Weinmonath -[October] 1908": "Next time about the quartet which I am writing--I -do not like to occupy myself with solo sonatas for the pianoforte, -but I promise you a few." Nottebohm says ("Zweite Beethoveniana," p. -91), that the four movements of the Quartet were begun and finished -in the order in which they appeared in print. According to a note by -Archduke Rudolph, the Fantasia, Op. 77, was composed in October. The -three Pianoforte Sonatas, Op. 78, 79 and 81a, are closely connected -in time, notwithstanding their diversity of sentiment. Sketches for -Op. 78 have not been found, but those for the other two are in the -sketchbook of Carl Meinert ("Zweite Beethoveniana," p. 255), which ends -with the sketches for the Fantasia, Op. 77, composed for Count Franz -von Brunswick; and it is likely that the Sonata, Op. 78, dedicated to -Countess Therese von Brunswick, was conceived and written immediately -after the Fantasia (in October). The three sonatas were doubtless in -the mind of Beethoven when he promised Breitkopf and Härtel "a few" on -October 19. On February 4, 1810, he offers to the publishers "three -pianoforte solo sonatas--N.B., of which the third is composed of three -movements, Parting, Absence and Return, and would have to be published -alone." On August 21, 1810, Beethoven wrote about the dedication: "The -sonata in F-sharp major--~À Madame la Comtesse Therese de Brunswick~; -the fantasia for pianoforte solo--~À mon ami Monsieur le comte François -de Brunswick~--as regards the two sonatas publish them separately, -or, if you want to publish them together, inscribe the one in G major -~Sonata facile~ or sonatina, which you might also do in case you [do -not] publish them together." Breitkopf and Härtel published the sonatas -separately and Op. 79 therefore received no dedication. The notion, -once current, that Op. 79 (sometimes called the "Cuckoo Sonata") -was an older work, is disproved by the sketches of 1809 (Nottebohm, -"Zweit. Beeth.," p. 269). The E-flat Sonata, Op. 81a, seems to have -been completely sketched before October and held in readiness against -the return of the Archduke, as has been said. Breitkopf and Härtel -published it in the fall of 1811, without either dates or dedication -and with the French title: "Les Adieux, l'Absence et le Retour," much -to Beethoven's dissatisfaction. The Variations in D, dedicated "to -his friend" Oliva, anticipate by two years the use of the same theme -as a Turkish march in the incidental music which Beethoven wrote for -Kotzebue's "Ruins of Athens." Nottebohm ("Zweit. Beeth." p. 272, -foot-note) says of it: "Tradition has it that the theme is a Russian -melody. This is improbable and incapable of proof. The theme is not -to be found in any collection of Russian melodies known to us. Had -Beethoven borrowed the theme he would, as he always did, have mentioned -the fact in connection with the Variations and the 'Ruins of Athens' -(a singular idea to use a Russian melody for a Turkish march!). It may -be that a Russian folktune which was popular in Vienna between 1810 -and 1820, which bears some resemblance to this melody and on which, -besides Gelinek and others, Beethoven too made Variations (Op. 107, -No. 3), gave rise to the confounding of the two." The Military March -in F was designed for Archduke Anton and was chosen for a "carrousel" -at the court at Laxenburg. It is the "horse music" of Beethoven's -correspondence with Archduke Rudolph. The year also saw the beginning -of the arrangements of the Irish melodies for Thomson. - -The publications of the year 1809 were: - - 1. The Fourth Symphony, in B-flat, Op. 60. "~Dediée à Monsieur - le Comte Oppersdorff~"; published in March by the Kunst- und - Industrie-Comptoir. - - 2. Concerto for Violin and Orchestra, D major, Op. 61. ~Dediée à - son ami Monsieur de Breuning, Sécrétaire aulique, etc.~ Vienna, - Kunst- und Industrie-Comptoir, in March. - - 3. Sonata for Pianoforte and Violoncello. A major, Op. 69. ~Dediée - à Monsieur de Gleichenstein.~ Leipsic, Breitkopf and Härtel, in - April. - - 4. Two Trios for Pianoforte, Violin and Violoncello, D major, - E-flat, Op. 70. ~Dediés à Madame la Comtesse Marie d'Erdödy née - Comtesse Niszky.~ Breitkopf and Härtel, No. 1 in April, No. 2 in - August. - - 5. Fifth Symphony, in C minor, Op. 67. ~Dediée à son Altesse - Sérénissime Monseigneur le Prince régnant de Lobkowitz, Duc de - Raudnitz, et à son Excellence Monsieur le Comte de Rasoumoffsky.~ - Breitkopf and Härtel, in April. - - 6. Sixth Symphony (~Sinfonia pastorale~), F major, Op. 68. The same - dedication as the Fifth Symphony. Breitkopf and Härtel, in May. - - 7. Song: "Als die Geliebte sich trennen wollte." Supplement No. II, - to the "Allg. Mus. Zeit.," November 22. Breitkopf and Härtel. - -FOOTNOTES: - -[64] The agreement between this memorial and the letters written on the -subject (apparently to Gleichenstein--though Thayer was not willing -to commit himself on this point) make it most probable that he was -the author of the document. Even the sentimental suggestion that the -contributors might look upon themselves as co-authors of the great -works to come, went out from Beethoven in one of the notes probably -sent to Gleichenstein. - -[65] On this letter Dr. Riemann comments as follows: "This letter -proves conclusively that in the spring of 1809, Beethoven was not yet -thinking of a union with Therese Malfatti and that all letters to -Gleichenstein containing hints of that nature are of later date. But -it may safely be assumed that the settlement of a fixed income upon -him together with the receipts from his compositions set Beethoven -seriously to thinking of marriage. Although Dr. Malfatti, uncle of -the sisters Therese and Anna, had been Beethoven's house physician -since the death of Dr. Schmidt (February 13, 1808), it was not until -some time in the course of the year 1809, that Beethoven's inclination -towards Therese gradually developed until it led to a formal proposal -of marriage in the spring of 1810." - -[66] "One of these sisters," writes Thayer, "was sent to him (in -1807-8?), she then being but some twelve years of age. He gave her a -good education, and brought her out as a singer, when Hummel fell in -love with her, married her and withdrew her from the stage. I asked -Röckel if she could by any possibility have been the person with whom -Beethoven in 1809-10 had a marriage project? He proved to me that she -was not. So that story is put at rest." - -[67] The letter is incorrectly dated "1811" in the Kalischer Collection. - -[68] If the estrangement between Beethoven and his brother was of -earlier date than this, it would appear as if the siege of Vienna had -brought them together again. - -[69] In view of the many indications, especially in the letters to -Breitkopf and Härtel, that Beethoven did not work with any continuity -from the beginning of May to the end of July, this memorandum assumes a -different aspect and might serve to prove that the resumption of work -on the first movement of the E-flat Concerto was not made till June or -July, and that the entire Meinert sketchbook belongs to the period from -July to October. - -[70] Nor is this longer to be maintained, since Beethoven reports these -errors to Breitkopf and Härtel on July 26, 1809, "having had attention -drawn to them by a good friend." - -[71] Nottebohm, "Zweite Beethoveniana," p. 188 ~et seq.~, contends that -the pages in the so-called "Pettersches Skizzenbuch" containing the -sketches for "Macbeth" and the D major Trio were not originally part -of the book and that it dates from 1812. Neverthless, Thayer, who was -familiar with the views divergent from his, is entitled to have his -argument set forth as he wrote it. - -[72] Czerny's statements must be corrected in a few respects in view of -Beethoven's own statements in a letter to Breitkopf and Härtel, dated -August 21, 1810, as will appear later. - -[73] "The statement in the first edition, that Beethoven perhaps spent -some time with the Brunswicks in Hungary in the summer of 1809, lacks -all evidence" (says Dr. Riemann). - -[74] In their efforts in later years to sustain this theatre in -brilliant style, "the Counts Raday and Brunswick were ruined." - -[75] See the entire correspondence between Beethoven and Thomson in the -appendix to the original edition of this biography. - - - - -Chapter IX - - The Years 1807-09--A Retrospect--Beethoven's Intellectual - Attainments--Interest in Exotic Literatures--His Religion. - - -A popular conception of Beethoven's character, namely, that a -predisposition to gloom and melancholy formed its basis, appears to -the present writer to be a grave mistake. The question is not what he -became in later years--~tempora mutantur et nos mutamur in illis~--but -what was the normal constitution of his mind in this regard. -Exaggerated reports of his sadness and infelicity during the last third -of his life became current even before its close, and prepared the -public to give undue importance to the melancholy letters and papers -of earlier years, which from time to time were exhumed and published. -The reader upon examination will be surprised to find how few in number -they are, at what wide intervals they were written, and how easy it is -to account for their tone. - -Beethoven's childhood was excessively laborious, though not so -cheerless as has been represented; and, however flattering to occupy at -the age of twelve years the place of a man in theatre and chapel, his -boyhood could not have been a happy one. His brightest days up to the -middle of his seventeenth year were undoubtedly those spent in Vienna -in 1787--the date of the earliest of those papers from his own pen, -on which the popular conception of his character is founded. But the -letter to Dr. Schaden, written to explain and excuse the non-payment -of a debt, takes its tone, not from any predisposition to gloom and -melancholy, but from the manifold troubles which just then beset -him--the bitter disappointment of his sudden recall from Vienna; the -death of his mother; the hopeless poverty of his family; hence, the -pangs of wounded pride and self-respect; the depression of spirits -caused by asthmatic maladies, and his utter hopelessness of any timely -change for the better, such as, in fact, one short year was to bring. - -It is clear that Beethoven's character could not develop itself -normally, until he had become to a considerable degree independent -of his father; and, consequently, that certain peculiarities related -of him in his boyhood were probably less the results of his natural -tendencies than the consequence of these being checked and obstructed -by adverse circumstances. Soon after the letter to Dr. Schaden came the -turning-point in the boy's fortunes. Beethoven was now substantially -emancipated from his father; his talents opened to him a higher -and finer-toned circle of society; a love for the best literature -was cherished, if not created; and no long time elapsed before his -father's increasing moral infirmities made him virtually the head of -the family. The nobler qualities of his head and heart now received -a culture impossible before. At last his character could and did -develop itself normally. In all the following fourteen years--during -which the boy organist of Bonn rises step by step to the position -of first of pianists and most promising of the young composers in -Vienna--one seeks in vain for any trace of the assumed constitutional -tendency to melancholy. Now come the pathetic letters to Wegeler and -the "Testament" of 1802--dark, gloomy, despondent. But these were -all written under the first pressure of a malady which, he justly -foreboded, would in time unfit him for general society and debar -him from every field of the musician's activity and ambition save -that of composition. It is perhaps worthy of remark, that among the -well-known phenomena of mental action are the intellectual prostration -and the consequent depression of spirits which follow the completion -of any great work in literature or art that has been for some time -engrossing the attention, absorbing the thoughts and straining the -faculties; and that the "Testament" of 1802 belongs in the precise -period of reaction after completing that first of his great works, the -Second Symphony. The "Testament" is indeed a cry of agony; but, in -the paroxysms of intense physical suffering, cries of agony are not -proofs of a naturally weak or defective constitution of the body; that -sort of patient suffers less--but dies. Had Beethoven's temperament -really been of the gloomy and melancholy cast supposed, suicide, -insanity or--through seeking temporary alleviation of mental suffering -in sensual indulgences--moral shipwreck would soon have ended his -career. "Strength is the morality of men who distinguish themselves -above others, and it is also mine," he wrote to his "Dearest Baron Muck -Carter":--"Beethoven was, in fact, the personification of strength," -said the aged poet Castelli to the present writer. The thought of -suicide is alluded to in both the "Testament" and the letter to -Wegeler; but with him the "To be or not to be?" was only a momentary, -a passing, question; not because "conscience does make cowards of -us all," but by reason of innate manliness to bear "the slings and -arrows of outrageous fortune" with courage and fortitude, until time -and patience should bring resignation. How bravely he sustained his -heavy burden to the end of 1806, has been amply recorded in this -work. The famous love-letter affords its own sufficient explanation -of whatever degree of melancholy it exhibits in the bitterness of -parting and separation--the wretched life in Vienna, the uncertainty -of his pecuniary resources, the impossibility of marriage without some -decided change for the better in his condition and prospects. When, a -few months later, the question of the possession of the theatres was -decided against Braun, Beethoven had reason to hope that this change -was assured; since the position of Lobkowitz, both socially and in -connection with the theatres, gave to his hint, that the composer -should apply for a permanent engagement, almost the force of a promise -that he should receive it. In view of Beethoven's abhorrence of all -restrictions on his personal freedom, it is by no means certain that -the final non-acceptance of his proposals caused him any very severe -and lasting disappointment. - -[Sidenote: A HAPPY PERIOD IN THE COMPOSER'S LIFE] - -Whether so or not, and notwithstanding the prolonged uncertainty of -his future prospects and the occasional characteristic complaints in -his letters, still these three years--1807-8-9--were unquestionably -the happiest in the last half of his life. That it was a period -of extraordinary activity and productiveness, of a corresponding -augmentation and extension of his fame, of animated and joyous social -intercourse, and was brightly tinted with so much of the romance of -love as a man of middle-age is apt to indulge in--all this the reader -knows. - -The coming of Reichardt to Vienna and the recording of his observations -on the musical life of the Austrian capital in his book entitled -"Confidential Letters, etc.," were fortunate incidents for the lovers -of Beethoven. Reichardt's was one of the great names in music. He stood -in the front rank both as composer and writer on the art. His personal -character was unspotted; his intellectual powers great and highly -cultivated in other fields than music; nor had his dismissal from his -position of Royal Chapelmaster by Frederick William II been founded -upon reasons which injured his reputation abroad. He therefore found -all, even the highest, musical salons of Vienna open to him, and he -received attention which under the circumstances was doubly grateful. -A colossal self-esteem, a vanity almost boundless alone could have -sent such pages as his "Letters" to the press without a more thorough -expurgation. But this is nothing to the present generation, which owes -him a large debt of gratitude for the most lively and complete picture -existing of the musical life at Vienna at that period, and especially -for his notices of Beethoven, the date of which (winter of 1808-09) -adds doubly to their value. They should be read in connection with this -biography.[76] - -And here a word upon the compositions of these years. The notion, that -the beauties of the opera "Leonore" were in great measure the offspring -of an old, unfortunate affection for Fräulein von Breuning and of a -still more unlucky recent passion for Julia Guicciardi, was treated -in its place as unworthy of serious refutation; but nowhere in this -work has anything been said affirming or implying that the moral and -mental condition of the ~man~ Beethoven would not produce its natural -and legitimate effect upon Beethoven the composer. Now, examine the -lists of compositions which terminate the preceding chapters, and say -whether any but a strong, healthy, sound, elastic mind could have -produced them? To specify only the very greatest; there are in the -last months of 1806, after the visit to the Brunswicks, the placid and -serene Fourth Symphony--the most perfect in form of them all--and the -noble Violin Concerto; in 1807, the Mass in C and the C minor Symphony; -in 1808, the "Pastoral" Symphony and the Choral Fantasia; and in 1809, -the conception and partial execution of the Seventh, perhaps also the -Eighth, Symphony and the glorious "Egmont" music. - -Are such the works of a melancholy, gloomy temperament or of a forlorn, -sentimental lover, sighing like a furnace and making "a woeful ballad -to his mistress' eyebrow?" - -[Sidenote: APPRECIATION OF SERIOUS LITERATURE] - -Beethoven, during the fifteen years since Wegeler's vain effort to -induce him to attend lectures on Kant, had become to some considerable -degree a self-taught man; he had read and studied much, and had -acquired a knowledge of the ordinary literary topics of the time, which -justified that fine passage in the letter to Breitkopf and Härtel, -touching his ability to acquire knowledge from even the most learned -treatises. Strikingly in point is the interest which he exhibits -during these and following years in the Oriental researches of Hammer -and his associates. His notes and excerpts prove a very extensive -knowledge of their translations, both published and in manuscript; and, -moreover, that this strange literature was perhaps even more attractive -to him in its religious, than in its lyric and dramatic aspects. In -these excerpts--indeed, generally in extracts from books and in his -underscoring of favorite passages in them--Beethoven exhibits a keen -perception and taste for the lofty and sublime, far beyond the grasp -of any common or uncultivated mind. "The moral law in us and the -starry heavens above us. Kant!!!" is one of the brief notes from his -hand, which now and then enliven the tedious and thankless task of -deciphering the Conversation Books. The following, given here from his -own manuscript, is perhaps the finest of his transcriptions from Hindu -literature: - - God is immaterial; since he is invisible he can have no form, - but from what we observe in his works we may conclude that he is - eternal, omnipotent, omniscient and omnipresent--The mighty one is - he who is free from all desire; he alone; there is no greater than - he. - - Brahma; his spirit is enwrapped in himself. He, the mighty one, is - present in every part of space--his omniscience is in spirit by - himself and the conception of him comprehends every other one; of - all comprehensive attributes that of omniscience is the greatest. - For it there is no threefold existence. It is independent of - everything. O God, thou art the true, eternal, blessed, immutable - light of all times and all spaces. Thy wisdom embraces thousands - upon thousands of laws, and yet thou dost always act freely and for - thy honor. Thou wert before all that we revere. To thee be praise - and adoration. Thou alone art the truly blessed one (Bhagavan); - thou, the essence of all laws, the image of all wisdom, present - throughout the universe, thou upholdest all things. - - Sun, ether, Brahma [these words are crossed out]. - -Beethoven's enjoyment of Persian literature as revealed to him in the -translations and essays of Herder and von Hammer will now readily be -conceived by the reader; as also the delight with which he read that -collection of exquisite imitations of Persian poetry with its long -series of (then) fresh notices of the manners, customs, books and -authors of Persia, which some years later Goethe published with the -title "West-Östlicher Divan." Even that long essay, apparently so out -of place in the work--"Israel in der Wüste"--in which the character of -Moses is handled so unmercifully, was upon a topic already of curious -interest to Beethoven. This appears from one of his copied papers--one -which, as Schindler avers, "he considered to be the sum of the loftiest -and purest religion." The history of this paper is this: The Hebrew -chronicler describes the great lawgiver of his nation as being "learned -in all the wisdom of the Egyptians." This leads Schiller, in his fine -essay on "Die Sendung Moses," into a discussion of the nature and -character of this wisdom. The following sentences are from his account: - - The epoptæ (Egyptian priests) recognized a single, highest cause - of all things, a primeval force, natural force, the essence of - all essences, which was the same as the demiurgos of the Greek - philosophers. There is nothing more elevated than the simple - grandeur with which they spoke of the creator of the universe. In - order to distinguish him the more emphatically they gave him no - name. A name, said they, is only a need for pointing a difference; - he who is only, has no need of a name, for there is no one with - whom he could be confounded. Under an ancient monument of Isis were - to be read the words: "I AM THAT WHICH IS," and upon a pyramid at - Sais the strange primeval inscription: "I AM ALL, WHAT IS, WHAT - WAS, WHAT WILL BE; NO MORTAL MAN HAS EVER LIFTED MY VEIL." No one - was permitted to enter the temple of Serapis who did not bear upon - his breast or forehead the name Iao, or I-ha-ho--a name similar - in sound to the Hebrew Jehovah and in all likelihood of the same - meaning; and no name was uttered with greater reverence in Egypt - than this name Iao. In the hymn which the hierophant, or guardian - of the sanctuary, sang to the candidate for initiation, this was - the first division in the instruction concerning the nature of the - divinity: "HE IS ONLY AND SOLELY OF HIMSELF, AND TO THIS ONLY ONE - ALL THINGS OWE THEIR EXISTENCE." - -The sentences here printed in capital letters "Beethoven copied with -his own hand and kept (them), framed and under glass, always before him -on his writing-table." - -[Sidenote: THE COMPOSER'S ATTITUDE TOWARDS THE CHURCH] - -Beethoven was now at an age when men of thoughtful and independent -minds have settled opinions on such important subjects as have received -their attention, among which, to all men, religion stands preëminent. -Few change their faith after forty; there is no reason to suppose that -Beethoven did; no place, therefore, more fit than this will be found -to remark upon a topic to which the preceding pages directly lead--his -religious views. Schindler writes in the appendix to his biography of -Beethoven: - - Beethoven was brought up in the Catholic religion. That he was - truly religious is proved by his whole life, and many evidences - were brought forward in the biographical part (of this work). It - was one of his peculiarities that he never spoke on religious - topics or concerning the dogmas of the various Christian churches - in order to give his opinion about them. It may be said with - considerable certainty, however, that his religious views rested - less upon the creed of the church, than that they had their origin - in deism. Without having a manufactured theory before him he - plainly recognized the existence of God in the world as well as - the world in God. This theory he found in the whole of Nature, and - his guides seem to have been the oft-mentioned book, Christian - Sturm's "Betrachtungen der Werke Gottes in der Natur," and the - philosophical systems of the Greek wise men. It would be difficult - for anybody to assert the contrary, who had seen how he applied - the contents of those writings in his own internal life. - -As an argument against Schindler and to prove Beethoven's orthodoxy -in respect to the Roman Catholic tenets, the fervid sentiment and -sublime devotion expressed in the music of the "Missa Solemnis" have -been urged; but the words of the Mass were simply a text on which he -could lavish all the resources of his art in the expression of his -religious feelings. It should not be forgotten that the only Mass which -can be ranked with Beethoven's in D, was the composition of the sturdy -Lutheran, J. S. Bach, and that the great epic poem of trinitarian -Christianity was by the Arian, John Milton. Perhaps Schindler would -have his readers understand more than is clearly expressed. If he -means, that Beethoven rejected the trinitarian dogma; that the Deity -of his faith is a personal God, a universal Father, to whom his human -children may hopefully appeal for mercy in time of temptation, for -aid in time of need, for consolation in time of sorrow--if this be -Schindler's "deism," it may be affirmed unhesitatingly, that everything -known to the present writer, which bears at all on the subject, -confirms his view. Beethoven had the habit in moments of temptation -and distress, of writing down short prayers for divine support and -assistance, many of which are preserved; but neither in them, nor in -any of his memoranda or conversations, is there the remotest indication -that he believed in the necessity of any mediator between the soul -of man and the Divine Father, under whatsoever name known--priest, -prophet, saint, virgin or Messiah; but an even stronger religious -sentiment, a more ardent spirit of devotion, a firmer reliance on the -goodness and mercy of God are revealed in them, than Schindler seems to -have apprehended. - -FOOTNOTES: - -[76] See Reichardt's "Vertraute Briefe, geschrieben auf einer Reise -nach Wien und den Österreichischen Staaten zu Ende das Jahres 1808 -und zu Anfang 1809," under date November 30, December 5, December 10, -December 16, December 25, December 31, 1808, and January 15, March 6, -March 27 and No. 37 (without date), 1809. - - - - -Chapter X - - The Year 1810--Decrease in Productivity--Beethoven's Project - of Marriage--Therese Malfatti--Bettina von Arnim and Her - Correspondence with Goethe--The Music to "Egmont"--Productions of - the Year. - - -The topics last under notice have carried us far onward, even to the -last years of Beethoven. We now return to the end of 1809--to the -master in the full vigor and maturity of his powers. The last months -of this year had been marked by an untiring and efficient industry; -his sketchbooks abounded in the noblest themes, hints and protracted -studies for orchestral, chamber and vocal compositions; and several -important works--among them the Seventh Symphony--were well advanced. -The princes, whose generosity had just placed him, for the present -at least, beyond the reach of pecuniary anxieties, may well have -expected the immediate fulfillment of "the desire that he surpass the -great expectations which are justified by his past achievements." -They were bitterly disappointed. Kinsky did not live to hear any new -orchestral work from that recently so prolific pen; Lobkowitz, whose -dissatisfaction is upon record, heard but three; while the Archduke -saw the years pass away comparatively fruitless, hardly more being -accomplished in ten, than formerly in two--the marvellous year 1814 -excepted. The close of 1809 terminated a decade (1800-1809) during -which--if quality be considered, as well as number, variety, extent -and originality--Beethoven's works offer a more splendid exhibition of -intellectual power than those of any other composer produced within -a like term of years; and New Year, 1810, began another (1810-19), -which, compared with the preceding, exhibits an astonishing decrease in -the composer's productiveness. The contrast is rendered more striking -by the fact that many of the principal works completed in the second -decade belong in plan and partly in execution to the first. - -Schindler's division of Beethoven's life into three distinctly marked -periods appears forced--rather fanciful than real; but whoever makes -himself even moderately conversant with the subject, soon perceives -that a change in the man did take place too great and sudden to be -attributed to the ordinary effect of advancing years; but when? The -abrupt pause in his triumphant career as composer just mentioned, would -seem to determine the time; and, if so, the natural inference is, that -both were effects of the same cause. There was a point in the life of -Handel when his indefatigable pen dropped from his hand and many weary -months passed before he could resume it. The failure of his operas, -his disastrous theatrical speculation, consequent bankruptcy, and the -culmination of his distresses in a partial paralysis of his physical -powers, were the causes. The cessation of Beethoven's labors, though -less absolute than in Handel's case, is even more remarkable, as it -continued longer and was not produced by any such natural and obvious -causes. The fact is certain, and will probably find a sufficient -explanation when we come to the details of the master's private history -during this period; if not, it is another question the solution of -which must await the accident of time or the keener penetration and -wider knowledge of some other investigator. - -[Sidenote: FIRST PERFORMANCE OF THE "EGMONT" MUSIC] - -Beethoven's studies were now, for the third time, diverted from -important works in hand to an order from the directors of the -theatres--the "Egmont" music. The persevering diligence of the last -months, of which he speaks in his letters, was evidently for the -purpose of clearing his desk of a mass of manuscript compositions sold -to Breitkopf and Härtel, before attacking Goethe's tragedy--as decks -are cleared for action before a naval battle. If so, he could hardly -have seriously engaged upon the "Egmont" before the new year; but -nothing is known, which fixes the exact date of either the beginning -or completion of the work. Its overture bears the composer's own date -"1810"; its first performance was on the evening of Thursday, May -24. The ~Clärchen~ was played by Antonie Adamberger--a young actress -alike distinguished for her beauty, her genius and her virtues--whose -marriage in 1817 to the distinguished archæologist von Arneth was a -distinct loss to the Vienna stage. The two songs which ~Clärchen~ has -to sing, necessarily brought Fräulein Adamberger for the moment into -personal relations with Beethoven, of which she wrote to the present -author the following simple and pleasing account under date January 5, -1867: - - ... I approached him (Beethoven) without embarrassment when my aunt - of blessed memory, my teacher and benefactress, called me to her - room and presented me to him. To his question: "Can you sing?" - I replied without embarrassment with a decided "No!" Beethoven - regarded me with amazement and said laughingly: "No? But I am to - compose the songs in 'Egmont' for you." I answered very simply - that I had sung only four months and had then ceased because of - hoarseness and the fear that continued exertion in the practice of - declamation might injure my voice. Then he said jovially with an - adoption of the Viennese dialect: "That will be a pretty how do you - do!"--but on his part it turned out to be something glorious. - - We went to the pianoforte and rummaging around in my music ... he - found on top of the pile the well-known rondo with recitative from - Zingarelli's "Romeo and Juliet." "Do you sing ~that~?" he asked - with a laugh which shook him as he sat down hesitatingly to play - the accompaniment. Just as innocently and unsuspiciously as I had - chatted with him and laughed, I now reeled off the air. Then a - kind look came into his eye, he stroked my forehead with his hand - and said: "Very well, now I know"--came back in three days and - sang the songs for me a few times. After I had memorized them in a - few days he left me with the words: "There, that's right. So, so - that's the way, now sing thus, don't let anybody persuade you to - do differently and see that you do not put a ~mortant~ in it." He - went; I never saw him again in my room. Only at the rehearsal when - conducting he frequently nodded to me pleasantly and benevolently. - One of the old gentlemen expressed the opinion that the songs which - the master, counting on certain effects, had set for orchestra, - ought to be accompanied on a guitar. Then he turned his head most - comically and, with his eyes flaming, said, "He knows!"... - -Long afterwards, in a Conversation Book, an unknown hand writes: -"I remember still the torment you had with the kettledrums at the -rehearsal of 'Egmont'." Nothing more is known of the history of this -work. Beethoven's name appears on both this year's concerts for the -Theatrical Poor Fund--March 25, with the first movements of the Fourth -Symphony; April 17, with the "Coriolan" Overture; but it does not -appear that he conducted on either occasion; it is, however, probable -that he did conduct the rehearsals and performance of a symphony in -Schuppanzigh's first Augarten concert in May. - -Add to the above the subsequent notices of a few songs and the Quartet, -Op. 95, and the meagre history of Beethoven as ~composer~ for 1810 -is exhausted; what remains is of purely private and personal nature. -Kinsky's active service in the campaign of 1809 and his subsequent -duties in Bohemia had prevented him hitherto from discharging his -obligations under the annuity contract; but the Archduke, perhaps -Lobkowitz also, was promptly meeting his; and these payments, together -with the honorable remuneration granted by Breitkopf and Härtel for -manuscripts, supplied Beethoven with ample means for comfort, even for -luxury. He had at this time no grounds for complaint upon that score. - -It was in 1810 that Beethoven received from Clementi and Co. the -long-deferred honorarium for the British copyrights bought in April, -1807. Exactly when this money was received by Beethoven cannot be -determined from the existing evidence, but it seems to have been before -February 4, 1810, on which date Beethoven wrote to Breitkopf and Härtel -offering them the compositions from Op. 73 to 83 (exclusive of 75), -and remarking that he was about to send the same works to London. He -would scarcely have had such a purpose in mind unless he had had a -settlement with his London publishers. Additional evidence, though of -little weight, is provided by the circumstance that at the same time he -was contemplating a change of lodgings, as a letter to Professor Loeb, -written on February 8, shows; it was to his old home in the house of -Baron Pasqualati, which he had occupied two years before and which he -now took again at an annual rental of 500 florins. - -[Sidenote: THOUGHTS HYMENEAL AND SARTORIAL] - -A number of letters to Gleichenstein and Zmeskall to which attention -must now be called seem to show us Beethoven in the character of -a man so deeply smitten with the charms of a newly-acquired lady -friend that he turns his attention seriously to his wardrobe and -personal appearance and thinks unusually long and frequently of the -social pleasures enjoyed at the home of his charmer. A desire to save -space alone prevents the publication of the letters in full, but the -reader may find them in the published Collections of the composer's -letters.[77] In the first of these he sends Gleichenstein 300 florins -which the Count was to expend for him in the purchase of linen and -nankeen for shirts and "at least half a dozen neckties." On the same -day, he informs his correspondent that acting on his advice he had paid -Lind 300 florins. Henickstein had paid him twenty-seven and a half -florins for a pound sterling and invited him and Gleichenstein to dine -the next day with Clementi. Very significantly the letter ends with: -"Greet everything that is dear to you and me. How gladly would I like -to add ~to whom we are dear????~" Lind was a tailor and Henickstein -the son of a banker. The next day he writes that on the previous -evening the Archduke had requested his presence on the day set for -the dinner and he had been obliged to send Henickstein a declination. -The day after that he concludes a note telling about the meeting at -the Archduke's with "Farewell. This evening I will come to the dear -Malfattis." Here is the next letter in full: - - As I shall have enough time this morning, I shall come to the - Savage (~zum wilden Mann~--a restaurant) in the Prater. I fancy - that I shall find no savages there but beautiful Graces, and for - them I must don my armor. I know you will not think me a sponge - because I come only for dinner, and so I will come straight. If I - find you at home, well and good; if not, I'll hurry to the Prater - to embrace you. - -On the day after that he sends Gleichenstein an S. (a sonata, -doubtless) which he had "promised Therese" and adds: "Give my -compliments to all of them. It seems as if the wounds with which wicked -men have pierced my soul might be healed by them"; he sends 50 florins -more for cravats and makes a boast of it that Gigons, Malfatti's little -dog, had supped with him and accompanied him home. This is the first of -the only two allusions which Beethoven makes in all the papers, printed -or written, relating to him, of a domestic pet animal. Another letter -reads: "I beg of you to let me know when the M. remain at home of an -evening. You surely had a pleasant sleep--I slept little, but I prefer -such an awaking to all sleep." Again he writes to say that he wished -"Madame M." would give him permission to pick out a pianoforte for her -which she wished to buy "at Schanz's." Though it was his rule never to -accept commissions on such sales, he wanted to save money for the lady -on this purchase. - -Now we reach the notes to Zmeskall, the first of which is endorsed -by the recipient as having been received on April 18, 1810. From -Beethoven's lodgings in the Walfischgasse it was but a few steps -around the corner in the Kärnthnerthorstrasse to an entrance of the -Bürgerspital where Zmeskall lived, of whose readiness to oblige him -he could and did avail himself to an extent which at length excited -misgivings in his own mind that he was really going too far and abusing -his friend's kindness. This time Beethoven's want was of a very -peculiar nature, namely a looking-glass; that it was not for shaving -purposes but for a more general control of his toilet is indicated by -the second note: - - (April 18, 1810.) - - Dear Zmeskall do send me your looking-glass which hangs beside your - window for a few hours, mine is broken, if you would be so kind as - to buy me one like it to-day it would be a great favor, I'll recoup - you for your expenditure at once--forgive my importunity dear Z. - - Dear Z. do not get angry at my little note--think of the situation - which I am in, like Hercules once at Queen Omphale's??? I asked - you to buy me a looking-glass like yours, and beg you as soon as - you are not using yours which I am returning to send it back to - me for mine is broken--farewell and don't again write to me about - the great man--for I never felt the strength or weakness of human - nature as I feel it just now. - - Remain fond of me. - - (Without date--the original in Boston.) - - Do not get vexed, dear Z. because of my continued demands upon - you--let me know how much you paid for the looking-glass? - - Farewell we shall see each other soon in the Swan as the food is - daily growing worse in the (illegible)--I have had another violent - attack of colic since day before yesterday, but it is better to-day. - - Your friend - - Beethoven. - -[Sidenote: INTERCOURSE WITH THE MALFATTI FAMILY] - -The date of the first note (April 18) is important as showing that at -the time Beethoven was not in the country but still in Vienna and that, -consequently, the 8th mentioned in the letter to Therese Malfatti which -follows, was not the 8th of April, but of May. From this letter we -deduce that Beethoven's intercourse with the Malfatti family in Vienna -had become more animated and intimate, that Beethoven improvised at -the pianoforte and that at the punchbowl his spirits rose rather high -("forget the nonsense"). The conclusion points pretty plainly towards -a desire to be united with the family in closer bonds. The Malfattis -had probably gone to their country home towards the end of April or -beginning of May. The following letter to Gleichenstein was probably -written on the day after the merry evening of which the letter to -Therese speaks: - - Your report plunged me from the regions of happiness into the - depths. Why the adjunction, You would let me know when there would - be another musicale, am I nothing more than your musician or - that of the others?--that at least is the interpretation, I can - therefore seek support only in my own breast, there is none for me - outside of it; no, nothing but wounds has friendship and kindred - feelings for me. So be it then, for you, poor B. there is no - happiness in the outer world, you must create it in yourself, only - in the world of ideality will you find friends. - - I beg of you to set my mind at rest as to whether I was guilty of - any impropriety yesterday, or if you cannot do that then tell me - the truth, I hear it as willingly as I speak it--there is still - time, the truth may yet help me. Farewell--don't let your only - friend Dorner know anything of this. - -The letter to Therese reads: - - With this you are receiving, honored Therese, what I promised, - and if there were not the best of reasons against it, you would - receive more in order to show that I always do more for my friends - than I promise--I hope and have no doubt that you keep yourself - as well occupied as pleasantly entertained--but not so much that - you cannot also think of me. It would perhaps be presuming upon - your kindness or placing too high a value upon myself if I were to - write you: "people are only together when they are in each other's - company, even the distant one, the absent one lives for us," who - would dare to write such a sentiment to the volatile T. who handles - everything in this world so lightly? Do not forget, in laying out - your occupation, the pianoforte, or music generally; you have so - beautiful a talent for it, why not cultivate it exclusively, you - who have so much feeling for everything that is beautiful and good, - why will you not make use of it in order to learn the more perfect - things in so beautiful an art, which always reflects its light - upon us--I live very solitarily and quietly, although now and then - lights try to arouse me there is still for me a void which cannot - be filled since you are all gone and which defies even my art which - has always been so faithful to me--your pianoforte is ordered and - you will have it soon--explain for yourself the difference between - the treatment of a theme which I invented one evening and the - manner in which I finally wrote it down, but don't get the punch - to help you--how lucky you were to be able to go to the country so - soon, I shall not have this pleasure until the 8th, I rejoice in - the prospect like a child, how joyous I am when I can walk amongst - bushes and trees, herbs, rocks, nobody can love the country as I - do--since woods, trees, rocks, return the answer which man wants to - hear. - - (Four lines stricken out). - - You will soon receive four of my compositions whereat you should - not have to complain too much about the difficulties--have you read - Goethe's "Wilhelm Meister," Shakespeare translated by Schlegel, one - has so much leisure in the country it might be agreeable if I were - to send you these works. Chance has brought it about that I have - an acquaintance in your neighborhood, perhaps you will see me at - your home early some morning for half an hour and then away, you - see I wish to be as little tedious as possible. Commend me to the - good will of your father, your mother, although I have no right as - yet to ask it of them, also to your aunt M. Farewell, honored T. I - wish you all that is good and beautiful in life, think of me and - willingly--forget the nonsense--be convinced no one can wish that - your life may be more joyous and more happy than I, even if you - have no sympathy for - - Your devoted servant and friend - - Beethoven. - - N. B. It would really be very nice of you if you were to write a - few lines to say what I can do for you here? - -[Sidenote: PREPARATIONS FOR MARRIAGE] - -Under such circumstances Beethoven wrote the famous letter of May -2, 1810 to Wegeler in Coblenz, asking him to procure a copy of his -baptismal certificate for him. In this letter he says: - - A few years ago my quiet, retired mode of life ceased, and I was - forcibly drawn into activities of the world; I have not yet formed - a favorable opinion of it but rather one against it--but who is - there could escape the influence of the external storms? Yet I - should be happy, perhaps one of the happiest of men, if the demon - had not taken possession of my ears. If I had not read somewhere - that a man may not voluntarily part with his life so long as a good - deed remains for him to perform, I should long ago have been no - more--and indeed by my own hands. O, life is so beautiful, but to - me it is poisoned. - - You will not decline to accede to my friendly request if I beg of - you to secure my baptismal certificate for me. Whatever expense - may attach to the matter, since you have an account with Steffen - Breuning, you can recoup yourself at once from that source and I - will make it good at once to Steffen here. If you should yourself - think it worth while to investigate the matter and make the trip - from Coblenz to Bonn, charge everything to me. But one thing must - be borne in mind, namely, that ~there was a brother born before~ - I was, who was also named Ludwig with the addition Maria, but - who died. To fix my age beyond doubt, this brother must first be - found, inasmuch as I already know that in this respect a mistake - has been made by others, and I have been said to be older than I - am. Unfortunately I myself lived for a time without knowing my age. - I had a family register but it has been lost heaven knows how. - Therefore do not be bored if I urge you to attend to this matter, - to find Maria and the present Ludwig who was born after him. The - sooner you send me the baptismal certificate the greater will be my - obligation. - -To the "Notizen" (1838) Wegeler published a few pages of appendix on -the occasion of the Beethoven festival at Bonn (1845), giving therein a -most valuable paragraph explanatory of this important letter: - - It seems that Beethoven, once in his life, entertained the idea - of marrying, after having been in love many times, as is related - in the "Notizen" (pp. 40, 42 ~et seq.~ and 117 ~et seq.~). Many - persons as well as myself were impressed by the urgency with - which in his letter of May 10 [~sic~] he besought me to secure - his baptismal certificate for him. He wants to pay all the - expenditures, even a journey from Coblenz to Bonn. And then he adds - explicit instructions which I was to observe in looking up the - certificate in order to get the right one. I found the solution - of the riddle in a letter written to me three months later by - my brother-in-law St. v. Breuning. In this he says: "Beethoven - tells me at least once a week that he intends to write to you; - but I believe his marriage project has fallen through, and for - this reason he no longer feels the lively desire to thank you for - your trouble in getting him the baptismal certificate." In the - thirty-ninth year of his life Beethoven had not given up thoughts - of marriage. - -We know now that the marriage project fell through early in May, soon -after he had written the letter to Wegeler. Two short letters to -Gleichenstein instruct us slightly touching the conclusion of this -psychological drama which, no doubt, tore the heart of Beethoven. It -would seem as if at first Beethoven wanted to visit the Malfattis at -their country home, but at the last preferred to send a formal proposal -of marriage by the hands of Gleichenstein. We have no testimony -concerning the refusal beyond the utterance of the niece and the -cessation of all correspondence on the subject. Here are the letters: - - You are living on a calm and peaceful sea or, possibly, are - already in a safe harbor--you do not feel the distress of the - friend who is still in the storm--or you dare not feel it--what - will they think of me in the star Venus Urania, how will they - judge me without seeing me--my pride is so humbled, I would go - there with you uninvited--let me see you at my lodging to-morrow - morning, I shall expect you at about 9 o'clock at breakfast--Dorner - can come with you at another time--if you were but franker with - me, you are certainly concealing something from me, you want - to spare me and this uncertainty is more painful than the most - fatal certainty--Farewell if you cannot come let me know in - advance--think and act for me--I cannot entrust to paper more of - what is going on within me. - - Dear friend, so cursedly late--press them all warmly to your - heart--why can I not be with you? Farewell, I will be with you on - Wednesday morning--the letter is written so that the whole world - may read it--if you find that the paper covering is not clean - enough, put another one on, I cannot tell at night whether it is - clean--farewell, dear friend, think and act also for your faithful - friend. - -Beethoven's relations with another fair friend now demand attention. -In the Vienna suburban road Erdbeergasse stands the lofty house then -numbered 98, its rear windows overlooking Rasoumowsky's gardens, the -Donau canal and the Prater, whence on May 15, 1810, Elizabeth Brentano -(Bettina) wrote to Goethe: - - Here I live in the house of the deceased Birkenstock, surrounded - by two thousand copperplate engravings, as many hand-drawings, - as many hundred old ash urns and Etruscan lamps, marble vases, - antique fragments of hands and feet, paintings, Chinese garments, - coins, geological collections, sea insects, telescopes and - numberless maps, plans of ancient empires and cities sunk in ruin, - artistically carved walking-sticks, precious documents, and finally - the sword of Emperor Carolus. - -Joseph Melchior von Birkenstock (born in 1738), the honored, trusted -and valued servant of Maria Theresia and Kaiser Joseph, the friend and -brother-in-law of the celebrated Sonnenfels--the esteemed correspondent -of so many of the noblest men of his time, including the American -philosopher Franklin and the Scotch historian Robertson, the reformer -of the Austrian school system, the promoter of all liberal ideas so -long as in those days progress was allowed--was pensioned in 1803, -and thenceforth lived for science, art and literature until his -death, October 30, 1809. His house, filled almost to repletion with -the artistic, archæological, scientific collections of which Bettina -speaks, was one of those truly noble seats of learning, high culture -and refinement, where Beethoven, to his manifest intellectual gain, was -a welcome guest. - -[Sidenote: INTIMATE RELATIONS WITH THE BRENTANOS] - -Sophie Brentano, older than Bettina, very beautiful notwithstanding -the loss of an eye, and, like all the members of that remarkable -family, very highly talented and accomplished, had made a long visit -to Vienna as Count Heberstein's bride--their marriage being prevented -by her untimely death. "She brought about the marriage of her brother -Franz with Antonie von Birkenstock," says Jahn. "The young wife, who -did not feel at home in Frankfort"--and also because of the precarious -health of her father, we may add--"persuaded Brentano to remove to -Vienna, where for several years she occupied a home in the Birkenstock -house which Bettina describes so beautifully. In this house, where -music was cultivated, Beethoven came and went in friendly fashion. -His 'little friend,' for whose encouragement in pianoforte playing he -wrote the little trio in a single movement in 1812, was her daughter -Maximiliane Brentano, later Madame Plittersdorf, to whom ten years -later he dedicated the Sonata in E major (Op. 109). After Birkenstock's -death he tried to give a practical turn to his friendship by seeking -to persuade Archduke Rudolph to buy a part of his collection. More -effective, evidently was the help which Brentano extended to him, who, -when he came into financial straits and needed a loan, always found -an open purse. Madame Antonie Brentano was frequently ill for weeks -at a time during her sojourn in Vienna, so that she had to remain in -her room inaccessible to all visitors. At such times Beethoven used to -come regularly, seat himself at a pianoforte in her anteroom without a -word and improvise; after he had finished 'telling her everything and -bringing comfort,' in his language, he would go as he had come without -taking notice of another person." - -The credibility of Madame von Arnim's contribution to Beethoven -literature has been questioned in all degrees of severity, from simple -doubts as to particular passages to broad denunciation of the whole -as gross distortions of fact, or even as figments of the imagination. -Dogmatism is rarely in proportion to knowledge, unless, perhaps, in -inverse ratio. The bitterest attacks upon the veracity of Mme. von -Arnim have been made by those whose ignorance of the subject is most -conspicuous; but among the doubters are people of candor, good judgment -and wide knowledge of Beethoven's history; and a decent respect for -the opinions of such renders it just and proper to explain why so -much of these contributions has been admitted into the text as being -substantially true. - -At the very outset we are met by a statement in Schindler's book -(Ed. 1840) which if correct destroys at once the credibility of -Mme. von Arnim's account of her first interview with Beethoven. -It is this: "Beethoven became acquainted with the Brentano family -in Frankfort through her [Bettina]." A later writer, Ludwig Nohl, -supports the assertion on the authority of "Frau Brentano, now 87 -years old"--Birkenstock's daughter. But Schindler, after his long -residence in and near Frankfort, writes (1860): "There still lives one -of the oldest friends of our master during life, with whom he became -acquainted already on his arrival in Vienna (1792) in the house of her -father." This was the above-mentioned lady "now 87 years old." The -other writer also withdraws his statement in a later publication where -he speaks of this aged lady's daughter, "Maxe, who as a child in 1808 -[?] in Vienna, often sat at Birkenstock's on his (Beethoven's) knees." - -Any possible doubt on the subject is dispelled by a communication made -to this author in 1872, by the then head of the Brentano family living -in Frankfort, who wrote: - - The friendly relations between Beethoven and the family Brentano in - Frankfort already existed when Frau von Brentano (Antonie) visited - her father in Vienna, whither she went with her older children - for an extended period because her father, Court Councillor - Birkenstock, had been ailing for a considerable time. This friendly - intercourse was continued after the death of Councillor Birkenstock - on October 30, 1809, and during the three years' sojourn of the - Brentano family in Vienna. Beethoven often came to the house of - Birkenstock, later of Brentano, attended the quartet concerts - which were given there by the best musicians of Vienna, and often - rejoiced his friends with his glorious pianoforte playing. The - Brentano children occasionally carried fruit and flowers to him in - his lodging; he in return gave them bonbons and always exhibited - great friendship for them. - -[Sidenote: MME. VON ARNIM'S LETTER TO GOETHE] - -Beethoven, through his familiar intercourse with the Brentanos, must, -of course, have known of the expected visit of Bettina and of her -relations to Goethe. Her account of their first meeting, therefore, -is in all respects credible; nor has it been, so far as is known, -questioned. It is twice given by her own pen in the "Briefwechsel" -with Goethe under date 1810, and in the Pückler-Muskau correspondence -as belonging to 1832. At this last-named date she had not yet received -from Chancellor von Müller her letter to Goethe, and wrote from -memory, confining her narrative to the minor incidents of the meeting. -The two accounts differ, but they do not contradict, they only -supplement each other. - -[Sidenote: AUTHENTICITY OF THE BETTINA LETTERS] - -The present writer had the honor of an interview or two with Mme. von -Arnim in 1849-50, and heard the story from her lips; in 1854-5, it was -his good fortune to meet her often in two charming family circles--her -own and that of the brothers Grimm. Thus at an interval of five years -he had the opportunity of comparing her statements, of questioning -her freely and of convincing himself, up to this point, of her simple -honesty and truth. - -But the rock of offense does not lie here; it is in the long discourse -of Beethoven which will presently be given in these pages. Schindler -objects to this, both in its matter and form, on the ground that he had -never heard "the master" talk in this manner. But the Beethoven whom -Schindler knew in his last years was not the Beethoven of 1810, and -Anton Schindler certainly was not an Elizabeth Brentano. There happens -to be proof that just in the former period the composer could talk -freely and eloquently. Jahn says: "Beethoven's personality and nature, -moreover, were calculated to make a significant but winning impression -upon women," and cites Mme. Hummel (Elizabeth Röckel) in proof. "As -a matron advanced in years," says he, "and still winning because of -her charming graciousness, she spoke with ingratiating warmth of -the good fortune of having been observed by Beethoven and to have -been on friendly relations with him. 'Whoever saw him in good humor, -intellectually animated, when he gave utterance to his thoughts in such -a mood,' said she with glowing eyes, 'can never forget the impression -which he made.'" - -There are two hypotheses as to the genesis of this letter to Goethe. -The one: that Mme. von Arnim in preparing the "Briefwechsel" for -publication wrote out her own crude and nebulous thoughts and gave them -to the public in the form of a fictitious report of a conversation -of Beethoven. The other: that she found Beethoven fresh from the -composition of the "Egmont" music, full of enthusiasm for Goethe and -vehemently desirous that his, the great composer's, views upon music -should be known and comprehended by the great poet; that he, happening -to get upon this topic at their first interview, imparted those views -to her with that express purpose; and that she, so far as she was able -to follow and understand the speaker, and so far as her memory could -recall his words a few hours after, correctly records and reports them. - -The first hypothesis rests now on precisely the same foundation as when -Schindler wrote, namely, on the presumption that Beethoven could not -have spoken thus; but a discourse uttered under such circumstances and -with such a purpose, poured into the willing ear of a beautiful, highly -cultivated and remarkably fascinating young woman, one who possessed -the higher artistic and intellectual qualities of character in an -extraordinary degree--such a discourse might well abound in thoughts -and expressions which the prosaic Schindler in the most prosaic period -of his master's life never drew from him. - -Two significant minor points may be noted: there was a Latin word in -use by the Breuning family in the old Bonn days with a meaning not -given in the dictionaries. This we learn from Wegeler's "Notizen," and -~only~ there. Yet Mme. v. Arnim puts this word, ~raptus~, in precisely -this local sense into Beethoven's mouth several years before the -publication of the "Notizen"! Again: when the discoveries of Galvani -and Volta were still a novel topic of general interest, when, through -them, physiologists, as Dubois-Raymond expressed it, "believed that -at length they should realize their visions of a vital power"; and -when the semi-scientific world was full of the theories of Mesmer -and his disciples--at that time, the first years of the nineteenth -century, custom gave the word ~elektrisch~ (electrical) a significance -long since lost, which well conveyed the thought Beethoven is made -to express. But in 1834-5, to introduce this word in that sense, -retrospectively, into a fictitious conversation purporting to be of the -year 1810, shows, no less than the ~raptus~, an exquisite tact so rare, -that it might well be termed a most felicitous stroke of genius, one of -which any writer of romance might be vain. - -Julius Merz, in his "Athenæum für Wissenschaft, Kunst und Leben" -(Nuremberg, January, 1839), printed for the opening article "Drei -Briefe von Beethoven an Bettina." The third of these letters was -copied the next July into Schilling's ephemeral musical periodical -the "Jahrbücher" (Carlsruhe), with remarks by the editor expressing -doubts of its authenticity. But Schindler, whose book was just then -going to press, copied a large portion of it as genuine; and in his -second edition (1845) reprinted all three entire, without adding a word -of doubt or misgiving. They had appeared in English in 1841, from a -copy given to Mr. Henry F. Chorley by Mme. von Arnim; and since then -have been reprinted in various languages probably more frequently, and -become more universally known, than any other chapter in Beethoven -literature. Here and there a reader shared in Schilling's doubts; -but twenty years elapsed before these doubts were put into such form, -and by an author of such position, that a reasonable self-respect -could allow Mme. von Arnim to take notice of them; and then it was too -late--she lay upon her death-bed. Her silence under the attacks made -upon her veracity is therefore no evidence against her. - -A. B. Marx, the author here referred to, produces but one argument -which demands notice here, and this is the occurrence of certain -"repetitions": "liebe, liebste," "liebe, gute," "bald, bald" which -he declared to be "very womanish and very un-Beethovenian." Now, on -the contrary, in the text of this volume there is abundant proof that -just these expressions are very Beethovenian and characteristic of his -letters to favorite women at the precise period in question. - -It is true, as he says, that when Marx wrote, nothing of the kind -had ever been published; ~a fortiori~, nothing twenty years before; -but this fact, on which he laid such stress, instead of supporting -really demolishes his argument. It was in the autumn of 1838 that -Mr. Merz received the letters. At that time specimens of Beethoven's -correspondence had been published by Seyfried in the pseudo-"Studien," -by Schumann in the "Neue Zeitschrift," by Gottfried Weber in the -"Cäcilia," by Wegeler in the "Notizen"; and a few others were scattered -in books and periodicals. Imitators, counterfeiters, fabricators of -false documents, must have samples, patterns, models; but all the -Beethoven letters then in print were so far from being the patterns -or models of the Bettina letters that the contrast between them was -the main argument against the authenticity of the latter. If, then, -Mme. von Arnim introduced so many expressions which we know (but she -could not) are ~not~ "very womanish and very un-Beethovenian" into a -fictitious correspondence, she did so not only without a pattern or -model, but against ~all~ patterns and models. ~Credat Judæeus Apella, -non ego.~ - -There are points of doubt and difficulty in the third letter which -the warmest advocates of its authenticity have not been able fully to -overcome; but as Marx had not sufficient knowledge of his subject to -perceive them, and the question of the acceptance or rejection of this -letter will rest upon grounds to be given in the text, these points -need not be noticed here. Another one must be, namely: suppose that -letter should be proved counterfeit, does it follow that the others are -so? Not at all; but that they are the authentic letters whose manner -and style are imitated. - -In 1848, Mme. von Arnim published two volumes of characteristic -correspondence with Herr Nathusius under the title: "Ilius Pamphilius -und die Ambrosia." In one of his letters ~Pamphilius~ requests -autographs of Goethe's mother and Beethoven, for a collection which -he is making. This gives her occasion in various letters to express -her admiration and reverence for the composer in terms which come warm -from the heart. At length (Vol. II, p. 205) she writes: "Herewith -I am sending you the letters of Goethe and Beethoven for your -autograph collection." She prints all three in the pages following; -but a comparison of the several passages relating to them leads -to the inference, that only one autograph was sent. Is all this a -mystification? Was there no ~Pamphilius~? No autograph collection? No -contribution of a letter in Beethoven's hand to it? Herr Nathusius -knows. - -Mme. von Arnim, then, gave the letters to the public three times; in -the "Athenæum," January, 1839; in English translation, through Chorley, -1841; in the "Pamphilius und Ambrosia," in 1848. It is patent to the -feeblest common sense, that, if not genuine, either the same copy, or -copies carefully collated so as to avoid all suspicious variations, -would have been sent to the printer; and that the two German -publications would differ only by such small errors as compositors -make and proof-readers overlook--such as are found in Schindler's -reprint from the "Athenæum," and in Marx's from Schindler. But the -variations of the "Pamphilius" copy from that in the "Athenæum" are -such as cannot be printer's errors, but precisely such as two persons, -inexperienced in the task, would make in deciphering Beethoven's very -illegible writing; one (Mr. Merz) correcting the punctuation and faults -in the use of capital letters (as Wegeler has evidently done), and -the other (Mme. von Arnim) retaining these striking characteristics -of the composer's letters. The change of the familiar "Bettine," -which Beethoven learned in her brother's family, to the more formal -"Freundin," can hardly be made a point of objection. Marx's argument -had been so completely upset, that, in renewing (1863) his attack upon -the then deceased Mme. von Arnim, he was compelled to base it upon -other considerations. It was then that the present writer compared the -letters printed in the "Athenæum" with the copies in the "Pamphilius," -which convinced him, on the grounds above noted, of their authenticity, -at least in part, and led to a correspondence, of which an abstract -here follows: On July 9, 1863, the present author requested Mr. -Wheeler, American Consul at Nuremberg, to see Mr. Merz, learn from him -the circumstances under which he obtained the letters, and whether -he printed from Beethoven's autograph. Mr. Wheeler replied on August -9th: "He [Mr. Merz] states, that he enjoyed the personal acquaintance -of that lady (Mme. von Arnim), and was at the time in Berlin on a -visit; and being at her residence on a certain occasion, she gave him -these letters, remarking: 'There is something for the Athenæum.' After -publishing the letters, Mr. Merz feels confident, he returned the -letters to Mme. v. Arnim." The author now, on August 25th, requested -Mr. Wheeler if possible to obtain from Mr. Merz his written statement -that he had printed the letters from the original autographs. Mr. -Wheeler, on September 24th, replied.... "Yesterday he [Merz] was good -enough to write me the note you requested; I trust it may be found of -the tenor wished." The note which was enclosed in this letter is this: -"I can certify that at the time in question I had in my possession -the letters referred to in the January number of the 'Athenæum,' but -gave them back again. Nuremberg, September 23, 1863. Julius Merz, -book publisher." It may be said that this note does not explicitly -cover the whole ground. True, it is the testimony of a conscientious -man who, after the lapse of twenty-five years, remembers deciphering -certain letters of Beethoven which he printed, but does not venture to -declare that ~all~ that he printed lay before him in the handwriting -of the master. There is another witness who is reported to have been -less distrustful of his memory. Herr Ludwig Nohl, in a note to these -letters ("Briefe Beethoven's," p. 71), says: "Their authenticity -(barring, perhaps, a few words in the middle of the third letter) was -never doubtful in my mind and will not be now after Beethoven's letters -have been made public. Though superfluous, it may yet be said for the -benefit of such as are not wholly willing to accept internal evidence, -that Prof. Moriz Carriere, in a conversation on the subject of -Beethoven's letters in December, 1864, expressly stated that the three -letters to Bettina were genuine; he saw them himself in her house in -Berlin in 1839, read them through with the greatest interest and care, -and because of their significant contents had urged their immediate -publication. When they were printed a short time afterward, no changes -in the reprint struck his attention; on the contrary, he could still -remember that the much controverted terms, particularly the anecdote -about Goethe in the third letter, were precisely so in the original." - -[Sidenote: FIRST MEETING WITH BETTINA] - -And now to the matter, the discussion of which has detained us so long. -One day in May, Beethoven, sitting at the pianoforte with a song just -composed before him, was surprised by a pair of hands being placed -upon his shoulders. He looked up "gloomily" but his face brightened -as he saw a beautiful young woman who, putting her mouth to his ear -said: "My name is Brentano." She needed no further introduction. -He smiled, gave her his hand without rising and said: "I have just -made a beautiful song for you; do you want to hear it?" Thereupon he -sang--raspingly, incisively, not gently or sweetly (the voice was -hard), but transcending training and agreeableness by reason of the -cry of passion which reacted on the hearer--"Kennst du das Land?" He -asked: "Well, how do you like it?" She nodded. "It is beautiful, isn't -it?" he said enthusiastically, "marvellously beautiful; I'll sing it -again." He sang it again, looked at her with a triumphant expression, -and seeing her cheeks and eyes glow, rejoiced over her happy approval. -"Aha!" said he, "most people are touched by a good thing; but they are -not artist-natures. Artists are fiery; they do not weep." He then sang -another song of Goethe's, "Trocknet nicht Thränen der ewigen Liebe." - -There was a large dinner party that day at Franz Brentano's in the -Birkenstock house and Bettina--for it was she--told Beethoven he must -change his old coat for a better, and accompany her thither. "Oh," said -he jokingly, "I have several good coats," and took her to the wardrobe -to see them. Changing his coat he went down with her to the street, but -stopped there and said he must return for a moment. He came down again -laughing with the old coat on. She remonstrated; he went up again, -dressed himself properly and went with her.[78] But, notwithstanding -his rather clumsy drollery, she soon discovered a greatness in the man -for which she was wholly unprepared. His genius burst upon her with a -splendor of which she had formed no previous conception, and the sudden -revelation astonished, dazzled, enraptured her. It is just this, which -gives the tone to her letter upon Beethoven addressed to Goethe. In -fact, the Beethoven of ~our~ conceptions was not then known; the first -attempt to describe or convey in words, what the finer appreciative -spirits had begun to feel in his music, was E. T. A. Hoffmann's article -on the C minor Symphony, in the "Allg. Mus. Zeit." of July 21st--five -weeks later. - -[Sidenote: BETTINA'S LETTER TO GOETHE] - -The essential parts of Bettina's long communication are these: - - (To Goethe) Vienna, May 28. - - When I saw him of whom I shall now speak to you, I forgot the - whole world--as the world still vanishes when memory recalls the - scene--yes, it vanishes.... It is Beethoven of whom I now wish to - tell you, and who made me forget the world and you; I am still in - my nonage, it is true, but I am not mistaken when I say--what no - one, perhaps, now understands and believes--he stalks far ahead - of the culture of mankind. Shall we ever overtake him?--I doubt - it, but grant that he may live until the mighty and exalted enigma - lying in his soul is fully developed, may reach its loftiest goal, - then surely he will place the key to his heavenly knowledge in - our hands so that we may be advanced another step towards true - happiness. - - To you, I am sure, I may confess I believe in a divine magic - which is the essence of intellectual life. This magic Beethoven - practises in his art. Everything that he can tell you about is pure - magic, every posture is the organization of a higher existence, - and therefore Beethoven feels himself to be the founder of a new - sensuous basis in the intellectual life; you will understand - what I am trying to say and how much of it is true. Who could - replace this mind for us? From whom could we expect so much? All - human activities toss around him like mechanism, he alone begets - independently in himself the unsuspected, uncreated. What to him is - intercourse with the world--to him who is at his sacred daily task - before sunrise and who after sunset scarcely looks about him, who - forgets sustenance for his body and who is carried in a trice, by - the stream of his enthusiasm, past the shores of work-a-day things? - - He himself said: "When I open my eyes I must sigh, for what I see - is contrary to my religion, and I must despise the world which - does not know that music is a higher revelation than all wisdom - and philosophy, the wine which inspires one to new generative - processes, and I am the Bacchus who presses out this glorious wine - for mankind and makes them spiritually drunken. When they are again - become sober they have drawn from the sea all that they brought - with them, all that they can bring with them to dry land. I have - not a single friend; I must live alone. But well I know that God is - nearer to me than to other artists; I associate with him without - fear; I have always recognized and understood him and have no fear - for my music--it can meet no evil fate. Those who understand it - must be freed by it from all the miseries which the others drag - about with themselves." - - All this Beethoven said to me the first time I saw him; a feeling - of reverential awe came over me when he expressed himself to me - with such friendly frankness, seeing that I must have appeared - so utterly insignificant to him. I was surprised, too, for I had - been told that he was unsociable and would converse with nobody. - They were afraid to take me to him; I had to hunt him up alone. He - has three lodgings in which he conceals himself alternately--one - in the country, one in the city and the third on the bastion. It - was in the last that I found him in the third storey, walked in - unannounced. He was seated at the pianoforte. - - He accompanied me home and on the way he said the many beautiful - things about art, speaking so loud and stopping in the street that - it took courage to listen to him. He spoke with great earnestness - and much too surprisingly not to make me forget the street. - They were greatly surprised to see him enter a large dinner - party at home with me. After dinner, without being asked, he sat - down to the instrument and played long and marvellously; there - was a simultaneous fermentation of his pride and his genius. - When he is in such a state of exaltation his spirit begets the - incomprehensible and his fingers accomplish the impossible. - -In the letter to Pückler-Muskau in which Mme. von Arnim dwells more -upon the incidents of this meeting, she writes thus: - - There was surprise when I entered a gathering of more than 40 - people who sat at table, hand in hand with Beethoven. Without ado - he seated himself, said little (doubtless because he was deaf). - Twice he took his writing-tablet out of his pocket and made a few - marks in it. After dinner the entire company went up to the tower - of the house to look at the view; when they were gone down again - and he and I alone, he drew forth his tablet, looked at it, wrote - and elided, then said: "My song is finished." He leaned against - the window-frame and sang it out upon the air. Then he said: "That - sounds, doesn't it? It belongs to you if you like it, I made it - for you, you inspired it, I read it in your eyes just as it was - written." - -In the Goethe letter she continues: - - Since then he comes to me every day, or I go to him. For this I - neglect social meetings, galleries, the theatre, and even the tower - of St. Stephen's. Beethoven says "Ah! What do you want to see - there? I will call for you towards evening; we will walk through - the alleys of Schönbrunn." Yesterday I went with him to a glorious - garden in full bloom, all the hot-beds open--the perfume was - bewildering; Beethoven stopped in the oppressive sunshine and said: - "Not only because of their contents, but also because of their - rhythm, Goethe's poems have great power over me, I am tuned up and - stimulated to composition by this language which builds itself into - higher orders as if through the work of spirits and already bears - in itself the mystery of the harmonies. - - "Then from the focus of enthusiasm I must discharge melody in all - directions; I pursue it, capture it again passionately; I see it - flying away and disappearing in the mass of varied agitations; - now I seize upon it again with renewed passion; I cannot tear - myself from it; I am impelled with hurried modulations to multiply - it, and, at length I conquer it:--behold, a symphony! Music, - verily, is the mediator between intellectual and sensuous life. I - should like to talk with Goethe about this--would he understand - me?".... "Speak to Goethe about me," he said; "tell him to hear my - symphonies and he will say that I am right in saying that music is - the one incorporeal entrance into the higher world of knowledge - which comprehends mankind but which mankind cannot comprehend.... - We do not know what knowledge brings us. The encased seed needs - the moist, electrically warm soil to sprout, to think, to express - itself. Music is the electrical soil in which the mind thinks, - lives, feels. Philosophy is a precipitate of the mind's electrical - essence; its needs which seek a basis in a primeval principle are - elevated by it, and although the mind is not supreme over what it - generates through it, it is yet happy in the process. Thus every - real creation of art is independent, more powerful than the artist - himself and returns to the divine through its manifestation. It is - one with man only in this, that it bears testimony of the mediation - of the divine in him.... Everything electrical stimulates the mind - to musical, fluent, out-streaming generation. - - "I am electrical in my nature. I must interrupt the flow of my - undemonstrable wisdom or I might neglect my rehearsal. Write - to Goethe if you understand what I have said, but I cannot - be answerable for anything and will gladly be instructed by - him." I promised to write you everything to the best of my - understanding.... Last night I wrote down all that he had said; - this morning I read it over to him. He remarked: "~Did I say that? - Well, then I had a raptus!~" He read it again attentively and - struck out the above and wrote between the lines, for he is greatly - desirous that you shall understand him. Rejoice me now with a - speedy answer, which shall show Beethoven that you appreciate him. - It has always been our purpose to discuss music; it was also my - desire, but through Beethoven I feel for the first time that I am - not fit for the task. - -[Sidenote: GOETHE'S REPLY TO BETTINA] - -To this letter Goethe answered: - - Your letter, heartily beloved child, reached me at a happy time. - You have been at great pains to picture for me a great and - beautiful nature in its achievements and its strivings, its needs - and the superabundance of its gifts. It has given me great pleasure - to accept this picture of a truly great spirit. Without desiring at - all to classify it, it yet requires a psychological feat to extract - the sum of agreement; but I feel no desire to contradict what I can - grasp of your hurried explosion; on the contrary, I should prefer - for the present to admit an agreement between my nature and that - which is recognizable in these manifold utterances. The ordinary - human mind might, perhaps, find contradictions in it; but before - that which is uttered by one possessed of such a dæmon, an ordinary - layman must stand in reverence, and it is immaterial whether he - speaks from feeling or knowledge, for here the gods are at work - strewing seeds for future discernment and we can only wish that - they may proceed undisturbedly to development. But before they - can become general, the clouds which veil the human mind must be - dispersed. Give Beethoven my heartiest greetings and tell him that - I would willingly make sacrifices to have his acquaintance, when - an exchange of thoughts and feelings would surely be beautifully - profitable; mayhap you may be able to persuade him to make a - journey to Karlsbad whither I go nearly every year and would have - the greatest leisure to listen to him and learn from him. To think - of teaching him would be an insolence even in one with greater - insight than mine, since he has the guiding light of his genius - which frequently illumines his mind like a stroke of lightning - while we sit in darkness and scarcely suspect the direction from - which daylight will break upon us. - - It would give me great joy if Beethoven were to make me a present - of the two songs of mine which he has composed, but neatly and - plainly written. I am very eager to hear them. It is one of my - greatest enjoyments, for which I am very grateful, to have the - old moods of such a poem (as Beethoven very correctly says) newly - aroused in me.... - - June 6, 1810. - - (Bettina to Goethe) - - Dearest friend! I communicated your beautiful letter to Beethoven - so far as it concerned him. He was full of joy and cried: "If there - is any one who can make him understand music, I am the man!" The - idea of hunting you up at Karlsbad filled him with enthusiasm. He - struck his forehead a blow and said: "Might I not have done that - earlier?--but, in truth, I did think of it but omitted to do it - because of timidity which often torments me as if I were not a - real man: but I am no longer afraid of Goethe." You may count, - therefore, on seeing him next year.... - - I am enclosing both songs by Beethoven; the other two are by me. - Beethoven has seen them and said many pretty things about them, - such as that if I had devoted myself to this lovely art I might - cherish great hopes; but I merely graze it in flight, for my art is - only to laugh and sigh in a little pocket--more than that there is - none for me. - - Bettina. - -By the middle of June she was in Bohemia. - -There are a few letters from this period to which attention may be -paid. On July 9, 1810, Beethoven wrote to Zmeskall telling him of his -distracted state of mind: he ought to go away from Vienna for the sake -of his health, but Archduke Rudolph wanted him to remain near him; so -he was one day in Schönbrunn, the next in Vienna. "Every day there -come new inquiries from strangers, new acquaintances, new conditions -even as regards art--sometimes I feel as if I should go mad because -of my undeserved fame; fortune is seeking me and on that account I -almost apprehend a new misfortune." On July 17th, he sent to Thomson -the Scotch songs which he had arranged, accompanied by a letter (in -French) in which he discusses business matters, gives some instructions -touching the repetitions in the songs, repeats his offer to compose -three quintets and three sonatas and to send him such arrangements -for quartet and quintet as have been made of his symphonies. Soon -thereafter he wrote to Bettina Brentano:[79] - -[Sidenote: BEETHOVEN'S LETTER TO BETTINA] - - Vienna, August 11, 1810. - - Dearest Bettine: - - No lovelier spring than this, that say I and feel it, too, because - I have made your acquaintance. You must have seen for yourself that - in society I am like a frog on the sand which flounders about and - cannot get away until some benevolent Galatea puts him into the - mighty sea again. I was right high and dry, dearest Bettine, I was - surprised by you at a moment when ill-humor had complete control - of me; but of a truth it vanished at sight of you, I knew at once - that you belonged to another world than this absurd one to which - with the best of wills one cannot open his ears. I am a miserable - man and am complaining about the others!!--Surely you will pardon - this with your good heart which looks out of your eyes and your - sense which lies in your ears--at least your ears know how to - flatter when they give heed. My ears, unfortunately, are a barrier - through which I cannot easily have friendly intercourse with - mankind--otherwise!--Perhaps!--I should have had more confidence in - you. As it is I could only understand the big, wise look of your - eyes, which did for me what I shall never forget. Dear Bettine, - dearest girl! Art!--who understands it, with whom can one converse - about this great goddess!--How dear to me are the few days in - which we chatted, or rather corresponded with each other, I have - preserved all the little bits of paper on which your bright, - dear, dearest answers are written. And so I owe it to my bad ears - that the best portion of these fleeting conversations is written - down. Since you have been gone I have had vexatious hours, hours - of shadow, in which nothing can be done; I walked about in the - Schönbrunn Alley for fully three hours after you were gone, and on - the bastion; but no angel who might fascinate me as you do, Angel. - Pardon, dearest Bettine, this departure from the key. I must have - such intervals in which to unburden my heart. You have written to - Goethe, haven't you?--would that I might put my head in a bag so - that I could see and hear nothing of what is going on in the world. - Since you, dearest angel, cannot meet me. But I shall get a letter - from you, shall I not?--Hope sustains me, it sustains half of the - world, and I have had her as neighbor all my life, if I had not - what would have become of me?--I am sending you herewith, written - with my own hand, "Kennst du das Land," as a souvenir of the hour - in which I learned to know you, I am sending also the other which I - have composed since I parted with you dear, dearest heart! - - Herz, mein Herz, was soll das geben, - Was bedränget dich so sehr? - Welch ein fremdes, neues Leben! - Ich erkenne dich nicht mehr. - - Yes, dearest Bettine, answer this, write me what it is shall happen - to me since my heart has become such a rebel. Write to your most - faithful friend-- - - Beethoven. - -The cessation in Beethoven's productiveness in this period is partly -explained by the vast amount of labor entailed by the preparation of -manuscripts for publication, the correction of proofs, etc. Of this -there is evidence in a number of letters to Breitkopf and Härtel. On -July 2 he wrote demanding an honorarium of 250 florins for works that -he had specified, and sending the first installment, two sonatas for -pianoforte, five variations for pianoforte and six ariettas (probably -Op. 75). The second installment, he said, should be a Concerto in -E-flat, the Choral Fantasia and three Ariettas. The third, the -Characteristic Sonata "Farewell, Absence and Return," five Italian -ariettas and the score of "Egmont." On August 21, 1810, he wrote to -the firm at great length. He sends a draft of a plan for a complete -edition of his works, in which Breitkopf and Härtel were to figure as -the principal publishers. He asks what they are willing to pay for "a -concerto, quartet, etc., and then you will be able to see that 250 -ducats is a small honorarium."... "I do not aim at being a musical -usurer, as you think, who composes only in order to get rich, by no -means, but I love a life of independence and cannot achieve this -without a little fortune, and then the honorarium must, like everything -else that he undertakes, bring some honor to the artist." He gives -directions as to the dedications. Of the "Egmont" he says: "As soon as -you have received the score you will best know what use to make of it -and how to direct the attention of the public to it--I wrote it purely -out of love for the poet, and to show this I accepted nothing from -the theatre directors who accepted it, and as a reward, as ever and -always, have treated my work with great indifference. There is nothing -smaller than our great folk, but I make an exception in favor of the -archdukes--give me your opinion as to a complete edition of my works, -one of the chief obstacles seems to be in the case of new works which -I shall continue to bring into the world I shall have to suffer in the -matter of publication."... - -Without date, but endorsed by the firm as of August 21st, is the -following little note containing an important correction in the Scherzo -of the Fifth Symphony: - - ... I have found another error in the Symphony in C minor, namely, - in the third movement in 3/4 time where, after the [natural] - [natural] [natural] the minor returns again, it reads (I just take - the bass part) thus: - - [Illustration] - - The two measures marked by a X are redundant and must be stricken - out, of course also in all the parts that are pausing. - -[Sidenote: SORROWS BORNE IN SILENCE] - -If the correspondence in this chapter seems in tone and character at -variance with the assumption that, for some reason or other, this -was a disastrous year to Beethoven, it must not be forgotten that -there are troubles and sorrows which must be borne in silence--when -to complain and lament is apter to excite ridicule than compassion. -Though the burden be almost insupportable, the sufferer must perform -his duties and pursue the business of life with a serene countenance, -and permit no outward sign to reveal the secret pain. "The setting of -a great hope is like the setting of the sun," says Longfellow. "The -brightness of our life is gone. Shadows of evening fall around us and -the world seems but a dim reflection--itself a broader shadow. We look -forward into the coming lonely night. The soul withdraws into itself." -When "surprised" by Bettina, Beethoven's great hope had set and "ill -humor had complete control" of him. His "marriage project had fallen -through." Whoever the lady was, the blow had now fallen and must be -borne in silence. Its disastrous effect upon Beethoven's professional -energies is therefore for us the only measure of its severity. True, -he writes to Zmeskall and talks of his art as if great things were in -prospect; but he had no heart for such labor, and not until October did -he take up and finish the ~Quartetto Serioso~ for his friend. The long -bright summer days, that in other years had awakened his powers to new -and joyous activity and added annually one at least to the list of his -grandest works, came and departed, leaving no memorial but a few songs -and minor instrumental works--the latter apparently composed to order. -He took no country lodging this summer--alternating between Baden and -Vienna, and indulging in lonely rambles among the hills and forests. We -think it must have been in this period of song composition and oriental -studies that, on such an excursion, he had with him the undated paper -containing a selection from the songs in Herder's "Morgenländische -Blumenlese" and wrote upon it in pencil: - - My decree [meaning the annuity contract] says only "to remain in - the country"--perhaps this would be complied with by any spot. - My unhappy ears do not torment me here. It seems as if in the - country every tree said to me "Holy! Holy!" Who can give complete - expression to the ecstasy of the woods? If everything else fails - the country remains even in winter--such as Gaden, Unterer Brühl, - etc.--easy to hire a lodging from a peasant, certainly cheap at - this time. - -Another half-sheet in the Library of the Musikfreunde in Vienna, mostly -covered with rude musical sketches, is a suitable pendant to the -above, as it contains these words: "Without the society of some loved -person it would not be possible to live even in the country." - -It is well known that Beethoven's duties to Archduke Rudolph soon -became irksome and at last almost insupportable. It was, however, for -his good that he was compelled to perform them and be master of himself -to that extent; it was also fortunate that Elizabeth Brentano came -just at the crisis with beauty, grace and genius to turn his thoughts -into other channels. Nor was it without benefit to him that Thomson's -melodies, which required no severe study, gave some desultory but -profitable employment to his mind. Just at the close of the year it -was rumored that he contemplated a journey into Italy "next spring, in -order to seek restoration of his health, which had suffered greatly -for several years, under southern skies." There was some foundation -for this, for some years later Beethoven himself states in one of his -letters: "I declined a call to Naples." - -[Sidenote: WORKS PUBLISHED IN 1810] - -The compositions of the year 1810 are: - - 1. The incidental music to Goethe's "Egmont." It was composed - between October, 1809 and May, 1810, and the first performance took - place on the 24th day of the latter month. There are sketches for - the song "Freudvoll und Leidvoll" in a sketchbook used in 1809; - but Nottebohm does not recognize them as having been conceived - for use in the tragedy, since there are indications that the song - was to have pianoforte accompaniment and be sung in part by two - voices. In a sketchbook begun early in January, 1810 (Nottebohm, - "Zweite Beethoveniana," p. 276), on the first twenty-nine pages - there are sketches for seven numbers in the following order, viz: - 7, 1, 8, 9, 2, 3, 6. Sketches for the overture are not to be found - in the book, but in other places in connection with sketches for - the Pianoforte Trio in B-flat, Op. 97, which was also in hand in - 1809. Beethoven's admiration for Goethe (stimulated, it is fair to - assume, by his intercourse with Elizabeth Brentano) is shown by the - fact that, besides the "Egmont" lyrics, others of Goethe's poems - were sketched or completed in the year which saw the production - of the tragedy. "Egmont" was first performed on May 24, 1810. - Though Beethoven contemplated dedicating it to Archduke Rudolph, - it eventually appeared without a dedication. Beethoven offered the - music to Breitkopf and Härtel in a letter dated May 6 (1810) for - 1400 florins in silver. - - 2. Two songs: "Kennst du das Land" and "Herz, mein Herz." - - 3. Three songs: "Wonne der Wehmuth," "Sehnsucht," and "Mit einem - gemalten Bande." The manuscript bears the following inscription - in Beethoven's hand: "3 Gesänge--1810--Poesie von Goethe in Musik - gesetzt von Ludwig van Beethoven." - - 4. Forty-three Irish melodies, with ritornellos and accompaniments - for pianoforte, violin and violoncello (completed). - - 5. Écossaise for military band. - - 6. Polonaise for military band. - - 7. March in F major for military band. "Composed in 1810, in Baden, - for Archduke Anton--3rd Summer-month." - - 8. String Quartet, F minor. Op. 95. The autograph manuscript - preserved in the Royal Imperial Court Library at Vienna bears the - inscription: "~Quartetto serioso~--1810--in the month of October. - Dedicated to Herr von Zmeskall and written in the month of October - by his friend L. v. Beethoven." - -The publications of the year were: - - 1. "Das Lied aus der Ferne." Published by Breitkopf and Härtel, in - February. - - 2. "Andenken," song by Matthison. Breitkopf and Härtel, in March. - - 3. The opera "Leonore," in two acts, etc., without overture and - finales. Breitkopf and Härtel, in March. - - 4. ~Sestetto pour 2 Clarinettes, 2 Cors et 2 Bassons, par L. v. - Beethoven.~ In parts, by Breitkopf and Härtel, in April. - - 5. ~Ouverture à grand Orchestre de l'Opéra Leonore, etc.~ - ("Leonore, No. 3"), by Breitkopf and Härtel, in July. - - 6. Five Songs: Lied aus der Ferne ("Als mir noch die - Thräne"--thirteen pages composed stanza by stanza, newly - published); Der Liebende ("Welch' ein wunderbares Leben"); Der - Jüngling in der Fremde ("Der Frühling entblühet"); An den fernen - Geliebten ("Einst wohnten süsse Ruh"); Der Zufriedene ("Zwar schuf - das Glück hienieden"), published in "Achtzehn deutsche Gedichte mit - Begleitung des Pianoforte von verschiedenen Meistern ... Erzherzog - Rudolph ... gewidmet von C. L. Reissig," by Artaria and Co., - Vienna, in July. - - 7. "Die Sehnsucht von Goethe, mit vier Melodien nebst - Clavierbegleitung...." No. 38, Vienna and Pesth, Kunst-und - Industrie-Comptoir, in September. A later edition bears the imprint - of S. A. Steiner and Co. - - 8. ~Variations pour le Pianoforte composées et dediées à son Ami - Oliva par L. v. Beethoven. OEuv. 76.~ Breitkopf and Härtel, in - October. - - 9. ~Quatuor pour deux Violons, etc., composé et dedié à son Altesse - le Prince régnant de Lobkowitz, Duc de Raudnitz, par, etc.~ Op. 74. - Breitkopf and Härtel, in November. - - 10. Six Songs with accompaniment for the Pianoforte. Op. 75. - Dedicated to Princess Kinsky. Breitkopf and Härtel, in November. - Mignon ("Kennst du das Land"); Neue Liebe, neues Leben ("Herz, mein - Herz"); Aus Goethe's Faust ("Es war einmal ein König"); Gretel's - Warnung ("Mit Liebesblick und Spiel und Sang"); An den fernen - Geliebten ("Einst wohnten süsse Ruh"); Der Zufriedene ("Zwar schuf - das Glück hienieden"). The last two had been published in July in - Reissig's Collection (see No. 6). - - 11. ~Fantaisie pour le Pianoforte composée et dediée à son Ami - Monsieur le Conte François de Brunswick par L. v. Beethoven.~ Op. - 77. Breitkopf and Härtel, in November. - - 12. ~Sonate pour le Pianoforte composée et dediée à Madame la - Comtesse Thérèse de Brunswick, etc.~ Op. 78. Breitkopf and Härtel, - in November. - - 13. ~Sonatine pour le Pianoforte, etc.~ Op. 79. Breitkopf and - Härtel, in November. - - 14. ~Sextuor pour 2 Violons, Alto, Violoncello et 2 Cors obligés.~ - Op. 81 (81b), by Simrock, Bonn, in the spring. - -FOOTNOTES: - -[77] The letters to Gleichenstein were placed by Nohl and after him -by Thayer in the year 1807. Their references to money matters and -incidents which seem to point to the acquisition of a larger sum -than usual, especially the first, which indicates that Beethoven -had recently had an English bill of exchange cashed by his banker, -connect them pretty obviously with the payment received from Clementi -and Co. Bringing these letters into connection with others which -were indubitably written in 1810, Dr. Riemann makes the argument -which follows in the body of the text as to the person whom Beethoven -expected to marry when he sent to Wegeler on May 2d of that year for -a copy of his baptismal certificate. Thayer pursued the theory that -the lady was Countess Therese von Brunswick. The English editor has -thought it wise to follow Dr. Riemann in assigning the letters to the -year 1810, and permitting his German associate to make his argument in -favor of Therese Malfatti, as he has already permitted Thayer to urge -that the "Immortal Beloved" of the love-letter and the hoped-for bride -of 1810 were one and the same person. The personality of the "Immortal -Beloved" is not implicated in Dr. Riemann's contention, but only the -date when the tender relations between Beethoven and Countess Brunswick -came to an end. On that point there is no evidence. Thayer, as we have -seen and shall see again, believed that Beethoven had proposed marriage -to Therese Malfatti; but he thought it was in 1811. Of the evidence -introduced by the Clementi incident, Thayer knew nothing, as it was not -unearthed until five years after his death. - -[78] This account of the first meeting of Bettina and Beethoven is -compiled from her letters to Goethe and Pückler-Muskau, and notes of -her conversation with the writer. How deep and clear the impressions -of their first interviews with Beethoven, even to minute incidents, -remained upon the memories of both Mme. von Arnim and Mme. von Arneth, -when seventy years of age, the writer had opportunity to know by -hearing them from their own lips. In the printed letters of the former -to Pückler-Muskau, the part relating to this first meeting is lucid and -satisfactory, but the confusion of memory visible in the rest of the -letter renders it nearly worthless. - -[79] From the "Athenæum." There are a few variations in the letter as -printed in the Nuremburg journal and in "Ilius Pamphilius"--"Bettine" -is changed to "friend," "frog" to "fish," "and on the bastion" is -omitted, "fascinated" (gebannt) is altered to "seized" (gepackt). A few -other differences are grammatical errors. - -It seems proper at this place for the English Editor to remark that Mr. -Thayer's argument in favor of the authenticity of the Bettina letters -was printed in the Appendix to Vol. III of the original edition with a -concluding foot-note by Dr. Deiters in which he said that he had not -been convinced by his author's painstaking exposition that the letters -are genuine. Dr. Riemann in the second German edition prints the -letters and the argument in the text, distributing the latter in two -chapters and appending a foot-note in which he gives it as his opinion -that only the second (that dated February 10, 1811, the autograph of -which is in existence) is authentic ~as a letter~, while the other two, -though probably based on observations made by Beethoven to Bettina, -were put into epistolary shape by her. One of Bettina's letters to -Pückler-Muskau, which tells of Beethoven's rudeness to Goethe as -illustrated in the anecdote which plays so important a rôle in the -third letter, would seem to bear out this theory. But it is also likely -that Beethoven's original letters were tricked out by her for literary -effect, which would help to explain the disappearance of the autographs -of the letters of 1810 and 1812. The second letter, which was printed -in ~facsimile~ in the Marx-Behncke critical biography of Beethoven (4th -ed., 1884), was in possession of Pastor Nathusius in Quedlinburg in -1902. - - - - -Chapter XI - - Bettina Brentano Again--Letters Between Beethoven and Goethe--The - B-flat Trio--The Theatre in Pesth--Opera Projects--Therese - Malfatti--Sojourn in Teplitz. - - -Beethoven's intercourse with the Brentanos kept his interest in Bettina -alive and to this we owe a characteristic and welcome letter which, -like the first, is here taken from the Nuremberg "Athenæum": - - Vienna, February 10, 1811. - - Beloved, dear Bettine! - - I have already received two letters from you and observe from your - letters to your brother ["to Tonie" in the "Ilius Pamphilius," - Tonie being her sister-in-law], that you still think of me and - much too favorably. I carried your first letter around with me - all summer and it often made me happy; even if I do not write to - you often and you never see me I yet write you a thousand times - a thousand letters in my thoughts. I could have imagined how you - feel amidst the cosmopolitan rabble in Berlin even if you had not - written about it to me; much chatter without deeds about art!!!!! - The best description of it is in Schiller's poem "Die Flüsse," - where the Spree speaks. - - You are to be married, dear Bettine, or have already been, and I - could not see you once more before then; may all happiness with - which marriage blesses the married, flow upon you. What shall I - tell you about myself? "Pity my fate," I cry with Johanna; if I can - save a few years for myself for that and all other weal and woe I - shall thank Him the all-comprehending and Exalted. If you write to - Goethe, hunt out all the words to express my deepest reverence and - admiration for him. I am about to write to him myself concerning - Egmont for which I have composed music and, indeed, purely out of - love for his poems which make me happy, but who can sufficiently - thank a great poet, the most precious jewel of a nation? And now no - more, dear good Bettine. It was 4 o'clock before I got home this - morning from a bacchanalian feast at which I had to laugh so much - that I shall have to weep correspondingly to-day; boisterous joy - often forces me in upon myself powerfully. As to Clemens,[80] many - thanks for his kind offer. As to the cantata, the subject is not - sufficiently important for us here, it is a different matter in - Berlin, and as concerns affection, the sister has monopolized it - so much that little will be left for the brother, does that suffice - him? - - Now, farewell dear, dear Bettine, I kiss you upon your forehead and - thus impress upon you as with a seal all my thoughts of you. Write - soon, soon, often to your friend - - Beethoven. - - Beethoven lives on the Mölker - Bastei in the Pascolati House. - -This letter invites attention to several erroneous comments which -have been made on the Bettina letters and the history of the "Egmont" -music. Czerny's statement that Beethoven did not compose the music to -the tragedy out of love for Goethe's poems but would have preferred a -commission for Schiller's "Tell" is contradicted by Beethoven himself -in a letter to Breitkopf and Härtel which was written six weeks before -the letter to Bettina. In his book "Die Briefe Beethovens an Bettina -von Arnim" (1882), Dr. Deiters expressed a doubt that Beethoven would -have written in February, 1811, that he was "about to write to Goethe" -about his work which was finished early in 1810; but this objection to -the authenticity of the letter is removed by the fact that it was two -months more before the purpose thus expressed was carried out. In the -Goethe archives in Weimar there is a letter from Beethoven which was -first given to the world in 1890, by Dr. Theodor Frimmel in his "Neue -Beethoveniana" (p. 345). It runs as follows: - -[Sidenote: BEETHOVEN WRITES TO GOETHE] - - Vienna, April 12, 1811. - - Only a moment's time offers me the urgent opportunity inasmuch as - a friend of mine who is a great admirer of yours (like myself) is - hastily departing from here, to thank you for the long time that - I have known you (for I know you since my childhood)--that is - so little for so much--Bettine Brentano has assured me that you - will graciously, even kindly receive me, but how can I think of - such a reception when I can only approach you with the greatest - reverence and with an unutterably deep feeling for your glorious - creations--you will soon receive the music to Egmont from Leipsic - through Breitkopf and Härtel, this glorious Egmont which I read - so ardently, thought over and experienced again and gave out in - music--I would greatly like to have your judgment on it and your - blame, too ... will be beneficial to me and my art, and be accepted - as gladly as the highest praise. - - Your Excellency's - - Great admirer - - Ludwig van Beethoven.[81] - -The music to "Egmont" was not published till January, 1812, and -Goethe had to wait a long time before he was able to form an opinion -concerning it. This was not Beethoven's fault, however; on October 9, -1811, we find him writing to Breitkopf and Härtel: - - Do send the whole whole [~sic~] score copied at my expense for - aught I care (the score, that is) to Goethe, how can a German - publisher be so discourteous, so rude to the first of German poets? - Therefore, quick with the score to Weimar. - -This injunction was not obeyed, and on January 28, 1812, Beethoven -makes another urgent request: - - I therefore again beg of you humbly to take care of these - letters--and with the letter to Goethe[82] to send the Egmont - (score), but not in the customary way with here and there a piece - wanting, etc., but properly, this cannot be postponed longer, I - have pledged my word and am the more particular to have the pledge - redeemed when I can compel somebody else, like you, to do it--ha, - ha, ha! You deserve that I employ such language towards you, - towards such a sinner who if I had my way would walk in a hairy - shirt of penance for all the flagitiousness practised on my works. - -Beethoven had had the intention of sending the score of the "Egmont" -music to Goethe from the moment he began on it, as appears from a -memorandum on the autograph manuscript of the Quartet in E-flat, Op. -74, written in 1809: "Score of Egmont to Goethe at once." - -On the 28th of February, Beethoven sent his friend Mähler an invitation -to a concert. Mähler accepted the invitation and received a ticket -"extra-ordinaire," signed "B^r. de Neuwirth," admitting him free -to three midday concerts on Thursdays, February 28, March 14 and -28. Beethoven's elasticity of temperament therefore was doing him -good service in enabling him to recover from the crushing blow of -the preceding year; he was now able not only to find diversion and -amusement in society, the theatre and the concertroom, but the spirit -of composition was again awakened. In three weeks--March 3rd to the -26th--he produced the glorious B-flat Trio, Op. 97, which had been -sketched in 1810. - -There were now, or soon to be, in the hands of Breitkopf and Härtel's -engravers the Pianoforte Concerto, Op. 73, the Fantasia, Op. 80, the -Sonate "Les Adieux," Op. 81a, the Ariettes and Songs, Op. 82 and -83, and the "Christus am Ölberg." The revision of these works for -the press, with the correction of the proofs and his duties to the -Archduke, are all the professional labors of Beethoven in these months -of which we find any trace. Hence, that high appreciation of his -greatness, which induced his admirers and friends even then to attach -such value to the most trivial written communications from him as to -secure their preservation, now does us excellent service; for--the -dates of the Trio excepted--his correspondence furnishes the only -materials for the history of the first half of this year. To this we -turn. - -[Sidenote: THE PIANOFORTE TRIO IN B-FLAT] - -There is a note, which may be dated about the end of March, apologizing -to the Archduke for his absence, on the ground of having been for two -weeks again with his "tormenting headache." "During the festivities for -the Princess of Baden (March 5-12), and because of the sore finger of -Your Imp. Highness," he adds, "I began to work somewhat industriously, -of which, among other things, a new Trio for the piano is a fruit." -Soon after he sends the new Trio to the Archduke to have it copied, -"but only in your palace, as otherwise one is never safe from theft." -He proceeds thus: - - I am improving and in a few days I shall again have the honor to - wait upon you for the purpose of making up for lost time. I am - always anxiously concerned when I cannot be as zealously and as - often as I should wish with Your Imperial Highness. It is surely - true when I say that it causes me much suffering, but I am not - likely to have so bad an attack again soon. Keep me graciously - in your memory. Times will come when I shall show you two and - threefold that I am worthy of it. - -These professions may well excite a smile; for "it is surely true" when -~we~ say, that his duties to the Archduke had already become extremely -irksome; and that the necessity of sacrificing in some small degree to -them his previous independence grew daily more annoying and vexatious; -so much so that, in fact, he availed himself of any and every -excuse to avoid them. The Archduke made a point of adding a complete -collection of Beethoven's music to his library; and the master lent his -aid in this both by presenting all his new productions in manuscript -and in giving titles of older printed works--gaining thereby a secure -depository for his compositions, where they were ever at his service. -Thus (May 18) he sends for the Sonata "Das Lebewohl, etc.," "as I -haven't it myself and must send the corrections"; some time after for -the Scottish songs, "as two numbers, one in my handwriting, have been -lost and they must be copied again so that they may be sent away."[83] - -Here is the place for a letter to Breitkopf and Härtel: - - Vienna, May 6th. - - Errors--errors--you yourselves are one large error--here I must - send my copyist, there I must go myself if I wish that my works - shall not appear--as a mere error--it appears as if the musical - tribunal at L. was unable to produce a single decent proof-reader, - besides which you send out the works before you receive the - corrections--at least in the case of larger works with various - parts you might count the measures--but the Fantasia shows how this - is done--look in the overture to Egmont, where a whole measure is - missing. - - --Here the list of errors ( ).... Make as many errors as you - please, permit as many errors as you please--you are still highly - esteemed by me, it is the custom of men that we esteem them because - they have not made still greater errors. - -About this time Gottfried Chr. Härtel's wife died, and on May 20th -Beethoven wrote to him a letter of condolence in which he said: "It -appears to me that in view of such a separation which confronts nearly -every husband one ought to be dissuaded from entering this state." To -a suggestion made by his publishers he replies: "What you say about an -opera would surely be desirable, the directors, too, would pay ~well~ -for one, the conditions are just now unfavorable, it is true, but if -you will write me what the poet demands I will make inquiry concerning -the matter; I have written to Paris for books, successful melodramas, -comedies, etc. (for I do not dare to write an original opera with any -of our local poets), which I shall then have adapted--O, poverty of -intellect--and pocket!" - -[Sidenote: MUSIC FOR "THE RUINS OF ATHENS"] - -The new theatre at Pesth was so far advanced in 1810, that the -authorities began their preliminary arrangements for its formal opening -on the Emperor's name-day, October 4th, 1811, by applying to Heinrich -von Collin to write an appropriate drama, on some subject drawn from -Hungarian history, for the occasion. "The piece was to be associated -with a lyrical prologue and a musical epilogue." "The fear that he -could not complete the work within the prescribed time and that his -labors would be disturbed, compelled Collin to decline the commission -with thanks." The order was then given to Kotzebue, who accepted -it and, with characteristic rapidity, responded with the prologue -"Ungarn's erster Wohltäter" (Hungary's first Benefactor), the drama -"Bela's Flucht" (Bela's Flight), and the epilogue "Die Ruinen von -Athen" (The Ruins of Athens). As Emperor Franz had twice fled from his -capital within five years, it is not surprising that "'Bela's Flight' -for various reasons cannot be given" and gave place to a local piece -("The Elevation of Pesth into a Royal Free City"). Kotzebue's other two -pieces were accepted and sent to Beethoven in May of this year. The -composition of the music to them was the engagement above mentioned, -and, of course, formed his principal employment during the summer. - -Hartl had now retired from the direction of the Court Theatres, and -Lobkowitz and Palffy were again at the helms respectively of the -theatre next to the Kärnthnerthor and that An-der-Wien. Beethoven was -busy with dramatic compositions and so, very naturally, the project of -another operatic work was revived. He had also obtained a subject that -pleased him--a French melodrama. "Les Ruines de Babylon"--probably -from the Prussian Baron Friedr. Joh. Drieberg. This composer, much more -favorably known for his researches into ancient Greek music than for -his operas, had been five years in Paris, "where he studied composition -under Spontini and probably for a short time also under Cherubini," and -now for two years in Vienna. - -A series of notes from Beethoven to Drieberg, Treitschke and Count -Palffy, written in June and July, 1811, show how the operatic project -was shaping itself in his mind. On June 6, he is anxious to know if -Treitschke has read the book, and wishes to re-read it himself before -beginning work on it; to the same on July 13, he writes that he has now -received the translation of the melodrama with directions from Palffy -to discuss it with him. He expresses dismay to Palffy on July 11, -because he has heard that a benefit performance of the melodrama "Les -ruines de Babilone" is projected, sets forth how hard he had worked -to find a suitable libretto, as he had in this, and how much more -desirable it would be to have it given as an opera; and finally hopes -that Palffy will forbid the intended performance. - -"It is said," writes the correspondent of the "Allg. Mus. Zeit." under -date January 8, "that Beethoven may next Spring undertake a journey -to Italy for the purpose of restoring his health, which has suffered -severely during the last few years." One effect of his maladies was to -produce long-continued pains in the head, and it was finally thought -best by his physician, Malfatti, to abandon the journey and try the -waters of Teplitz. This Beethoven decided to do and to take with him -as friend and companion young Oliva. In a letter to Count Brunswick he -thanks him for agreeing to make the journey with him, and tells him -that on the advice of his physician he must spend two whole months at -Teplitz until the middle of August, wherefore he could not accompany -the Count. He adds: "I pray you so to arrange your affairs as to be -here [i. e., Vienna] at the latest by July 2 or 3, as otherwise it -will be too late for me, and the doctor is already grumbling that I -am waiting so long, although he himself says that the companionship -of such a dear good friend would benefit me." In another letter he -says: "I cannot accept your refusal; I have permitted Oliva to go away -alone, and on your account; I must have some trusted one at my side if -everyday life is not to become burdensome.... As I do not know how you -came to have the portrait[84] it would be best if you were to bring it -with you, no doubt a sympathetic artist will be found who will copy it -for friendship's sake." - -[Sidenote: WORK ON THOMSON'S COMMISSION] - -Brunswick did not come to Vienna, where Beethoven remained till the -end of July, as we see from a note to Zmeskall after the return from -Teplitz and a letter to Breitkopf and Härtel after he had been at the -watering-place three weeks. Meanwhile Beethoven worked on the Scottish -Songs for Thomson and announced their completion on July 20, in a -letter in which he complains that, because the three copies of the 53 -songs which he had previously sent to Thomson had not been received, he -had been obliged practically to rewrite them from his sketches--which -may have been a somewhat exaggerated statement of the facts. In it, -furthermore, he says: "Your offer of 100 ducats in gold for the three -sonatas is accepted for your sake and I am also willing to compose -three quintets for 100 gold ducats; but for the dozen English songs my -price is 60 ducats in gold (for four songs the price is 25 ducats). For -the cantata on the naval battle in the Baltic sea, I ask 50 ducats; but -on condition that the text contains no invectives against the Danes, -otherwise I cannot undertake it....[85] I will not fail to send you -the arrangements of my symphonies in a very short time, and will gladly -undertake the composition of an oratorio if the words be noble and -distinguished and the honorarium of 600 ducats in gold be agreeable to -you." - -Beethoven arrived in Teplitz about August 1, possibly a day or two -earlier, and for three weeks was chiefly concerned with his cure and -the correction of proofs, as appears from a letter, dated on August -23, to Breitkopf and Härtel. In this, speaking about the "Christus am -Ölberg," he says: - - Here and there the text must remain as in the original. I know - that the text is extremely bad, but after one has conceived a unit - out of even a bad text, it is difficult to avoid spoiling it by - individual changes, and if great stress be laid upon a single word - it must be left, and he is a bad composer who does not know how or - try to make the best possible thing out of a bad text, and if this - is the case a few changes will certainly not improve the whole. - -He has words of approval for Mozart's "Don Giovanni" and of dispraise -for Italian musicians in general, as see: - - The favorable reception of Mozart's "Don Juan" rejoices me as much - as if it were my own work. Although I know plenty of unprejudiced - Italians who render justice to the German, the backwardness and - easy-going disposition of the Italian musicians are no doubt - responsible for the same deficiencies in the nation; but I have - become acquainted with many Italian amateurs who prefer our music - to their Paisiello, etc. (I have been more just to him than his own - countrymen.) - -Varnhagen von Ense, then a young man of 25 years and lieutenant in the -Austrian service, came from Prague to Teplitz this summer to pass a few -weeks with "The goddess of his heart's most dear delight," Rahel Levin. -In his "Denkwürdigkeiten" we first meet Beethoven since his letter to -Thomson--a solitary rambler in the Schlossgarten at Teplitz, whither, -as Brunswick could not or would not accompany him, he had journeyed -alone. Varnhagen was with Beethoven every day and came into more -intimate relations with him through his eager desire to write texts -for him for dramatic compositions or to revise such texts. With Tiedge -and the Countess von der Recke, Beethoven formed a warm friendship. -Varnhagen wrote to Rahel: "Only Oliva could I endure about me for any -length of time; he was sympathetic, but deeply depressed because of -violent altercations which he had with Beethoven." From the source of -these communications we also learn that Varnhagen was expected to adapt -an opera text for Beethoven and to revise and improve another. In a -letter of September 18, Varnhagen himself wrote to Rahel as follows -on the subject: "I may translate a French piece as an opera for -Beethoven; the other text might be written later, but this contains -the entire scenic arrangement. It is entitled 'Giafar' and might bring -me from 8 to 10 ducats." But later, "Of Beethoven and Oliva I hear and -see nothing; the latter must have been unable to make anything out -of the opera which I was to make from a French melodrama and which, -unfortunately, another had begun." - -[Sidenote: BEETHOVEN AS CUPID'S MESSENGER] - -Soon after Beethoven's arrival in Teplitz there must have occurred the -incident of Beethoven's visit to the grave of Seume, which was referred -to in a previous chapter in connection with the C-sharp minor Sonata. -Seume had died on June 13, 1810, at Teplitz. There were other visitors, -not mentioned by Varnhagen, with whom Beethoven formed relations more -or less cordial and intimate. One was the Royal Imperial Gubernialrath -and Steyermärkischer Kammerprokurator Ritter von Varena of Gratz; -another was Ludwig Loewe, the actor, just then engaged for the theatre -at Prague. "Thereby hangs a tale." - - Loewe had an honorable love-affair with Therese, the daughter - of the landlord of the inn "Zum Stern" in Teplitz. For "~this - reason~," as Loewe told this author's informant, "he always came - to the inn after the guests had departed; Beethoven, being hard - of hearing and melancholy, for ~this reason~ always came later, - so that he would meet nobody. The landlord, father of the girl, - discovered their relations, took Loewe to task, and the latter - voluntarily agreed to remain away in order to spare the girl, whom - he dearly loved. After a time he met Beethoven in the Augarten, - and the latter, who was warmly attached to him, asked him why he - no longer came to the Stern. Loewe told him of his misfortune and - asked the composer if he would carry a letter to Therese. Beethoven - not only agreed in the friendliest manner to do so, but also - offered to see that he got an answer, and thereafter cared for the - correspondence." Loewe did not know when Beethoven departed from - Teplitz; he himself went to fill his engagement at Prague. "The - lovers pledged each other to fidelity, but a few weeks later Loewe - received intelligence of the death of his Therese." - -Another visitor at Teplitz was Prince Kinsky; and this gave the -composer an opportunity to obtain the arrears of his annuity. On the -still existing envelope of the contract of 1809 is written: "Kinsky am -letzten August behoben." Another was Amalie Sebald, who had come with -Countess von der Recke from Berlin, a member of a family who for years -had furnished members to Fasch's Singakademie, where she had appeared -as a solo singer. She was said to have "a fascinatingly lovely singing -voice." Among the friends of Carl Maria von Weber when he was in Berlin -in 1812, were Amalie Sebald and her sister Auguste, also "highly -musical" and a singer. For Amalie, Weber conceived a warm and deep -affection; and now Beethoven was taken an unresisting captive by her -charms. She is mentioned--the reader will note how familiarly--in this -letter to Tiedge, dated Teplitz, September 6, 1811: - - Every day the following letter to you, you, you, has floated in my - mind; I wanted only two words at parting, but not a single word - did I receive; the Countess sends (through another) a feminine - handgrasp; that at least is something to talk about and for it I - kiss her hands in my thoughts, but the poet is dumb. Concerning - Amalie, I know at least that she is alive. Every day I give myself - a drubbing for not having made your acquaintance earlier in - Teplitz. It is abominable to know the good for a short time and - at once to lose it again. Nothing is more insufferable than to be - obliged to reproach one's self with one's own mistakes. I tell you - that I shall probably be obliged to stay here till the end of this - month; write me only how long you will still stay in Dresden; I - may feel disposed to take a jump to the Saxon capital; on the day - that you went away from here I received a letter from my gracious - Wiesbadenian Archduke, that he will not remain long in Moravia - and has left it for me to say whether or not I will come; this I - interpreted to the best of my wishes and desires and so you see me - still within these walls where I sinned so deeply against you and - myself; but I comfort myself with the thought that if you call it - a sin I am at least a downright sinner and not a poor one.... Now - fare as well as poor humanity may; to the Countess a right tender - yet reverential handgrasp, to Amalie an ardent kiss when no one - sees us, and we two embrace each other like men who are permitted - to love and honor each other; I expect at least a word without - reserve, and for this I am a man. - -[Sidenote: BREITKOPF AND HÄRTEL ARRAIGNED] - -The desire here expressed to visit his new friends in Dresden, could -not be gratified, owing to the necessity of completing and forwarding -the music composed for the opening of the Pesth theatre. How long -Beethoven remained in Teplitz cannot be said with exactness, though -there is evidence in a couple of letters to Breitkopf and Härtel and -Countess von der Recke which, taken in connection with an established -incident of his journey, fixes the date approximately. The letter to -Breitkopf and Härtel of October 9, 1811, has so large an interest on -other accounts as to merit translation and publication: - - From here a thousand excuses and a thousand thanks for your - pleasant invitation to Leipsic; it pained me greatly not to be able - to follow my inclination to go there and to surrounding places, but - this time there was work in every direction, the Hungarian Diet is - (in session), there is already talk that the Archduke is to become - ~primas~ of Hungary and abandon the Bishopric of Olmütz; I have - offered to the Archduke, who as ~primas~ of Hungary will have an - income of not less than 3 millions, to go through a clean million - on my own account (it is understood that I would therewith set all - the good musical spirits into action in my behalf); in Teplitz - I received no further news, as nothing was known of my purpose - to leave the place, I think concerning the journey which I am - contemplating that in view of my attachment for him I must yield - (though not without some unwillingness), the more since I may be - needed at festivities; therefore, having chosen the ~pro~, quick to - Vienna, where the first thunderous proclamation that I heard was - that my gracious lord had given up all thoughts of priesthood and - priestly activities and nothing is to come of the whole business. - - It is said that he is to become a general (an easy thing to - understand, you know) and I am to be Quartermaster-General in the - Battle which I do not intend to lose--what do you say to that? The - Hungarians provided me with another incident; in stepping into my - carriage to go to Teplitz, I received a parcel from Ofen (Buda) - with the request to compose something for the opening of the new - theatre at Pesth; after spending three weeks in Teplitz, feeling - fairly well I sat down, in defiance of my doctor's orders, to - help the Mustachios, who are heartily well disposed towards me, - sent my packet thither on September 13, under the impression that - the performance was to come off on the 1st of 8ber, whereas the - matter is put off for a whole month.[86] I received the letter in - which this was intimated, through a misunderstanding, only after - my arrival here, and yet this theatrical incident determined me to - go to Vienna. Meanwhile, postponed is not abandoned, I have tasted - of travel, it has done me great good, now I should like at once - to go away again--I have just received the Lebewohl, etc., I see - after all you have given French titles to other copies, why, lebe - wohl[87] is surely something very different from ~les adieux~, the - former we say heartily to a single person, the latter to whole - congregations, whole cities--since you permit me to be criticized - so shamefully you must submit to the same treatment, you would also - have needed fewer plates and the turning of the pages which has - now been made very difficult would have been easier, and with this - ~Basta--But how in the name of heaven did you come to dedicate my - Fantasia with Orchestra to the King of Bavaria?~ Do answer me that - at once; if you are thereby going to procure me an honorable gift, - I will thank you, such a thing is hardly agreeable to me, did you, - possibly, dedicate it yourself? what is the connection, one is not - permitted to dedicate things to kings without being requested--~and - then there was no dedication of the Lebewohl to the Archduke~, why - were not the year, day and date printed as I wrote them, in the - future you will agree in writing to retain all superscriptions - unchanged as I write them. Let whomsoever you please review the - oratorio and everything else, I am sorry that I ever said a word - about the miserable business, who can mind what such a reviewer - says when he sees how the most wretched scribblers are elevated - by them and how they treat most insultingly art works to which - they cannot at once apply their standard as the shoemaker does his - last, as indeed they must do because of their unfitness--if there - is anything to be considered in connection with the oratorio it is - that it is my first and early work in this form, was composed in - 14 days amidst all possible ~tumult~ and other unpleasant alarming - circumstances (my brother was mortally ill). - - Rochlitz, if I am not mistaken, spoke unfavorably concerning the - chorus of disciples "Wir haben ihn gesehen" in C major even before - it had been given to you for publication; he called it comic, an - impression which here at least was not shown by the local public - and amongst my friends there are also critics; that I should write - a very different oratorio now, than then, is certain--and now - criticize as long as you please, I wish you much pleasure, and if - it should hurt a little like the sting of a gnat it will soon be - over, and then the whole thing is a little joke ~cri- cri- cri- - cri- cri- crit- i- i- i- i- size- size. Not in all eternity, that - you cannot do~, herewith God be with you.... - -Two days later he wrote letters of apology for his sudden departure to -Elise von der Recke and Tiedge, promising the former a setting of one -of her poems. From the letters to Breitkopf and Härtel and Tiedge, it -would appear that Beethoven composed the music to "The Ruins of Athens" -and "King Stephen" within a month and sent it to its destination on -Monday, September 16, and then departed from Teplitz without saying -farewell to his friends. From Varnhagen's "Denkwürdigkeiten" we -learn that "Beethoven, who returned to Vienna from Teplitz with his -friend and mine, Oliva, did not remain long in Prague"; and from the -correspondence with Rahel (II, p. 154), that Oliva went on to Vienna -on September 23, without Beethoven, who made a rather wide detour to -visit Lichnowsky. Of this visit we learn in one of Jahn's notices, -namely: "In the year 1811, B. was at Prince Lichnowsky's on his estate -Grätz near Troppau. The Mass in C was performed at Troppau, for which -everything possible was drummed up; the master of athletics was put at -the tympani; in the Sanctus, Beethoven himself had to show him how to -play the solo. The rehearsals lasted three days. After the performance -Beethoven improvised on the organ for half an hour to the astonishment -of every one; Fuchs was the soprano soloist." Beethoven returned to -Vienna refreshed and invigorated both in body and mind; and something -of his old frolicsome humor again enlivens his notes to Zmeskall: -He expects him to dine with him at the Swan (which was at that time -exceptional, as Beethoven had his own cook); he begs for more quills, -and promises shortly a whole parcel of them, so that Zmeskall "will not -have to pull out his own"; he may receive "the great decoration of the -Order of the 'Cello"; and so on. - -Beethoven's notes to Zmeskall are a barometer that indicates very -correctly the rising and sinking of his spirits; they were now high--at -composition point--and, as the Archduke did not return from Pressburg -until the 7th November, he had at least one month for continuing -without hindrance the studies, whatever they were, that followed the -completion of the music for Pesth. In our judgment they are those, -which occupy the last leaves of the sketchbook (Petter's) partly filled -in the Spring of 1809.[88] - -[Sidenote: A SEASON IN FINANCIAL DOLDRUMS] - -There was no call nor special inducement for the immediate completion -of any orchestral work. Since the "Egmont" Overture and the "Pastoral" -Symphony, produced by Schuppanzigh in May, and the "Coriolan" Overture -at a charity concert on July 14, there is but one notice of the -performance of any one of Beethoven's greater compositions, and even -this (November 15) is very doubtful. In truth, this was no season for -grand musical entertainments with a view to private emolument. The -Finance Patent of February shed its baleful influence on the just -and the unjust and compelled all classes alike to study and practise -economy. Even the old favorite of the Vienna public, Franz Clement, -returning from a musical tour in Russia, and Sebastian Meier, "although -Handel's 'Acis and Galatea' was performed" in their annual Akademies, -"had few hearers." Two or three virtuosos were able to fill small -halls; but no performances on a grand scale were ventured, except for -charities; at these the wealthy appeared in force, it being a pleasant -and fashionable method of doing something to alleviate the general -distress. Beethoven was not the man to hasten his works to completion -when there was no prospect of making either in public or in private any -present use of them. - -The ascertained compositions of this year were: - - I. Trio in B-flat major, Op. 97. - - II. Music to "Die Ruinen von Athen," Epilogue by A. von Kotzebue. - - III. Music to "König Stephan, Ungarn's erster Wohlthäter," a - Prologue by A. von Kotzebue. - - IV. Song by Stoll, "An die Geliebte." - -The publications: - - I. ~Grand Concerto four le Pianoforte avec accompagnement de - l'Orchestre composé et dédié à son Altesse Impériale Rodolphe - Archiduc, etc.~ Op. 73. E-flat. Breitkopf and Härtel, in February. - - II. Four Ariettas and a Duet. Op. 82. (With Italian and German - words: "Dimmi ben mio," "T'intendo," "Che fa, che fa il mio bene," - "Che fa il mio bene" and "Odi l'aura.") Breitkopf and Härtel, March. - - III. Overture to Goethe's "Egmont." Op. 84. Orchestral parts. - Breitkopf and Härtel, March. - - IV. Fantasia for Pianoforte, Orchestra and Chorus; dedicated to - Maximilian Joseph, King of Bavaria. Op. 80. Breitkopf and Härtel, - July. - - V. ~Les Adieux, l'Absence et le Retour. Sonate pour le Pianoforte - composée et dédiée à son Altesse Impériale l'Archiduc Rodolphe, - etc.~ Op. 81. E-flat. Breitkopf and Härtel, July. - - VI. Three Songs by Goethe with Pianoforte accompaniment. Dedicated - to Princess Kinsky. ("Trocknet nicht," "Was zieht mir das Herz," - "Kleine Blumen, kleine Blätter.") Op. 83. Breitkopf and Härtel, - October. - - VII. "Christus am Ölberg." Oratorio. Op. 85. Score. Breitkopf and - Härtel, October. - -FOOTNOTES: - -[80] Clemens Brentano, brother of Bettina and Franz, who had written -the text of a cantata on the death of Queen Louise. - -[81] Goethe's answer to this letter is printed in the Weimar Collection -of the poet's correspondence. Vol. XXII, No. 615. It is worth producing -here: - - Carlsbad, June 25, 1811. - - Your friendly letter, very highly esteemed Sir, was received - through Herr von Oliva much to my pleasure. For the kindly feelings - which it expresses towards me I am heartily grateful and I can - assure you that I honestly reciprocate them, for I have never heard - any of your works performed by expert artists or amateurs without - wishing that I might sometime have an opportunity to admire you - at the pianoforte and find delight in your extraordinary talents. - Good Bettina Brentano surely deserves the friendly sympathy - which you have extended to her. She speaks rapturously and most - affectionately of you and counts the hours spent with you among the - happiest of her life. - - I shall probably find the music which you have designed for Egmont - when I return home and am thankful in advance--for I have heard - it spoken of with praise by several, and purpose to produce it in - connection with the play mentioned on our stage this winter, when - I hope thereby to give myself as well as your numerous admirers in - our neighborhood a great treat. But I hope most of all correctly - to have understood Herr von Oliva, who has made us hope that in a - journey which you are contemplating you will visit Weimar. I hope - it will be at a time when the court as well as the entire musical - public will be gathered together. I am sure that you would find - worthy acceptance of your services and aims. But in this nobody can - be more interested than I, who, with the wish that all may go well - with you, commend myself to your kind thought and thank you most - sincerely for all the goodness which you have created in us. - - -[82] This second letter does not seem to have been preserved. - -[83] At this point in the biography, Thayer, believing that the -broken marriage engagement which had had so powerful an effect on -Beethoven's spirits and intellectual energies in 1810 had been one -entered into with Countess Therese Brunswick, introduces the letters -to Gleichenstein and makes the following comments, which the English -Editor prefers to introduce in a foot-note rather than to put them in -the body of the text, as is done in the second German edition, and give -them a false interpretation: "The allusion to Gleichenstein's marriage -with the younger of the sisters Malfatti, which took place near the -end of May, sufficiently indicates the date of these notes; and the -statement made in a former chapter--that Beethoven once offered his -hand in marriage to the elder, Therese--accounts satisfactorily for the -strong excitement under which they were written; for, that this offer -was not made ~before~ this time (1811) has been--nor ~after~, soon will -be--made clear. - -"There is nothing inconsistent with ordinary experience and -observation--certainly not with Beethoven's character as a lover--in -placing this occurrence here, a year after the failure of the marriage -project. His weakness was not in seeking a wife, for this was wise and -prudent, but in the selection of the person; in imagining that the -young girl's admiration for the artist--her respect and regard for -the friend of her parents and of Gleichenstein--had with increasing -years (she was now nineteen) grown into a warmer feeling; and in -misconceiving the attentions, civilities and courtesies extended to -him by all the members of the family, as encouragement to a suit, the -possibility of which had, probably, never entered the mind of any one -of them. As Gleichenstein could not have been ignorant of his friend's -recent love-troubles, one may well conceive the surprise, dismay and -perplexity, which this sudden whim must have caused him. It placed him -in a dilemma of singular difficulty. ~How~ he escaped from it, there -are no means of knowing; the affair was, however, so managed, that the -rejection of Beethoven's proposal caused no interruption--or at most a -temporary one--in the friendly relations of all the parties immediately -concerned. At this distance of time and in the feeble light afforded -us, the whole matter has all the appearance of a mere whimsical -episode in the composer's life causing him some fleeting disquiet and -mortification; but there is no reason to infer that his disappointment -was either very severe or very lasting. If, however, this be a mistaken -view, it was all the more fortunate that a previous engagement now -forced him to turn his thoughts again to composition and gave him no -leisure to play the love-lorn Corydon." - -[84] It is not a violent presumption that the portrait referred to here -was that of Count Brunswick's sister Therese; at least there is strong -support for it in a letter published by Marie Lipsius (La Mara) in -Breitkopf and Härtel's "Mittheilungen" for March, 1910 (p. 4102). It is -from Beethoven to Therese Brunswick, the original of which has not been -found, but which exists in the form of a transcript in a letter written -by Therese to her sister Josephine, dated February 2, 1811, now in the -possession of Therese's grandniece, Irene de Gerando-Teleki. The letter -reads as follows: - - "Through Franz I have also received a souvenir of our noble - Beethoven which gave me much joy; I do not mean his sonatas, which - are very beautiful, but a little writing which I will immediately - copy literally: - - "'Even without prompting, people of the better kind think of each - other, this is the case with you and me, dear and honored Therese; - I still owe you grateful thanks for your beautiful picture and - while accusing myself as your debtor I must at the same time appear - before you in the character of a beggar in asking you if perchance - you feel the genius of painting stirring within you to duplicate - the little hand-drawing which I was unlucky enough to lose. It was - an eagle looking into the sun, I cannot forget it; but do not think - that I think of myself in such a connection, although it has been - ascribed to me, many look upon a heroic play without being in the - least like it. Farewell, dear Therese, and think occasionally of - your truly revering friend - - Beethoven.'" - -Therese complied with Beethoven's request. On February 23 she -admonished her sister: "My request to you, dear Josephine, is to -reproduce that picture which you alone are able to do; it would not -be possible for me to create anything of the kind." And later she -repeats in French: "You have told me nothing about Beethoven's eagle. -May I answer that he shall receive it?" If the picture referred to by -Beethoven in his letter to the Countess was in his possession before -February 11, 1811, as appears from the Countess' letter to her sister, -how came it to be in the hands of Count Brunswick in July? Here is -another unsolved riddle. - -[85] This letter, in French with Beethoven's autograph signature, is -preserved in the British Museum. The cantata referred to was to have -been a setting of Campbell's "Battle of the Baltic." Returning to -England from the Continent in 1801, the poet saw the preparations for -the Battle of Copenhagen. Campbell was highly esteemed in Germany, -especially by Goethe and Freiligrath, the latter of whom imitated his -"The Last Man." - -[86] It was four months before the performance took place. - -[87] Fare well. - -[88] Nottebohm contends that the book extends from the end of 1811 to -the beginning of 1813. See "Zweit. Beeth.," pp. 289, 290. - - - - -Chapter XII - - The Year 1812--Beethoven's Finances--The Austrian - "Finanzpatent"--Beethoven and Graz--Second Sojourn in - Teplitz--Beethoven and Goethe--Amalie Sebald--Beethoven in - Linz--Meddles with his Brother's Domestic Affairs--Rode and the - Sonata, Op. 96--Spohr--Mälzel and his Metronome--The Canon to - Mälzel. - - -Beethoven must again, for the present, be made his own biographer. The -selections from his correspondence taken for this purpose will all -gain in interest and perspicuity by first giving the notes to Zmeskall -and the Archduke so as to afford a sort of background for the more -important ones, and by introducing here the explanations which numerous -allusions demand in a short series of observations. Schindler writes in -1840: - - In 1811, the Austrian ~Finanzpatent~ reduced these 4000 florins - to one-fifth [the reference being to Beethoven's annuity]; [and - in 1860]: How severely our composer was hit by it is seen in the - circumstance that also all contracts which had to do with paper - money were reduced to one-fifth of the specified sum. In accordance - with this Beethoven's annuity of 4000 florins in bank-notes became - subject to reduction. It was reduced to 800 florins in paper money. - -An error of some kind must be here involved. This seems so obvious and -palpable, as to render it hardly credible that, in all the long years -since 1840, it has not caught the attention of some one writer on -Beethoven and induced him to cast his eye for a moment upon the Patent -itself. The depreciation of a national paper currency to null and its -subsequent repudiation by the Government that emitted it is, in effect, -a domestic forced loan equal in amount to the sum issued; and the more -gradual its depreciation, so much the more likely is the public burden -to be general and in some degree equalized. Such a forced loan was the -"Continental Currency" issued by the American Congress to sustain the -war against England in 1775-83; and such were the French "Assignats" -a few years later; and such, to the amount of 80 ~per centum~ of all -the paper in circulation, was the substitution of notes of redemption -for the bank-notes at the rate of one for five, by the Austrian -~Finanz-Patent~, promulgated February 20th, and put in force March -15th, 1811. But if Schindler be correct, the Imperial Royal Government -went farther and committed the folly and injustice--with little or -no advantage to itself--of issuing and enforcing a decree which, -in its effect, simply confiscated 80 ~per centum~ of all domestic -indebtedness--where the payment in specie or its equivalent was not -stipulated--to the gain of the debtor and the loss of the creditor! -According to more modern ideas of national economy, those ordinances -of the ~Finanz-Patent~ of February 20, which relate to "continuing, -periodically recurring payments of interest, incomes, farm-rents, -pensions, maintenance moneys, annuities, etc.," were certainly unwise -and uncalled-for; but they involved no such blunder as that. The -Government assumed that every contract of pecuniary obligation between -Austrian subjects, wherein special payment or its equivalent was not -stipulated, was payable in bank-notes; and that the real indebtedness -under any such contract was in justice and equity to be determined -and measured by the value in silver of the bank-notes at the date of -the instrument. This second proposition is fallacious and deceptive, -because such contracts rested upon the necessary presumptions that the -faith and honor of the supreme authority were pledged to the future -redemption of its paper at par and that the pledge would be redeemed. -But this was not seen or was not regarded. Consequently, there was -annexed to the ~Finanz-Patent~ a table showing decimally the average -equivalent of the silver florin in the bank-notes, month by month, from -January, 1799 to March, 1811. This table was made a "Scala über den -Cours der Bancozettel nach welchem die Zahlungen zufolge des Paragraphs -13 und 14 des Patents vom 20 Hornung, 1811, zu leisten sind." ("Scale -of the rate of exchange according to which payments are to be made in -accordance with paragraphs 13 and 14 of the Patent of February 20, -1811.") We copy two of the months as examples: - - 1799 1800 1801 1802 1803 1804 1805 1806 1807 1808 1809 1810 1811 - Jan. 1.03 1.13 1.16 1.19 1.30 1.34 1.33 1.47 1.90 2.04 2.21 4.69 5.00 - Mar. 1.05 1.14 1.14 1.18 1.27 1.34 1.29 1.49 2.06 2.10 2.48 3.31 5.00 - -[Sidenote: LEGAL ASPECT OF THE ANNUITY CONTRACT] - -Beethoven's annuity contract bore date March 1, 1809, when one florin -in silver was equal to two and forty-eight hundredths in bank-notes. -Hence his 4000 did not shrink to 800 but to 1612-9/10[89] in paper -money; but ~this~ paper money then was intended to be, and for some -time was, equal to silver. More than this he could not ~legally~ -demand; but the original reasons for the contract, the intentions of -the donors and the mutual understanding of the parties gave him a -perfect claim ~in equity~ for the full amount of 4000 florins in notes -of redemption. Nor did the princes hesitate to admit its justice. -They were men of honor and this was a debt of honor. Archduke Rudolph -immediately gave the necessary order and instructions in writing; and -Beethoven's anxiety because the others had not yet given him the same -security was justified by the event, although he might have expressed -it rather more delicately.[90] - -The opening of the new theatre in Pesth not having taken place in -October as proposed, was deferred to Sunday, February 9th, that it -might bear the character of a festivity in honor of the Emperor's -birthday (October 12th). The performances were repeated on the 10th and -11th to crowded audiences which received Beethoven's music to "King -Stephen" and "The Ruins of Athens" (reported to be "very original, -excellent and worthy of its master") with clamorous applause. Beethoven -had been so favorably impressed with Kotzebue's texts that in January, -1812, he applied to him for an opera text: - - Highly respected, highly honored Sir: - - While writing music for the Hungarians to your prologue and - epilogue, I could not refrain from the lively wish to possess an - opera from your unique talent, romantic, serious, heroico-comic - or sentimental, as you please; in short, anything to your liking - I would accept with pleasure. True, I should prefer a big subject - from history and particularly one from the darker periods, Attila, - etc., for instance; but I should accept with thanks anything and - any subject coming from you, from your poetical spirit, which I - could translate into my musical. - - Prince Lobkowitz, who sends his greetings, and who now has the sole - direction of the opera, will certainly grant you an honorarium - commensurate with your deserts. Do not refuse my request, you will - find that I shall always be deeply grateful for your compliance. - Awaiting your favorable and speedy answer, I subscribe myself - - Your admirer - - Ludwig van Beethoven. - - Vienna, January 28, 1812. - -As the date of this letter plainly shows, it was sent to Breitkopf and -Härtel together with one to Goethe, with the request that the two be -forwarded to their destinations. - - Vienna, January 28, 1812. - - As a punishment for your absolute silence I charge you with the - immediate delivery of these two letters; a windbag of a Livonian - promised to look after a letter to K. for me, but probably, the - Livonians like the Russians being windbags and braggarts, he did - nothing of the sort, although he gave himself out to be a great - friend of his.... If the 3 songs by Goethe are not yet printed - hurry with them; I should like soon to present them to Princess - Kynsky, one of the handsomest, stoutest women in Vienna--and the - songs from Egmont, why are they not yet out, in fact why not out, - out, out with the whole of E?--do you perhaps want a close tacked - on to an entreacte here and there, that might be, but have it done - by a Leipsic ~Corrector~ of the Music. Zeitung, that kind of thing - they understand like a slap in the face. Please charge the postage - to me--it seems to me, I hear a whisper, that you are looking out - for a new wife, to this I ascribe all the confusion mentioned - above. I wish you a Xantippe like the wife of the holy Greek - Socrates, so that I might see a German Verleger, which is saying a - great deal, ~verlegen, ja recht in Verlegenheit~.[91] - -Among the sufferers by the ~Finanz-Patent~ were the Ursuline nuns at -Graz, whose institution, since 1802, had at no time less than 50 wards -and always more than 350 pupils. At this juncture they were excessively -poor and in debt. In the hope of gaining them some substantial aid -Beethoven's new friend, Varena, now wrote to him offering to pay him -properly for the use of some of his compositions in a concert for their -benefit to be given on Easter Sunday, March 29. Beethoven at once -presented two of his new compositions to the Art Society of Graz for -gratuitous use at charity concerts. At the concert on Easter Sunday -there were eight numbers, Beethoven being represented by the overture -to "King Stephen," the march with chorus from "The Ruins of Athens," -the overture to "Egmont," and the Septet. The nuns gained on the -occasion the handsome sum of 1836 fl. 24k. Vienna Standard. - -[Sidenote: PASSING OF OLD FRIENDS, COMING OF NEW] - -Walter Scott somewhere remarks: "It is seldom that the same circle of -personages, who have surrounded an individual at his first outset in -life, continue to have an interest in his career till his fate comes -to a crisis. On the contrary, and more especially if the events of his -life be of a varied character and worth communicating to others, or to -the world, the hero's later connections are usually totally separated -from those with whom he began the voyage, but whom the individual has -outsailed, or who have drifted astray, or foundered on the passage." - -A few years more and this will begin to be very true of Beethoven. -The old familiar names will rapidly disappear and new ones take their -places; some half a dozen perhaps will remain to the end. But this is -not yet. The old friends, Lichnowsky, Rasoumowsky, Erdödy and that -class, Streicher, Zizius, Breuning and their class, are his friends -still. We see less of them, because Beethoven is no longer the great -pianist performing in the saloons of the nobles, or playing his new -compositions in the lodgings of his untitled admirers. His astonishing -playing in the concert of December, 1808--which completed full thirty -years since his appearance in Cologne as a prodigy--proved to be, as it -happened, the splendid close of his career as a virtuoso. He had surely -earned the right to retire and leave that field to his pupils, of whom -Baroness Ertmann and Carl Czerny were preëminent as performers of his -music. In the more private concerts he had already long given place to -the Baroness; and now Czerny began to take it before the public, even -to the extent of introducing his last new composition for pianoforte -and orchestra. Theodor Körner, lately arrived in Vienna, writes home -under date February 15: - - On Wednesday, for the benefit of the Society of Noble Ladies for - Charity, a concert and tableaux, representing three pictures by - Raphael, Poussin and Troyes as described by Goethe in his "Elective - Affinities," were given. The pictures offered a glorious treat, a - new pianoforte concerto by Beethoven failed. - -Castelli's "Thalia" gives the reason, why this noble work on this, its -first public performance in Vienna, was so coldly received: - - If this composition, which formed the concert which had been - announced, failed to receive the applause which it deserved, - the reason is to be sought partly in the subjective character - of the work, partly in the objective nature of the listeners. - Beethoven, full of proud confidence in himself, never writes for - the multitude; he demands understanding and feeling, and because - of the intentional difficulties, he can receive these only at the - hands of the knowing, a majority of whom is not to be found on such - occasions, etc. - -That was precisely the truth. The work was out of place. The warblings -of Fräulein Sessi and Herr Siboni, and Mayseder's variations on the -march in "Aline," were suited to the occasion and the audience. Instead -of Beethoven's majestic work, Chapelmaster Himmel, who had recently -been in Vienna, should have been engaged to remain and exhibit his -brilliant finger gymnastics. - -The new symphony, to which there are allusions in this correspondence, -was the Seventh, which he took up and completed this spring (May -13), with the hope of producing it in a concert about the time of -Pentecost--but the project fell through.[92] - -Explanatory of the Zmeskall correspondence, it is to be noted, that -with the approach of the inclement season, Beethoven ceased to cross -the wind-swept Glacis to dine with Breuning; that the "greatest thanks" -of one of the notes is merely for keeping his pens in order; and -that Zmeskall had been making experiments to determine whether the -oscillations of a simple weight and string (without lever) might not -answer as a practicable and convenient metrometer. - -The works of Beethoven publicly performed in Vienna during this half -year, so far as has been learned, were the Pianoforte Concerto as -above stated; on March 22nd, march with chorus from "The Ruins of -Athens," in Clement's concert; on April 16th, the "Coriolan" Overture -in Streicher's Pianoforte Warerooms, conducted by Schuppanzigh--the -first piece in the concert, which opened the way for the great -performance of Handel's "Timotheus" in November, which in turn led to -the foundation of the Society of the Friends of Music; on April 24th, -the "Egmont" Overture in the Concert for the Theatrical Poor Fund; and -on May 5th, the overture to "Prometheus," and the C minor Symphony -in Schuppanzigh's first Augarten Morning Concert of the season. His -(Schuppanzigh's) quartet productions were on Thursdays, at noon; "As it -is nearly 12 o'clock and I am going to Schuppanzigh's," says Beethoven -in a note to Zmeskall, on Thursday, February 20--unfortunately only -as an auditor. No record of the programmes during the season has been -discovered. - -[Sidenote: REJECTS IMPUTATIONS ON HIS CONDUCT] - -And now turn we to the selection from the Zmeskall correspondence: - - (To Zmeskall) - - January 19 (extract): Unfortunately I am always too much at liberty - and you never. - - February 2: The enclosed billet is at least 8 days old. - - Not extra-ordinary but very ordinary quill-cutter, whose virtuosity - assuredly shows a falling off in this specimen, these need a few - new quill-repairs. - - When will you throw off your chains, when? - - You are thinking again of me--accursed be for me the life in this - Austrian Barbary--I shall now go mostly to the Swan, as I cannot - escape too much attention in the other inns. - - Farewell, as well as I wish that you may without me. - - Most Extraordinary one we beg that your servant find some one to - clean out the rooms, as he knows the quarters he can at once fix - the price--but soon. - - Carnival Ragamuffin!!!!!!!!!!!!! - - February 8: Most Extraordinary, foremost Oscillator of the world - and that without lever!!!! - - We are indebted to you for the greatest thanks for having endowed - us with a portion of your oscillatory power, we wish to thank you - for the same in person, and therefore invite you to come to the - Swan to-morrow, an inn whose name bears evidence that it was made - for the occasion when the talk is about such things. - - (February 19.) Dear Z: Only yesterday did I receive written notice - that the Archduke will pay his share in notes of redemption--I - beg you now to note down for me approximately what you said on - Saturday so that I may send it to the other 2. They want to give - me a certificate that the Archduke pays in N. R., but I think this - is unnecessary, the more since these courtiers in spite of their - apparent friendship for me say that my demands are not ~just~!!!!! - O heaven help me to bear this; I am no Hercules who can help Atlas - bear up the world or do it in his stead. It was only yesterday that - I heard in detail how beautifully Herr Baron Kraft had spoken about - me at Zizius's, had judged me--never mind dear Z. it will not be - for much longer that I shall continue the shameful manner in which - I am living here. Art, the persecuted one, finds everywhere an - asylum, did not Dædalus, shut up in the labyrinth invent the wings - which carried him ~upwards~ into the air, and I, too, will find - them, these wings. - -The correspondence with the Archduke, of course including the notes to -his "spiritual adviser," Baumeister, and his "chamberlain," Schweiger, -in the very profuseness of its expressions of devotion, awakens some -mistrust of its writer's sincerity. There is too much of profession. -True zeal in and a hearty performance of one's duty need few verbal -attestations. - - (To Baumeister) - - March 12, 1812. - - P. P. - - Please send me the overture to the epilogue Ungarn's Wohlthäter, it - must be hurriedly copied in order to be sent to Gratz for use there - in a concert for the poor. I count myself altogether too happy - when my art is enlisted for such charitable purposes. You need, - therefore, only tell H. I. High, our gracious lord, about it and he - will certainly be glad to have it delivered to you, the more gladly - since you know that all the property of my small intellectual - faculties is the sole property of H. I. Highness--as soon as the - overture is copied I will immediately return it to H. Imp. Highness. - -In a note to the Archduke he excuses his absence the two previous days -because he was "unexpectedly" ill, "at just the time when he was about -to go" to him. In another he has "oftener than usual" waited upon him -"in the evening hour, but no one was to be found." In another "certain -unexpected circumstances prevent" his attendance "to-day, but," he -says, "I shall make use of the gracious privilege of waiting upon you -to-morrow evening." In still another: - - I have suffered much during the last few days, twofold I may say - because I could not follow my sincerest desire to devote a great - deal of time to you; but I hope I shall be through with it (I mean - my illness) this spring and summer. - -The last of these selections affords another illustration of the -usefulness of the Archduke's library to the composer. Its date has also -some importance in the discussion of the famous love-letter; and it is -the final notice of Beethoven before his departure from Vienna for the -summer. - - (To Baumeister) - - Sunday, June 28, 1812. - - I beg of you most politely that you lend me the two trios for - pianoforte, violin and violoncello of my composition for to-day. - The first is in D major, the 2nd in E-flat, if I am not mistaken, - H. Imp. Highness has ~written copies~ of them in his library. Also - the sonata in A major with pianoforte and violoncello--separately - printed--also the sonata in A minor with pianoforte and violin, - is also only printed separately. You will receive everything back - again to-morrow morning. - -A very interesting series of letters to Varena, and one very creditable -to Beethoven, began at the end of January this year and ended, so far -as is known, in 1815. Could the space be spared they would all be -printed here; but they may be read in the published collections of -Beethoven's letters. - -The arrangements of the Irish and Scottish songs for Thomson were -continued in this year. A French letter to Thomson under date -February 29, 1812, chiefly devoted to business matters, yet contains -some expressions which are characteristic of Beethoven's views and -predilections. - - Haydn himself assured me, that he also got 4 ducats in gold for - each song, yet he wrote only for violin and pianoforte without - ritornellos or violoncello.[93] As regards Herr Kozeluch, who - delivers each song to you for 2 ducats, I congratulate you and - the English and Scotch publishers on a taste which approves him. - In this field I esteem myself a little higher than Herr Kozeluch - (~Miserabilis~), and I hope and believe that you have sufficient - discrimination to do me justice. - -[Sidenote: THOUGHTS OF A VISIT TO ENGLAND] - -He repeats his request that the texts be sent with the Scottish -songs, asks if violin and violoncello are to be treated ~obbligato~ -or if the pianoforte might compose an ensemble in itself, and closes, -after having again demanded 9 ducats in gold, with: "we need the gold -here, for our country is at present only a paper fountain, and I in -particular, for I shall probably leave this country and go to England -and then to Edinburgh in Scotland, and rejoice in the prospect of there -making your personal acquaintance." - -The letter to Brunswick which follows, has been printed with the date -1809; but in that year Beethoven was not in the Pasqualati house; he -was then on the most cordial terms with Oliva (barring the disagreement -at Teplitz in 1811); and his satisfaction with the "honorable -decree"--the annuity contract--which retained him in Vienna, was at -the flood. The date, 1812, renders every point in the letter, except -who is meant by "R," perfectly intelligible.[94] "T" is the manuscript -Trio, Op. 97; "S," the printed sonata, "Les Adieux, etc.," Op. 81a; -"the quartet" is Op. 95, also in manuscript; "nothing decisive" refers -to the non-receipt of the desired written instructions from Kinsky and -Lobkowitz to their cashiers respecting the notes of redemption, and -the "unhappy war" was that movement by Napoleon which proved to be the -fatal invasion of Russia. - -The letter reads: - - Dear friend! Brother! - - I ought to have written you earlier; I did so 1000 times in my - heart. You ought to have received the T. and S. much earlier; I - cannot understand how R. could have detained these so long from - you. To the best of my recollection I told you that I would send - both sonata and trio, do as you feel inclined, keep the sonata or - send it to Forray[95] as you please, the quartet was designed for - you long ago, my disorderliness alone is to blame that you receive - it only now. And speaking of disorder I am unfortunately compelled - to tell you that it still persecutes me on every hand, nothing - decisive has been done in my affairs; the unhappy war may delay the - final settlement still more or make the matter worse. At one time - I resolve upon one thing, at another time upon a different one, - unfortunately I must remain in the neighborhood until the matter is - settled. O unhappy decree, seductive as a siren, against which I - should have stopped my ears with wax and had myself bound so that - I could not sign, like Ulysses. If the billows of war roll nearer - here I shall come to Hungary; perhaps in any event, if I must care - for my miserable self I shall no doubt beat my way through--away, - nobler, loftier plans! Infinite are our strivings, the vulgar puts - an end to all! - - Farewell dear brother, be such to me, I have no one to whom I can - give the name, do as much good around you as the evil times will - permit. - - In the future put the following directions on the coverings of - letters to me. - - "To H. B. v. Pasqualati." - - The rascal Oliva (no noble r-s-l however) is going to Hungary, do - not have too much to do with him; I am glad that this connection - which was brought about by sheer necessity, will by this be - entirely broken off.--More by word of mouth--I am now in Baden, now - here--to be inquired for in Baden at the Sauerhof. - -The cause of the estrangement between Beethoven and Oliva is hinted -at in two letters from Oliva to Varnhagen. On March 25, Oliva writes: -"I should like to write you a great deal about the things that sadden -me, about Stoll, and Beethoven still more, but I must postpone it--I -was ill lately and it moves me greatly to write about things which -are so painful"; and in a letter of June 3, after asking Varnhagen -in behalf of Beethoven to deliver a letter to Prince Kinsky and seek -to persuade the Prince to come to a decision in the matter of paying -the annuity contract in notes of redemption, he adds: "Concerning my -unfortunate affairs I can only say that Of." [Offenheimer, the Vienna -banker, Oliva's employer, is meant] "has treated me very shabbily and -I am compelled to seek another engagement, perhaps I shall accept -Beethoven's renewed offer and go with him to England. Stoll cheated me -in a very miserable manner and even sought to bring about a rupture -with Beethoven, in which he was almost successful; I am completely -separated from him." Beethoven's wrath, to which he gave expression -in his letter to Brunswick, seems to have been assuaged and their -friendship continued as before until the departure of Oliva for Russia -in 1820. - -There is a little Trio in one movement, which bears the superscription -in Beethoven's hand: "Vienna, June 2, 1812. For my little friend Max. -Brentano to encourage her in pianoforte playing." On one of his visits -to the Brentanos, soon after, "the little maiden, whom he occasionally -teased, in a fit of childish petulance unexpectedly poured a bottle of -ice-cold water over his head when he was overheated."[96] - -[Sidenote: NOTABLE GATHERING AT TEPLITZ] - -This was the year in which Beethoven allowed a mask to be taken, at the -desire of Streicher, who wished to add his bust to those which already -adorned his pianoforte warerooms. The bust was executed by Professor -Klein, a pupil of the famous sculptor Fischer, and still adorns the -hall for which it was designed. The effigy is the one which has been -so often copied and is generally attributed to Dannhauser. That artist -was born in 1805, and must have been indeed remarkably precocious, if -Beethoven consented to have him, at the age of seven years, plaster his -face with gypsum! In May, the son of the Corsican advocate Bonaparte -held court at Dresden and received his father-in-law, Emperor Franz, -Frederick William of Prussia, the princes of the Rheinbund, etc., -etc. Before the end of June, he had crossed the Niemen with his half -million of men on his fatal march to Moscow. As if from a presentiment -and in the hope of the disastrous failure of the foolhardy invasion -of Russia, Teplitz (that neutral ground, but central point of plot -and agitation against the parvenu Emperor) became the scene of a -virtual congress of imperial personages, or their representatives, -accompanied by families, ministers and retinues. Ostensibly they met -for health, recreation, social diversion; but views and opinions were -exchanged and arrangements made for such concerted action as the result -in Russia might render politic. Herr Aug. Rob. Hiekel, Magisterial -Adjunct in Teplitz, has kindly communicated copious excerpts from the -lists of arrivals that summer, from which these are selected, through -the friendly mediation of Dr. Schebek of Prague, which is gratefully -acknowledged: - - May 29. Emperor Franz, with a large retinue--Wrbna, Althaer, - Kinsky, Zichy, etc., etc. - - June 4. Marie Louise, Empress of France and retinue; the Grand Duke - of Würzburg and retinue. - - July 2. The Empress of Austria and household; the Duke Anton of - Saxony, with wife and household. - - July 7. The Duke of Saxe-Weimar. - - July 14. The King of Saxony with wife and royal household. - - July 25. Prince Maximilian of Saxony with wife and royal household. - - August 11, 15. Prince Wittgenstein, Baron von Humboldt, and the - Prince of Curland, in Prussian service, etc., etc. - -Passing from the royal and diplomatic circles, we note: - - April 19. Baroness von der Recke, with Demoiselle Meissner and Herr - Tiedge. - - July 7. Herr Ludwig van Beethoven, Composer, of Vienna, lives in - the Eiche, No. 62.[97] - - July 8. Herr Carl, Prince von Lichnowsky. - - July 15. Hr. Johann Wolfgang von Goethe, Grand Ducal Privy - Councillor of Weimar, etc., etc., in the Gold. Schiff, No. 116. - - July 24. Herr Ludwig Baron von Arnim, landowner, with wife, then - his sister-in-law, Frau v. Savigny, of Berlin. - - August 5. Hr. Joachim, Baron v. Muench-Bellinghausen. - - August 7. Hr. Clemens Brentano, ~Partikulier~ of Prague. - - August 9. Frau Wilhelmine Sebald, wife of the Royal Prussian - Commissioner of Justice, with sister Madame Sommer, of Berlin. - - August 18. Hr. Fried. Karl von Savigny, Professor, etc., of Berlin. - - August 19. Hr. Varnhagen von Ense, R. I. Lieutenant v. Vogelsang, - of Prague. - -No hint anywhere appears that Beethoven renewed his intercourse with -Tiedge and Countess von der Recke--they had, no doubt, departed before -his arrival--nor that a meeting took place between him and any one of -those persons who arrived on and between the 1st of August and the -19th of the same month. With Varnhagen,[98] too, the meetings during -the sojourn at Teplitz this year seem to have been few and fleeting. -On June 9, Varnhagen had reported to Oliva in Vienna concerning the -success of his visit to Prince Kinsky. On July 5 Beethoven arrived -in Prague in company with Oliva's friend Willisen. Varnhagen writes -to Rahel on July 2: "I am writing after the arrival of Beethoven -and Willisen." As appears from a letter from Beethoven to Princess -Kinsky dated December 20, 1812, Beethoven called upon the Prince and -received 60 ducats on account. Unfortunately he delayed the definitive -settlement of the annuity matter; had he attended to it at once he -would have been spared the negotiations which followed the sudden death -of the Prince. - -On July 14th, Beethoven wrote a letter to Varnhagen from Teplitz in -which he said: "There is not much to be said about Teplitz, few people -and among the few nothing extraordinary, wherefore I live alone! alone! -alone!" Three days later Beethoven wrote to Breitkopf and Härtel, -promising some corrections in the Mass in C with the words: "We say to -you only that we have been here since the 5th of July, how are we?--on -that point much cannot yet be said, on the whole there are not such -interesting people here as were last year and are few--the multitude -seems fewer than few." - -[Sidenote: BEETHOVEN MEETS GOETHE] - -On July 19, Goethe enters Beethoven's name for the first time among his -"visits"--no doubt those made by him. On the same day he writes to his -wife, who had gone on to Karlsbad for a cure: - - Say to His Serene Highness Prince Friedrich, that I can never - be with Beethoven without wishing that it were in the ~goldenen - Strauss~. A more self-contained, energetic, sincere artist I never - saw. I can understand right well how singular must be his attitude - towards the world. - -Already on the next day Beethoven made a pleasure trip with Goethe -to Bilin, and on the 21st and 23rd Goethe spent the evening with -Beethoven. Hence the note on the 21st, "He played delightfully." As -Arnim and Bettina are mentioned in the list of arrivals, it is easily -possible that this was the evening concerning which Bettina reported -to Pückler-Muskau. On the 27th of July, Beethoven went to Karlsbad on -the advice of his physician, Dr. Staudenheimer, and he did not return -to Teplitz till after September 8th, Goethe having already journeyed to -Karlsbad on August 11th. That there was no estrangement between them -is proved by the letter of Goethe to Christiane advising him to give -Beethoven a letter addressed to him; he therefore expected Beethoven to -return, which he did not do, because Staudenheimer sent him further on -to Franzensbrunn. Goethe's letter says: "Herr van Beethoven went from -here to Karlsbad a few days ago; if you can find him, he would bring -me a letter in the shortest time." On August 2nd, Beethoven is still -looked upon as the possible courier: "If I receive the consignment -through Beethoven I will write again, then nothing more will be -necessary" (because Goethe himself went to Karlsbad). In Karlsbad -Goethe and Beethoven may have met each other only between September 8 -and 11. On September 12, Goethe departed; but on the 8th he had written -in his journal: "Beethoven's arrival." - -In view of these things, Beethoven's report to Archduke Rudolph from -Franzensbrunn on August 12th, which will appear presently, will be read -with greater interest, and the only known utterance of Goethe touching -Beethoven in the letter to Zelter be viewed with different eyes: - - I made Beethoven's acquaintance in Teplitz. His talent amazed me; - unfortunately he is an utterly untamed personality, not altogether - in the wrong in holding the world to be detestable, but who does - not make it any the more enjoyable either for himself or others by - his attitude. He is very excusable, on the other hand, and much to - be pitied, as his hearing is leaving him, which, perhaps, mars the - musical part of his nature less than the social. He is of a laconic - nature and will become doubly so because of this lack. - -Many things which have been reported and had so much of a legendary -sound as to cause them to be received with doubt, may, under the -circumstances, serve to complete the story of the relations between -Goethe and Beethoven; such, for instance, as the familiar anecdote -according to which, when Goethe expressed his vexation at the incessant -greetings from passers-by, Beethoven is said to have replied: "Do not -let that trouble your Excellency, perhaps the greetings are intended -for me." This is variously related to have occurred in a carriage at -Karlsbad and in the Prater, and during a walk together on the old walls -at Vienna; while the late Joseph Türk, the Vienna jeweler, who was in -Teplitz in the summer of 1812, makes that place the scene of the story. -It may, therefore, possibly have some foundation in truth. - -Rochlitz, in 1822, reporting a conversation with Beethoven, has him -say: "In Karlsbad I got acquainted with him (Goethe)"; but he makes him -also say: "at that time, while I was veritably burning with enthusiasm -(~so recht im Feuer sass~), I also conceived my music for his Egmont." -But this music was composed two years before. Beethoven's allusion -here to the "Egmont" music certainly, and to meeting with Goethe in -Karlsbad probably, if correctly reported, prove nothing but the truth -of Schindler's observation: "Beethoven's memory of the past always -proved to be very weak." Dr. Eduard Knoll, of Karlsbad, in a detailed -investigation of the dates of the visit of Goethe and Beethoven to -Teplitz and Karlsbad--which also fixes August 6th as the date of the -Beethoven-Polledro concert--comes to the same conclusion as the present -writer, namely: "In all probability Beethoven came in contact with -Goethe only in Teplitz, for during Beethoven's presence in Karlsbad, it -can be proved Goethe was not there. But even in Teplitz the period of -their mutual presence was a rather limited one." - -[Sidenote: HELP FOR SUFFERERS AT BADEN] - -On July 26th, a large portion of the town of Baden, near Vienna, -including the palace of Archduke Anton, the cloister of the Augustines, -the theatre and casino, the parochial church and the palace of Count -Esterhazy, was destroyed by a conflagration which broke out between -noon and 1 o'clock. In all, 117 houses were burned. "From Karlsbad -under date of August 7, it is reported," writes the "Wiener Zeitung" of -August 29th, that "scarcely had the misfortune which recently befel the -inhabitants of Baden become known here before the well-known musicians -Herr van Beethoven and Herr Polledro[99] formed the benevolent purpose -to give a concert for the benefit of the sufferers. As many of the -guests of high station were already prepared to depart and it became -necessary to seize the favorable moment, and in the conviction that he -who helps quickly helps twofold, this purpose was carried out within -twelve hours.... Universal and rousing applause and receipts amounting -to 954 florins, Vienna Standard, rewarded the philanthropic efforts" of -the concert-givers. Beethoven himself gives a very different aspect to -this concert in a letter to Archduke Rudolph: - - Franzensbrunn, August 12, 1812. - - It has long been my duty to recall myself to your memory, but - my occupations in behalf of my health in part and partly my - insignificance made me hesitate. In Prague I missed Y. I. H. by - just a night; for when I went in the morning to attend upon you, - you had departed the night before. In Töplitz I heard Turkish[100] - music 4 times a day, the only musical report which I am able to - make. ~I was much together with Goethe.~ From Töplitz, however, my - physician, Staudenheim, commanded me to go to Karlsbad and from - there here, and presumably I shall have to go from here again to - Töplitz--what excursions! and yet but little certainty touching an - improvement in my condition! Till now I have had always the best - of reports concerning the state of Y. I. H.'s health, also your - continued favorable disposition and devotion to the musical muse. - Of an academy which I gave for the benefit of the city of Baden - destroyed by fire with the help of Herr Polledro, Y. I. H. is - likely to have heard. The receipts were nearly 1000 florins V. S. - and if I had not been embarrassed in the arrangements 2000 florins - might easily have been taken in. It was, so to speak, a ~poor - concert for the poor~. I found at the publisher's here only some - of my earlier sonatas with violin, and as Polledro insisted I had - to play an old one. The entire concert consisted of a trio played - by Polledro, the violin sonata by me, another piece by Polledro - and then an improvisation by me. Meanwhile I am glad that the - poor Badensians benefited somewhat by the affair. Pray you accept - my wish for your high welfare and the prayer to be graciously - remembered by you. - -Three days before, Beethoven had written in a letter to Breitkopf and -Härtel: - - I must refrain from writing more, and instead splash around in - the water again. Scarcely have I filled my interior with an ample - quantity of it than I must have it dashed over my exterior. I will - answer the rest of your letter soon. ~Goethe is too fond of the - atmosphere of the Courts, more so than is becoming to a poet.~ Why - laugh at the absurdities of virtuosi when poets who ought to be the - first teachers of a nation, forget all else for the sake of this - glitter. - -Beethoven arrived in Franzensbrunn on August 8, and on September 7 -returned to Karlsbad, where he remained only a few days; after the -16th of September, he was again in Teplitz.[101] His arrival in -Franzensbrunn was simultaneous with that of the family Brentano from -Vienna. - -[Sidenote: REBUKING THE COURTIER GOETHE] - -Madame von Arnim in her letter to Pückler-Muskau gives some account of -the intercourse between Goethe and Beethoven: - - They got acquainted with each other in Teplitz. Goethe was with - him! he played for him; seeing that Goethe appeared to be greatly - moved he said: "O, Sir, I did not expect that from you; I gave a - concert in Berlin several years ago, I did my best and thought that - I had done really well and was counting on considerable applause, - but behold! when I had given expression to my greatest enthusiasm, - there was not the slightest applause, that was too much for me. I - could not understand it; but the riddle was finally resolved by - this: the Berlin public is extremely cultured and waved its thanks - to me with handkerchiefs wet with the tears of emotion. This was - all wasted on a rude enthusiast like myself; I had thought that I - had merely a romantic, not an artistic audience before me. But I - accept it gladly from you, Goethe; when your poems went through - my brain they threw off music and I was proud to think that I - could try to swing myself up to the same heights which you had - reached, but I never knew it in my life and would least of all - have done it in your presence, here enthusiasm would have had to - have an entirely different outlet. You must know yourself how - good it feels to be applauded by intelligent hands; if you do not - recognize me and esteem me as a peer, who shall do so? By which - pack of beggars shall I permit myself to be understood?" Thus did - he push Goethe into a corner, who at first did not know how he - could set matters to rights, for he felt that Beethoven was right. - The Empress and the Austrian archdukes were in Teplitz and Goethe - was greatly distinguished by them, and it was by no means a matter - of indifference to him to disclose his devotion to the Empress; - he intimated as much with much solemn modesty to Beethoven. - "Nonsense," said the latter, "that's not the way; you're doing no - good by such methods, you must plainly make them understand what - they have in having you or they will never find out; there isn't - a princess who will appreciate Tasso any longer than the shoe of - vanity squeezes her foot--I treated them differently; when I was - asked to give lessons to Duke Rainer,[102] he let me wait in the - antechamber, and for that I gave his fingers a good twisting; when - he asked me why I was so impatient I said that he had wasted my - time in the anteroom and I could wait no longer with patience. - After that he never let me wait again; yes, I would have showed him - that that was a piece of folly which only shows their bestiality. I - said to him: "You can hang an order on one, but it would not make - him the least bit better; you can make a court councillor or a - privy councillor, but not a Goethe or a Beethoven; for that which - you cannot make and which you are far from being, therefore, you - must learn to have respect, it will do you good."" While they were - walking there came towards them the whole court, the Empress and - the Dukes; Beethoven said: "Keep hold of my arm, they must make - room for us, not we for them." Goethe was of a different opinion, - and the situation became awkward for him; he let go of Beethoven's - arm and took a stand at the side with his hat off, while Beethoven - with folded arms walked right through the dukes and only tilted his - hat slightly while the dukes stepped aside to make room for him, - and all greeted him pleasantly; on the other side he stopped and - waited for Goethe, who had permitted the company to pass by him - where he stood with bowed head. "Well," he said, "I've waited for - you because I honor and respect you as you deserve, but you did - those yonder too much honor." - -In these passages we have the substance of a large portion of the -famous third of the Beethoven-Bettina letters. Are they an abstract -of that letter or is the letter an expansion of them? In other words, -the question is forced upon us: Is that letter authentic? The last -paragraph of the Pückler letter affords a decisive answer: "Afterward -Beethoven came running to ~us~ and told us everything, and was as happy -as a child at having teased Goethe so greatly, etc., etc." Who were -they to whom Beethoven came running? They are named in Herr Hiekel's -list of visitors: Ludwig (Achim) von Arnim, his young wife Bettina -Brentano and Frau von Savigny, her sister! In the pseudo-letter we -read: "Yesterday we met the entire imperial family." Therefore, if the -letter to Pückler be true--and it bears all the marks of being so--and -if the other be authentic, Beethoven is made to relate the story one -day and write a long letter containing it to the same person the next! -It follows: when such a letter in Beethoven's well-known handwriting -shall be seen and accepted as authentic by competent judges, its -genuineness may be conceded but, henceforth, until then, never.[103] - -[Sidenote: BEETHOVEN AND AMALIE VON SEBALD] - -Beethoven returned to Teplitz with no amelioration, but rather an -increase of his maladies, and was compelled to remain until near or -perhaps quite the end of September. To his great satisfaction, he found -there the young lady who had so powerfully attracted him the previous -summer. The character of their renewed acquaintance is sufficiently -obvious from the series of notes following, which are given in the -order which appears to correspond best with their contents. - - Teplitz, September 16, 1812. - - For Amalie von Sebald: - - Tyrant--I? Your tyrant? Only a misapprehension can lead you to say - this even if your judgment of me indicated no agreement of thought - with me! But no blame to you on this account; it is rather a piece - of good fortune for you--yesterday I was not wholly well, since - this morning I have grown worse; something indigestible was the - cause, and the irascible part of me appears to seize upon the bad - as well as the good; but do not apply this to my moral nature; - people say nothing, they are only people; they generally see - only themselves in others, and that is nothing; away with this, - the good, the beautiful needs no people. It is here without help - and that, after all, appears to be the reason of our agreement. - Farewell, dear Amalie; if the moon shines brighter for me this - evening than the sun by day you will see with you the least of men. - - Your friend - - Beethoven. - - Dear, good Amalie. After leaving you yesterday my condition grew - worse and from last night till now I have not left my bed, I wanted - to send you word yesterday but thought it would look as if I wanted - to appear important in your eyes, so I refrained. What dream of - yours is this that you are nothing to me, we will talk about that - by word of mouth, dear Amalie; I have always wished only that my - presence might bring you rest and peace, and that you would have - confidence in me; I hope to be better to-morrow and that we may - spend the few hours which remain of your sojourn in the enjoyment - of nature to our mutual uplift and enlivenment. Good night, dear - Amalie, many thanks for your kind thought of your friend - - Beethoven. - - I will look through Tiedge. - - I only wish to report that the tyrant is ~slavishly~ chained to - his bed. So it is! I shall be glad if I get along with the loss of - to-day. My promenade yesterday at sun-up in the woods, where it was - very misty, has increased my indisposition and probably delayed - my improvement. Busy yourself meanwhile with Russians, Lapps, - Samoyeds, etc., and do not sing too often the song, "Es lebe hoch!" - - Your friend - - Beethoven. - - I am already better. If you think it ~proper~ to come to me alone - you can give me a great pleasure, but if you think it ~improper~ - you know how I honor the liberty of all people, and no matter how - you act in this and all other cases, according to your principles - or caprice, you will always find me kind and - - Your friend - - Beethoven. - - I cannot yet say anything definite about myself, sometimes I feel - better and next things appear to be in the old rut, or to be - preparing a long sickness for me. If I could give expression to my - thoughts concerning my sickness as definitely as I can express my - thoughts in music, I should soon help myself. To-day too, I must - keep to my bed. Farewell, and rejoice in your good health, dear - Amalie. - - Your friend - - Beethoven. - - The sickness does not seem to increase exactly, but still to crawl - onward, so no standstill! this is all that I can tell you about - it. I must give up the thought of seeing you at home, mayhap your - Samoyeds will relieve you of their journey to the Polar regions, if - so come to - - Beethoven. - - Thank you for all the things which you think good for my body, - the necessities have been cared for--also my illness seems less - obstinate. I deeply sympathize with you in the sorrow which must - come to you because of the sickness of your mother. You know that I - like to see you, but I cannot receive you otherwise than lying in - bed. I may be able to get up to-morrow.--Farewell, dear Amalie-- - - Your somewhat weak - - Beethoven. - - (In Amalie Sebald's handwriting): - - My tyrant commands an account--here it is: - - A fowl 1 fl. V. S. - The soup 9 kr. - - With all my heart I hope that it may agree with you. - - (In Beethoven's handwriting): - - Tyrants do not pay, but the bill must be receipted, and you can - do that best if you come in person. N. B. With the bill to your - humbled tyrant.[104] - -Hard upon the first letter to Amalie Sebald there followed a letter -to Breitkopf and Härtel which confirms the statement concerning his -illness and its cause and discloses his desire to leave Vienna, though -temporarily, for concert purposes. - -Beethoven's health must have rapidly improved after the 16th of -September, for Chapelmaster Glöggl's "Linzer Musik-Zeitung" announces -his arrival in that place on October 5th: - - Now we have had the long wished for pleasure of having within our - metropolis for several days the Orpheus and greatest musical poet - of our time, Herr L. van Beethoven, and if Apollo is favorable to - us we shall also have an opportunity to admire his art and report - upon it to the readers of this journal. - -He had come thither, probably direct ~via~ Prague and Budweis, to -pass a few weeks with his brother Johann, who gave him a large -room affording him a delightful view of the Danube with its busy -landing-place and the lovely country beyond. Franz Glöggl--later a -music publisher in Vienna, then a youth in Linz--shortly before his -death wrote down his reminiscences of the composer, for use in this -work. - - Beethoven (he wrote) was on intimate terms of friendship with my - father, chapelmaster of the cathedral in Linz, and when he was - there in 1812, he was at our house every day and several times took - meals with us. My father asked him for an Aequale for 6 trombones, - as in his collection of old instruments he had a soprano and a - ~quart~ trombone,[105] whereas only alto, tenor and bass trombones - were commonly used. Beethoven wanted to hear an Aequale such as was - played at funerals in Linz, and my father appointed three trombone - players one afternoon when Beethoven was expected to dine with us - and had them play an Aequale as desired, after which Beethoven sat - down and composed one for 6[106] trombones, which my father had his - trombonists play, etc. - - Among the cavaliers who were in Linz was Count von Dönhoff, a - great admirer of Beethoven, who gave several soirées in his honor - during the composer's sojourn. I was present at one of these. - Pieces were played and some of Beethoven's songs were sung, and - he was requested to improvise on the pianoforte, which he did not - wish to do. A table had been spread with food in an adjoining room - and finally the company gathered about it. I was a young lad and - Beethoven interested me so greatly that I remained always near him. - Search was made for him in vain and finally the company sat down - without him. He was in the next room and now began to improvise; - all grew quiet and listened to him. I remained standing beside - him at the pianoforte. He played for about an hour and one by one - all gathered around him. Then it occurred to him that he had been - called to the table long before--he hurried from his chair to the - dining-room. At the door stood a table holding porcelain dishes. - He stumbled against it and the dishes fell to the floor. Count - Dönhoff, a wealthy cavalier, laughed at the mishap and the company - again sat down to the table with Beethoven. There was no more - thought of playing music, for after Beethoven's fantasia half of - the pianoforte strings were broken. I recall this fantasia because - I was so fortunate as to have heard it so near him. - -[Sidenote: INTERFERENCE WITH A BROTHER'S AFFAIRS] - -One of Beethoven's memoranda, copied into the Fischoff Manuscript, is -this: "In 1812, I was in Linz on account of B." Supposing this B. -to stand for Beethoven's brother it confirms certain very unpleasant -information obtained in Linz (1860), from perfectly competent -authority, namely, that the principal object of the journey thither was -to interfere in Johann's domestic affairs. - -Soon after coming to Linz, the apothecary, being unmarried and having -a house much too large for his necessities, leased a part of it to a -physician from Vienna, whose wife's sister some time later joined them. -She, Therese Obermeyer, was described as possessing a very graceful and -finely proportioned figure, and a pleasing, though not beautiful, face. -Johann van Beethoven soon became acquainted with her, liked her, and -made her his housekeeper and--something more. - -When it is considered, that the apothecary was a man of some -thirty-five years, that he had gained his present position entirely by -his own enterprise, perseverance and good fortune, and that, beyond -advice and remonstrance, his brother had no more right to meddle in -his private concerns than any stranger, it seems hardly credible -that Beethoven, with all his eccentricities of character, could have -come to Linz with precisely this purpose in view. But, according to -the evidence, this was so. Had the motive of his visit been simply -fraternal affection, and had he then and there first discovered his -brother's improper connection with Therese, he could justly have -employed earnest expostulation and entreaty to the end of breaking it -off--but nothing more; if unheeded, he could leave the house. But to -come thither for this express object, and employ force to accomplish -it, was an indefensible assumption of authority. Such, at all events, -was Johann's opinion, and he refused to submit to his brother's -dictation. Excited by opposition, Ludwig resorted to any and every -means to accomplish his purpose. He saw the Bishop about it. He applied -to the civil authorities. He pushed the affair so earnestly, as at -last to obtain an order to the police to remove the girl to Vienna if, -on a certain day, she should be still found in Linz. The disgrace to -the poor girl; the strong liking which Johann had for her; his natural -mortification at not being allowed to be master in his own house; -these and other similar causes wrought him up almost to desperation. -Beethoven, having carried his point, might certainly have borne his -brother's anger with equanimity; might have felt pity for him and -sought to soothe him in his trouble. But no; when Johann entered his -room with reproaches and upbraidings, he, too, became angry and a scene -ensued on which--let the curtain be drawn. It was, unhappily, more -disgraceful to Ludwig than Johann. The apothecary, to use the language -of the card-table, still had the commanding trump. Should he play it? -The answer is in the parochial register at Linz. It is the record -of marriage, November 8th, 1812, of Johann van Beethoven to Therese -Obermeyer. There is some slight reason to think that the journey to -Linz was suddenly undertaken in consequence of a false report that -Johann was about to marry Therese, and with the intention to prevent -it. Whether this be true or not he lost the game and immediately -hastened away to Vienna, angry and mortified that the measures he had -taken had led to the very result which he wished to prevent; had given -to the unchaste girl the legal right to call him "brother," and had put -it in Johann's power--should he in the future have cause to rue his -wedding-day--to reproach him as the author of his misfortune. Indeed, -when that unhappy future came, Johann always declared that Ludwig had -driven him into this marriage; how the composer then viewed the matter, -we shall see when the time comes. One sister-in-law had already been -to Beethoven a bitter source of shame and mortification; and now the -other?--Time must show. Here we part from the apothecary, and it will -be long before we meet him again. - -Beethoven's professional occupation in Linz was the completion of the -Eighth Symphony, which, on Johann van Beethoven's doubtful authority, -was wrought out from the sketches during walks to and upon the -Pöstlingberg.[107] Schindler's account of the origin of the famous -Allegretto Scherzando adds a new name to our ~dramatis personæ~. - -[Sidenote: ASSOCIATION WITH MÄLZEL] - -Johann Nepomuk Mälzel was the son of an organ-builder of Ratisbon. -He received a thorough musical education, and began life on his own -account as a performer upon and a teacher of the pianoforte of no mean -ability; but his extraordinary taste for mechanism and talent for -invention soon led him to exchange the music-room for the workshop. It -is somewhere related, that, having been appointed "Court Mechanician" -at Vienna and having a work to execute for the Empress, rooms were -assigned him, in 1809, in Schönbrunn. Soon after this, Napoleon -took possession of that palace, and while there played a game with -Kempelen's chess player (of which Mälzel had become proprietor), -Allgaier being (probably) the person concealed in the chest. The -truth of the anecdote we cannot warrant. From Schönbrunn, Mälzel -removed to rooms in Stein's pianoforte manufactory, and began the -construction of a new and improved panharmonicon, having sold his first -one in Paris. This was his principal employment in the year 1812. -Carl Stein (from whom the author derived this information) remembered -distinctly the frequent visits of Beethoven to Mälzel's workshop, -the great intimacy of the two men, and the persevering efforts of -the mechanician to construct an ear-trumpet which the deaf composer -should find of practical use and benefit. It is well known, that of -the four instruments constructed, one was so far satisfactory as to -be used occasionally for some eight or ten years. The necessity and -practicability of inventing some kind of machine by which composers -should be able to indicate exactly the duration of a piece of music--in -other words, the rapidity of its execution--had been for several years -subjects of wide discussion. An article in the "Wiener Vaterländische -Blätter" of October 13, 1813, entitled "Mälzel's musikalischer -Chronometer," reads: - - On his journeys through Germany, France and Italy, as a consequence - of his approved knowledge of mechanics and music, Herr Mälzel had - repeatedly been solicited by the most celebrated composers and - conservatories to devote his talent to an invention which should - be useful to the many, after many efforts by others had proved - defective. He undertook the solution of the problem and succeeded - in completely satisfying the first composers of Vienna with the - model which was recently exhibited, which will be followed soon - by the recognition of all others in the countries mentioned. - The model has endured the most varied tests which the composers - Salieri, Beethoven, Weigl, Gyrowetz and Hummel applied to it. Court - Chapelmaster Salieri made the first application of this chronometer - to a work of magnitude, Haydn's "Creation," and noted all the - tempos according to the different degrees on the score, etc. Herr - Beethoven looks upon this invention as a welcome means with which - to secure the performance of his brilliant compositions in all - places in the tempos conceived by him, which to his regret have so - often been misunderstood. - -The "Allg. Mus. Zeit." of December 1st devotes some two pages to the -instrument, from which a few words of description are enough for our -purpose: - - The external parts of this chronometer ... consist of a small lever - which is set in motion by a toothed wheel, the only one in the - whole apparatus, by means of which and the resultant blows on a - little wooden anvil, the measures are divided into equal intervals - of time. - -That "chronometer" was not what is now known as Mälzel's "metronome." - -[Sidenote: CANON AND ALLEGRETTO SCHERZANDO] - -It is now to be seen whether Schindler's account of the Allegretto -Scherzando will bear examination. It is this: - - In the Spring of the year 1812, Beethoven, the mechanician - Mälzel, Count von Brunswick, Stephan von Breuning and others, - sat together at a farewell meal, the first about to undertake - the visit to his brother Johann in Linz, there to work out his - Eighth Symphony and afterward to visit the Bohemian baths--Mälzel, - however, to journey to England to exploit his famous trumpet-player - automaton. The latter project had to be abandoned, however, and - indefinitely postponed. The time-machine--metronome--invented by - this mechanician, was already in such a state of forwardness that - Salieri, Beethoven, Weigl and other musical notabilities had given - a public testimonial of its utility. Beethoven, generally merry, - witty, satirical, "unbuttoned," as he called it, at this farewell - meal improvised the following canon, which was at once sung by the - participants. - -Schindler here prints the now well-known canon and adds: "Out of this -canon was developed the Allegretto Scherzando." That Mälzel's "ta, ta, -ta," suggested the Allegretto, and that at a farewell meal the canon -on that subject was sung, is doubtless true; but it is by no means -certain that the canon preceded the symphony. Schindler was then a -youth of 17 years, "in the last course of the gymnasium at Olmütz," -and consequently relates his story on the authority of another--Count -Brunswick. There may have been a slight lapse of memory on the part -of Brunswick as to date, but it is far more probable that Schindler -unconsciously adapted what he heard to his own preconceived notions. -At all events, the preceding pages show that he was in the wrong as -to the metronome, as to the proposed journeys of both Beethoven and -Mälzel, and therefore, probably, as to the date of the farewell meal. -On this last point, the lists of "Arrivals in Vienna" offer very strong -negative evidence, namely: Forray comes from Pesth-Ofen in 1809-10-11; -Countess Brunswick, 1811; but no Count Brunswick after March, 1810, -until the end of February, 1813--four months after the Eighth Symphony -is completed. At that date, we shall find reasons in plenty for the -farewell gathering--though none in the "Spring of 1812." The canon -could not have contained the word "Metronome" until 1817; nor could the -"ta, ta, ta," have represented the beat of a pendulum of an instrument -not yet invented; it was an imitation of the beat of the lever on the -anvil. - -The Conversation Books show, in Schindler's own hand, how he became -possessed of the canon. Beethoven, during the first years of their -acquaintance, was in the habit of meeting frequently evenings a captain -of the ~Arcierenleibgarde des Kaisers~, a certain Herr Pinterics, -well known then in musical circles, and Oliva, "in a retired room in -the Blumenstock in the Ballgässchen." In a Conversation Book (1820) -Schindler writes: - - The motif of the canon, 2d movement of the 8th symphony--I cannot - find the original--you will, I hope, have the kindness to write - it down for me. Herr Pintericks at that time sang the bass, the - Captain 2d tenor, Oliva 2d bass. [Again in 1824]: I am just in - the second movement of the 8th symphony--ta, ta, ta--the canon - on Mälzel--it was really a very jolly evening when we sang this - canon in the "Kamehl"--Mälzel, the bass. At that time I still sang - soprano. I think it was the end of 1817.[108] The time when I was - permitted to appear before Your Majesty--1816--1815--after the - performance of the Symphony in A.--I was still young at that time, - but very courageous, wasn't I? - -On the first of these occasions, therefore, the word "Chronometer" must -have been sung; on the second, as Mälzel had returned to Vienna with -the "Metronome," that word was substituted, and of course retained -in the copy made in 1820. The necessary conclusion is this: If the -canon was written before the Symphony, it was not improvised at the -farewell meal; if it was improvised on that occasion, it was but the -reproduction of the Allegretto theme in canon-form. - -Pierre Rode, who at his culmination had occupied perhaps the first -place among living violinists, being driven from Russia, made a concert -tour in Germany and came in December to Vienna. Spohr, whose judgment -of violin playing cannot be impugned, had heard him ten years before -with delight and astonishment, and now again in a public concert on -January 6. He now thought that he had retrograded; he found his playing -"cold and full of mannerisms"; he "missed the former daring in the -overcoming of difficulties," and felt himself "particularly unsatisfied -by his ~cantabile~ playing." "The public, too, seemed dissatisfied," -he says, "at least he could not warm it into enthusiasm." Still, Rode -had a great name; paid to and received from the nobles the customary -homage; and exhibited his still great talents in their saloons. -Beethoven must have still thought well of his powers, for he now took -up and completed his Sonata, Op. 96, to be played at one of Lobkowitz's -evening concerts by him and Archduke Rudolph. From the tone of two -notes to the Archduke (printed by Köchel), the composer seems to have -been less satisfied by Rode's performances than he had expected to be: - - To-morrow morning at the earliest hour, the copyist will be able - to begin on the last movement, as I meanwhile am writing on other - works, I did not make great haste for the sake of mere punctuality - in the last movement, the more because I had, in writing it, to - consider the playing of Rode; in our finales we like rushing - and resounding passages, but these are not in Rode's style and - this--embarrassed me a little. For the rest all is likely to go - well on Tuesday. I take the liberty of doubting if I can appear - that evening at Your Imp. Highness's, notwithstanding my zeal - in service; but to make it good I shall come to-morrow morning, - to-morrow afternoon, to meet the wishes of my exalted pupil in all - respects. - -The date of the concert was December 29th. Therefore, if the sketches -for the second, third and fourth movements of this noble sonata do not -belong to the year 1811, as argued near the close of the preceding -chapter, the entire work, except the first movement, was produced in -twelve or fifteen days at most. - -[Sidenote: SPOHR'S ACCOUNT OF BEETHOVEN] - -Though it may be slightly in advance of strict chronological order, it -would seem well to quote here what Spohr in his Autobiography writes -of his personal intercourse with Beethoven. It is interesting and -doubly acceptable as the only sketch of the kind belonging to just -this period; it is, moreover, trustworthy. In general, what he relates -of the composer in that work so abounds with unaccountable errors as -to necessitate the utmost caution in accepting it; it is pervaded by -a harsh and grating tone; and leaves the impression, that his memory -retained most vividly and unconsciously exaggerated whatever tended to -place Beethoven in a ridiculous light. What is here copied is, at least -comparatively, free from these objections: - - After my arrival in Vienna (about December 1), I at once hunted - up Beethoven, but did not find him and therefore left my card. I - now hoped to meet him in one of the musical soirées to which I - was frequently invited, but soon learned that since his deafness - had so increased that he could no longer hear music distinctly in - all its context he had withdrawn from all musical parties and, - indeed, become very shy of society. I made another attempt to - visit him, but again in vain. At last, most unexpectedly, I met - him in the eating-place which I was in the habit of patronizing - every Wednesday with my wife. I had, by this time, already given a - concert (December 17), and twice performed my oratorio (January 21 - and 24). The Vienna newspapers had reported favorably upon them. - Hence, Beethoven knew of me when I introduced myself to him and - greeted me in an extremely friendly manner. We sat down together at - a table, and Beethoven became very chatty, which greatly surprised - the table company, as he generally looked straight ahead, morose - and curt of speech. It was a difficult task to make him understand, - as one had to shout so loudly that it could be heard three rooms - distant. Afterward, Beethoven came often to this eating-house and - visited me at my lodgings, and thus we soon learned to know each - other well. Beethoven was frequently somewhat blunt, not to say - rude; but an honest eye gleamed from under his bushy eyebrows. - - After my return from Gotha (end of May, 1813), I met him - occasionally at the Theater-an-der-Wien, hard behind the orchestra, - where Count Palffy had given him a free seat. After the opera - he generally accompanied me home and spent the remainder of the - evening with me. There he was pleasant toward Dorette and the - children. He very seldom spoke about music. When he did so his - judgments were very severe and so decided that it seemed as if - there could be no contradiction. He did not take the least interest - in the works of others; for this reason I did not have the courage - to show him mine. His favorite topic of conversation at the time - was severe criticism of the two theatrical managements of Prince - Lobkowitz and Count Palffy. He was sometimes over-loud in his abuse - of the latter when we were still inside the theatre, so that not - only the public but also the Count in his office might have heard - him. This embarrassed me greatly and I continually tried to turn - the conversation into something else. The rude, repelling conduct - of Beethoven at this time was due partly to his deafness, which he - not yet learned to endure with resignation, partly to the unsettled - condition of his financial affairs. He was not a good housekeeper - and had the ill-luck to be robbed by those about him. So he often - lacked necessities. In the early part of our acquaintance I once - asked him, after he had been absent from the eating-house: "You - were not ill, were you?"--"My boots were, and as I have only one - pair I had house-arrest," was the answer. - -Beethoven had other cares, troubles and anxieties in the coming -year--to which these reminiscences in strictness belong and serve -as a sort of introduction--not known to Spohr. Theirs was not the -confidential intercourse which lays bare the heart of friend to friend. -As Varnhagen last year, so Theodor Körner this and the next informs -us that Beethoven's desire again to try his fortune on the operatic -stage was in no wise abated. On June 6th the youthful poet writes: "If -Weinlig does not intend soon to compose my Alfred, let him send it -back to me; I would then, having bettered my knowledge of the theatre -and especially of opera texts, strike out several things, inasmuch as -it is much too long, and give it to the Kärnthner Theatre, as I am -everlastingly plagued for opera texts by Beethoven, Weigl, Gyrowetz, -etc." On February 10, 1813, he writes: "Beethoven has asked me for 'The -Return of Ulysses.' If Gluck were alive, that would be a subject for -his Muse." - -The ascertained compositions of 1812 were: - - I. "Sinfonie. L. v. Beethoven, 1812, 13ten Mai." A major, Op. 92. - - II. "Trio in einem Satze." B-flat. "Wien am 2ten Juni 1812. Für - seine kleine Freundin Max. Brentano zu ihrer Aufmunterung im - Clavierspielen." - - III. "Sinfonia--Linz im Monath October 1812." F major, Op. 93. - - IV. Three Equali for four trombones. "Linz den 2ten 9ber 1812." - - V. Sonata for Pianoforte and Violin. G major, Op. 96. - - VI. Irish airs nearly or quite completed for Thomson, and - - VII. Welsh airs probably continued. - -The publications: - - I. Music to "Egmont" except the overture, Op. 84. Breitkopf and - Härtel, in January. - - II. ~Messa a quattro voci coll'accompagnamento dell'Orchestra, - composta da Luigi van Beethoven.~ "Drey Hymnen für vier Singstimmen - mit Begleitung des Orchesters, in Musik gesetzt und Sr. Durchlaucht - dem Herrn Fürsten von Kinsky zugeeignet von Ludw. v. Beethoven, 86. - Werk. Partitur." Breitkopf and Härtel, in October. - -FOOTNOTES: - -[89] Kinsky, 725, 80; Archduke Rudolph, 604, 84; Lobkowitz, 282, 26. - -[90] After the large payment for a year and a quarter which Beethoven -received from Kinsky on July 31, 1810, the Prince continued to pay -450 florins regularly every quarter but on July 26 (from March to -May), 1811, with the memorandum: "450 bank-notes, or 90 florins notes -of redemption," and again the same on August 30 (for June-August), -1811;--i. e., one-fifth of the stipulated sum. It was not until the -issuance of the Court Decree of September 13, 1811, that the more -favorable rate of the above table was established. It is to be assumed -that the payments thereafter were made in accordance with the scale, -185 florins in notes of redemption for 450 florins; the receipts have -not been preserved. (See "Beethoven und Prinz Kinsky," Frimmel's "II. -Beethoven-Jahrbuch," 1909, by V. Kratochvil.) Lobkowitz's payments were -suspended in September, 1811, for nearly four years, his assumption of -the management of the theatres having thrown his financial affairs into -disorder and caused the sequestration of his estates. - -[91] An untranslatable pun. - -[92] Under date of London, 14th February, 1875, Mr. E. Speyer writes: -"My father ... on a visit to Vienna in 1832, made the acquaintance of -the Abbé Stadler, who communicated to him the following curious fact in -relation to Beethoven's Seventh Symphony, viz: That the theme of the -Trio - -[Illustration: ~etc.~] - -was nothing more nor less than a Lower-Austrian Pilgrimage Hymn -(Wallfahrtgesang), which the Abbé himself had frequently heard sung." -This correspondent's father was the W. Speyer, or Speier, whose name so -often appears in old volumes of the "Allg. Mus. Zeit." - -[93] Here Beethoven was mistaken. Haydn composed accompaniments -for a volume of Scottish songs for Napier, a London publisher, -without ritornellos or violoncello; he wrote as Beethoven wrote for -Thomson--with violoncello part as well as ritornellos. In a later -letter (of February 19) the same error is repeated. - -[94] Laub and Jahn read "R"; Köchel, "M." The former might be the -publisher Rizzi, the latter Mollo. - -[95] "Andreas Baron von Forray, husband of Countess Julie Brunswick, a -cousin of Count Franz Brunswick, was a good pianoforte player and great -music lover," says Köchel. - -[96] Related by Court Councillor Wittescheck and confirmed by -Schindler, who had "this fact" from Maximiliane--then Frau von -Plittersdorf. - -[97] Dr. Riemann, who believes that Beethoven's "Immortal Beloved" was -Countess Therese Brunswick but places the love-letter, or letters, in -the year 1812, accounts for this date on the hypothesis that Beethoven -reached Teplitz (whence he assumes, of course, that the letters were -sent) on the fifth of the month but was registered on the seventh, on -which day he was reported from his lodgings. - -[98] The following information about Beethoven's association with -Varnhagen in the summer of 1812, and much that is new about Beethoven's -meetings with Goethe, is Dr. Riemann's contribution to Thayer's -biography. It is based on the correspondence between Varnhagen and -Rahel Levin, a study: "Beethoven, Goethe und Varnhagen von Ense mit -ungedruckten Briefen an Beethoven, Oliva, Varnhagen, etc.," by Dr. Emil -Jacobs, published in the second December installment of "Die Musik," -1904, and the Weimar Collection of Goethe's letters. - -[99] Giovanni Battista Polledro (1781-1853), violinist, concertmaster -in Dresden in 1814, Court Chapelmaster in Turin in 1824. - -[100] By Turkish music is meant military music with drums, cymbals, etc. - -[101] Dr. Riemann adds: "perhaps because he had heard that the Sebalds -were in Teplitz"; but, as the letter to the Archduke shows, he was -already expecting to be ordered back to Teplitz on August 12. - -[102] Meaning Rudolph. - -[103] The credit of suggesting this crushing argument against the -authenticity of the letter belongs to Dr. Deiters.--A.W.T. - -[104] An album once owned by Amalie Sebald contains this inscription: - - Ludwig van Beethoven - Den Sie, wenn Sie auch wollten, - Doch nicht vergessen sollten. - - Teplitz, August 8, 1812. - -The couplet might be rudely translated: - - Whom, even if you would - Forget, you never should. - -"At that date," says Thayer, Beethoven "was not in Teplitz; the 1812 -should doubtless be 1811, and was probably added long afterwards by -some one who knew nothing of their meeting the previous year." - -[105] A bass trombone in F, a fourth lower than the tenor trombone. - -[106] A slip of memory; the composition, which was used at Beethoven's -funeral, is for 4 trombones. - -[107] Beethoven had begun to work industriously on the Eighth Symphony -before he went to Teplitz; indeed, he seems to have reported to -Breitkopf and Härtel in a letter which has not been preserved, but -which was sent from Franzensbrunn, that he had finished two symphonies; -for the "Allg. Mus. Zeit." of September 2, 1812, says: "L. van -Beethoven, who took the cures first at Töplitz, then in Karlsbad and -is now in Eger, has ... again composed two new symphonies." But the -autograph bears the inscription: "Linz in October, 1812." - -[108] Correct. Mälzel was then for a few months again in Vienna. - - - - -Chapter XIII - - The Year 1813--Beethoven's Journal--Death of Prince - Kinsky--Beethoven's Earnings--Mälzel and "Wellington's - Victory"--The A major Symphony--The Concerts of December 8 and 12. - - -Short as Bettina's stay in Vienna was, it occurred at the very crisis -of Beethoven's unlucky marriage project; and her society served a good -purpose in distracting his thoughts; while her known relations to her -future husband prevented the growth of any such feeling on his part as -some have conjectured did really awaken. Next came the rather absurd -affair with Fräulein Malfatti; but this was so little of an earnest -nature[109] as in turn to be quite forgotten, so soon as the rejected -lover came fairly under the influence of the remarkable mental and -personal charms of Amalie von Sebald, in whom he found all that his -warmest wishes could desire. The renewal in the last summer of his -acquaintance with her completely cured him of his recent unfortunate -passions, but, there is too much reason to believe, at the cost of -plunging him into a new one, not the less powerful because utterly -hopeless, and so firmly rooted that in 1816 "it was still as on the -first day." - -The so-called journal (~Tagebuch~) of the Fischoff MS. begins thus: - - Submission, absolute submission to your fate, only this can - give you the sacrifice ... to the servitude--O, hard struggle! - Turn everything which remains to be done to planning the long - journey--you must yourself find all that your most blessed wish can - offer, you must force it to your will--keep always of the same mind. - - ~Thou mayest no longer be a man~, not for thyself, only for others, - ~for thee there is no longer happiness except in thyself, in thy - art~--O God, give me strength to conquer myself, nothing must - chain me to life. Thus everything connected with A will go to - destruction. - -The date given is simply 1812; but the month of September in Teplitz -suggests itself instantly for the first two paragraphs, and the time -when Beethoven was busy with the Eighth Symphony for the other. The -next-following in the manuscript is dated: - - May 13, 1813. - - To forgo a great act which might have been and remain so--O, what - a difference compared with an unstudied life which often rose in - my fancy--O fearful conditions which do not suppress my feeling - for domesticity, but whose execution O God, God look down upon the - unhappy B., do not permit it to last thus much longer-- - - Learn to keep silent, O friend! Speech is like silver, - But to hold one's peace at the right moment is pure gold. - -It is obvious that the hated "servitude" is the instruction of the -Archduke in music, and that the new feeling which he has to defy, -and if possible conquer, lest everything go to destruction, is the -absorbing affection for Amalie Sebald which he had unconsciously -suffered to gain tyrannical sway over his mind and heart. The "great -act" of the last citation is the "long journey" of the first--of which -hereafter.[110] - -[Sidenote: MISFORTUNES OF KARL VAN BEETHOVEN] - -Other causes also joined to render his case now truly pitiable. The -result of his interference with his brother Johann, vexatious and -mortifying as it was, was of little moment in comparison with the -anxiety and distress caused by the condition of his brother Karl. In -1809, Karl had been advanced to the position of Deputy Liquidator with -1000 fl. salary and 160 fl. rent money; but all salaries being then -paid in bank-notes, the minor public officials, especially after the -~Finanz-Patent~, were reduced to extreme poverty. Karl van Beethoven -was already owner of the house in the Alservorstadt near the Herrnalser -Linie, which contained lodgings for some ten or twelve small families, -enclosed a court-garden with fruit trees, etc., and was valued (1816) -at 16400 fl.: so long as he remained in the Rauhensteingasse, the whole -of this house was rented, and, after deducting interest and taxes, gave -him a very desirable addition to his miserable salary. When Beethoven -writes, that he had wholly to support "an unfortunate sick brother -together with his family," it must be therefore understood ~cum grano~; -but that he had for some time been obliged very largely to aid them in -obtaining even the necessaries of life is beyond question. Just now, -when his own pecuniary prospects were so clouded, his anxieties were -increased by Karl's wretched state of health, which partly disabled -him for his official duties, and seems to have forced him to pay for -occasional assistance. In March, he appeared rapidly to be sinking from -consumption, and he became so hopeless of improvement in April as to -induce him--in his wellfounded distrust of the virtue and prudence of -his unhappy wife--to execute the following - - DECLARATION. - - Inasmuch as I am convinced of the frank and upright disposition - of my brother Ludwig van Beethoven, I desire that after my death - he undertake the guardianship of my son, Karl Beethoven, a minor. - I therefore request the honorable court to appoint my brother - mentioned to the guardianship after my death and beg my dear - brother to accept the office and to aid my son with word and deed - in all cases.[111] - - Vienna, April 12, 1813. - -Happily for all parties concerned, Spring "brought healing on its -wings." Karl's health improved; he was advanced to the position of -Cashier of the "Universal-Staats-Schulden Kasse," with 40 fl. increase -of rent money; and now, at last, the decree was issued for the payment -of all salaries (of public officials) in silver. Twelve hundred florins -in silver, used with reasonable economy, was amply sufficient to -relieve Ludwig of this part of his troubles. - -In a letter to Rudolph written in January, Beethoven said bitterly: -"neither word, nor honor, nor written agreement, seems binding."--The -words relate to non-payments of the Kinsky and Lobkowitz subscriptions -to his annuity. - -Kinsky, on the 2nd or 3rd of the preceding November, while riding at -Weldus near Prague, was--by the breaking of his saddle-girth--thrown -from his horse with such force as to crush his skull, and survived -but ten hours. In settling his affairs, the question arose whether, -under the ~Finanz-Patent~, Beethoven was entitled to more than the -subscription as computed by the scale: or, more correctly, there being -~no~ question under the law, Beethoven raised one, by claiming the -full nominal sum (1800 fl.) in notes of redemption. The curators of -the estates--as it was their sworn duty to do--refused to admit the -claim until it should be established by competent judicial authority; -and, pending the decision, withheld all payments. As to Lobkowitz, his -profuse expenditures had brought him to a suspension of payments and -had deprived him of the control of his vast estates. What has just -been said of the Kinsky subscription for Beethoven applies, therefore, -literally to his. Hence, nothing of the annuity was paid by the Kinsky -curators from November 3rd, 1812, to March 31st, 1815; nor by those -of Lobkowitz from September 1st, 1811, until after April 19th, 1815. -From the abundant correspondence called out by these differences of -opinion, as to whether law or equity should rule in the case, three -letters to the widowed Princess Kinsky may be selected as explanatory -of Beethoven's views. In the first of these letters, dated at Vienna, -December 30th, 1812, Beethoven rehearses the story of the origin of -the annuity contract, the disarrangement of the governmental finances, -Archduke Rudolph's prompt compliance with the request that payments be -made in notes of redemption instead of bank-notes, and thus reaches the -visit of Varnhagen von Ense to Prince Kinsky at Prague. He quotes a -letter written by Varnhagen as follows: - - Yesterday I had an exhaustive talk with Prince v. Kinsky. - Accompanied by expressions of highest praise for Beethoven, he - complied at once with his request and from now on will send him - notes of redemption and will pay the arrears and the future sums - in this currency. The cashier here will receive the necessary - instructions and Beethoven can collect everything here when he - passes through, or if he prefers in Vienna as soon as the Prince - shall have returned. - - Prague, July 9, 1812.[112] - -[Sidenote: APPEALS TO PRINCE KINSKY'S HEIRS] - -Continuing, Beethoven tells the Princess of his visit to Kinsky, -who confirmed the statements in the letter and paid 60 ducats on -account--as the equivalent of 600 florins, Vienna Standard. It was -agreed that the arrears should be paid when the Prince should come to -Vienna and instructions be given to his agents. Beethoven's illness -kept him at Teplitz longer than he had expected. Nevertheless, through -Oliva he reminded the Prince, then in Vienna, in December of his -promises, who again confirmed them and added that he would arrange -matters at his exchequer in a few days. After the departure of the -Prince with his family he had made inquiries and learned to his -astonishment that nothing had been done in the matter. In conclusion he -expressed the conviction that the heirs of the noble Prince would act -in the spirit of magnanimity which had inspired him and pay the arrears -and give directions for the future payments in notes of redemption. - -In the second letter he repeats the request, having learned first from -the Prince's representatives that nothing could be done in the matter -until a guardian had been appointed, which office had been assumed by -Her Highness. "You will easily see," he continues, - - how painful it is to be deprived so long of money which had been - counted on, the more since I am obliged wholly to support an - unfortunate sick brother and his family and have inconsiderately - exhausted my resources, hoping by the collection of my salary to - care for my own livelihood. The complete righteousness of my claims - you may see in the fact that I faithfully reported the receipt of - the 60 ducats which the Prince of blessed memory paid me on account - in Prague, although the princely council told me that I might have - concealed the fact, as the Prince had not told him, the councillor, - or his cashier anything about it. - -The third letter, dated February 12, 1813, again urges the duty of the -heirs to carry out the intentions of the Prince and formulates his -petition as follows: - - Namely, I pray Your Serene Highness graciously to command that the - salary in arrears from September 1, 1811, be computed in Vienna - currency according to the scale of the day of contract, at 1088.42 - florins, and paid, and to leave the question whether and to what - extent this salary be payable to me in Vienna currency open until - the affairs of the estate be brought in order and it becomes - necessary to lay the subject before the authorities so that my just - demands be realized by their approval and determination. - -The payment of the 60 ducats on account of the salary which by the -Prince's consent was to be paid in notes of redemption is again -advanced as evidence of the Prince's intentions, as is also the plea -on the score of his necessities. The first and third letters are -written in a strange hand and merely signed by Beethoven. The petition -contained in the third was not granted. - -[Sidenote: A PERIOD OF ADVERSITY] - -Schindler has enlarged upon Beethoven's inexperience and lack of skill -in matters of business, and of his propensity to waste his resources -in needless changes of lodgings; Wegeler and others inform us of his -ignorance of the value of money; Karl van Beethoven had been a great -expense to him; and five-eighths of his annuity had for some time -remained unpaid. Still, it is impossible to account satisfactorily for -the very low state of his finances at this time. He must have been -strangely imprudent in non-husbanding his resources. From March 1, -1809, to March 1, 1813, he had received from Kinsky rather more than -five semi-annual payments (the "60 ducats" included), from Lobkowitz -five and from the Archduke seven--five of them in notes of redemption; -in all, 11500 florins. In the Spring of 1810, Collard (Clementi) had -paid him £200; from Thomson he had received 150 ducats, if not in July, -1810, at least in July, 1811, and 90 ducats more in February, 1813, -and within the last years Breitkopf and Härtel had certainly paid him -several thousand florins for the many works of magnitude purchased -by them; besides all this he had borrowed at least 1100 florins from -Brentano, for two or three years only after this he notes: "I owe F. A. -B. 2300 fl., once 1100 and 60 ducats"; and we know of no time after the -beginning of 1814, when he was under the necessity of applying to that -generous friend for any sums like these. But, whatever was the cause, -and whoever was in fault, Beethoven was now, up to the time when his -brother Karl received his new appointment, learning by harsh experience -a lesson in economy--happily to his profit. - -To finish this topic at once, we pass on to the summer, which the -composer spent in Baden, meeting there his friends the Streichers. Frau -Streicher afterwards related to Schindler, that she "found Beethoven in -the summer of 1813, in the most desolate state as regards his physical -and domestic needs--not only did he not have a single good coat, but -not a whole shirt," and, adds Schindler, "I must hesitate to describe -his condition exactly as it was." Frau Streicher, after her return to -the city, "put his wardrobe and household affairs to rights and, with -the help of her husband, saw to the provision of the necessities," -and, what was still better, they impressed upon him the necessity of -"putting money by against the future, and Beethoven obeyed in every -particular." A small sum received from Gratz, and the 750 fl. due -from the Archduke, September 1st, relieved him for the moment; but -before the end of the year, he was again so reduced, probably by the -necessary expenditures made on his account by the Streichers, as to -obtain a loan of 50 ducats from Mälzel. - -The tone of the correspondence during the first half of this year -is far less depressed than might be expected under the adverse -circumstances just detailed, to which is to be added constant ill -health; indeed, his notes to Zmeskall are enlivened by divers gleams of -his old humor. For the better understanding of the selections here made -it is to be premised, that - -(a) Brunswick arrived in Vienna, February 21; that - -(b) Beethoven contributed a "newly composed Triumphal March" to -Kuffner's tragedy "Tarpeia" for its first performance in the -Burgtheater, March 26; that - -(c) One of his symphonies was the principal attraction of the -Theatrical Poor Fund Concert in the Kärnthnerthortheater, April 16; that - -(d) He could justly claim the use of that theatre from Prince Lobkowitz -for a benefit concert; that - -(e) Varena had again applied to him for music for another charity -concert in Gratz; that - -(f) Louis Bonaparte, Ex-King of Holland, then residing in Gratz, was -the "rich third party" referred to in one of the letters; and - -(g) That the pecuniary embarrassments of Lobkowitz reached their climax -this summer and recalled Beethoven from Baden to take the needful steps -to secure himself from farther loss, if possible. - -On January 24th, he writes to Zmeskall: - - We inform you, best Z., of this and the other thing from which you - may choose the best, and are most horribly well-disposed toward - you. We hear that you have letters from B. addressed to us and beg - you to send them. Are you at liberty to-day? If so, you will find - me in the Swan--if not, we will find each other somewhere else. - - Your friend - - Author - - Beethoven ~Bonnensis~. - -Between this letter and the next there falls a rather long letter in -French to Thomson, dated February 19, 1813, which informs us touching -the progress of the work on the British songs. Beethoven writes: - - I have received your valued letters of August 5, October 30 and - December 21, and learned with pleasure that you have received - the 62 songs which I have set for you at last and that you are - satisfied with all but 9 of them which you specify and in which you - would like to have me change the ritornelles and accompaniments. - I regret that I cannot accommodate you in this. I am not in the - habit of rewriting my compositions. I have never done it, being - convinced that any partial alteration changes the character of the - entire composition. I regret that you will suffer the loss; but you - can scarcely put the blame on me, since it ought to have been your - affair to advise me more explicitly of the taste of your country - and the small skill of your players. Having now received your - instruction on these points I have composed the songs wholly anew - and, as I hope, so that they will meet your expectations. - - You may believe that it was only with great reluctance that I - determined to do violence to my ideas and that I should never - have been willing to do so had I not feared that a refusal would - cause a loss to you, as in your collection you wanted to have my - compositions exclusively and that otherwise you might have had your - care and expense to produce a complete work in vain.... The last - two songs in your letter of December 21, pleased me very much. For - this reason I composed them ~con amore~, particularly the second - one. You noted it in - - [Illustration] - - but as this key seems too little natural and so little in harmony - with the direction ~Amoroso~ that it might better be written - ~Barbaresco~, I have set it in a more appropriate key. - -Further on in the letter he asks Thomson to tell him whether -~Andantino~ was to be understood as meaning faster or slower than -~Andante~, "for this term, like so many in music, is of so indefinite -a significance that ~Andantino~ sometimes approaches an ~Allegro~ and -sometimes, on the other hand, is played like ~Adagio~." - -A rather long note to Zmeskall of February 25, being about a servant, -is not worth copying. It begins: "I have, my dear Z., been almost -continuously ill since I saw you last," and closes after the signature -with the word "~Miserabilis~." Omitting others of similar contents we -come to this interesting letter to Varena: - -[Sidenote: HELP FOR THE URSULINES AT GRATZ] - - Dear Sir! - - No doubt Rode was right in all that he said about me; my health is - not of the best and without fault of my own my condition otherwise - is perhaps more unfavorable than at any time in my life; but - neither this nor anything else shall dissuade me from helping the - equally innocent sufferers, the Convent ladies, so far as my modest - talents will permit. To this end, two entirely new symphonies - are at your services, an air for bass voice with chorus, several - smaller single choruses--if you need the overture to Hungary's - Benefactor which you performed last year, it is at your service. - - The overture to "The Ruins of Athens," although in a smaller style, - is also at your service. Amongst the choruses is a chorus of - Dervishes, an attractive thing [literally: "a good signboard"] for - a mixed public. - - In my opinion you would do best to choose a day on which you could - give the oratorio "Christus am Ölberg"; since then it has been - played all over; this would then fill half of the concert; for - the second half you would play a new symphony, the overture and - different choruses, as also the bass air with chorus mentioned; - thus the evening would not be without variety; but you would - better talk this over with the musical councillors in your city - and let them decide. What you say concerning remuneration for me - from a third person I think I can guess who he is; if I were in my - former condition I would flatly say: "Beethoven never takes pay - when the benefitting of humanity is concerned," but now, placed - in a condition through my great benevolence (the cause of which - can bring me no shame) and other circumstances which are to blame, - which are caused by men without honesty or honor, I say frankly I - would not decline such an offer from a rich third party; but there - is no thought of a demand; even if there should prove to be nothing - in the talk about a third person, be convinced that I am just as - willing now to be of service to my friends, the reverend women, as - I was last year without the least reward, and as I shall always - be to suffering humanity as long as I breathe. And now farewell. - Write to me soon and I will care for all that is necessary with the - greatest zeal. - - My best wishes for the convent. - -Closely connected with this in subject, and no doubt in time, is the -following letter to Zmeskall: - - See to the delivery of this letter to Brunswick at once to-day, so - that it may arrive as soon as possible and correctly. Pardon me the - burdens which I place upon you. I have just been asked again to - send works to Gratz in the Steirmark for a concert to be given for - the benefit of the Ursulines and their educational convent. Last - year such a concert yielded generous receipts. With this academy - and that which I gave in Karlsbad for the benefit of the sufferers - from the fire in Baden three academies have been given in one year - for, by and through me--to me everywhere a deaf ear is turned - [literally: "for me everybody wears his ears on his feet"]. - -Thereupon he wrote again to Varena: - - Vienna, April 8, 1813. - - My dear V! - - I received with much pleasure your letter but again with much - displeasure the 100 florins sent by the poor cloister ladies; - meanwhile they are deposited with me to be applied to the payment - of the expenses for copying. Whatever remains will be returned to - the noble cloister women together with a view of the accounts. - - For such occasions I never accept anything--I thought that the - third person to whom you referred was perhaps the ex-King of - Holland and--yes, from him who probably took from the Hollanders in - a less righteous way I would have had no hesitation in accepting - something in my present condition; now, however, I beg kindly that - nothing more be said on the subject. Write me your opinion as to - whether if I came to Gratz I could give a concert; for it is not - likely that Vienna will long remain my place of residence; perhaps - it is already too late, but your opinion on the subject will always - be welcome. - - The works will be copied and as soon as possible you shall have - them--do whatever you please with the oratorio; wherever it can do - any good my purposes will best be subserved. - - All things beautiful to our Ursulines, whom I am glad to be able to - serve again. - -Numbers 8 and 9 of Köchel's "Drei-und-achtzig Original-Briefe" by -Beethoven to Archduke Rudolph and his chamberlain, pray the Archduke to -intercede for him with the Rector of the University for permission to -give two concerts in the hall of the University. The result is shown in -a note to Zmeskall dated April 19: - - The hall of the University, my dear Z., is--refused, I received - this information day before yesterday, but being ill yesterday - I could not come to you to talk it over, nor to-day. There will - remain nothing probably except the Kärnthnerthortheater or that - An-der-Wien, and I fancy only one A (cademy). If that will not go - we must resort to the Augarten, there of course we must give 2 A. - Think the matter over a bit, my dear, and give me your opinion. - It may be that the symphonies will be rehearsed to-morrow at the - Archduke's, if I can go out, of which I shall let you know. - -The rehearsal took place on Resurrection Day, April 18, as we learn -from the 48th letter in the Köchel Collection, which, together with the -preceding two (Nos. 46 and 47), belong in the year 1813, not in 1819, -as Köchel surmised. The following little note to Zmeskall refers to the -rehearsal: - - Meanwhile I thank you, dear Z., and inform you that the - rehearsal will take place at the Archduke's to-morrow afternoon - at 3 o'clock--but I shall give you the particulars to-morrow - morning--for the present I have announced it. - - Your - - Beethoven. - -To Zmeskall he wrote on April 23: - - Dear Z.: All will go well, the Archduke will take this Prince - Fitzly Putzly soundly by the ears--let me know if you intend to - eat at the inn to-day or when you do? Then tell me please whether - "Sentivant" is correctly spelled, as I want to write to him at the - same time for the chorus. I must yet consult with you about the day - to be chosen, moreover you must not let anything be observed about - the enlistment of the Archduke, for Prince Fitzly Putzly will not - come to the Archduke till Sunday, if this wicked debtor were to - observe anything in advance he would try to get out of it. - - (On April 26): Lobkowitz will give me the theatre for a day after - May 15, it seems to me this is about as good as none at all--and I - am almost of a mind to give up all thoughts of a concert. He above - will surely not let me go utterly to ruin. - - (On May 10): I beg of you, dear Z., not to let anything be heard - about what I said to you concerning Prince L., as the matter is - really going forward and without this step nothing would ever have - been certain. I have looked for you at the S. every day, but in - vain. - -[Sidenote: PICTURES WITH MUSICAL ACCOMPANIMENT] - -There follows another long letter to Varena: - - My dear V! - - There can be no harm in notifying you in advance of what I am - sending you; you may be able to use more or less of it. You will - receive 3 choruses which are not long and which you can use at - different intervals in the concert--a large scene for bass voice - with chorus; it is from the "Ruins of Athens" and occurs where the - picture of our Emperor appears in view (in Ofen, Hungary, this came - upon the stage from below). You may be able to use something of the - kind to--stimulate the multitude. - - In case of need the bass voice might be changed to a contralto. - You will receive only the score of these pieces; had I known which - you would use I could have had them copied for you here; I shall - receive the scores and H. von Rettig will kindly look after them - for you; besides, you will receive a march already copied for the - instruments. Instead of a symphony you will receive two symphonies; - first, the one which you desired to have written out and duplicate; - 2nd, another one, also copied, which it appears to me you have not - yet had performed in Gratz. As everything else is copied you can - have the vocal pieces copied easily and in time. - - Hr. von Rettich will no doubt find some extraordinary occasion to - have everything delivered to you quickly, as everybody is willing - to help in such benevolent causes. Why can I not do more for the - good ladies! - - I should have liked to send you two entirely new symphonies of - mine, but my present condition commands me unfortunately to think - of myself, and I do not know but that I may be obliged to leave - this place as a fugitive from the country, for this thank the - excellent princes who have made it impossible for me to work for - the good and the useful as is my wont. Many thanks for your wine - and thank also the worthy ladies for the sweetmeats which they sent - me. - - (To the same, without date): - - P.P. I inform you in haste that in case the first two of the four - horn parts are difficult for your players, you replace them with - 2 violas, but solo players; the other 2 in C are easy and can be - played by 2 hornists. - - For the sake of my health I am hurrying to Baden for a measure of - improvement. The cost of copying the scores was 8 fl. 24 kr., for - which I shall get a receipt. I have charged 3 fl. for my servant - to get the things together, making a total of 11 fl. 24 kr.; after - deducting this sum I shall return the rest of the 100 fl. in a few - days--it is impossible at this moment. - - In case you write to me please enclose your letter to the following - address in V., namely: To Hrn. Oliva, to be delivered to the - Brothers Offenheimer in the Bauernmarkt. - -In a letter to the Archduke, who was then in Baden (also written on May -27), Beethoven reports his arrival there. From Baden the correspondence -with Varena was continued, as appears from a letter of July 4, 1813, in -which Beethoven says: - - Pardon this very belated answer, the reason is still the old - one, my troubles, contending for my rights, and all this goes - very slowly, since I am dealing with a princely rascal, Prince - Lobkowitz; another noble prince, one of an opposite character, - died, but he as little as I was thinking of his death and in my - affairs he left nothing in writing; this must now be fought out in - the law courts at Prague. What an occupation for an artist to whom - nothing is so dear as his art! and I was brought into all this by - H. I. H. Archduke Rudolph.... - - Receive my thanks for the 150 fl. from the Forest Preservation - Society,[113] commend me to the esteemed Society, but I am - humiliated by the fact; why do you (or they) place so high an - estimate on the little favor which I have shown the reverend - ladies? I hope that my troubles will soon come to an end and that I - may come into possession of my own; as soon as this happens I shall - come in the fall to Gratz and then the 150 fl. shall be dealt with, - and I shall then give a large concert for the benefit of the good - Ursulines, or some other institution which may be recommended to me - as the most needy and most useful.... - -We learn from the "Aufmerksame" of Gratz, that "Christus am Ölberg," -sent there by Beethoven in the preceding year, was sung as the second -part of a concert for the poor on Palm Sunday, April 11, with applause -which did honor to the good taste of the musical public of the Styrian -capital. - -In Vienna the C minor symphony opened and the new march from "Tarpeia" -closed Schuppanzigh's concert on the 1st of May in the Augarten; but -no such enthusiasm was awakened as to induce Beethoven to risk the -trouble and expense of producing his new symphonies, and the projected -"Academies" were abandoned. - -Recalled to Vienna early in July, Beethoven wrote thence to Archduke -Rudolph: - - From day to day I thought that I should be able to return to Baden, - meanwhile the dissonances which are keeping me here may possibly - detain me till next week. It is a torture for me to stay in the - city in the summertime and when I reflect that I am also hindered - from attending upon Y. I. H. it tortures and repels me the more. - Meanwhile it is the Lobkowitz and Kinsky matter which keeps me - here; instead of thinking about a number of measures I must ponder - a number of walks (~Gänge~--passages) which I must make; without - this I should scarcely live to see the end of the matter. Your I. - H. has doubtless heard of Lobkowitz's misfortunes. It is pitiable, - but to be so rich is not fortunate! It is said that Count Fries - alone paid 1900 ducats in gold to Duport[114] and took a mortgage - on the old Lobkowitz house. The details are incredible. I hear that - Rasoumowsky will come to Baden and bring his Quartet, which would - be a very handsome thing, as Y. I. H. would certainly be nicely - entertained. I know of no more delightful enjoyment in the country - than quartet music. Graciously accept, Y. I. H., my sincerest - wishes for your good health and pity me for being obliged to remain - here under such repulsive circumstances. Meanwhile I shall try to - make up twofold all that you also lose in Baden. - -Beethoven soon returned to Baden, where for the present he may be left -in the enjoyment of nature, taking such pleasure as his deafness still -granted in Rasoumowsky's quartets, and submitting with what patience he -could to his servitude with the Archduke. - -[Sidenote: MÄLZEL'S MUSICAL MACHINES] - -Mälzel, during the past winter, had opened his "Künstler-cabinet" -as a public exhibition. There were marbles, bronzes and paintings -and a variety of contributions, scientific or curious, from various -artists--among them a large electrical machine with apparatus for -popular experiments, but the principal attractions were his own -Mechanical Trumpeter and the new Panharmonicon. The Trumpeter executed -a French cavalry march with signals and melodies which Mälzel himself -accompanied on the pianoforte. The Panharmonicon combined the -common instruments then employed in military bands, with a powerful -bellows--the whole being inclosed in a case. The motive power was -automatic and the keys were touched by pins fixed in a revolving -cylinder, as in the common hand-organ or music-box. Compositions -of considerable extent had each its own cylinder. The first pieces -made ready were Cherubini's "Lodoiska" Overture, Haydn's "Military" -Symphony, the overture and a chorus from Handel's "Timotheus"; and by -the end of January, Mälzel was at work upon an echo piece composed for -him some years before by Cherubini. In the course of the summer he -added a "few marches" composed by the popular young pianist, Moscheles, -who during their preparation much frequented the workshop. - -Beethoven's "long journey" and "great act" both refer to a proposed -journey to England with Mälzel, seriously contemplated during the first -months of this year. Brunswick's visit to Vienna occurred just when -the project seemed ripe for execution; as it was on his authority that -Schindler reports the "farewell meal" and the singing of the canon, -this may be accepted as credible. - -The condition of Karl van Beethoven's health forced his brother to -defer the journey; and Mälzel, too, found reason to wait until the -end of the year--the idea of his really very beautiful and striking -exhibition, the "Conflagration of Moscow," had occurred to him and -he willingly remained in Vienna to work it out. The change for the -better in Karl van Beethoven's health and pecuniary condition, and -the completion of the "Conflagration," left both Beethoven and Mälzel -late in autumn free for their departure. The mechanician was not only -a man of unquestionable inventive genius, but he also understood the -public; knew as by instinct how to excite and gratify curiosity without -disappointing expectation, and had the tact and skill so to arrange his -exhibitions as to dismiss his visitors grateful for an amusement for -which they had paid. He was personally both respected and popular. He -knew by experience the principal cities of the Continent, and London -well enough to foresee, that the noble compositions of Handel, Haydn -and Cherubini secured the success of his Panharmonicon there; but that -if he could add to its repertory some new, striking and popular piece, -bearing the now great name of Beethoven, he would increase both its -attractiveness and the public interest and curiosity in the composer. -Battles and sieges had for many years been favorite subjects for -descriptive music, and the grand engagements of the last fifty years -were few indeed which had not been fought over again by orchestras, -bands and all sorts of instruments. Poor Koczwara--who hanged himself -in jest at London in 1792--was the author of a "Grande Battaille" -(in D) for orchestra, and the "Battaille de Prague" for pianoforte -trio "avec tambour," or pianoforte solo, commemorative of a victory -of Frederick II of Prussia. This, for forty years, was a showpiece -throughout Europe and even in America. Devenne composed the "Battle of -Gemappe"; Neubauer, of Martinestie; Jadin, of Austerlitz; Fuchs, of -Jena; and so on, for orchestra. The grand battle piece for two flutes, -which is generally supposed to have existed but in a joke, the point -of which is its absurdity, was really published--it was an arrangement -of Fuchs' "Jena." For the pianoforte solo, or with the accompaniment -of two or more instruments, the press teemed with battles. Among -them were those of Fleurus, Würzburg, Marengo, Jena (by others than -Fuchs), Wagram, the bombardment of Vienna. Steibelt produced two land -engagements and a "Combat naval"; Kauer, "Nelson's Battle"; and so on -indefinitely. - -[Sidenote: "WELLINGTON'S VICTORY, OR THE BATTLE OF VITTORIA"] - -When, therefore, the news of Wellington's magnificent victory at -Vittoria, June 21, 1813, reached Vienna, Mälzel saw instantly that -it presented the subject of a composition for his Panharmonicon than -which none could be conceived better fitted to strike the popular -taste in England. A work which should do homage to the hero, flatter -national feeling by the introduction of "Rule Britannia" and "God -save the King," gratify the national hatred of the French, celebrate -British victory and Gallic defeat, bear the great name of Beethoven -and be illuminated by his genius--what more could be desired? He -wrought out the plan and explained it to the composer, who, for once, -consented to work out the ideas of another. In a sketchbook for this -composition, having signals for the battle on its first page, we read: -"Wellington's Victory Vittoria, only God save the King, but a great -victory overture for Wellington"; and in the so-called "Tagebuch": "I -must show the English a little what a blessing there is in God save the -King"; perhaps, also, another remark just after this was occasioned -by his experience on this work: "It is certain that one writes most -beautifully when one writes for the public, also that one writes -rapidly." There is nothing in this at all contradictory to Moscheles's -positive and unimpeachable testimony on the origin of the work. In a -note to his English edition of Schindler's book he writes: - - I witnessed the origin and progress of this work, and remember - that not only did Mälzel decidedly induce Beethoven to write it, - but even laid before him the whole design of it; himself wrote - all the drum-marches and the trumpet-flourishes of the French and - English armies; gave the composer some hints, how he should herald - the English army by the tune of "Rule Britannia"; how he should - introduce "Malbrook" in a dismal strain; how he should depict the - horrors of the battle and arrange "God save the King" with effects - representing the hurrahs of a multitude. Even the unhappy idea of - converting the melody of "God save the King" into a subject of a - fugue in quick movement, emanates from Mälzel. All this I saw in - sketches and score, brought by Beethoven to Mälzel's workshop, then - the only suitable place of reception he was provided with. - -The same, in general and in most of its particulars, was related to -the author by Carl Stein, who was daily in Mälzel's rooms--they being, -as before noted, in his father's pianoforte manufactory--and who was -firmly of the opinion, that Mälzel was afterwards very unfairly, not to -say unjustly, treated by Beethoven in the matter of this composition. -The composer himself says: "I had already before then conceived the -idea of a battle which was not practicable on his Panharmonica," thus -by implication fully admitting that ~this~ idea was not his own; -moreover, the copy of a part of the Panharmonicon score, in the Artaria -Collection, has on the cover, in his own hand: "On Wellington's Victory -at Vittoria, 1813, written for Hr. Mälzel by Ludwig van Beethoven." -This is all more or less confirmatory of Moscheles, if indeed any -confirmation be needed. It is almost too obvious for mention, that -Mälzel's share in the work was even more than indicated above, because -whoever wrote for the Panharmonicon must be frequently instructed by -him as to its capacities and limitations, whether a Beethoven or the -young Moscheles. We may reasonably assume, that the general plan of -"Wellington's Victory" was fixed during the composer's occasional -visits to the city in August and September, and such alterations in -the score determined upon as the nature of the instrument demanded; so -that early in October the whole was ready for Mälzel to transfer to its -cylinder. - -On Beethoven's return to his city lodging, between the 15th and -20th of September, his notes to Zmeskall become as usual numerous, -the principal topic just now being the engagement of a new servant. -While with the assistance and under the direction of the excellent -Streichers, Beethoven got his lodgings and wardrobe into decent -order, with the aid of Zmeskall he obtained that servant spoken of by -Schindler, - - who was a tailor and carried on his trade in the anteroom of the - composer. With the help of his wife he attended the master with - touching care till into the year 1816--and this regulated mode of - life did our friend much good. Would that it might have endured a - few years longer. - - At this stage of the case there came also evidences of love - and admiration from Princess Lichnowsky, which are well worth - more detailed notice. The Prince was in the habit of frequently - visiting his favorite in his workshop. In accordance with a mutual - understanding no notice was to be taken of his presence, so that - the master might not be disturbed. After the morning greeting the - Prince was in the habit of looking through any piece of music that - chanced to be at hand, watching the master at his work for a while - and then leaving the room with a friendly "adieu." Nevertheless, - these visits disturbed Beethoven, who occasionally locked the door. - Unvexed, the Prince would walk down the three flights of stairs. - As the sartorial servant sat in the anteroom, His Serene Highness - would join him and wait until the door opened and he could speak - a friendly greeting to the Prince of Music. The need was thus - satisfied. But it was not given long to the honored Mæcenas of Art - to rejoice in his favorite and his creations. - -This is touching and trustworthy. - -To return to "Wellington's Victory." Schindler, supposing the -Panharmonicon to have played it, remarked in the first edition of his -book: "The effect of the piece was so unexpected that Mälzel requested -our Beethoven to instrumentate it for orchestra." He is mistaken as -to the reason; for Mälzel had only, in Beethoven's words, "begun to -engrave." In truth, he was musician enough to see from the score, how -very effective it would be if instrumentated for grand orchestra, and -sagacious enough to perceive, that the composition in that form might -prove of far greater advantage to them in London and probably be more -attractive afterwards when performed by the Panharmonicon. But there -was another consideration far more important. - -Before the age of steam a journey from Vienna to London with the many -huge cases required for even a part of Mälzel's collection, was a -very expensive undertaking. The problem now was, how to provide the -necessary funds. Beethoven's were exhausted and his own were very -limited. To go alone and give exhibitions at the principal cities on -the way, involved little or no risk for Mälzel, as the experience of -the next year proved; but to make the journey direct, with Beethoven -for his companion, was impossible until in some manner a considerable -sum of ready money could be provided. - -[Sidenote: A BENEFIT FOR WOUNDED SOLDIERS] - -The only resource of the composer, except borrowing, was, of course, -the production of the two new Symphonies, one of which had been copied -for trial with small orchestra at the Archduke's, thus diminishing -somewhat the expenses of a concert. It was five years since he had -had a benefit, and therefore one full house might be counted on with -reasonable certainty; but no concert of his had ever been repeated, and -a single full house would leave but a small margin of profit. Moreover, -his fruitless efforts in the Spring to arrange an "Akademie" were -discouraging. Unless the new Symphonies could be produced without cost -to himself, and the interest and curiosity of the public so aroused as -to insure the success of two or three subsequent concerts, no adequate -fund for the journey could be gained; but if so great a sensation could -in some manner be made as to secure this object, the fame of it would -precede and nobly herald them in London. - -Beethoven was helpless; but Mälzel's sagacity was equal to the -occasion. He knew that for the highly cultivated classes of -music-lovers, able and ready to appreciate the best, nothing better -could be desired than new Symphonies by Beethoven; but such auditors -are always limited in number; the programme must also contain something -surprising, sensational, ~ad captandum vulgus~, to catch the ear of the -multitude, and open their pockets. His Trumpeter was not enough; it -had lost its novelty; although with an orchestra instead of pianoforte -accompaniment, it would be something. Beethoven alone could, if he -would, produce what was indispensable. Time pressed, Mälzel had long -since closed his exhibition, and every day of delay was a serious -expense. The "Conflagration of Moscow," the model of his Chronometer -and the cylinders for his Panharmonicon were all finished, except -the "Victory," and this would soon be ready. Before the end of the -year, therefore, he could be in Munich, as his interest imperatively -demanded, provided Beethoven should not be his companion. There was -nothing to detain him in Vienna after the "Victory" was completed, but -his relations to the composer. Him he knew too well to hope from him -any work deliberately written with a view to please the multitude, had -the time allowed, which it did not. - -Preparations were making in October for two grand performances on -the 11th and 14th of November, in the R. I. Winter Riding Academy, -of Handel's "Timotheus" for the benefit of the widows and orphans of -Austrians and Bavarians who had fallen in the late campaign against -Napoleon. On this hint Mälzel formed his plan. This was, if Beethoven -would consent to instrumentate the "Victory" for orchestra--in doing -which, being freed from the limitations of the Panharmonicon, he could -give free play to his fancy--he (Mälzel) would return to him the score, -risk the sacrifice of it for its original purpose, remain in Vienna, -and make it the popular attraction of a grand charity concert for -the benefit of the Austrians and Bavarians wounded in the battle at -Hanau, trusting that it would open the way for two or more concerts -to be given for their own benefit. Under all the circumstances, it is -difficult to decide, whether to admire the more Mälzel's good judgment, -or his courageous trust in it and in Beethoven's genius. He disclosed -his plan and purposes to the composer, they were approved by him, and -the score was returned. - -While Beethoven wrought zealously on his task, Mälzel busied himself -with the preparations for the concert. His personal popularity, -the charitable object in view, curiosity to study Beethoven's new -productions, especially the battle-piece, secured the services of -nearly all the leading musicians, some of whom were there only in -passing or temporarily--Dragonetti, Meyerbeer, the bassoon-player -Romberg, and others. Tomaschek, who heard the "Victory" next year, -writes that he was "very painfully affected to see a Beethoven, whom -Providence had probably assigned to the highest throne in the realm of -music, among the rudest materialists. I was told, it is true, that he -himself had declared the work to be folly, and that he liked it only -because with it he had thoroughly thrashed the Viennese." There is no -doubt that this was so; nor that they, who engaged in its performance, -viewed it as a stupendous musical joke, and engaged in it ~con amore~ -as in a gigantic professional frolic. - -The University Hall was granted on this occasion and the 8th of -December was fixed for the concert. Young Glöggl was in Vienna, visited -Beethoven, and was by him granted the privilege of attending the -rehearsals. "I remember," he writes, - - that in one rehearsal the violin-players refused to play a passage - in the symphony and rebuked him for writing difficulties which were - incapable of performance. But Beethoven begged the gentlemen to - take the parts home with them--if they were to practise it at home - it would surely go. The next day at the rehearsal the passage went - excellently, and the gentlemen themselves seemed to rejoice that - they had given Beethoven the pleasure. - -[Sidenote: SPOHR DESCRIBES BEETHOVEN'S CONDUCTING] - -Spohr, playing among the violins, - - for the first time saw Beethoven conduct and was surprised in the - highest degree, although he had been told beforehand of what he now - saw with his own eyes. Beethoven had accustomed himself [he says] - to indicate expression to the orchestra by all manner of singular - bodily movements. At ~piano~ he crouched down lower and lower as he - desired the degree of softness. If a ~crescendo~ then entered he - gradually rose again and at the entrance of the ~forte~ jumped into - the air. Sometimes, too, he unconsciously shouted to strengthen the - ~forte~. It was obvious that the poor man could no longer hear the - ~piano~ of his music. This was strikingly illustrated in the second - portion of the first Allegro of the symphony. In one place there - are two holds, one immediately after the other, of which the second - is ~pianissimo~. This, Beethoven had probably overlooked, for he - began again to beat time before the orchestra had begun to play the - second hold. Without knowing it, therefore, he had hurried ten or - twelve measures ahead of the orchestra, when it began again and, - indeed, ~pianissimo~. Beethoven to indicate this had in his wonted - manner crouched clean under the desk. At the succeeding ~crescendo~ - he again became visible, straightened himself out more and more and - jumped into the air at the point where according to his calculation - the ~forte~ ought to begin. When this did not follow his movement - he looked about in a startled way, stared at the orchestra to see - it still playing ~pianissimo~ and found his bearings only when the - long-expected ~forte~ came and was audible to him. Fortunately this - comical incident did not take place at the performance. - -Mälzel's first placards announcing the concert spoke of the -battle-piece as his property; but Beethoven objecting to this, others -were substituted in which it was said to have been composed "out of -friendship, for his visit to London." No hint was conveyed of Mälzel's -share in the composition. The programme was: - - I. "An entirely new Symphony," by Beethoven (the Seventh, in A - major). - - II. Two Marches played by Mälzel's Mechanical Trumpeter, with full - orchestral accompaniment--the one by Dussek, the other by Pleyel. - - III. "Wellington's Victory." - -The success of the performances was so unequivocal and splendid as -to cause their repetition on Sunday, the 12th, at noon, at the same -prices, 10 fl. and 5 fl. "The net receipts of the two performances, -after deducting the unavoidable costs, were 4006 florins, which were -reverently turned over to the 'hohen Kriegs-Präsidio' for the purposes -announced" ("Wiener Zeitung," December 20). The "Wiener Zeitung," -"Allg. Mus. Zeit." of Leipsic, and the "Beobachter," contained -excessively laudatory notices of the music and vivid descriptions -of its effect upon the auditors, whose "applause rose to the point -of ecstasy." The statements of the contemporary public prints are -confirmed by the veteran Spohr, who reports that the Allegretto of the -Seventh Symphony "was demanded ~da capo~ at both concerts." - -Schindler calls this rightly "one of the most important moments in -the life of the master, at which all the hitherto divergent voices, -save those of the professional musicians, united in proclaiming him -worthy of the laurel." "A work like the battle-symphony had to come," -adds Schindler with good judgment, "in order that divergent opinions -might be united and the mouths of all opponents, of whatever kind, be -silenced." Schindler also preserved a "Note of Thanks" prepared for the -"Wiener Zeitung" and signed by Beethoven, which ends with a just and -merited tribute to Mälzel: - - (For the "Intelligenz-Blatt" of the "Wiener Zeitung.") - - I esteem it to be my duty to thank all the honored participants in - the Academy given on December 8, and 12, for the benefit of the - sick and wounded Austrian and Bavarian soldiers who fought in the - battle at Hanau. - - It was an unusual congregation of admirable artists wherein every - individual was inspired by the single thought of contributing - something by his art for the benefit of the fatherland, and - coöperated without considering rank in subordinate places in the - excellent execution of the whole. - - While Herr Schuppanzigh at the head of the violins carried - the orchestra by his fiery and expressive playing, Hr. - Chief-Chapelmaster Salieri did not scruple to beat time for the - drummers and salvos; Hr. Spohr and Hr. Mayseder, each worthy of - leadership because of his art, collaborated in the second and - third places and Hr. Siboni and Giuliani also occupied subordinate - positions. - - To me the direction of the whole was assigned only because the - music was of my composition; had it been by another, I should - have been as willing as Hr. Hummel[115] to take my place at the - big drum, as we were all filled with nothing but the pure love - of country and of joyful sacrifice of our powers for those who - sacrificed so much for us. - - But our greatest thanks are due to Hr. Mälzel, since it was he who - first conceived the idea of this academy and there fell to him - afterward the management, care and arrangement--the most arduous - labors of all. I must also thank him in particular, because by the - projection of this academy, he gave me the opportunity, long and - ardently desired, by means of the composition especially written - for this philanthropic purpose and delivered to him without pay, to - lay a work of magnitude upon the altar of the fatherland under the - existing conditions. - - Ludwig van Beethoven. - -Why was this document not printed? Beethoven had suddenly quarreled -with Mälzel. - -Evidence of the impatience with which Beethoven conducted the -controversy with the heirs of Prince Kinsky, concerning the payment of -the annuity installments, is given by a letter dated "Vienna, December -18, 1813," to Dr. Beyer, a lawyer in Prague, in which he says: - - I have many times cursed this unhappy decree through which I have - been plunged into numberless sorrows. Oliva is no longer here and - it is unendurable to lose so much time in the matter, which I - steal from my art only to see things at a standstill. I have now - sent a new opinion to Wolff, he wanted to begin legal proceedings, - but I think it better as I have written to Wolff, first to send a - petition to the general courts--give me your help in the matter and - do not let me go to destruction, here, surrounded by innumerable - enemies in everything that I do, I am almost desperate. My brother, - whom I have overwhelmed with benevolences, with whose consent I - certainly am ... partly in misery is--my greatest enemy!... I would - gladly have taken the entire matter out of Wolff's hands and placed - it in yours, but we should only make new enemies. - -[Sidenote: COMPOSITIONS AND PUBLICATIONS OF 1813] - -The ascertained compositions of this year are: - - I. Triumphal March, C major, for Kuffner's "Tarpeia." - - II. "Wellington's Victory." - - III. Song: "Der Bardengeist" ("On November 3d, 1813"). - - IV. Canon: "Kurz ist der Schmerz." (First form.) "For Herrn Naue - as a souvenir from L. v. Beethoven, Vienna, November 23, 1813." - Johann Friedrich Naue, successor to Türk as Musik-Direktor, etc., - at Halle, born in 1790, appears to have been in Vienna on a visit - this Autumn. - - V. Irish airs quite, or nearly, completed. - -Publications: - - In Thomson's preface to the First Volume of "A Select Collection - of Original Irish Airs," dated "Edinburgh, Anno 1814," he remarks: - "After the volume was printed and some copies of it had been - circulated, an opportunity occurred of sending it to Beethoven, who - corrected the few inaccuracies that had escaped the notice of the - Editor and his friends; and he trusts it will be found without a - single error." - - It is to be inferred from this, that the first volume was - published, at the latest, this year; but the corrections were not - sent to Thomson until September, 1814. The songs were originally - printed in numbers. Thus of the first volume of the Scotch Songs, - principally by Kozeluch and Pleyel, the First, Third, and Fourth - Sets, now before the writer, contain 25 songs each. - - It may be assumed then that at least a part of the Irish Songs came - from the press in 1813. The song "Der Bardengeist" was published as - a supplement to the "Musenalmanach" of Joh. Erichson for 1814. The - preface of the almanac is dated November 20, 1813, and the book was - doubtless published before New Year's Day, 1814. - -FOOTNOTES: - -[109] Thayer is writing from the point of view touching Beethoven's -love-affairs which was justified by all the evidence that had been -discovered up to the time of his writing and, in fact, up to the time -of his death. He thought that the object of the love-letters, which he -insisted in placing in 1806, was "in greatest probability" Countess -Brunswick; he knew that Beethoven had proposed marriage to Therese -Malfatti, but plainly thought the passion for her neither profound nor -lasting; he was inclined to believe that the broken marriage engagement -of 1810, was with the Countess Brunswick and that she dropped out of -his life with the failure of his marriage project. The discovery of -the letter of February, 1811, from Therese to her sister in which his -letter to her about the portrait is quoted, shows Thayer to have been -in error in this. In his revision of the chapter before us, Dr. Riemann -proceeded from an entirely different point of view. In his belief the -love-letters were written in 1812, and to Therese Brunswick. In place -of the opening passages which the English Editor has thought proper to -retain, he substituted the following: - -"The convincing reasons advanced in the preceding chapter for placing -the love-letter of July 6-7 in the year 1812, give an entirely -different light to the so-called 'Journal' in the Fischoff manuscript. -If that day, in the beginning of July, 1812, which led to a mutual -confession of love forms a climax in Beethoven's heart-history, which -can scarcely be doubted, the entry in the journal makes it sure -that the obstacles to a conjugal union which are intimated have not -disappeared, but, on the contrary, have proved to be insuperable. The -first entry is dated merely 1812, and in likelihood was written at the -end of the year. Whether or not the initial which shows a flourish is -really an A is a fair question. Those who see more than superficial -playfulness in the relations between Beethoven and Amalie Sebald will -of course see her name in the letter." It should be observed here that -in the chapter devoted to the year 1812, Dr. Riemann interpolated an -extended argument, following the lines of Dr. San-Galli's brochure, to -show that the letters were written in 1812 from Teplitz--Dr. San-Galli -says to Amalie Sebald, Dr. Riemann to Countess Brunswick. - -[110] Here is Dr. Riemann's interpretation: "That the reference is -to the obstacles standing in the way of a marriage, can scarcely be -controverted. Compare with this what Fanny Giannatasio del Rio says -on September 16, 1816, in her journal: Five years before he had got -acquainted with a person, union with whom would have been to him the -greatest happiness of his life. 'It is still as on the first day, I -have not been able to get it out of my mind.' The words 'got acquainted -five years ago' apply rather to Amalie Sebald or Bettina von Arnim than -to Therese Brunswick; but it should be borne in mind that the young -woman is reporting a conversation overheard from some distance between -Beethoven and her father." - -[111] This document is signed and sealed by Karl v. Beethoven, R. I. -Cashier, Ludwig van Beethoven, and Baron Johann von Pasqualati, Peter -von Leben and Fr. Oliva as witnesses. - -[112] This date is obviously an error of the copyists. The letter was -written to Oliva who, on January 27, 1813, recalling it to Varnhagen's -mind, copies it as "your letter of June 9, of last year." Moreover, -Beethoven was in Prague several days before July 9, 1812. - -[113] Thus the title in the first edition; Dr. Riemann changes the word -to "The highly esteemed Society" and says that it meant the Association -of the Friends of Art and Music for the purpose of giving the charity -concerts. - -[114] The celebrated dancer and ballet-master. - -[115] In a foot-note to Schindler's account of the performance of the -battle-piece, Moscheles, the English translator, says: "I must claim -for my friend Meyerbeer the place here assigned to Hummel, who had to -act in the cannonade; and this I may the more firmly assert as the -cymbals having been intrusted to me, Meyerbeer and I had to play from -one and the same part." At the repetitions of the work on January 2 -and 24 ensuing, Hummel directed what may well be called the "battery." -As there were two large drums, one on one side of the stage and one -on the other, Hummel no doubt played one and Meyerbeer the other. -Being pianists, nothing but instruments of percussion could have been -assigned them. - - - - -Chapter XIV - - The Year 1814--Popular Performances Repeated--Revision of - "Fidelio"--The Opera Succeeds--Anton Schindler Enters Beethoven's - Life--The Quarrel with Mälzel--Moscheles--The Vienna Congress--J. - W. Tomaschek--Count Rasoumowsky's Palace Burned--Compositions of - the Year. - - -On the last day of 1813, the "Wiener Zeitung" contained this public -notice: - - MUSICAL ACADEMY - - The desire of a large number of music-lovers whom I esteem as - worthy of honor, to hear again my grand instrumental composition - on "Wellington's Victory at Vittoria," makes it my pleasant duty - herewith to inform the valued public that on Sunday, the 2d of - January, I shall have the honor to perform the aforementioned - composition with added vocal pieces and choruses and aided by the - most admirable musicians of Vienna in the R. I. large Ridotto Room - for my benefit. - - Tickets of admission are to be had daily in the Kohlmarkt in the - house of Baron v. Haggenmüller, to the right of the court on the - ground floor, in the comptoir of Baron v. Pasqualati; parterre 2 - fl. gallery 3 fl. Vienna standard. - - Ludwig van Beethoven. - -Mälzel saw, therefore, that the objects for which he had sacrificed the -"Battle," for which he had lost so many precious weeks and had spent -so much labor and pains, were accomplished in so far as Beethoven's -new works were now the subjects of general interest and curiosity, -and their repeated performance to large and profitable audiences -was secured. To his courage and sagacity this was wholly due. It is -thoroughly unjust to deny or ignore the value of his services. What -his feelings were now, to find himself deprived of all share in the -benefit resulting from them, and therefore left without compensation, -may readily be conceived. His Mechanical Trumpeter was necessarily -discarded with himself, and Beethoven had to find something to take -its place on the programme. Hence this note (in December) to Moritz -Lichnowsky: - - If you, worthy Count, want to take part in our consultation I - inform you that it will be held this afternoon at half after 3 - o'clock in the Spielmann house on the Graben 1188 in the fourth - storey at Hr. Weinmüller's--it would rejoice me time permitting if - you were to attend. - - Entirely your - - Beethoven. - -The result of this conference was the selection of Nos. 6, 7 and 8 of -the "Ruins of Athens" music, viz: the "Solemn March with Chorus" and -the concluding Bass Air, sung by Weinmüller, with the choruses. The -last was exceedingly appropriate in a concert in the Redouten-Saal, -it being the number in which (as in the old Bonnian "Blick in die -Zukunft") the bust of the monarch is made suddenly to appear. To insure -the effectiveness of this is the object of a humorous note to Zmeskall, -on New Year's Day. - - All would be well if there were but a curtain, without it the - Air will fall through. Only to-day do I learn this from S. and - it grieves me--let there be a curtain even if it be only a - bed-curtain, only a sort of screen which can be removed for the - moment, a veil, etc. There must be something, the Air is too - dramatic, too much written for the theatre, to be effective in a - concert; without a curtain or something of the sort all of its - meaning will be lost!--lost!--lost!--To the devil with everything! - The Court will probably come, Baron Schweiger asked me to go there - at once, Archduke Karl admitted me to his presence and promised to - come. The Empress did not accept nor did she decline. - - Hangings!!! or the Air and I will hang to-morrow. Farewell in the - new year, I press you as warmly to my heart as in the old--with or - without curtain. - -The orchestra was for the most part composed of the same professional -and amateur artists as had taken part in the two previous concerts, so -that the rehearsals were comparatively inexpensive, the only new music -being the selections from "The Ruins"; but Salieri, as director of the -cannonade, gave place to Hummel. Franz Wild, the singer, was present -and records in his "Autobiography" his reminiscences of the occasion -thus: - - He (Beethoven) mounted the conductor's platform, and the orchestra, - knowing his weakness, found itself plunged into an anxious - excitement which was justified only too soon; for scarcely had the - music begun before its creator offered a bewildering spectacle. - At the ~piano~ passages he sank upon his knee, at the ~forte~ he - leaped up, so that his figure, now shrivelling to that of a dwarf, - disappeared under the desk and anon stretched up far above it like - a giant, his hands and arms working as if with the beginning of - the music a thousand lives had entered every member. At first this - happened without disturbance of the effect of the composition, for - the disappearance and appearance of his body was synchronous with - the dying away and the swelling of the music; but all at once the - genius ran ahead of his orchestra and the master disappeared at the - ~forte~ passages and appeared again at the ~piano~. Now danger was - imminent and at the critical moment Chapelmaster Umlauf took the - commander's staff and it was indicated to the orchestra that he - alone was to be obeyed. For a long time Beethoven noticed nothing - of the change; when he finally observed it, a smile came to his - lips which, if ever a one which kind fate permitted me to see could - be called so, deserved to be called "heavenly." - -[Sidenote: SUCCESS OF THE BATTLE MUSIC] - -The composer had every reason to be satisfied with the result, for not -only was it pecuniarly profitable but - - the applause was general and reached the highest ecstasy. Many - things had to be repeated, and there was a unanimous expression of - a desire on the part of all the hearers to hear the compositions - again and often, and to have occasion more frequently to laud and - admire our native composer for works of his brilliant invention. - -So speaks the "Wiener Zeitung" on the 9th, which on the 24th of January -printed this: - - NOTE OF THANKS. - - I had the good fortune on the occasion of a performance of my - compositions at the concert given by me on January 2, to have - the support and help of a large number of the most admirable and - celebrated artists of the city, and to see my works brilliantly - made known by the hands of such virtuosos. Though these artists may - have felt themselves rewarded by their own zeal for art and the - pleasure which they gave the public through their talents, it is - yet my duty publicly to express to them my thanks for their mark of - friendship for me and ready support. - - Ludwig van Beethoven. - -"Only in this room" (the large Redoutensaal), says Schindler, "was -the opportunity offered to put into execution the manifold intentions -of the composer in the Battle Symphony. With the help of the long -corridors and the rooms opposite to each other the opposing forces were -enabled to approach each other and the desired illusion was strikingly -achieved." Schindler was among the listeners on this occasion and gives -assurance that the enthusiasm awakened by the performance, "heightened -by the patriotic feeling of those memorable days," was overwhelming. - -Among the direct consequences of this sudden and boundless popularity -of Beethoven's music, to which Mälzel had given the occasion -and impulse, was one all the more gratifying, because totally -unexpected--the revival of "Fidelio." - -"The Inspizienten of the R. I. Court Opera, Saal, Vogel and Weinmüller, -about this time were granted a performance for their benefit, the -choice of a work being left to them, without cost." There was then -no opera, German, French or Italian, likely to draw a remunerative -house in the repertory of the theatre, which could be produced without -expense to the institution. The sensation caused by Beethoven's new -music, including the numbers from "The Ruins of Athens" in which -Weinmüller had just sung, suggested "Fidelio." All three had been in -Vienna at its production and therefore knew it sufficiently to judge of -its fitness for them as singers, and the probability of its now being -successful; at all events the name of Beethoven would surely secure for -their night a numerous audience. "Beethoven was approached for the loan -of the opera," says Treitschke, who had this year been re-appointed -stage-manager and poet at the Kärnthnerthor-Theater after having been -employed some years at the Theater-an-der-Wien, "and very unselfishly -declared his willingness, but on the unequivocal condition that many -changes be made." - - At the same time he proposed my humble self as the person to make - these changes. I had enjoyed his more intimate friendship for some - time, and my twofold position as stage-manager and opera-poet made - his wish a pious duty. With Sonnleithner's permission I first took - up the dialogue, wrote it almost wholly anew, succinct and clear as - possible--an essential thing in the case of ~Singspiele~. - -[Sidenote: TREITSCHKE'S REVISION OF "FIDELIO"] - -The principal changes made by Treitschke were, by his own account, -these: - - The scene of the entire first act was laid in an open court; - the positions of Nos. 1 and 2, were exchanged; later the guard - entered to a newly composed march; ~Leonore's~ Air received a new - introduction, and only the last movement, "O du, für den ich alles - trug," was retained. The succeeding scene and duet--according to - Seyfried's description "a charming duettino for soprano voices - with concertante parts for violin and violoncello, C major, 6/8 - time"--which was in the old book, Beethoven tore out of the score; - the former (he said) was unnecessary, the latter a concert-piece; - I was compelled to agree with him; the purpose in view was to save - the opera as a whole. A little terzetto for ~Rocco~, ~Marcelline~ - and ~Jacquino~ which followed ("a most melodious terzetto in - E-flat" as Seyfried says) fared no better. There had been a want of - action and the music did not warm the hearers. A new dialogue was - desired to give more occasion for the first finale. My friend was - again right in demanding a different ending. I made many plans; at - length we came to an agreement: to bring together the return of the - prisoners at the command of ~Pizarro~ and their lamentation. - - The second act offered a great difficulty at the very outset. - Beethoven at first wanted to distinguish poor ~Florestan~ with an - aria, but I offered the objection that it would not be possible - to allow a man nearly dead of hunger to sing bravura. We composed - one thing and another; at last, in my opinion, I hit the nail on - the head. I wrote words which describe the last blazing up of life - before its extinguishment: - - "Und spür' ich nicht linde, sanft säuselnde Luft, - Und ist nicht mein Grab mir erhellet? - Ich seh', wie ein Engel, in rosigem Duft, - Sich tröstend zur Seite mir stellet. - Ein Engel, Leonoren, der Gattin so gleich! - Der führt mich zur Freiheit,--ins himmlische Reich!" - - What I am now relating will live forever in my memory. Beethoven - came to me about seven o'clock in the evening. After we had - discussed other things, he asked how matters stood with the aria? - It was just finished, I handed it to him. He read, ran up and - down the room, muttered, growled, as was his habit instead of - singing--and tore open the pianoforte. My wife had often vainly - begged him to play; to-day he placed the text in front of him and - began to improvise marvellously--music which no magic could hold - fast. Out of it he seemed to conjure the motive of the aria. The - hours went by, but Beethoven improvised on. Supper, which he had - purposed to eat with us, was served, but--he would not permit - himself to be disturbed. It was late when he embraced me, and - declining the meal, he hurried home. The next day the admirable - composition was finished. - -Concerning this air, Röckel writes: - - Measurably to satisfy the new ~Florestan~ (the Italian Radichi), - who wanted to be applauded after his air, which was not - possible nor fitting to the situation nor desirable after the - ~pianissimo~ conclusion of ~Florestan's~ air with the ~con sordino~ - accompaniment of the violins, without writing a new air, Beethoven - cut the Adagio in two and concluded with an Allegro in the high - register of the singer; but as the noise of applause would not have - been increased by ~Rocco~ and ~Fidelio~, who enter at this moment - to dig a grave for the supposedly dead man, the composer concluded - the noisy Allegro with a coda for the orchestra ending with a - new ~pianissimo~, by which device the silence essential to the - succeeding scene was again restored. - -Treitschke continues: - - Nearly all the rest in the second act was confined to abbreviations - and changes in the poetry. I think that a careful comparison of the - two printed texts will justify my reasons. The grandiose quartet: - "Er sterbe," etc., was interrupted by me with a short pause during - which ~Jacquino~ and other persons report the arrival of the - ~Minister~ and make the accomplishment of the murder impossible by - summoning ~Pizarro~ away. After the next duet ~Rocco~ comes and - accompanies ~Florestan~ and ~Leonore~ to the ~Minister~. - -At this point, Treitschke avoided what had always appeared to him to -be "a great fault"--namely, that the dungeon was the scene of the -entire second act--by introducing a change in the scenery so that the -conclusion should be "in full daylight upon a bright green courtyard of -the palace." - -Before the middle of February the alterations to be made were -determined by musician and poet, and each began his task; both were -hindered by frequent interruptions, and its completion deferred.[116] - -Beethoven's attention to it was immediately called away by the concert -of which these two notes speak: - - No. I. - - (To Brunswick.) - - Vienna, February 13, 1814. Dear friend and brother! You wrote to - me recently, I write to you now--you no doubt rejoice over all - victories--also over mine--on the 27th of this month I shall give - a second concert in the large Ridotto Room--Come up--You know it - now. Thus I am gradually rescuing myself from my misery, for from - my salaries I have not yet received a penny.[117] Schuppanzigh has - written to Michalcovics[118] whether it would be worth while to - come to Ofen; what do you think? Of course such a thing would have - to take place in a theatre. My opera is going to be performed, but - I am writing much of it over. I hope you are living contentedly, - that is not a little, so far as I am concerned, good heavens, my - kingdom is in the air, like the wind the tones often whirl in my - soul--I embrace you. - - No. II. - - (To Archduke Rudolph.) - - I hope for pardon for my non-attendance. Your displeasure would - punish me when I am innocent; in a few days I will make it all - up. They intend to perform my opera "Fidelio" again. This gives - me a great deal of work, and despite my healthy appearance I am - not well. For my second concert the arrangements have been made - in part, I must compose something new for Milder in it. Meanwhile - I hear, and it is comforting to me, that Y. I. H. is in better - health,[119] I hope, unless I am flattering myself too much, soon - again to contribute to it. In the meantime I have taken the liberty - to inform my Lord Falstaff[120] that he will soon graciously be - permitted to appear before Y. I. H. - -The "Wiener Zeitung" of February 24th contains the advertisement of -the "Akademie, next Sunday, the 27th inst. in the large Redoutensaal," -announcing "a new symphony not yet heard and an entirely new as yet -unheard terzetto" as novelties. To Hummel, Beethoven now wrote: - - I beg of you conduct this time again the drumheads and cannonades - with your admirable chapelmaster and field-marshall's bâton--do it, - I beg of you, and if ever I am wanted to cannonade you, I shall be - at your service body and soul. - -[Sidenote: "WELLINGTON'S VICTORY" REPEATED] - -The report in the "Allg. Mus. Zeit." contains the programme in full -with a few short and pertinent observations: - - 1. The new symphony (A major) which was received with so much - applause, again. The reception was as animated as at the first - time; the Andante (A minor) the crown of modern instrumental music, - as at the first performance had to be repeated. - - 2. An entirely new Italian terzetto (B-flat major) beautifully - sung by Mad. Milder-Hauptmann, Hrn. Siboni and Hrn. Weinmüller, is - conceived at the outset wholly in the Italian style, but ends with - a fiery Allegro in Beethoven's individual style. It was applauded. - - 3. An entirely new, hitherto unheard symphony (F major, 3/4 time). - The greatest interest of the listeners seemed centered on this, the - ~newest~ product of B's muse, and expectation was tense, but this - was not sufficiently gratified after the single hearing, and the - applause which it received was not accompanied by that enthusiasm - which distinguishes a work which gives universal delight; in - short--as the Italians say--it did not create a furore. This - reviewer is of the opinion that the reason does not lie by any - means in weaker or less artistic workmanship (for here as in all - of B's works of this class there breathes that peculiar spirit by - which his originality always asserts itself); but partly in the - faulty judgment which permitted this symphony to follow that in A - major, partly in the surfeit of beauty and excellence which must - necessarily be followed by a reaction. If this symphony should be - performed ~alone~ hereafter, we have no doubt of its success. - - 4. At the close, "Wellington's Victory in the battle of Vittoria" - was given again, the first part, the Battle, having to be repeated. - The performance left nothing to be desired; and the attendance was - again very large. - -The "something new for Milder" resulted in something rather old; for -the terzetto in which she sang was the "Tremate, empj, tremate," fully -sketched in 1801-1802, but now first written out and completed in its -present form. - -Schindler discovered among Beethoven's papers, and has communicated -substantially in his book, certain accounts of expenses incurred in -this concert. Only the Eighth Symphony and the terzetto had to be -copied; for these "the specification amounted in total: 452 written -pages at 12 kreutzers, makes 90 florins, 24 kr.; the specified cost -of the orchestra alone at this concert amounted to 344 florins. -Nevertheless, only 7 first violinists and only 6 seconds who were paid -some 5 some 7 fl. are mentioned by name, because in each part twice as -many dilettanti had played." One of Beethoven's own memoranda gives -the exact number of the string instruments: "At my last concert in the -large Ridotto-room there were 18 first violins, 18 second, 14 violas, -12 violoncellos, 17 contra-basses, 2 contra-bassoons." Whether the -audience numbered 5000, as Schindler reports, or 3000, which is more -likely, the clear pecuniary profits of the two concerts were very -large. Czerny remembered that on this occasion the Eighth Symphony -"by no means pleased" and Beethoven was angry thereat, "because it is -much better," he said. Another of his reminiscences is that Beethoven -"often related with much pleasure how, when walking on the Kahlenberg -after the performance of the Eighth Symphony, he got some cherries -from a couple of girls and when he asked the price of one of them, she -replied: 'I'll take nothing from you. We saw you in the Ridotto-room -when we heard your beautiful music.'" - -The University Law Students had a composition by Beethoven on the -programme of their concert, on February 12; the Medical Students opened -their concert, March 6, with the "Egmont" Overture; and the Regiment -Deutschmeister, theirs of March 25 with that to "Coriolan"; with -these concerts Beethoven had nothing to do; but in the Annual Spring -"Akademie," March 25, in the Kärnthnerthor-Theater for the Theatre Poor -Fund, he conducted the "Egmont" Overture and "Wellington's Victory." - -Both poet and composer had now been again delayed in their "Fidelio" -studies, in this wise: The French Armies had so often taken possession -of the capitals of the various Continental states, that the motives are -inconceivable, which induced Schwarzenberg to restrain the approach of -the allied armies on Paris, until Blücher's persistence, enforced by -his victories, at last compelled the Commander-in-Chief to yield the -point. When this became known in Vienna, it was determined to celebrate -the event, so soon as news of it should arrive, by an appropriate -performance in the Court Opera. To this end, Treitschke wrote a -~Singspiel~ in one act entitled "Gute Nachricht" ("Good News"). Of the -nine pieces of music in it, the overture was given to Hummel and the -concluding chorus, "Germania, wie stehst du jetzt im Glanze da," to -Beethoven. - -In a note to Treitschke, called out by the proposed changes in the -scenery of "Fidelio," Beethoven wrote: - - The arrival of the Spaniards, which is only suggested in the play, - not visibly presented, might be utilized for the multitude to open - the big hole of the Wiedener Theatre [the stage]--and there might - be a good deal of spectacle besides and the music would not be - wholly lost, and I should willingly add something new if it were - asked. - -Towards the end of March, Beethoven received the new text to "Fidelio." -To Treitschke he wrote: "I have read your amendments to the opera -with great pleasure; they determine me to rebuild the ruins of an old -castle." A letter to the poet refers again to the chorus which he had -composed for Treitschke's ~Singspiel~: - - I beg you, dear T., to send me the score of the song so that the - interpolated note may be written into all the instruments--I shall - not take it at all amiss if you have it newly composed by Gyrowetz - or anybody else--preferably Weinmüller--I make no pretensions in - the matter, but I will not suffer that any man--no matter who he - may be--change my compositions. - -[Sidenote: FIRST PERFORMANCE OF THE TRIO IN B-FLAT] - -Beethoven's attention was now again called away from the opera by a -concert in the hall of the Hotel zum Römischen Kaiser, arranged by the -landlord and Schuppanzigh for a military charity. Czerny relates that -a new grand trio had then for some time been a subject of conversation -among Beethoven's friends, though no one had heard it. This work, -Op. 97, in B-flat major, was to open the second part of the concert -and the composer had consented to play in it. Spohr was by chance in -Beethoven's rooms at one of the rehearsals and heard him play--the only -time. "It was not a treat," he writes: - - for, in the first place, the pianoforte was badly out of tune, - which Beethoven minded little, since he did not hear it; and - secondly, there was scarcely anything left of the virtuosity of - the artist which had formerly been so greatly admired. In ~forte~ - passages the poor deaf man pounded on the keys till the strings - jangled, and in ~piano~ he played so softly that whole groups of - tones were omitted, so that the music was unintelligible unless - one could look into the pianoforte part. I was deeply saddened - at so hard a fate. If it is a great misfortune for any one to be - deaf, how shall a musician endure it without giving way to despair? - Beethoven's continual melancholy was no longer a riddle to me.[121] - #/ - -The concert took place at noon on Monday, April 11. Moscheles was -present and wrote in his diary: - - In the case of how many compositions is the word "new" misapplied! - But never in Beethoven's, and least of all in this, which again - is full of originality. His playing, aside from its intellectual - element, satisfied me less, being wanting in clarity and precision; - but I observed many traces of the ~grand~ style of playing which I - had long recognized in his compositions. - -In those days a well-to-do music-lover, named Pettenkofer, -gathered a number of young people into his house every Saturday -for the performance of instrumental music. One evening a pupil of -Schuppanzigh's requested his neighbor at the music-stand, a youth of 18 -years, to take a note from his teacher next day to Beethoven, proposing -a rehearsal of the Trio, and requiring no answer but "yes" or "no." "I -undertook the commission with joy," he records: - - The desire to be able to stand for even a moment beside the man - whose works had for several years inspired me with the greatest - reverence for their author, was now to be so unexpectedly and - strangely realized. The next morning the bearer of the note, with - beating heart, climbed the four flights in the Pasqualati house, - and was at once led by the sartorial servant to the writing table - of the master. After he had read the missive, he turned to me and - said "Yes"; with a few rapidly added questions the audience came to - an end; but at the door I permitted myself to tarry a little while - to observe the man, who had already resumed his writing, closely. - -This youth was Anton Schindler. He continues his narrative: - - This, almost the most important event in the life-history of - the poor student up to that time, was soon followed by the - acquaintanceship of Schuppanzigh. He gave me a ticket for the - concert of April 11, given by him.... On this occasion I approached - the great master with more confidence, and greeted him reverently. - He answered pleasantly and showed that he remembered the carrier of - the note. - -And thus ended all personal intercourse between Schindler and Beethoven -until the end of the year--a fact to be noted. - -A few weeks later Beethoven played in the Trio again at a morning -concert of Schuppanzigh's in the Prater, and thus--excepting once -accompanying a song--he took leave of the public as a pianist. - -"Gute Nachricht" was first played also on the evening of Monday, April -11; for the news of the triumphal entry of the allied armies (March -31), as Moscheles records in his diary, reached Vienna the day before. -It was repeated on the 12th, 14th, 17th, 24th and May 3rd, in the -Kärnthnerthor-Theater, and on June 11th and 14th in the Burg. - -Meantime an event had occurred, the effect of which on Beethoven is -nowhere indicated; but let us hope and believe that it, for the moment, -unfitted him for labor--Prince Carl Lichnowsky, his old friend and -protector, died April 15. It is gratifying that the last notice of him -in our work is that touching reminiscence by Schindler, which proves -that time had neither cooled nor diminished the warm affection that he -had conceived twenty years before for the young Bonn pianist. - -The following note to Zmeskall was written about this time: - - Dear Z.: I am not going on the journey, at least I am not going to - hurry--the matter must be pondered more carefully--meanwhile the - work has already been sent to the Prince Regent:--~If I am wanted - I can be had~, and then ~liberty~ remains with me to say ~yes~ or - ~no~. Liberty!!! What more do I want??? - - I should like to consult with you about how to settle myself in my - lodging. - -This new lodging, for which Beethoven now left the Pasqualati house, -was in the 1st storey of the Bartenstein house, also on the Mölker -Bastei (No. 96); so that he still remained in the immediate vicinity of -his friends, Princess Christine Lichnowsky and the Erdödys. - -[Sidenote: BEETHOVEN QUARRELS WITH MÄLZEL] - -The other matters mentioned in the note call our attention again to -Mälzel, who, notwithstanding his bitter disappointment at the turn -which his affairs with Beethoven had taken, had still lingered in -Vienna several weeks in the hope of making some kind of amicable -arrangement with him. As his side of the story was never made public, -there is little to add to the information on the subject contained in -the papers of Beethoven, preserved by Schindler. From them these facts -appear; that Beethoven repaid the fifty ducats of borrowed money; that -Mälzel and he had several interviews at the office of the lawyer, -Dr. Adlersburg, which had for their subject the "Battle of Vittoria" -and the journey to England; that he made various propositions which -Beethoven would not accept "to get the work, or at least the right -of first performance for himself," and the like; that, incensed by -the conduct of the composer and hopeless of benefit from any farther -consultation, he did not appear at the last one appointed; and that he -obtained by stealth so many of the single parts of the "Battle" as to -be enabled therefrom to have a pretty correct score of the work written -out, with which he departed to Munich and there produced it in two -concerts on the 16th and 17th of March. - -When this became known in Vienna[122] Beethoven's wrath was excited -and, instead of treating the matter with contemptuous silence, or at -most making an appeal to the public in the newspapers, he committed the -absurdity of instituting a lawsuit against a man already far on his -way to the other extremity of Europe, at the same time in all haste -preparing a copy of the "Battle" and sending it to the Prince Regent -of England, that at least he might prevent Mälzel from producing it -there as a novelty. It was a costly and utterly useless precaution; -for, on the one hand, Mälzel found in London no inducement to attempt -orchestral concerts, and on the other, the score sent by Beethoven lay -buried in the library of the Prince, who neither then nor ever took the -slightest notice of it (except to permit its performance, as we shall -presently see) or made any acknowledgment to the composer. - -[Sidenote: DOCUMENTS IN THE MÄLZEL CASE] - -Casting aside all extraneous matter contained in Beethoven's documents, -the real question at issue is very clear. The two leading facts--one -of which is admitted by implication, and the other explicitly stated -by Beethoven himself--are already known to the reader: First, that the -plan of the work was Mälzel's; second, that the composer wrought it out -for the Panharmonicon gratis. In this form, therefore, the composition -beyond all doubt was Mälzel's property. There was, therefore, but one -point to be decided: Did the arrangement of the work for orchestra at -Mälzel's suggestion and request, transfer the proprietorship? If it -did, Beethoven had a basis for his suit; if it did not, he had none. -This question was never decided; for after the process had lingered -through several years, the two men met, made peace, Beethoven withdrew -his complaint, and each paid the half of all expenses that had been -incurred![123] - -Thus had been caused a new interruption of the work on "Fidelio." - -"The beneficiaries," says Treitschke, "urged its completion to take -advantage of the favorable season; but Beethoven made slow progress. -To one of the poet's notes urging haste, Beethoven wrote, probably in -April: - - The damned Academy, which I was compelled to give partly by my bad - circumstances, has set me back so far as the opera is concerned. - - The cantata which I wanted to give robbed me of 5 or 6 days. - - Now, of course, everything must be done at once and I could write - something new more quickly than add new things to old--I am - accustomed in writing, even in my instrumental music--to keep the - whole in view, but here my whole, has--in a manner--been distributed - everywhere and I have got to think myself back into my work ever and - anon--it is not likely that it will be possible to give the opera in - a fortnight, I think that it will be 4 weeks. - - Meanwhile the first act will be finished in a few days--but there - remains much to do in the 2nd Act, and also a new overture, which - will be the easiest because I can compose it entirely new. Before my - Academy a few things only were sketched here and there, in the first - as well as the second act, it was not until a few days ago that I - could begin to write the matters out. The score of the opera is as - frightfully written as any that ever I saw, I had to look through - note after note (it is probably a pilfered one) in short I assure - you, dear T. the opera will secure for me the crown of martyrdom, - if you had not given yourself so much pains with it and revised - everything so successfully, for which I shall be eternally grateful - to you, I could scarcely be able to force myself (to do the work). - You have thereby saved some good remainders of a stranded ship. - - If you think that the delay with the opera will be too long, - postpone it till some future time, I shall go ahead now until - everything is ended, and just like you have changed and improved - it, which I see more and more clearly every moment, but it cannot - go so fast as if I were composing something new--and in 14 days - that is impossible--do as you think best, but as a friend of mine, - there is no want of zeal on my part. - - Your Beethoven. - -[Sidenote: REHEARSALS FOR THE REVISED "FIDELIO"] - -The repetitions of the "Gute Nachricht" came to a conclusion with -the performance in the Kärnthnerthor-Theater on May 3, and the -beneficiaries became more and more impatient. Hence, Treitschke wrote -again to Beethoven, asked him what use was to be made of the chorus -"Germania," and urged him to make haste with the work on "Fidelio." -Notwithstanding so much was wanting, the rehearsals had begun in the -middle of April, and the performance was now fixed for the 23rd of May. -Beethoven's memorandum of his revisal of the opera reads: "The opera -Fidelio [?] March to 15th of May, newly written and improved." May 15th -was Sunday, the "Tuesday" of his answer to Treitschke was therefore the -17th, and the date, doubtless, about the 14th: - - Your satisfaction with the chorus delights me infinitely. I was of - the opinion that you ought to apply all the works to ~your profit~ - and ~therefore mine also~, but if you do not want to do this I - should like to have you sell it outright for the ~benefit of the - poor~. - - Your copyists ---- [illegible] and Wranitzky were here yesterday - about the matter, I told them, most worthy man, that you were - entire ~master~ in the affair. For this reason I await now your - frank opinion--your copyist is--an ass!--but he is completely - lacking in the well-known splendid ~Eselshaut~[124]--therefore my - copyist has undertaken the work of copying, and ~by Tuesday little - will remain to be done~, and my copyist will bring everything to - the rehearsal. As for the rest the whole matter of the opera is the - most wearisome thing in the world, and I am dissatisfied with most - of it--and--there is hardly a piece in it to which in ~my present - state of dissatisfaction~ I ought not to have patched on ~some - satisfaction~. That is the great difference between being able to - surrender to free reflection or enthusiasm. - - Wholly your Beethoven. - -"The final rehearsal," says Treitschke, "was on May 22d, but the -promised new overture was still in the pen of the creator." It was -then, on the 20th or 21st, that Beethoven dined with his friend -Bertolini in the Römischer Kaiser. After dinner he took a bill of fare, -drew lines on the blank side and began to write. "Come, let us go," -said Bertolini; "No, wait a little; I have the idea for my overture," -replied Beethoven, who remained and finished his sketches then and -there. Treitschke continues: - - The orchestra was called to rehearsal on the morning of the - performance. B. did not come. After waiting a long time we drove - to his lodgings to bring him, but--he lay in bed, sleeping - soundly, beside him stood a goblet with wine and a biscuit in - it, the sheets of the overture were scattered on the bed and - floor. A burnt-out candle showed that he had worked far into the - night. The impossibility of completing the overture was plain; - for this occasion his overture to "Prometheus" [?] was taken and - the announcement that because of obstacles which had presented - themselves the new overture would have to be dispensed with to-day, - enabled the numerous audience to guess the sufficient reason. - -Schindler says an overture to "Leonore," Seyfried the overture to -"The Ruins of Athens," was played on this occasion. The "Sammler" in -its contemporary notice confirms Seyfried: "The overture played at -the first performance does not belong to the opera and was originally -written for the opening of the theatre at Pesth." In 1823, Beethoven in -conversation happened to speak of this substitution and remarked: "The -people applauded, but I stood ashamed; it did not belong to the rest." -In the manuscript book of the text prepared for use in the theatre on -this occasion, one is surprised to see the title begun thus: - - "LEONORE, FIDELIO - - An Opera in Two Acts, etc." - -The word "Leonore" is crossed out and "Fidelio" written at the side in -red pencil afterwards inked over. There was then on the part of some -one--whom?--an intention subsequently abandoned, of thus changing the -title. Again, in the list of "properties," stands - - A wallet} Mme. Hönig. - 2 chains} - -and the same name occurs in the list of the - -DRAMATIS PERSONÆ - - Herr Saal Don Fernando, minister. - Herr Vogel Don Pizarro, Governor of a State's prison. - Herr Radichi Florestan, a prisoner. - M. Hönig Leonore, his wife, under the name of Fidelio. - Hr. Weinmüller Rokko, jailer. - Mlle. Bondra Marzelline, his daughter. - Hr. Frühwald Jaquino. - Prisoners of State, etc., etc. - -Madame Hönig was a new soprano, engaged after the -"Hoftheater-Taschenbuch" for 1814 had been printed, whose name appears -in that for 1815. Though appointed to the part when this text-book was -copied, she gave place before the day of performance to the original -~Fidelio~, Mme. Milder-Hauptmann. - - The opera was capitally prepared (says Treitschke), Beethoven - conducted, his ardor often rushed him out of time, but - Chapelmaster Umlauf, behind his back, guided everything to success - with eye and hand.[125] The applause was great and increased with - every representation. - -"Herr v. B.," says the "Sammler," "was stormily called out already -after the first act, and enthusiastically greeted." The opera was first -repeated on the 26th, when the new overture in E major "was received -with tumultuous applause and the composer again called out twice at -this repetition." - -The chorus "Germania," in pianoforte arrangement, was published in -June "im K. K. Hoftheater-Verlag." A characteristic note of Beethoven -to Treitschke asks for the manuscript for the purpose of correcting -the proof and introduces to our acquaintance a personage or two, who -will often meet us henceforth to the end, and therefore merit a short -personal paragraph here. - -[Sidenote: TOBIAS HASLINGER BECOMES MUSIC PUBLISHER] - -The "K. K. Priv. Chemische Druckerey," the property of Rochus -Krasinzky and Sigmund Anton Steiner, passed about 1810 into the hands -of Steiner alone. In that year Tobias Haslinger (of Zell in Upper -Austria), who had been one of Chapelmaster Glöggl's singing-boys at -Linz and assistant in his music-shop, came to Vienna with the design -of establishing himself in business, and there soon became acquainted -with Steiner. He detailed to him his purposes and plans and induced -him to withdraw his prints and other wares from Grund's bookstore in -the Singerstrasse, and open a shop of his own in the narrow passage -then existing at the northeast corner of the Graben, known as the -"Paternoster-Gassel," employing him (Haslinger) as bookkeeper and -manager; from which position he soon rose to be partner in the firm, -"S. A. Steiner and Co." Beethoven conceived an odd and whimsical -liking for the young man, and in a few years his relations to the firm -became very much the same as those which formerly existed between him -and the "Kunst- und Industrie-Comptoir." Haslinger had learned divers -instruments in Linz, had begun the study of composition there and -continued it in Vienna. His Opus 10, "Ideal einer Schlacht," for the -pianoforte, had just been published--the subject of Homeric laughter to -Jupiter-Beethoven and the other gods. He made his place of business -attractive and it became a favorite resort of composers, musicians, -singers, writers for the theatre, the public press, and the like. -In his correspondence with the firm Beethoven was "Generalissimus"; -Steiner "Lieutenant-General"; Haslinger "Adjutant" or rather -"Adjutanterl" (the diminutive of Adjutant); their assistants were -"Subalterns"; and the shop, "Office of the Lieutenant-General." These -titles make their appearance in a note, typical of many, written to -Treitschke: - - The thoughts and endeavors (~Dichten und Trachten~) of Hr. v. - Treitschke are directed to the duty of immediately delivering the - manuscript to the subaltern of the Lieutenant-General's office, so - that the engraved page scratched full of errors may immediately - be rescratched as it ought to be, and, indeed, all the more, as - otherwise the thoughts and endeavors will be frightfully scratched - and beaten. - - Given in Paternoster Lane, at the primitive publishing house of all - who publish. June 4, 1814.[126] - -One of Beethoven's minor productions (still unpublished) was now -composed for his friend Bertolini. The occasion was an evening festival -arranged by the doctor at his own expense on the name-day (St. John's -day) and in honor of Malfatti. It was a little piece for four voices -with pianoforte accompaniment to a text written by Abbate Bondi: - - Un lieto brindisi - Tutti a Giovanni, - Cantiam così, così, - Viva longhi anni, etc., etc. - -Invitations were extended not only to Malfatti's relatives and personal -friends but to a large number of artists of the various professions, -resident or temporarily in Vienna--Dragonetti among the musicians. -The scene was Malfatti's villa in Weinhaus. There they feasted; the -wine flowed; the cantata was sung; Beethoven, "thoroughly unbuttoned," -improvised; fun and frolic ruled the hour. "The sport cost me a -few hundred florins," laughingly said the good doctor fifty years -afterwards. - -"Fidelio" was repeated on May 26, June 2d and 4th and on Tuesday, June -7th. The theatre was then "closed because of preparations for the -spectacle to be presented on the return of the Emperor." After this the -theatre closed again for two days and on the 21st was reopened with -"Fidelio." A letter to Treitschke was written about this time: - - Dear and worthy Tr.! What you say about a quarter of the receipts - is understood, of course! and for a moment only I must moreover - remain your ~debtor~, but I will not ~forget that I am~--as regards - a benefit performance for me I should like to have the day set on a - week from yesterday, that is next Thursday. - - I called on Hrn. Palffy to-day but did not find him in. Do not let - the opera rest too much! It is surely ~injurious~. - -The day here proposed for the benefit was not granted. The "Wiener -Zeitung" of July 1st contained a "Musical Notice" which may be quoted -as a comment on the first topic of the above note: - - The undersigned, at the request of the Herren Artaria and Co., - herewith declares that he has given the score of his opera FIDELIO - to the aforesaid art establishment for publication under his - direction in a complete pianoforte score, quartets, or arrangements - for military band. The present musical version is not to be - confounded with an earlier one, ~since hardly a musical number - has been left unchanged~, and more than half of the opera was - composed anew. Scores in the only authorized copy and also the - book in manuscript may be had of the reviser of the book, Herrn F. - Treitschke, R. I. Court Poet. Other unauthorized copies will be - punished by law. - - Ludwig van Beethoven. - Vienna, June 28, 1814. - -[Sidenote: MOSCHELES'S PIANOFORTE SCORE] - -Moscheles, then just twenty years of age, wrote about this time in -his diary: "The offer has been made to me to make the pianoforte -score of the masterpiece 'Fidelio.' What could be more desirable?" -"We now find entries," says his widow, "of how he carried two, and -again two numbers to Beethoven, who looked through them; and then, -alternately, 'he changed little' or 'he changed nothing,' or sometimes -'he simplified it' or 'he reinforced it.' One note reads, 'Coming -early to Beethoven, he was still in bed; this day he was particularly -merry, leaped up at once, and, as he was, went to the window, which -opened on the Schottenbastei, to look through the arranged numbers. -Naturally the street boys assembled under the window until he cried -out: 'Damn the youngsters, what do they want?' I smilingly pointed to -his garment. 'Yes, yes, you are right,' said he and hastily threw a -dressing-gown over his shoulders.[127] When we reached the last great -duet, 'Namenlose Freude,' where I had written down the text 'Ret-terin -des Gat-ten,' he crossed it out and wrote 'Rett-erin des Gatt-en'; for -it was not possible to sing on 't.' Under the last number I had written -'~fine~ with God's help.' He was not at home when I carried it to -him; and when he sent it back under mine were the words: 'O man, help -yourself.'" - -Before bidding Moscheles farewell for the next half a dozen years, let -us look at a few sentences from the preface to the English translation -of Schindler's book, partly for the information they impart and partly -to prevent a mistake or two from passing into history on his authority. -He thus writes: - - In the year 1809[128] my studies with my master, Weber (Dionysius), - closed; and being then also fatherless, I chose Vienna for my - residence to work out my future musical career. Above all, I longed - to see and become acquainted with ~that man~, who had exercised - so powerful an influence over my whole being; whom though I - scarcely understood, I blindly worshipped. I learnt that Beethoven - was most difficult of access and would admit no pupil but Ries; - and for a long time my anxiety to see him remained ungratified. - In the year 1810, however, the longed-for opportunity presented - itself. I happened to be one morning in the music-shop of Domenico - Artaria, who had just been publishing some of my early attempts at - composition, when a man entered with short and hasty steps, and, - gliding through the circle of ladies and professors assembled on - business, or talking over musical matters, without looking up, - as though he wished to pass unnoticed, made his way direct for - Artaria's private office at the bottom of the shop. Presently - Artaria called me in and said: "This is Beethoven!" and to the - composer, "This is the youth of whom I have just spoken to you." - Beethoven gave me a friendly nod and said he had just heard a - favorable account of me. To some modest and humble expressions, - which I stammered forth, he made no reply and seemed to wish to - break off the conversation[129].... I never missed the Schuppanzigh - Quartets, at which he was often present, or the delightful concerts - at the Augarten, where he conducted his own Symphonies.[130] I also - heard him play several times, which, however, he did but rarely, - either in public or in private. The productions which made the - most lasting impression upon me, were his Fantasia with orchestral - accompaniments and chorus and his Concerto in C minor. I also used - to meet him at the lodgings of Zmeskall and Zizius, two of his - friends, through whose musical meetings Beethoven's works first - made their way to public attention [?]: but, in place of better - acquaintance with the great man, I had mostly to content myself on - his part with a distant salute. - - It was in the year 1814, when Artaria undertook to publish a - pianoforte arrangement of Beethoven's "Fidelio," that he asked - the composer whether I might be permitted to make it: Beethoven - assented upon condition that he should see my arrangement of each - of the pieces, before it was given into the engraver's hands. - Nothing could be more welcome to me, since I looked upon this - as the long wished-for opportunity to approach nearer to the - great man and to profit by his remarks and corrections. During - my frequent visits, the number of which I tried to multiply by - all possible excuses, he treated me with the kindest indulgence. - Although his increasing deafness was a considerable hindrance - to our conversation, yet he gave me many instructive hints, and - even played to me such parts as he wished to have arranged in a - particular manner for the pianoforte. I thought it, however, my - duty not to put his kindness to the test by robbing him of his - valuable time by any subsequent visits; but I often saw him at - Mälzel's, where he used to discuss the different plans and models - of a Metronome (the Chronometer), which the latter was going to - manufacture, and to talk over the "Battle of Vittoria," which he - wrote at Mälzel's suggestion. Although I knew Mr. Schindler, and - was aware that he was much with Beethoven at that time [?], I did - not avail myself of my acquaintance with him for the purpose of - intruding myself upon the composer. - -As to the "Fidelio," Moscheles told the writer (February 22, 1856) -that he was selected to arrange it because Beethoven was on bad terms -with Hummel; and that to hasten the work, Hummel did arrange one of -the finales; but when Beethoven received it and looked it through, he -tore it to pieces without remark, or explaining why he did so. Two -errors in these last sentences will at once strike the reader--that -Schindler was then much with Beethoven, and that Beethoven was on bad -terms with Hummel. The explanation is easy. Moscheles had translated -Schindler's book, and unconsciously had adopted certain ideas from -it, which in course of time had taken the form of memories. This is a -common experience with us all. The true reason why Beethoven rejected -Hummel as the arranger of "Fidelio" is obvious: Hummel was a man of -sufficient talent and genius to have a style of his own--and one (as -is well known) not much to Beethoven's taste; "Fidelio" arranged by -him would necessarily exhibit more or less of this style; moreover, -Beethoven could not feel the same freedom in discarding, correcting, -making suggestions if the work were done by him, as when performed by a -young man like Moscheles. - -[Sidenote: PUBLISHERS STEAL THE PIANOFORTE SCORE] - -So the score was not now published--a mistake, as the event proved, and -as Beethoven himself confessed in the note to Treitschke below. "In -accordance with his wish," says Treitschke, in concluding the relation -from which so much has been cited,[131] "I offered our work to foreign -theatres; several ordered it, others declined because they already had -the opera by Paër. Still others preferred to get it in a cheaper way -by hiring cunning copyists who, as is still the custom, ~stole~ the -text and music and sacrificed them for a few florins' profit. It was -of little use to us that others translated 'Fidelio' into several -languages and made large sums by it. The composer received scarcely -more than a handsome laurel-wreath, and I a little leaf, and the -sincere affection of the Immortal." - -Meantime the season had far advanced, the summer heats were -approaching, the departure of the nobility and the wealthy for their -country-seats was near, and Beethoven thought, perhaps justly, that new -attractions must be added to "Fidelio" and the public journals moved -to say an appropriate word, to secure him a full house at his benefit, -so long deferred. Doubtless with this last object in view, he now gave -the "Friedensblätter" the song "An die Geliebte" (text by Stoll), which -was engraved as a supplement to the number for July 12, and a notice -closing with - - A WORD TO HIS ADMIRERS. - - How often in your chagrin, that his depth was not sufficiently - appreciated, have you said that van Beethoven composes only for - posterity! You have, no doubt, been convinced of your error since - if not before the general enthusiasm aroused by his immortal opera - "Fidelio"; and also that the present finds kindred souls and - sympathetic hearts for that which is great and beautiful without - withholding its just privileges from the future. - -This was certainly to the purpose. The earliest hint as to what the new -attractions of the opera were to be is found in a note to Treitschke: - - For heaven's sake, dear friend! It seems that you have no instinct - for money-making! See to it that "Fidelio" is not given before my - benefit, this was the arrangement with Schreyvogel--since Saturday - when you last saw me at the theatre, I have been confined to - my bed and room, and not until yesterday did I feel a trace of - improvement. I might have visited you to-day did I not know that - poets like ~faiaken~ observe Sunday! We must talk about sending out - the opera so that you may receive your quarter and that it is not - sent out in stolen copies all over the world. I know nothing of - business but think that if we were to sell the score to a publisher - here and it were to be printed, the result would be better for you - and me. If I understand you correctly I ought to have the song by - this time--please, dear friend, hurry it up! Are you angry? Have - I offended you? If so, it was done inadvertently, and therefore - forgive an ignoramus and musician. Farewell, let me know something - soon. - - Milder has had her aria for a fortnight, I shall learn to-day or - to-morrow whether she knows it. It will not take her long.[132] - -[Sidenote: THE GREAT AIR IN "FIDELIO"] - -Beethoven's benefit performance of "Fidelio" took place on Monday -evening, July 18, 1814. The song so impatiently awaited could have -been no other than ~Rocco's~ "gold aria" which had been sung only -in the two performances of 1805. Beethoven, desiring now to give -Weinmüller a solo, restored it to the score. Jahn, in his edition of -"Leonore," gives two texts--the original by Sonnleithner and one which -he conjectures may have been written by Breuning. From them Treitschke -now prepared a text, as we have it, by changing somewhat and improving -Sonnleithner's first stanza and joining to it the second stanza of the -other, unchanged except by the omission of its close. - -As to the new piece for Milder, Treitschke says explicitly it was "a -grand aria for ~Leonore~, but as it checked the rapid movement of -the rest it was again omitted." In the advertisement of his benefit -Beethoven says only: "For this performance ... two new pieces have -been added." The notice in the "Friedensblätter" next day is somewhat -more explicit: "'Fidelio' will be given with two entirely new arias -to be sung by Mme. Milder and Hrn. Weinmüller, for the benefit of the -composer"; and from the "Sammler" we learn that at the performance -the new air sung by Madame Milder-Hauptmann "was very effective and -the excellent performance seemed to labor under peculiarly great -difficulties." What is known from printed sources concerning this air -is this: it was in E-flat major with four horns ~obbligati~;[133] the -text was "Komm' Hoffnung, etc."; it was not the aria already sung by -the Milder six times this season; it was one which the composer is not -certain that she can sing after fourteen days' study; it was not the -one which Moscheles had arranged for the new edition of the opera. - -Now we read in the "Fidelio" sketchbook about the time when Beethoven -wrote to Treitschke about "sending out the opera" (p. 107): "Hamburg, -15 ducats in gold; Grätz, 12 fl.; Frankfort, 15 ducats in gold; -Stuttgart, 12 ducats in gold; Carlsruhe, 12 ducats in gold; Darmstadt, -12 ducats in gold"--evidently the price of the opera; and on the -next page, "Abscheulicher, wo eilst du hin!" i. e., sketches for the -recitative; but sketches for the aria are not known. Are not our -informants in error? Was not the new air after all the one which -Moscheles arranged and which is still sung? And if not, what has become -of it?[134] - -Shortly before the performance on July 14, 1814, Beethoven wrote a -letter to Archduke Rudolph in which he said: - - The management of the theatre is so honest that in spite of a - promise, it has already performed my opera "Fidelio" without - thinking of my benefit. This amiable honesty it would have - practised again had I not been on guard like a former French - Danube watchman. Finally after considerable exertion on my part it - has been arranged that my benefit of "Fidelio" shall take place - on Monday, July 18. This benefit is rather an exception[135] at - this time of the year, but a benefit for the author may become - a little festival if the work has had at least a modicum of - success. To this festival the master humbly invites his exalted - pupil, and hopes--yes I hope that your Imperial Highness will - graciously accept and illumine the occasion with your presence. - It would be nice if Y. I. H. would try to persuade the other - Imperial Highnesses to attend this representation of my opera. I - shall observe here all that respectful homage demands. Because of - Vogel's illness I was unable to gratify my desire to give the rôle - of ~Pizarro~ to Forti, for which his voice is better adapted--but - because of this there are daily rehearsals, which will benefit the - ~performance~, but make it impossible to wait upon Y. I. H. in - Baden before the benefit. - -Next day, Friday the 15th, appeared, over his own signature, the -advertisement of "Beethoven's Benefit" on Monday, the 18th. "Boxes and -reserved seats may be ordered Saturday and Sunday in the lodgings of -the undersigned on the Mölkerbastei, in the Baron Pasqualati house, No. -94, in the first storey." Imagine his comical consternation when the -"Wiener Zeitung" came to hand and he read the "Pasqualatischen" instead -of the "Bartenstein'schen" house! But the number was correct and that -would save his friends the needless ascent of four flights to his old -lodging. The contemporary reports of the performance are numerous and -all very eulogistic. Forti, as ~Pizarro~, was "entirely satisfactory"; -the "gold aria," although well sung by Weinmüller, "did not make a -great effect"; "beautiful and of large artistic value was the aria in -E-flat major with four [!] ~obbligato~ French horns, but the reviewer -is of the opinion that it retards the rapid progress of the first act. -The house was very full; the applause extraordinary; the enthusiasm for -the composer, who has now become a favorite of the public, manifested -itself in calls before the curtain after every act." All free tickets -were invalid; the pecuniary results must therefore have been in a high -degree satisfactory. - -[Sidenote: THE LATRONNE-HÖFEL PORTRAIT] - -Another consequence of Beethoven's sudden popularity, was the -publication of a new engraving of him by Artaria, the crayon drawing -for which was executed by Latronne, a French artist then in Vienna. -Blasius Höfel, a young man of 22 years, was employed to engrave it. -He told the writer,[136] how very desirous he was of producing a -good likeness--a matter of great importance to the young artist--but -that Latronne's drawing was not a good one, probably for want of a -sufficient number of sittings. Höfel often saw Beethoven at Artaria's -and, when his work was well advanced, asked him for a sitting or two. -The request was readily granted. At the time set, the engraver appeared -with his plate. Beethoven seated himself in position and for perhaps -five minutes remained reasonably quiet; then suddenly springing up went -to the pianoforte and began to extemporize, to Höfel's great annoyance. -The servant relieved his embarrassment by assuring him that he could -now seat himself near the instrument and work at his leisure, for his -master had quite forgotten him and no longer knew that anyone was -in the room. This Höfel did; wrought so long as he wished, and then -departed with not the slightest notice from Beethoven. The result was -so satisfactory, that only two sittings of less than one hour each were -needed. It is well known that Höfel's is the best of all the engravings -made of Beethoven. In 1851, Alois Fuchs showed to the writer his great -collection, and when he came to this, exclaimed with strong emphasis: -"Thus I learned to know him!" - -Höfel in course of the conversation unconsciously corroborated the -statements of Madame Streicher, as reported by Schindler, in regard -to Beethoven's wretched condition in 1812-13. The effect upon him -of his pecuniary embarrassments, his various disappointments, and -of a mind ill at ease, was very plainly to be seen in his personal -habits and appearance. He was at that time much accustomed to dine -at an inn where Höfel often saw him in a distant corner, at a table, -which though large was avoided by the other guests owing to the very -uninviting habits into which he had fallen; the particulars may be -omitted. Not infrequently he departed without paying his bill, or -with the remark that his brother would settle it; which Karl did. He -had grown so negligent of his person as to appear there sometimes -positively "schmutzig" (dirty). Now, however, under the kind care of -the Streichers, cheered and inspirited by the glory and emolument of -the past eight months, he became his better self again; and--though -now and to the end, so careless and indifferent to mere externals as -occasionally to offend the sensitiveness of very nice and fastidious -people--he again, as before quoted from Czerny, "paid attention to his -appearance." From a note of apology to the Archduke, written while -busy with the "arrangements for my opera," we learn that Beethoven -contemplated another visit to Teplitz; but the public announcement -of a royal congress to meet in Vienna, August 1, put an end to that -project, and Baden again became his summer retreat, for recreation but -not for rest. Sketches for the "Elegiac Song" ("Sanft wie du lebtest") -are found among the studies for the new "Fidelio," and this short work -was probably now completed in season to be copied and delivered to his -friend Pasqualati on or before the 23rd of August, that day being the -third anniversary of the death of his "transfigured wife," in honor -of whose memory it was composed. The Sonata in E minor, Op. 90, bears -date August 16. Then comes a cantata--as it is named in the "Fidelio" -sketchbook, where some hints for it are noted; in fact, it is but a -chorus with orchestra--a piece of flattery intended for the royal -personages of the coming congress. - - Ihr weisen Gründer glücklicher Staaten, - Neigt euer Ohr dem Jubelsang, - Es ist die Nachwelt, die eure Thaten - Mit Segen preist Aeonen lang. - Vom Sohn auf Enkel im Herzen hegen - Wir eures Ruhmes Heiligthum, - Stets fanden in der Nachwelt Segen - Beglückende Fürsten ihren Ruhm. - -This is the text; but as the congress was deferred, there was no haste, -and the chorus was not finished until September 3rd. - -[Sidenote: A COMPROMISE WITH PRINCE KINSKY'S HEIRS] - -Meanwhile the controversy with the Kinsky heirs had entered upon a new -phase. Dr. Johann Kanka, a lawyer in Prague, in a communication to the -author,[137] wrote: - - The information (concerning Beethoven) which I am able to give, - refers for the greater part to business relations out of which, - because of my personal and official position, grew the friendly - intercourse with Beethoven which was cultivated for several years. - -Then, after a rather protracted history of the annuity and the effect -produced upon it by the ~Finanz-Patent~ of 1811, "whereby Beethoven's -means of subsistence were materially reduced and his longer residence -in Vienna rendered impossible," he continues: - - In this fateful crisis, I, as the judicially appointed curator of - the estate of Prince Kinsky and later of that of Prince Lobkowitz, - was enabled to bring about a more temperate presentation of the - case already presented to the authorities charged with testamentary - and guardianship affairs, touching the contractual annuities to - be paid to Beethoven--a presentation which reconciled a severely - literal interpretation of the law with the righteous demands of - equity, and by paving the way for mutual concessions to secure a - satisfactory judicial decision which Beethoven, actuated throughout - his life by the noblest of feelings, bore in faithful remembrance - and described to his few trusted friends as the firm cement of the - friendly relations which we bore towards each other, and the reason - of his continued residence in Vienna. - -Dr. Kanka closed with the promise to grant for use in this work, -such letters of Beethoven--"precious relics"--as remained in his -possession--a promise fulfilled a few days afterwards. Thus, in half a -dozen lines--indeed, by the single statement that he was the curator -of the Kinsky estate and as such effected a compromise between the -parties--the venerable doctor exposes the mistakes and destroys the -hypotheses of all who treated the topic at length from Schindler -onward. Beethoven's lawyer in Vienna was Dr. Adlersburg, and his "legal -friend" in Prague, Dr. Wolf, who must have already become heartily -weary of his client, for Beethoven himself writes in a letter to the -court at Prague: - - My continual urging of him to take an interest in the matter, also, - I must confess, the reproaches made against him that he had not - pursued the matter zealously enough because the steps which he took - against the guardians remained without fruit, may have misled him - into beginning the litigation. - -That, as is here insinuated, Wolf instituted the suit against the -Kinsky heirs without explicit instructions from his client, is -doubtful; but at all events that proceeding brought matters to a -crisis, and led to an interview in the course of the summer between -Beethoven and the ~Verlassenschafts-Curator~, with the object, on -the part of the latter, of effecting a settlement of the affair by -compromise. Kanka, a fine musician and composer, an old friend, or -rather acquaintance of Beethoven's, and of the same age, was a man -also whose legal talents and knowledge must have no less deeply than -favorably impressed him. The letters written during the next six months -to his new friend, show us how Beethoven first relinquished the notion -of a legal claim to the 1800 florins in notes of redemption, then -abandoned the claim in equity, and at length came into a rational view -of the matter, saw the necessity of compromising, and sought no more -than to effect this on the best terms possible.[138] - -There is a letter to Thomson dated September 15, and another in -October, the day not specified. Both are in Italian and only signed -by Beethoven. In the first, the demand of "4 zecchini" per melody is -renewed and "mille ringraziamente" sent to the author of a sonnet -printed in the "Edinburgh Magazine" which Thomson had enclosed to the -composer. The occasion of the poem was the performance of selections of -Beethoven's music at a rural festival of artists in England. The hour -was advanced to near midnight, when Grahame, the Scotch poet, who was -present, inspired by the music and by the beauty of the bright moonlit -night, improvised the lines: - - Hark! from Germania's shore how wildly floats - That strain divine upon the dying gale; - O'er Ocean's bosom swell the liquid notes - And soar in triumph to yon crescent pale. - It changes now! and tells of woe and death; - Of deep romantic horror murmurs low; - Now rises with majestic, solemn flow, - While shadowy silence soothes the wind's rude breath. - What magic hand awakes the noon of night - With such unearthly melody, that bears - The raptured soul beyond the tuneful spheres - To stray amid high visions of delight? - Enchanter Beethoven! I feel thy power - Thrill every trembling nerve in this lone witching hour. - -Beethoven's thanks came too late; Grahame was dead. The letter of -October again presses the demand of "4 zecchini," but is for the -most part devoted to urging Thomson to purchase for publication the -"Wellington's Victory"--about as preposterous as if Professor Max -Müller had solicited the editor of a popular magazine, to which he had -contributed articles, to undertake a Sanskrit dictionary. Our narrative -brings us to a letter - - To Count Moritz von Lichnowsky. - - Baden, Sept. 21, 1841 [~sic~]. - - Worthy honored Count - and friend. - - I did not receive your letter, unfortunately until - yesterday--cordial thanks for your thought of me and all manner - of lovely messages to the worthy Princess Christine--yesterday, - I made a lonely promenade with a friend in the Brühl and you up - came particularly in our friendly conversation and behold on - arriving here yesterday I find your good letter--I see that you - still persist in overwhelming me with kindnesses, as I do not want - you to think that a ~step~ which I have taken was prompted by a - ~new interest~ or anything of that kind, I tell you that a new - ~sonata~ of mine will soon appear ~which I have dedicated to you~. - I wanted to surprise you, for the dedication was set apart for you - a long time ago, but your letter of yesterday leads me to make the - disclosure, no new cause was needed for the public expression of - my feelings for your friendship and kindness--but you would give - me pain with anything resembling a gift, since you would totally - misapprehend my purpose, and everything of the kind I could only - refuse. - - I kiss the hands of the Princess for her thought of me and her - kindness, I ~have never forgotten how much I owe you all~, even if - an unfortunate circumstance brought about conditions under which - I could not show it as I should have liked to do--what you tell - me about Lord Castleregt, the matter is already well introduced, - if I were to have an opinion on the subject, it would be that I - think that Lord Castleregt ought not to write about the work on - Wellington until the Lord has heard it here--I am soon coming to - the city where we will talk over everything concerning a grand - concert--nothing can be done with the court, I have made an - offer--but - - [Illustration: Adagio - - but, but, but, but, but, but - and yet Silentium! - ] - - Farewell, my honored friend and think of me always as worthy of - your kindness-- - - Your - - Beethoven. - - I kiss the hands of the honored Princess C. a thousand times. - -Beethoven's "Lord Castleregt" was Viscount Castlereagh, now in Vienna -as British plenipotentiary in the coming congress; and his object was -to obtain through him some recognition from the Prince Regent for the -dedication of the "Wellington's Victory." Nothing came of it. - -[Sidenote: PRINCE LICHNOWSKY'S ROMANCE] - -The Sonata was the Op. 90, dated "August 16, 1814"--the subject of one -of Schindler's authentic and pleasantest anecdotes. Lichnowsky, after -the decease of his first wife, fell in love with Fräulein Stummer, -a singer just now transferred from the Theater-an-der-Wien to the -Hoftheater, whose talents and unblemished character rendered her worthy -of the Count's affection. Difference in social position long prevented -their marriage, nor was it solemnized until some time after the death -of Prince Karl. - - When Count Lichnowsky received a copy of the Sonata dedicated - to him (writes Schindler), it seemed to him that his friend - Beethoven had intended to give expression to a definite idea in - the two movements of which it is composed. He made no delay in - asking Beethoven about it. As the latter was never secretive about - anything, least of all when a witticism or joke was in question, - he could not hold back his explanation long. Amidst peals of - laughter he told the Count that he had tried to set his courtship - of his wife to music, observing also, that if the Count wanted a - superscription he might write over the first movement "Struggle - between head and heart" and over the second "Conversation with the - loved one." Obvious reasons made Beethoven refrain from publishing - the Sonata with these superscriptions.... This circumstance shows - again that Beethoven frequently put a poetic idea at the bottom of - his works, if he did not always do so. - -The only new work suitable for a grand concert which Beethoven now had, -was the chorus; "Ihr weisen Gründer." Over the title of the manuscript -is written in pencil by him: "About this time the Overture in C." This -work he had now in hand; also a vocal composition of considerable -length. The author of the text, whoever he was, must have profoundly -studied and heartily adopted the principles of composition as set -forth by Martinus Scriblerus in his "Treatise on Bathos, or the Art -of Sinking in Poetry": for anything more stilted in style, yet more -absurdly prosaic, with nowhere a spark of poetic fire to illuminate its -dreary pages, is hardly conceivable. It begins something like this: - - Nach Frankreichs unheilvollem Sturz, die Gottverlassene - Erhob sich auf den blutigen Trümmern, ein düster Schreckensbild, - Gigantisch hoch empor, die Geieraugen weithin nach Raube drehend, - Mit starker Hand schwingend die eherne Sklavengeissel! - «Wer ist mir gleich?» erscholl mit Macht des Frevlers Stimme, - «Mein fester Sitz ist Frankreich; Italien meiner Stirne Schmuck; - Meiner Füsse Schemel Hispania; nun, Deutschland, du bist mein; - Vertilgen will ich Albion vom Grund: zum Knecht soll mir Moskwa - dienen.» - - Und furchtbar zog der Riese aus, - Brach ein ins deutsche Kaiserhaus, - Griff frevelnd nach Hispaniens Land, - Verheerte schwer der Moskwa Strand, - Und an der Po und an der Spree - Erschall der Völker lautes Weh. - (And so forth, ~ad nauseam~.) - -[Sidenote: ALOIS WEISSENBACH'S ENTHUSIASM] - -Neither the Overture nor the Cantata was finished, when the arrival -at Vienna of the King of Wurtemberg on the 22d of September, of the -King of Denmark on the 23d and the announcement of the coming of the -Russian Emperor with the King of Prussia on Sunday the 25th, brought -Beethoven back to the city. Owing to the failure of Lobkowitz, the -Court theatres had passed under the management of Palffy. If there be -any truth whatever in his alleged hostility to Beethoven, it is not a -little remarkable that the first grand opera performed in the presence -of the monarchs--Monday the 26th--was "Fidelio." One of the audience on -that evening, in a published account of his "Journey to the Congress," -records: "To-day I went to the Court Theatre and was carried to -heaven--the opera 'Fidelio' by L. v. Beethoven was given." Then follow -some fifteen pages of enthusiastic eulogy. That auditor was Alois -Weissenbach, R. I. Councillor, Professor of Surgery and Head Surgeon of -the St. John's Hospital in Salzburg, where after sixteen years' service -in the Austrian armies he had settled, devoting his leisure to poetry -and the drama. His tragedy "Der Brautkranz" in iambics, five acts, was -produced January 14, 1809, at the Kärnthnerthor-Theater. Whether his -"Barmeciden" and "Glaube und Liebe" were also brought out in Vienna -we have no means of deciding. At all events, he was a man of high -reputation. Of him Franz Graeffer writes: - - That Weissenbach was a passionate admirer of Beethoven's is a - matter of course; their natures were akin, even physically, - for the Tyrolean was just as hard of hearing. Both were manly, - straightforward, liberal, upright figures. Weissenbach comes to - Vienna in 1814, and "Fidelio" is performed. An indescribable - longing seizes him to make the personal acquaintance of the - author of the immortal work. When he reaches his lodgings a card - of invitation from Beethoven lies on his table. Beethoven had - been there himself. What a mysterious, magnetic play of congenial - spirits! The next day he received kiss and handgrasp. Afterward - it was possible often to sit at table with them in the rooms on - the ground floor of the Roman Emperor. But it was pitiful to hear - them shout at each other. It was therefore not possible thoroughly - to enjoy them. Strangely enough in a little room, as also in the - inn Zur Rose in the Wollzeile, Weissenbach heard much better, and - conversed more freely and animatedly. Otherwise the most prolific, - amiable, lively of social companions. A blooming man, aging, always - neatly and elegantly clad. How learned he was as a physician will - not be forgotten. - -Weissenbach himself writes: - - Completely filled with the gloriousness of the creative genius of - this music, I went from the theatre home with the firm resolve - not to leave Vienna without having made the personal acquaintance - of so admirable a man; and strangely enough! when I reached my - lodgings I found Beethoven's visiting card upon my table with a - cordial invitation to breakfast with him in the morning. And I - drank coffee with him and received his handgrasp and kiss. Yes, - mine is the proud privilege of proclaiming publicly, Beethoven - honored me with the confidence of his heart. I do not know if - these pages will ever fall into his hands: if he learns that - they mention his name either in praise or blame he will indeed (I - know him and know his strong self-reliance) not read them at all; - herein, too, he maintains his independence, he whose cradle and - throne the Lord established away from this earth.... Beethoven's - body has a strength and rudeness which is seldom the blessing of - chosen spirits. He is pictured in his countenance. If Gall, the - phrenologist, has correctly located the mind, the musical genius of - Beethoven is manifest in the formation of his head. The sturdiness - of his body, however, is in his flesh and bones only; his nervous - system is irritable in the highest degree and even unhealthy. - How it has often pained me to observe that in this organism the - harmony of the mind was so easily put out of tune. He once went - through a terrible typhus and from that time dates the decay of his - nervous system and probably also his melancholy loss of hearing. - Often and long have I spoken with him on this subject; it is a - greater misfortune for him than for the world. It is significant - that before that illness his hearing was unsurpassably keen and - delicate, and that even now he is painfully sensible to discordant - sounds; perhaps because he is himself euphony.... His character is - in complete agreement with the glory of his talent. Never in my - life have I met a more childlike nature paired with so powerful - and defiant a will; if heaven had bestowed nothing upon him but - his heart, this alone would have made him one of those in whose - presence many would be obliged to stand up and do obeisance. Most - intimately does that heart cling to everything good and beautiful - by a natural impulse which surpasses all education by far.... There - is nothing in the world, no earthly greatness, nor wealth, nor - rank, nor state can bribe it; here I could speak of instances in - which I was a witness. - -Remarks follow upon Beethoven's ignorance of the value of money, of the -absolute purity of his morals (which, unfortunately, is not true) and -of the irregularity of his life. "This irregularity reaches its climax -in his periods of productiveness. Then he is frequently absent days at -a time without any one knowing whither he is gone." [?] - -We know no reason to suppose that Beethoven received Weissenbach's -poem before the interview with him; but, on the contrary, think the -citations above preclude such a hypothesis. Moreover, the composer's -anxiety to have an interview at the earliest possible moment arose -far more probably from a hint or the hope, that he might obtain a -text better than the one in hand, than from any desire to discuss one -already received. What is certain is this: Beethoven did obtain from -Weissenbach the poem "Der glorreiche Augenblick," and cast the other -aside unfinished--as it remains to this day. - -First, Beethoven had to complete his overture, the supposed scope and -design of which may occupy us a moment. - -[Sidenote: EUROPE AFTER THE VIENNA CONGRESS] - -Scott said, that when he wrote "Waverly, or 'Tis Sixty Years Since," -it had already become impossible for the people of England and -Scotland, in their greatly changed and improved condition, to form any -correct conception of the state of public feeling in those kingdoms in -1745, when the Pretender made that last effort against the House of -Brunswick which is the subject of "Waverly," and the defeat of which is -commemorated by Handel in "Judas Maccabæus." It is equally difficult -for us to conceive adequately the sensations caused by the downfall of -Napoleon at the time of which we are writing. - -When monarchs play chess with armies, "check to the king" means the -shock of contending foes and all the horrors of war; but in perusing -the history of Bonaparte's campaigns, we become so interested in the -"game" as to forget the attendant ruin, devastation and destruction, -the blood, carnage and death, that made all central Europe for -twenty long years one vast charnel-house. But only in proportion as -the imagination is able to form a vivid picture of the horrors of -those years, can it conceive that inexpressible sense of relief, -the universal joy and jubilee, which outside of France pervaded all -classes of society, from prince to peasant, at the fall of the usurper, -conqueror and tyrant. And this not more because of that event, than -because of the all-prevailing trust, that men's rights, political and -religious--now doubly theirs by nature and by purchase at such infinite -cost--would be gladly and gratefully accorded to them. For sovereign -and subject had shared danger and suffering and every evil fortune -together, and been brought into new and kindlier relations by common -calamities; thus the sentiment of loyalty--the affectionate veneration -of subject for sovereign--had been developed to a degree wholly -unprecedented. Nothing presaged or foreboded the near advent and thirty -years' sway of Metternichism. No one dreamed, that within six years the -"rulers" at this moment "of happy states" would solemnly declare, "all -popular and constitutional rights to be holden no otherwise than as -grants and indulgences from crowned heads";[139] that they would snuff -treason in every effort of the people to hold princes to their pledged -words; and that their vigilance would effectually prevent the access -of any ~Leonore~ to the Pellicos, Liebers and Reuters languishing for -such treasons in their state prisons. At that time all this was hidden -in the future; the very intoxication of joy and extravagant loyalty -then ruled the hour. It was, as we believe, to give these sentiments -musical expression, that Beethoven now took up and wrought out certain -themes and motives, noted by him five years before in connection with -the memorandum: "Freude schöner Götterfunken Tochter--Ouverture -ausarbeiten."[140] The poetic idea of the work was not essentially -changed--the joy of liberated Europe simply taking the place of the -joy of Schiller's poem. But the composer's particular purpose was to -produce it as the graceful homage of a loyal subject on the Emperor's -name-day. How else can the autograph inscription upon the original -manuscript be understood: "Overture by L. v. Beethoven, on the first of -Wine-month, 1814--Evening to the name-day of our Emperor"? In the arts, -as in literature, there is no necessary connection between that which -gives rise to the ideas of a work, and the occasion of its composition; -the occasion of this overture was clearly the name-day festival of -Emperor Franz; why then may it not in the future, as in the past, be -known as the "Namensfeier" Overture? - -Assuming the "first of the Wine-month" (October 1) to date the -completion of the work, there remained three days for copying and -rehearsal. The theatre had been closed on the 29th and 30th of -September, to prepare for a grand festival production of Spontini's -"La Vestale" on Saturday evening, October 1st; but for the evening of -the name-day, Tuesday the 4th, "Fidelio" (its 15th performance) was -selected. It was obviously the intention of Beethoven to do homage -to Emperor Franz, by producing his new overture as a prelude on this -occasion. What, then, prevented? Seyfried answers this question. He -writes: "For this year's celebration of the name-day of His Majesty, -the Emperor, Kotzebue's allegorical festival play 'Die hundertjährigen -Eichen' had been ordered. Now, as generally happens, this decision -was reached so late that I, as the composer, was allowed only three -days, and two more for studying and rehearsing all the choruses, -dances, marches, groupings, etc." This festival play was on the -3d and rendered the necessary rehearsals of Beethoven's overture -impossible.[141] - -"Fidelio" was sung the sixteenth time on the 9th. Tomaschek, one of -the auditors on that evening, gave to the public in 1846 notes of -the impression made upon him, in a criticism which, by its harshness, -forms a curious contrast to Weissenbach's eulogy. Having exhausted that -topic, however, Tomaschek describes his meetings in an account which -has a peculiar interest not only because, though general descriptions -of Beethoven's style of conversation are numerous, attempts to -report him in detail are very rare. The description is also valuable -because of its vivid display of Beethoven's manner of judging his -contemporaries, which was so offensive to them and begat their lasting -enmity. A dramatic poem, "Moses," words by Klingemann, music (overture, -choruses and marches) by von Seyfried, was to be given on the evening -of Tomaschek's first call. Tomaschek says he has no desire "to hear -music of this kind" and the dialogue proceeds as follows: - -[Sidenote: BEETHOVEN'S OPINION OF MEYERBEER] - - B.--My God! There must also be such composers, otherwise what would - the vulgar crowd do? - - T.--I am told that there is a young foreign artist here who is said - to be an extraordinary pianoforte player.[142] - - B.--Yes, I, too, have heard of him, but have not heard him. My - God! let him stay here only a quarter of a year and we shall hear - what the Viennese think of his playing. I know how everything new - pleases here. - - T.--You have probably never met him? - - B.--I got acquainted with him at the performance of my Battle, on - which occasion a number of local composers played some instrument. - The big drum fell to the lot of that young man. Ha! ha! ha!--I was - not at all satisfied with him; he struck the drum badly and was - always behind-hand, so that I had to give him a good dressing-down. - Ha! Ha! Ha!--That may have angered him. There is nothing in him; he - hasn't the courage to hit a blow at the right time. - -Before Tomaschek visited Beethoven again, Meyerbeer's opera "Die beiden -Caliphen" had been produced at the Kärnthnerthor Theatre. Tomaschek -comes to take his farewell. Beethoven is in the midst of preparations -for his concert and insists upon giving him a ticket. Then the -conversation goes on: - - T.--Were you at ----'s opera? - - B.--No; it is said to have turned out very badly. I thought - of you; you hit it when you said you expected little from his - compositions. I talked with the opera singers, and that night after - the production of the opera at the wine-house where they generally - gather, I said to them frankly: You have distinguished yourselves - again!--what piece of folly have you been guilty of again? You - ought to be ashamed of yourselves not to know better, nor to be - able to judge better, to have made such a noise about this opera! - I should like to talk to you about it, but you do not understand me. - - T.--I was at the opera; it began with hallelujah and ended with - requiem. - - B.--Ha, ha, ha, ha, ha! It's the same with his playing. I am often - asked if I have heard him--I say no; but from the opinions of my - acquaintances who are capable of judging such things I could tell - that he has agility indeed, but otherwise is a very superficial - person. - - T.--I heard that before he went away he played at Herrn ----'s and - pleased much less. - - B.--Ha, ha, ha, ha! What did I tell you?--I understand that. Let - him settle down here for half a year and then let us hear what will - be said of his playing. All this signifies nothing. It has always - been known that the greatest pianoforte players were also the - greatest composers; but how did they play? Not like the pianists - of to-day, who prance up and down the keyboard with passages which - they have practised--~putsch, putsch, putsch~;--what does that - mean? Nothing! When true pianoforte virtuosi played it was always - something homogeneous, an entity; if written down it would appear - as a well thought-out work. That is pianoforte playing; the other - thing is nothing! - - T.--I am also carrying away from here a very small opinion of - ----'s knowledge. - - B.--As I have said, he knows nothing outside of singing. - - T.--I hear that ---- is creating a great sensation here. - - B.--My God! he plays nicely, nicely--but aside from that he is a - -- --. He will never amount to anything. These people have their - little coteries where they go often; there they are praised and - praised and that's the end of art! I tell you he will never amount - to anything. I used to be too loud in my judgments and thereby made - many enemies--now I criticize nobody and, indeed, for the reason - that I do not want to injure anybody, and at the last I say to - myself: if there is any good in it it will survive in spite of all - attacks and envy; if it is not solid, not firm, it will fall to - pieces, no matter how it is bolstered up. - -Of some minor compositions belonging to this autumn, this is the story: -The Prussian King's Secretary, Friedrich Duncker, brought to Vienna, -in the hope of producing it there, a tragedy, "Leonore Prohaska," -"which tells the story of a maiden who, disguised as a soldier, fought -through the war of liberation." For this Beethoven composed a soldiers' -chorus for men's voices unaccompanied: "Wir hauen und sterben"; a -romance with harp, 6/8, "Es blüht eine Blume"; and a melodrama with -harmonica. It is also stated, that he instrumentated for orchestra -the march in the Sonata, Opus 26, Duncker preferring this to a new -~marcia funebre~.[143] Dr. Sonnleithner had also a note from some -quarter--discredited by him--that even an overture and entr'actes were -written. Nothing of the kind is known to exist, and doubtless never -did. "It is said the censor would not allow the piece"--it certainly -never came to performance; and until its production was made sure, -Beethoven would of course--even if he had the time--not have engaged in -a work of such extent. - -[Sidenote: CANTATA: "DER GLORREICHE AUGENBLICK"] - -Beethoven had announced a grand concert for November 20, in the large -Ridotto Room, but advertisements in the "Wiener Zeitung" of the 18th -postponed it till November 22d, then till the 27th, and finally till -the 29th. On November 30th, the newspaper reports: - - At noon of yesterday, Hr. Ludwig v. Beethoven gave all - music-lovers an ecstatic pleasure. In the R. I. Ridotto Room he - gave performances of his beautiful musical representation of - Wellington's Battle at Vittoria, preceded by the symphony which - had been composed as a companion-piece. Between the two works an - entirely new, etc., etc., cantata, ~Der glorreiche Augenblick~. - -One would like to know what Beethoven said when he read this; for the -symphony supposed by the writer to be composed as a companion-piece -(~Begleitung~) to the "Wellington's Victory" was the magnificent -Seventh![144] - -The solo singers in the Cantata were Mme. Milder, Dem. Bondra, Hr. Wild -and Hr. Forti, all of whom sang well, and the Milder wonderfully. "The -two Empresses, the King of Prussia" and other royalties were present -and "the great hall was crowded. Seated in the orchestra were to be -seen the foremost virtuosi, who were in the habit of showing their -respect for him and art by taking part in Beethoven's Academies." All -the contemporary notices agree as to the enthusiastic reception of -the Symphony and the Battle, and that the Cantata, notwithstanding -the poverty of the text, was, on the whole, worthy of the composer's -reputation and contained some very fine numbers. The concert, with -precisely the same programme, was repeated in the same hall on Friday, -December 2d, for Beethoven's benefit--nearly half the seats being -empty! And again in the evening of the 25th for the benefit of the -St. Mark's Hospital, when, of course, a large audience was present. -Thus the Cantata was given three times in four weeks, and probably -Spohr, who was still in Vienna, played in the orchestra; yet he gravely -asserts in his autobiography that "the work was not performed at that -time." - -The proposed third concert for Beethoven's benefit was abandoned -and there is no clue to the "new things in hand" for it, which -Beethoven mentioned in a letter to Archduke Rudolph, unless possibly -the "Meeresstille und glückliche Fahrt" may have been begun for the -occasion. The most remarkable and gratifying thing in the letter, -however, is to find Beethoven once more speaking of "pleasures and -joy"--whence arising, we learn from Schindler. True, he does not, -nor cannot yet, speak from personal observation; but his well-known -relations to the composer began while the memories of these days were -still fresh; and what he records is derived from Beethoven himself for -the most part, though, as usual, he has inserted a statement or two, -honestly made, but not the less incorrect on that account. But first, a -paragraph from an article by Schindler in Raumer's "Hist. Taschenbuch," -published in 1863: - - The rôle which Rasoumowsky played in Vienna at this time was one - of unparalleled brilliancy. From the first weeks of the Congress - his house was full. Thus Gentz notes under date Sept. 18: "Visited - Rasoumowsky; there innumerable visitors, among others Lord and Lady - Castlereagh, Count Münster, Count Westphalen, Mr. Coke, the Marquis - de Saint-Marsan, Count Castellafu, all the Prussians, etc." But as - balls soon became the order of the day and Count Stackelberg had - given his on October 20, 1814, when the Czar and Czarina of Russia, - the King of Prussia and other grandees of all kinds appeared, he - also planned one for December 6, and Gentz, who permitted himself - the magical vision for only a moment and had to work that night - till two o'clock on his dispatches, assures us that this feast was - the most beautiful of all that he had attended since the arrival - of the French monarch. It was only overshadowed by that which - Czar Alexander gave in the same palace, which he borrowed for the - occasion from his princely subject. - -[Sidenote: HONORS RECEIVED AT THE VIENNA CONGRESS] - -Turn we to Schindler: - - The end of the second period (in Beethoven's life) showed us the - composer on a plane of celebrity which may fairly be described - as one of the loftiest ever reached by a musician in the course - of his artistic strivings. Let us not forget that it was the - fruit of twenty years of tireless endeavor. The great moment in - the history of the world with which this celebration of his fame - was synchronous could not fail to give the incident a brilliancy - unparalleled in the history of music. The apparent extravagance of - the statement is pardonable when we add that nearly all the rulers - of Europe who met at the Vienna Congress placed their seals on our - master's certificate of fame. - -As Rasoumowsky was not elevated to the rank of Prince until June 3rd, -1815, Schindler, in his next sentences, is all wrong in making that -incident "the cause of festivities of a most extraordinary character to -which Beethoven was always invited." - - There (Schindler continues) he was the object of general attention - on the part of all the foreigners; for it is the quality of - creative genius combined with a certain heroism, to attract the - attention of all noble natures. Shall we not call it heroism, when - we see the composer fighting against prejudices of all kinds, - traditional notions in respect of his art, envy, jealousy and - malice on the part of the mass of musicians, and besides this - against the sense most necessary to him in the practice of his - art, and yet winning the exalted position which he occupies? No - wonder that all strove to do him homage. He was presented by Prince - [Count] Rasoumowsky to the assembled monarchs, who made known their - respect for him in the most flattering terms. The Empress of Russia - tried in particular to be complimentary to him. The introduction - took place in the rooms of Archduke Rudolph, in which he was also - greeted by other exalted personages. It would seem as if the - Archduke was desirous always to take part in the celebration of his - great teacher's triumph by inviting the distinguished foreigners to - meet Beethoven. It was not without emotion that the great master - recalled those days in the Imperial castle and the palace of the - Russian Prince; and once he told with a certain pride how he had - suffered the crowned heads to pay court to him and had always borne - himself with an air of distinction. - -There is reason to believe that these receptions in the apartments of -the Archduke did not begin until those at Rasoumowsky's had come to -their disastrous end. Huge as the palace was, it lacked space for the -crowds invited thither to the Czar's festivities. A large temporary -structure of wood was therefore added on the side next the garden, in -which, on the evening of December 30th, a table for 700 guests was -spread. Between five and six o'clock of the morning of the 31st, this -was discovered to be on fire--probably owing to a defective flue--the -conflagration extending to the main building and lasting until noon. - - Within the space of a few hours several rooms in this gorgeous - establishment, on which for 20 years its creator had expended - everything that splendor, artistic knowledge and liberality could - offer, were prey of the raging flames. Among them were the precious - library and the inestimable Canova room completely filled with - sculptures by this master, which were demolished by the falling of - the ceiling. - - The loss was incalculable. To rebuild the palace out of his own - means was not to be thought of; but Alexander lost no time in - offering his assistance and in sending Prince Wolkonski to him to - learn how much money would be required to defray the principal - cost. The Count estimated it at 400,000 silver rubels, which sum - he requested as a loan, and received on January 24, 1815. But the - sum was far from enough, and in order to obtain further loans, - ownership of the splendid building had to be sacrificed. - -And thus Rasoumowsky also passes out of our history.--Among the -visitors to Vienna at the time of the Congress was Varnhagen von Ense, -who had gone into the diplomatic service; he came in the company of the -Prussian Chancellor von Hardenburg. His attitude toward Beethoven had -cooled--probably because of Oliva's complaints touching Beethoven's -behavior towards him. His brief report of his meeting with the composer -derives some interest from its allusion to Prince Radziwill, to whom -Beethoven dedicated the Overture, Op. 115 (which was not published -until 1825). The report (printed in Varnhagen's "Denkwürdigkeiten," -Vol. III, pp. 314-15) is as follows: - - Musical treats were offered on all hands, concerts, the church, - opera, salon, virtuosi and amateurs all gave of their best. Prince - Anton Radziwill, who was already far advanced in his composition - of Goethe's "Faust" and here gave free rein to his musical - inclinations, was the cause of my again looking up my sturdy - Beethoven, who, however, since I saw him last had grown more deaf - and unsociable, and was not to be persuaded to gratify our wishes. - He was particularly averse to our notables and gave expression to - his repugnance with angry violence. When reminded that the Prince - was the brother-in-law of Prince Louis Ferdinand of Prussia, whose - early death he had so deeply deplored and whose compositions he - esteemed highly, he yielded a trifle and agreed to the visit. But - it is not likely that a more intimate acquaintance followed. I also - refrained from taking the uncouth artist to Rahel, for society - rendered him obstreperous and nothing could be done with him alone, - nothing could be done unless he was disposed to play. Besides, - though famous and honored, he was not yet on that pinnacle of - recognition which he has since attained. - -[Sidenote: COMPOSITIONS AND PUBLICATIONS OF 1814] - -The compositions of the year 1814 were these: - - I. Vocal Trio: "Tremate, empj, tremate." Practically composed in - 1801-02, but not known to have been completed and written out for - performance and publication until "something for Milder" was needed - in the concert of February 27th. - - II. "Germania's Wiedergeburt"; chorus in Treitschke's "Gute - Nachricht." - - III. "Fidelio"; revised and altered. - - IV. "Un lieto Brindisi"; ~cantata campestre~, four voices. - - V. Elegiac Song: "Sanft wie du lebtest," four voices and strings. - - VI. Chorus: "Ihr weisen Gründer." - - VII. Sonata for Pianoforte, E minor, Op. 90. - - VIII. Overture in C, Op. 115. - - IX. Cantata: "Der glorreiche Augenblick." - - X. Three vocal pieces and march (orchestration of the march in the - Sonata, Op. 26), for Duncker's tragedy "Leonore Prohaska." - - XI. Canon: "Kurz ist der Schmerz"; second form as written in - Spohr's Album "on March 3d, 1815." - - XII. Song: "Des Kriegers Abschied." - - XIII. Song: "Merkenstein," Op. 100; "On December 22d, 1814." - - XIV. "Abschiedsgesang"; for two tenors and bass ("Die Stunde - schlägt"). Note on the publication in the "Completed Works, etc.": - "Beethoven wrote this terzetto at the request of Magistrate - Mathias Tuscher for the farewell party of Dr. Leop. Weiss before - his removal to the city of Steyer." Beethoven inscribed it: "From - Beethoven, so that he may no longer be touched up." (~Um nicht - weiter tuschiert zu werden.~ The pun on the Magistrate's name is - lost in the translation. ~Tuschiren~ means to touch up with India - ink.) - -The publications of the year: - - I. Irish Airs, Vol. I, complete, published by Thomson. - - II. Chorus: "Germania's Wiedergeburt"; published in June. - - III. Song: "An die Geliebte," by J. L. Stoll; published as a - supplement to the "Friedensblätter," July 12. - - IV. Six Allemandes for Pianoforte and Violin, advertised by Ludwig - Maisch on July 30. (The author lacks means and opportunity to - determine the authenticity of these dances. It is, however, hardly - probable that a Viennese publisher would venture ~at that time~ to - use Beethoven's name thus without authority.) - - V. "Fidelio"; Pianoforte arrangement by I. Moscheles. Published by - Artaria and Co., in August. - -FOOTNOTES: - -[116] Concerning the revision of "Fidelio" there is much information -in the so-called Dessauer sketchbook (now in the archives of the -Gesellschaft der Musikfreunde in Vienna), which unquestionably belongs -in the year 1814. This sketchbook contains first of all the two new -finales for the opera. On page 72 is the remark: "For Milder, B-flat -above," which no doubt refers to the measure before the last in -~Leonore's~ aria. Then follow, p. 82, ~Florestan's~ air, p. 90 the -melodrama, p. 108 the recitative "Abscheulicher, wo eilst du hin," p. -112 "Un lieto Brindisi," p. 123 sketches for a symphony "2nd movement -~Corni~," p. 133 "Sanft wie du lebtest" (the "Elegiac song"), p. 141 -"Symphony, 2nd movement," p. 142 "Sanft wie du lebtest," again, p. 148 -"Ihr weisen Gründer" (Homage Cantata), p. 160 "Europa steht" ("Der -glorreiche Augenblick") with only two or three measures of music, pp. -161-164 again "Ihr weisen Gründer." Besides these, Nottebohm recognized -sketches for the Farewell song for Tuscher ("Die Stunde schlägt"), -for the first movement of the Sonata, Op. 90, and to the overtures to -"Fidelio" and "Namensfeier." - -[117] Beethoven here, of course, alludes only to the arrears in -payments on his annuity of Lobkowitz and Kinsky. - -[118] Johann Alois Michalcovics, "Königl. Stadthaltereiagent" in Ofen, -had been some years before in the same office with Zmeskall in Vienna, -and a member of that jovial musical circle of which young Beethoven -was the prominent figure. Like Zmeskall and Brunswick, he was a fine -violoncellist. - -[119] The Archduke was so troubled with gout in his hands that he had -to abandon pianoforte playing. - -[120] Schuppanzigh. - -[121] At this time Moscheles was a regular listener at the quartet -performances at Schuppanzigh's. Concerning one of them, he writes -("Aus Moscheles' Leben," I, p. 18): "I sat beside Spohr, we exchanged -opinions about what we heard: Spohr spoke with great heat against -Beethoven and his imitators." - -[122] "In April, 1814, Beethoven received from Munich news of the -performance of the Battle Symphony in that city by Mälzel, and also a -report that the latter had said that he had to recompense himself with -this work for a debt of 400 ducats which Beethoven owed him." Schindler -I, 3rd ed., p. 236. - -[123] The documents in the controversy between Beethoven and Mälzel -alluded to, together with Mr. Thayer's comments on them, are -appended in this foot-note to prevent a too long interruption of the -biographical narrative: - - DEPOSITION - -Of my own volition I had composed a Battle Symphony for Mälzel -for his Panharmonica without pay. After he had had it for a while -he brought me the score, the engraving of which he had already -begun--[Beethoven probably meant that Mälzel had begun the preparation -of the cylinder--H.E.K.] and wanted it arranged for full orchestra. I -had previously formed the idea of a Battle (Music) which, however, was -not applicable to his Panharmonica. We agreed to perform this work and -others of mine in a concert for the benefit of the soldiers. Meanwhile -I got into the most terrible financial embarrassment. Deserted by the -whole world here in Vienna, in expectation of a bill of exchange, etc., -Mälzel offered me 50 ducats in gold. I took them and told him that I -would give them back to him here, or would let him take the work with -him to London in case I did not go with him--in which latter case I -would refer him to an English publisher who would pay him these 50 -ducats. The Academies were now given. In the meantime Mälzel's plan and -character were developed. Without my consent he printed on the placards -that it was his property. Incensed at this he had to have these torn -down. Now he printed: "Out of friendship for his journey to London"; -to this I consented, because I thought that I was still at liberty to -fix the conditions on which I would let him have the work. I remember -that I quarrelled violently with him while the notices were printing, -but the too short time--I was still writing on the work. In the heat -of my inspiration, immersed in my work, I scarcely thought of Mälzel. -Immediately after the first Academy in the University Hall, I was -told on all hands by trustworthy persons that Mälzel was spreading it -broadcast that he had loaned me 400 ducats in gold. I thereupon had the -following printed in the newspaper, but the newspaper writers did not -print it as Mälzel is befriended with all of them. Immediately after -the first Academy I gave back to Mälzel his 50 ducats, telling him -that having learned his character here, I would never travel with him, -righteously enraged because he had printed on the placards, without -my consent, that all the arrangements for the Academy were badly -made and his bad patriotic character showed itself in the following -expressions--I [~unprintable~]--if only they will say in London that -the public here paid 10 florins; not for the wounded but for this did -I do this--and also that I would not let him have the work for London -except on conditions concerning which I would let him know. He now -asserted that it was a gift of friendship and had this expression -printed in the newspaper without asking me about it in the least. -Inasmuch as Mälzel is a coarse fellow, entirely without education, or -culture, it may easily be imagined how he conducted himself toward -me during this period and increased my anger more and more. And who -would force a gift of friendship upon such a fellow? I was now offered -an opportunity to send the work to the Prince Regent. It was now -impossible to ~give him the work unconditionally~. He then came to you -and made proposals. He was told on what day to come for his answer; but -he did not come, went away and performed the work in Munich. How did -he get it? ~Theft~ was impossible--Herr Mälzel had a few of the parts -at home for a few days and from these he had the whole put together by -some musical handicraftsman, and with this he is now trading around -in the world. Herr Mälzel promised me hearing machines. To encourage -him I composed the Victory Symphony for his Panharmonica. His machines -were finally finished, but were useless for me. For this small trouble -Herr Mälzel thinks that after I had set the ~Victory Symphony~ for -grand orchestra and ~composed the Battle for it~, I ought to have him -the ~sole owner~ of this work. Now, assuming that I really felt under -some obligation for the hearing machines, it is cancelled by the fact -that he made at least 500 florins convention coin, out of the Battle -stolen from me or compiled in a mutilated manner. He has therefore paid -himself. He had the audacity to say here that he had the Battle; indeed -he showed it in writing to several persons--but I did not believe it, -and I was right, inasmuch as the whole was ~not compiled by me~ but by -~another~. Moreover, the honor which he credits to himself alone might -be a reward. ~I was not mentioned at all by the Court War Council~, and -yet everything in the two academies was of my composition. If, as he -said, Herr Mälzel delayed his journey to London because of the Battle, -it was merely a hoax. Herr Mälzel remained until he had finished his -patchwork (?), the first attempts not being successful. - - Beethoven, m. p. - -II. - -EXPLANATION AND APPEAL TO THE MUSICIANS OF LONDON BY LUDWIG VAN -BEETHOVEN - -Herr Mälzel, who is at present in London, on his way thither performed -~my Victory Symphony and Wellington's Battle at Vittoria~ in Munich, -and, according to report, will also give concert performances of it -in London as he was also willing to do in Frankfort. This leads me -publicly to declare: that I never under any circumstances yielded or -gave these works to Herr Mälzel, that nobody possesses a copy of them, -and that the only one which I gave out was sent to his Royal Highness, -the Prince Regent of England. - -The performance of these works on the part of Herrn Mälzel, therefore, -is a fraud on the public, inasmuch as according to this explanation -he is not in possession of them, or if he is in possession of them an -infringement on my rights, as he has obtained them in an illegal manner. - -But even in the latter case the public will be deceived, for that which -Herr Mälzel will give them to hear under the title: ~Wellington's -Battle at Vittoria and Victory Symphony~, must obviously be a spurious -or mutilated work, since he never received anything of these works from -me except a single part for a few days. - -This suspicion becomes certainty when I add the assurance of musicians -of this city whose names I am empowered to mention in case of -necessity, that Herr Mälzel said to them on leaving Vienna that he was -in possession of the work and showed them parts of it, which, however, -as I have already proved, could be nothing else than mutilated and -spurious parts. - -Whether Herr Mälzel is capable of doing me such an injury?--is answered -by the circumstance that he had himself announced as the ~sole -undertaker~ of my two concerts given here in Vienna for the benefit -of the soldiers wounded in the war, at which only works of mine were -performed, in the public prints, without an allusion to my name. - -I therefore call upon the musical artists of London not to suffer such -an injury to me, their colleague, by a performance arranged by Herrn -Mälzel of the Battle of Vittoria and the Victory Symphony, and to -prevent such an imposition on the London public in the manner set forth. - -Vienna, July 25, 1814. - -III. - -CERTIFICATE - -We, the undersigned, certify in the interest of truth and can vouch -under oath if necessary: that there were several conferences between -Herrn Louis van Beethoven and the Court Mechanician, Herrn Mälzel of -this city, at the house of the undersigned. Dr. Carl v. Adlersburg, -the which had for their subject the musical composition called: "The -Battle of Vittoria" and the visit to England; at these, Herr Mälzel -made several propositions to Herrn van Beethoven to secure the work -aforementioned, or at least the right of first performance for himself. -But as Herr Mälzel did not appear at the last meeting arranged for, -nothing came of the matter, the propositions made to the former not -having been accepted by him. - - Vienna, October 20, 1814. - - Joh. Freiherr v. Pasqualati, - [L. S.] - ~K. K. priv. Grosshändler~. - - Carl Edler von Adlersburg, - ~Hof-und Gerichts-Advocat~ - [L. S.] - ~K. K. Öffentlicher Notar~. - -The so-called "Deposition" is, says Thayer, in truth, nothing more -than an ex-parte statement prepared for the use of his lawyer by a -very angry man, in whom a tendency to suspicion and jealousy had -strengthened with advancing years and with the increase of an incurable -infirmity. Mälzel's contra-statement to his lawyer is lost. He had no -young disciple planning with zeal to preserve it and give it, with his -version of the story, to posterity. - -[Sidenote: THE MERITS OF MÄLZEL'S CASE] - -No one, who is ignorant of Schindler's honestly meant, but partisan -representations, or who, knowing them, can disabuse his mind of -any prejudgment thence arising, can read Beethoven's statement -without misgivings; all the more, if the facts proved by Moscheles -and Stein--tacitly admitted, though utterly suppressed, in the -document--are known to him. Nor will he be convinced by all the force -of the harsh language of denunciation, that Mälzel did not act honestly -and in good faith, when he called the "Victory" his property. - -There is nothing in the first part of the statement that requires -comment; though in passing it may be observed, that the pathos of -"deserted by the whole world here in Vienna" would be increased if one -could forget the Archduke, the Brentanos, the Streichers, Breitkopf and -Härtel, Zmeskall, and others. It must be borne in mind (in Beethoven's -favor) that the paper was written several months after the events of -which it speaks; that it was drawn up at a time when its writer was -excessively busy; that it bears all the marks of haste and want of -reflection; that it was obviously intended for his lawyer's eye alone; -that there is evident confusion of memory as to times and events; and -that--be it repeated--it is the ~ex-parte~ statement of an angry man. -Take the "400 ducats in gold"; here Beethoven's memory must have played -him false, certainly as to the time, probably as to the substance of -what he heard from the "trustworthy persons." Mälzel could have had no -possible motive to utter so glaring a falsehood; but every motive not -to do so. A few weeks later, he might and very probably did assert, -that the damages to him arising from the sacrifice of the "Victory" as -a piece for his Panharmonicon, from the expense of his prolonged stay -in Vienna, from the loss of the holiday season in Munich, from the -time, study and labor spent in experiments on Beethoven's ear-trumpets, -and from his exclusion from all share in these profitable concerts, -which he alone had made possible--that these damages were not less -than 400 ducats. Nor does such an estimate appear to be a gross -exaggeration. "I therefore had the following printed in the newspaper," -continues Beethoven. If the passage which follows be what he desired -to have printed, the reasons why the editors refused are sufficiently -obvious; if they had cherished no regard for Mälzel and had believed -him in the wrong, they must have suppressed such a communication for -Beethoven's own sake. - -The character of Mälzel--drawn in a few dark lines by his opponent--has -no bearing on the real point at issue; it may, however, be observed -as remarkable, that Beethoven alone made the discovery, and this not -until--after some years of close intimacy and friendship--he had -quarrelled with him. There are not many, who having so sagaciously -planted and seen the harvest gathered in by another--who, smarting -under the disappointment, and irritated by the loss of so much time, -pains and labor--would sit down quietly, exhibit Job's patience, and -refrain from all expressions of feeling not suited to a lady's boudoir; -nor is it to be supposed that Mälzel acted this Christian part; but -then Beethoven was hardly the man to cast the first stone at the sinner. - -The sudden resolution to send the "Wellington's Victory" to the Prince -Regent of England, was obviously part and parcel of the proceedings -against Mälzel, the object being to defeat there any production of the -work by him. Beethoven himself was the only loser by it. The prince -never said "thank you" for it. - -In the argument against the correctness of Mälzel's copy of the work, -Beethoven is, to say the least, unfortunate. His opponent may have had, -from ~him~, only single parts (in the second paper it stands "a single -part"!); but the circumstances were such that Mälzel could have had no -difficulty in obtaining temporary use of most if not all the parts, -and there were plenty of "musical handicraftsmen" amply capable, after -so many rehearsals and public performances, of producing a copy in the -main correct. - -It is painful to one who loves and reveres the memory of Beethoven, -to peruse the closing passages of this document; it is, fortunately, -not necessary to comment upon their character. It was not necessary -for Beethoven to speak of Mälzel's share in the composition of the -work, in the first of these papers; the opposing lawyer would attend -to that; but was it just and ingenuous to suppress it entirely in the -appeal to the London musicians? Schindler asserts that this appeal -prevented Mälzel from producing it. It ~could~ have had no such effect. -The simple truth is, that in those days for a stranger like Mälzel to -undertake orchestral concerts in London would have been madness. The -new Philharmonic Society, composed of all the best resident musicians, -had hardly achieved an assured existence. - -The third paper is testimony to a single fact and is so impartially -drawn, so skilfully worded, as not to afford a point for or against -either of the parties. Schindler closes his history of the affair -thus: "The legal proceedings in Vienna were without result, however, -the defendant being far away and his representatives knowing how to -protract the case unduly, whereby the plaintiff was subjected to -considerable expense and ever new annoyances. For this reason our -master refrained from prosecuting the case further, since meanwhile -the facts had become widely known and had frightened the false friend -from making new attempts. The court costs were divided evenly by the -litigants. Mälzel never returned to Vienna, but at a later period -appealed in a letter to the friend whom he had swindled when he thought -that he needed his recommendation for the metronome. This letter, dated -Paris, April 19, 1818, is here. In it he represents to Beethoven that -he was at work for him upon a hearing machine for use in conducting; he -even invites him to accompany him on a journey to England. The master -expressed his satisfaction with the metronome to the mechanician; but -he never heard more concerning the machines." - -Now Schindler's own account of the first two occasions when he spoke -with Beethoven, copied into the text, partly with a view to this, shows -that he could have no personal knowledge of the Mälzel affair, except -its issue; and an examination of his pages proves further, that his -account of it is but a paraphrase of Beethoven's statement. His own -words, written in a Conversation Book, demonstrate that the greater -portion of the above citation is nonsense; for those words inform us -that Mälzel returned to Vienna in the autumn of 1817; that, then and -there, peace was made between the parties, and the old friendship -restored; and that thereupon they passed a jovial evening together in -the "Kamehl," where Schindler himself sang soprano in the "Ta, ta, ta," -canon to the bass of Mälzel! What is the historic value of a narrative -so made up and ending with such an astounding lapse of memory? - -Mälzel spent his last years mostly in Philadelphia and other American -cities. A few men of advanced years are still living there, unless -recently passed away--(Thayer is writing in the eighth decade of the -nineteenth century)--who retain an affectionate and respectful memory -of him as a gentleman and man of culture; they will rejoice in this, at -the least, partial vindication of their old friend. Candor and justice -compel the painful admission that Beethoven's course with Mälzel -is a blot--one of the few--upon his character, which no amount of -misrepresentation of the facts can wholly efface; whoever can convince -himself that the composer's conduct was legally and technically just -and right, must still feel that it was neither noble nor generous. - -Mälzel died suddenly on July 21, 1838, on an American brig, while on a -voyage between the United States and the West Indies. - -[124] ~Eselshaut~--"Ass's Skin."--A fairy play of that name with music -by Hummel was performed on March 10, 1814, in the Theater-an-der-Wien. - -[125] Dr. Leopold Sonnleithner, in the "Recensionen" of Vienna -(1861. p. 592), corrects a mistake in an obituary notice of -Chapelmaster Gläser with the remark: "I can very well remember that -the opera ('Fidelio') was rehearsed and conducted by Josef Weigl." -Dr. Sonnleithner's authority is justly so decisive in all matters -pertaining to the musical annals of Vienna, and even the slightest -errors are so very rare in his writings, that if one occurs it must be -corrected upon unimpeachable authority, to prevent its passing into -history. Now, in the manuscript text-book above cited, is written -below the list of properties: "Herr Umlauf, conducts"; and near the -end of the manuscript overture to "Fidelio" stands in Beethoven's -hand: "Indicate to Umlauf where the trombones enter." Treitschke is -thus so fully confirmed as to leave no doubt that in this instance Dr. -Sonnleithner's memory played him false. - -[126] Beethoven's play on words cannot be reproduced in translation. - -[127] He had forgotten, evidently, that he no longer lived in the -fourth storey. - -[128] It should be 1808. - -[129] Probably on account of his deafness; for Moscheles adds: "I had -seen Artaria speaking close to his ear." - -[130] Can there be any doubt now that Beethoven took Bettina to one of -the rehearsals? - -[131] In August Schmidt's "Musikalisches Taschenbuch, Orpheus," for -1841. - -[132] Judging from the internal evidence this letter is of date, July -10. On Saturday, July 2, "Coriolan" was given, and Beethoven may well -have been present. The note was written on a Sunday. July 10 was a -Sunday. - -[133] Seyfried had long been accustomed to write for four horns. -Speaking of his own compositions in 1806, he says: "Moreover I wrote -... for my excellent horn-players several ~divertimenti~ for four -~obbligati~ French horns." - -[134] Dr. Riemann opines that the confusion of opinion concerning -the air sprang from the erroneous statement of the reporter of the -"Allg. Mus. Zeitung" that the new air of the benefit performance -was accompanied by four horns; and that the error was pardonable, -inasmuch as the three horns actually used are supplemented by a fourth -~obbligato~ part for the bassoon. Nottebohm ("Zweite Beethoveniana," -pp. 302-306), is of the opinion that Beethoven did not compose the -scena anew for the benefit performance of 1814. But what shall we say -to Beethoven's announcement: "For this performance two new pieces have -been added"? - -[135] Another untranslatable play on words: "Diese ~Einnahme~ ist wohl -mehr eine ~Ausnahme~," etc. - -[136] June 23rd, 1860, in Salzburg. - -[137] Received July 4, 1859. The venerable man was then eighty-seven -years of age. - -[138] The letters written by Beethoven to Dr. Kanka, Archduke Rudolph -and Baron Pasqualati, relative to this subject, are printed in full -in the German editions of this biography: Appendix VIII to Vol. III -in the first edition, Appendix III to Vol. III in the second. As they -contribute nothing to the facts in the controversy with Prince Kinsky's -heirs, the English Editor felt himself justified in omitting them here -with this direction to the curious student where they may be found. - -[139] See the Laybach Circular of May, 1821. - -[140] See Nottebohm's "Beethoveniana," Chap. XIV. - -[141] Since this was written, Herr Nottebohm has kindly communicated -a supplementary article on this overture containing portions of newly -discovered sketches with the remark by Beethoven: "Overture for any -occasion--or for concert use" and closing thus: "The last sketches -were written about March, 1815." "This seems a contradiction of the -date given at the beginning of the autograph (October 1, 1814). This -contradiction can be explained. Beethoven evidently noted the date -when he began writing out the score, but interrupted the work (because -the overture was not performed on the name-day of the Emperor?) and -did not take it up again until several months had passed, when the -sketches and hints for passages which occur later may have originated." -Certainly this is possible; but the different dates assigned to the -Petter sketchbook (1809 in this work, 1812 in the "Beethoveniana") -necessarily lead to an irreconcilable divergence of opinion. A studious -reconsideration of the subject ends in the conviction that the historic -evidence, as it now stands, renders unnecessary any alterations in the -text. - -[142] Meyerbeer. - -[143] That Beethoven transcribed the march in the Sonata, Op. 26, for -orchestra is confirmed by the following letter of Chapelmaster Ad. -Müller (~père~) written to the author in answer to a note of inquiry: - - "Highly respected Sir! - - "To your valued letter I have to make reply as follows: I certainly - have in my autograph collection the ~autograph of the orchestral - score~ of the funeral march contained in the great Sonata for - Pianoforte, Op. 26: The score consists of six sheets and twelve - pages--~written throughout in Beethoven's hand~. On the 1st, 8th - and 12th pages there are marginal notes for the copyist. - - "The piece is orchestrated for 2 flutes, 2 clarinets in C, 2 horns - in D, 2 horns in E, to which are added four staves for instruments - which are not named, probably for trumpets and trombones. [To judge - by the setting rather for the string quartet.] - - "I received this score of the celebrated master from the art and - music dealer Tobias Haslinger in the year 1829-30 with the remark, - here faithfully reported, that he gave me the manuscript with - pleasure as a souvenir, inasmuch as he would by no means ~print~ or - ~publish~ the composition in ~this form~. This score therefore is - ~unique~! The piece is in B minor.... - - "Your ever ready - - "Adolph Müller." - -Together with the other music to "Leonore Prohaska" the march is -printed in the Complete Edition of Breitkopf and Härtel, Series 25, No. -272. - -[144] The circumstances connected with the last postponement of this -concert and the onerous conditions which Count Palffy sought to -impose upon Beethoven are interestingly told by Dr. Frimmel in his -"Beethoven-Studien, Vol. II," p. 41 ~et seq.~ - - - - -Chapter XV - - The Year 1815--New Opera Projects--Beethoven Before Crowned - Heads--End of the Kinsky Trouble--Death of Karl van Beethoven--The - Nephew--Dealings with England. - - -Beethoven might well have adopted Kotzebue's title: "The most -Remarkable Year of my Life" and written his own history for 1814, in -glowing and triumphant language; but now the theme modulates into -a soberer key. "Then there is the matter of a new opera," says a -letter to the Archduke early in December. The "Sammler" of the 17th -explains the allusion: "It is with great pleasure that we inform the -music-loving public that Herr van Beethoven has contracted to compose -an opera. The poem is by Herrn Treitschke and bears the title: 'Romulus -and Remus.'" The notice was based upon this note to Treitschke: - - I will compose Romulus and shall begin in a few days, I will come - to you in person, first ~once~ then ~several times~ so that we may - discuss the whole matter with each other. - -Now here was a promising operatic project; but before six weeks had -passed came the "Allg. Mus. Zeitung" bringing Johann Fuss's musical -"Review of the month of December," wherein among the items of Vienna -news was a notice that "Hr. Fuss had composed an opera in three acts -entitled 'Romulus and Remus' for the Theater-an-der-Wien"! And this was -so; portions of it were afterwards sung by a musical society of which -Dr. L. Sonnleithner was a member, and in Pressburg it was put upon -the stage at a later date;--but it never came to performance in the -theatres of Vienna, perhaps in consequence of measures adopted after -the following letter to Treitschke: - - I thought I could expedite the matter by sending Hrn. v. - Schreyvogel a copy of this letter--but no. - - You see this Fuss can attack me in all the newspapers, unless I - can produce some written evidence ~against him~, or you--or the - director of the theatre undertake to make a settlement with him. - On the other hand the business of my contract for the opera is not - concluded. - - I beg of you to write me an answer especially as regards Fuss's - letter; the matter would be easily decided in the court of ~art~, - but this is not the case, which, much as we should like to, we must - consider. - -The matter was so arranged with Fuss as to leave the text in -Beethoven's hands; but how, and on what terms, is not known. - -[Sidenote: A POLONAISE FOR THE EMPRESS OF RUSSIA] - -Among the sketches to "Der glorreiche Augenblick" appears the theme of -the Polonaise for Pianoforte, Op. 89, the story of which is as follows: -In a conversation with Beethoven one day, in the time of the Congress, -Bertolini suggested to him that, as polonaises were then so much in -vogue, he should compose one and dedicate it to the Empress of Russia; -for, perhaps, thereby he might also obtain some acknowledgment from -Emperor Alexander for the dedication to him of the Violin Sonatas, Op. -30,--for none had ever been made. As usual, Beethoven at first scorned -dictation, but at length thought better of the proposal, sat down to -the pianoforte, improvised various themes and requested Bertolini -to choose one; which he did. When it was completed, they waited -upon Walkonski, to seek through him permission to make the proposed -dedication, which was granted. At the appointed time Beethoven was -admitted to an audience with the Empress and presented the Polonaise, -for which he received a present of 50 ducats. On this occasion he was -asked, if he had ever received anything from the Czar? As he had not, a -hundred ducats was added for the Sonatas.[145] - -It was about this time (precisely when the painter could not remember -when speaking of it in 1861), that Beethoven sat again to his friend -Mähler, who wished to add his portrait to his gallery of musicians. -This was the picture which, after the death of the artist, was -purchased by Prof. Karajan. Another portrait of Beethoven was painted -by Mähler for Gleichenstein. On the 25th of January, a grand festival -took place in the Burg on the occasion of the Russian Empress's -birthday, which in part consisted of a concert in the Rittersaal. The -last piece on the programme was the canon in "Fidelio": "Mir ist so -wunderbar," and by a whimsical stroke of fortune Beethoven himself -appeared, and, to the audience of emperors and empresses, kings and -queens, with their ministers and retinues, played for the last time in -public! Wild, who dates the concert a month too soon, gives an account -of it in which, after telling of his own success with "Adelaide," he -says: - - It would be as untruthful as absurd were I to deny that my vanity - was flattered by the distinction which the gathered celebrities - bestowed upon me; but this performance of "Adelaide" had one result - which was infinitely more gratifying to my artistic nature; it - was the cause of my coming into closer contact with the greatest - musical genius of all time, Beethoven. The master, rejoiced at - my choice of his song, hunted me up and offered to accompany me. - Satisfied with my singing he told me that he would orchestrate the - song. He did not do this, but wrote for me the cantata "An die - Hoffnung" (words by Tiedge) with pianoforte accompaniment, which, - he playing for me, I sang at a matinée before a select audience. - -By far the most important event in Beethoven's history during these -months, was the final settlement, by compromise, of the annuity affair -with the Kinsky heirs, on the 18th of January. So soon as the legal -formalities could be ended and communicated to Beethoven, he issued in -autograph a power of attorney to Baron Josef von Pasqualati in Prague -to collect the money due, and act for him in all things necessary. On -March 26th, Pasqualati acknowledged the receipt of 2479 florins W. W. -as payment on the annuity in full up to the end of March, 1815. In -this instance "W. W." (~Wiener Währung~) meant notes of redemption, -since the bank-notes had been retired from circulation in 1812. The -compromise decree arrived at through the ministration of Dr. Kanka -fixed the original annuity of 1800 florins at 1200 florins, beginning -on November 3d, 1812. There was therefore due to Beethoven, for from -November 3d to the end of March, 1815, 2890 florins, from which was -deducted 411 florins, as the equivalent of the 60 ducats paid to -Beethoven by Prince Kinsky in October, 1812, leaving 2479 florins as -aforesaid. The decision in the case with Lobkowitz also soon followed. -According to the judgment of the Court, entered on April 19, 1815, the -future annual payments were fixed at 700 florins (the equivalent of 280 -fl. conventional coin, silver), and the 2508 fl. arrears were ordered -paid in notes of redemption within two months. Payments were made -accordingly and (as Dr. v. Köchel reported in a private note to the -author), from 1811 up to his death, Beethoven received on the annuity -contract the following sums every year: - - From Archduke Rudolph 1500 fl. - From Prince Kinsky 1200 - From Prince Lobkowitz 700 - ---- - Total 3400 fl. - - This sum, 3400 fl. in notes of redemption, was the equivalent of - 1360 fl. Con. M., silver, or 952 Prussian thalers. - -[Sidenote: LOBKOWITZ'S GENEROUS AND HONORABLE CONDUCT] - -Notwithstanding that Prince Lobkowitz's financial affairs had been -satisfactorily ordered, his return to Vienna was delayed until the -Spring of 1815, one reason being that (as he states in a letter to -Archduke Rudolph, dated Prague, December 29, 1814) an opinion prevailed -in the Austrian capital that his presence would be "unseemly." In this -letter he gives expression to his feelings toward Beethoven as follows: - - Although I have reason to be anything but satisfied with the - behavior of Beethoven toward me, I am nevertheless rejoiced, as - a passionate lover of music, that his assuredly great works are - beginning to be appreciated. I heard "Fidelio" here[146] and - barring the book, I was extraordinarily pleased with the music, - except the two finales, which I do not like very much. I think the - music extremely effective and worthy of the man who composed it. - -Is this not nobly said? - -Consider these facts: Lobkowitz was now deprived of the control of his -revenues; those revenues, in so far as they were based upon contracts, -were subject to the ~Finanz-Patent~ of 1811; the curators of his -estates were also bound by it; and the General Court (~Landrecht~) -had no power arbitrarily to set it aside. What that tribunal could -and did do was, by its assent and decree, to give binding force to -such agreement between the parties in principal, as had obtained the -sanction of the curators, with, probably, the consent of the principal -creditors of the Prince. It follows then that the concession of -Beethoven's full demand of 700 fl. in notes of redemption ~could~ have -been obtained only through the good will and active intervention of -Lobkowitz himself, using his personal influence with the other parties -concerned. Schindler incidentally confirms this. - -Will the reader here pause a moment and think what impression the -aspersions on Lobkowitz's character in Beethoven's letters have left -upon his mind? Have they not begotten a prejudice so strengthened by -"damnable iteration" that it is now hardly possible to overcome it, -and believe it unfounded? Lobkowitz, young, generous to prodigality, -rendered careless by the very magnitude of his possessions, had, in the -lapse of some twenty years, so squandered his enormous resources, as -to fall into temporary embarrassments, which threw the responsibility -of meeting his pecuniary engagements upon others, who were bound by -the nature of their office to pay none but strictly legal claims. -Thus Beethoven became a loser in part of what was originally no debt, -but a gift--or rather would have been so, but for the interference of -Lobkowitz. - -We have here another warning of the great caution to be exercised when -using private correspondence for purposes of biography. In writing of -Beethoven this is especially necessary, because so large a proportion -of it consists of confidential notes and communications containing -the ebullitions of splenetic moments, and not seldom hasty charges -and mistaken accusations, such as he gladly withdrew on learning the -truth. To accept all this without question is preposterous; to use it -as authentic historic matter without scrupulous examination, is to do -great injustice to the dead. - -The proof is ample, that Beethoven was already fully convinced of the -entire innocence of both Prince Kinsky and Prince Lobkowitz of all -desire to escape any really just demands upon them: yet, probably, -until the greater part of our present Beethoven literature has sunk -into oblivion, the memory of those noble and generous personages will -be made to suffer on the authority of Beethoven's hasty expressions. - -A letter written in English, probably by his friend Häring, who had -been much in England, and signed by Beethoven, marks the progress of -his business with Thomson: - - Address. - - Mr. George Thomson, merchant in the musical line. - - Edingbourgh, Scottland. - - Sir, - - Many concerns have prevented my answers to your favors, to which - I reply only in part. All your songs with the exception of a few - are ready to be forwarded. I mean those to which I was to write - the accompaniments, for with respect to the 6 Canzonettes, which - I am to ~compose~ I own that the honorary you offered is totally - inadequate. Circumstances here are much altered and taxes have been - so much raised after the English fashion that my share for 1814 - was near 60£s. besides an original good air,--and what you also - wish--an Overture, are perhaps the most difficult undertakings in - musical compositions. I therefore beg to state that my honorary - for 6 songs or airs must be 35£ or seventy impl. Ducats--and for - an Overture 20£ or 50 impl. Ducats. You will please to assign the - payment here as usual, and you may depend that I shall do you - justice. No artiste of talent and merit will find my pretentions - extravagant. - - Concerning the overture you will please to indicate in your reply - whether you wish to have it composed for an easy or more difficult - execution. I expect your immediate answer having several orders to - attend, and I shall in a little time write more copiously in reply - to your favors already received. I beg you to thank the author for - the very ingenious and flattering verses, which obtained by your - means. Allow me to subscribe myself - - Sir, - your very obedt. & humble servt. - Ludwig van Beethoven. - - Vienna, Feb. 7 [?], 1815. - -[Sidenote: "THE MOUNT OF OLIVES" IN LONDON] - -This naturally turns our attention to Beethoven's English affairs. -"Christus am Ölberg" ("The Mount of Olives," as the oratorio is called -in England and America) had been given for the first time in England on -February 25, 1814, by Sir George Smart, who in 1861, in conversation -with the author at his house (the one in which Weber died), related the -circumstances of this production and of "Wellington's Victory," which -was a consequence of the success of the oratorio, substantially as -follows: - -In the winter of 1812-1813, Smart undertook the Lenten oratorio season -at Drury Lane Theatre, introducing at the first concert, January 30, -1813, Handel's "Messiah" with Mozart's additional accompaniments, but -not noting this fact upon the programme. The audience was delighted -with the new effects and Mozart's name appeared on the next programme. -During this season Smart heard the "Christus am Ölberg" spoken of. -Desiring to find some novelty the next season and Beethoven having -already a great name, he offered £50 to anyone who would procure -him the score of that work published by Breitkopf and Härtel--an -exceedingly difficult thing to get at that time, when Napoleon had -almost hermetically sealed the Continent against England. The next -winter (1813-14) Jack Morris, keeper of a tavern or eating-house of the -better sort, a man who had free entry behind the scenes of the theatre -and was continually there, came to Smart and put the score of the -oratorio into his hands, to his (Smart's) great astonishment. - -"Well," said Smart, "I'll give you the £50." - -"No," was the reply, "I'll take only two guineas, for that's what I -paid for it." - -"How did you get it?" asked Smart. - -"A friend of mine who is a King's Messenger bought it for me in -Leipsic." - -The only acknowledgment that Morris would take, beside the two guineas, -was that Smart should accept an invitation from him to be present at a -pugilistic exhibition and at the supper afterwards. The score bears the -date of reception, January 7, 1814. - -Now to bring it out. - -Samuel J. Arnold translated the text, putting all the characters into -the third person, so as not to shock English feelings of reverence -by producing Christ and the Apostles on the stage, and Smart adapted -the translation to the music. It was rehearsed at his house ("in this -room," said he), and very ill received by amateurs present, who told -Smart, he was mad to produce such a thing! On February 25th, the first -part of the programme of the "Oratorio," a sacred concert, at Drury -Lane Theatre, was selections from the "Messiah" in which Catalani sang; -Part II, "The Mount of Olives," solos by Mrs. Dickens, Mrs. Bland, Mr. -Pyne and Mr. Bellamy; Part III, Musical selections. Parts I and II also -closed with selections from "Paradise Lost" read by Miss Smith. The -tenth, and last, performance was on May 28th. - -Subsequently, Kramer, master of the Prince Regent's band, told Smart -that the Prince had the score of a Battle Symphony by Beethoven, -and he was welcome to the use of it, if he desired to produce it. -Smart, encouraged by the success of the "Christus," was delighted, -notwithstanding the musicians called the work a piece of musical -quackery. On examining it, Sir George saw that it would never do -with his audience to end with the fugue on "God save the King," and -consulted with Ferdinand Ries as to what kind of close to make. Ries -added to the score a short passage of modulation, which led from the -fugue into the plain, simple tune. The work was copied, rehearsed, -and produced on the 10th of February, 1815, as Part II of a Drury -Lane "Oratorio"--the word being used then for a sacred concert, like -"Akademie" in Vienna for a secular one. As the orchestra ended Ries' -passage of modulation, the hymn was taken up and sung by the principal -solo singers, and the full chorus. The audience used also to join in -and make the old theatre ring again. The success was immense; it was -performed several seasons, and Smart cleared £1000 by it.[147] - -There is a sketchbook in the Mendelssohn collection, which shows in -part what compositions employed Beethoven's thoughts about this time. -It contains sketches to marches; for a "Symphony in B minor"; a "Sonata -'cello pastorale"; a chorus, "Meeresstille"; a song, "Merkenstein." -This confirms a statement of Czerny's: "On 'Merkenstein,' Beethoven -composed two little songs, both, I think, for almanacs." The one -published by Steiner and Co., however, does not appear to have come -out in that manner. The date of these sketches is fixed by a memorandum -of Beethoven's on the seventh leaf, of Smart's production in London of -"Wellington's Victory": "In Drurylane Theatre on February 10th, and -repeated by general request on the 13th, 'Wiener Zeitung' of March -2d." This led to inquiry, and Sir George Smart's name, as leader of -the Lenten concerts in London, became known to Beethoven, who engaged -his friend Häring, who knew Smart intimately, to write the following -English letter in his behalf: - -[Sidenote: COMPOSITIONS OFFERED TO ENGLAND] - - To Sir George Smart, - - Great Portland St., London. - - My Dear Sir George: - - I see by the papers that you have brought forth in the theatre - Beethoven's battle and that it was received with considerable - applause. I was very happy to find that your partiality to Mr. B's - compositions is not diminished and therefore I take the liberty - in his name to thank you for the assistance you afforded in the - performance of that uncommon piece of music. He has arranged - it for the pianoforte, but having offered the original to his - R. H. the Prince Regent, he durst not sell that arrangement to - any Editor, until he knew the Prince's pleasure, not only with - respect to the dedication, but in general. Having waited so many - months without receiving the least acknowledgment, he begged - me to apply to you for advice. His idea is to dispose of this - arrangement and of several other original compositions to an - Editor in London--or perhaps to several united--if they would - make a handsome offer--they would besides engage to let him know - the day of the appearance for sale of the respective pieces, in - order that the Editor here, may not publish one copy before the - day to be mentioned. At the end of this letter follows the list - of such compositions, with the price, which the Author expects. I - am persuaded, Sir George, you will exert yourself to benefit this - great genius. He talks continually of going to England, but I am - afraid that his deafness, seemingly increasing, does not allow him - the execution of this favorite idea. - - You are informed without doubt that his opera "Fidelio" has had the - most brilliant success here, but the execution is so difficult, - that it could not suit any of the English houses. - - I submit here his list with the prices. None of the following - pieces has been published, but No. 2, 4 and 9 have been performed - with the greatest applause. - - 1. Serious Quartett for 2 violins, tenor and bass 40 guineas. - 2. Battle of Vittoria--Score 70 guineas. - 3. Battle of Vittoria arranged for the pianoforte 30 guineas. - 4. A Grand Symphony--Score 70 guineas. - 5. A Grand Symphony arranged for the pianoforte 30 guineas. - 6. A Symphony--Key F--Score 40 guineas. - 7. A Symphony, arranged 20 guineas. - 8. Grand Trio for the pianoforte, violin and violoncello 40 guineas. - 9. Three Overtures for a full Orchestra each 30 guineas. - 10. The Three Arrangements each 15 guineas. - 11. A Grand Sonata for the pianoforte and violin 25 guineas. - - The above is the produce of four years labor. - - Our friend Neate has not yet made his appearance here--nor is it at - all known where he is roving about. We--I mean mostly amateurs--are - now rehearsing Händel's "Messiah"--I am to be leader of the 2d - violins; there will be this time 144 violins--first and second - altogether, and the singers and remainder in proportion. I have - been so unfortunate, as not to receive a single line or answer - from England since my stay in Vienna, which is near three months; - this discourages me very much from writing, for I have dispatched - immediately after my arrival several letters and have been - continuing to send letters, but all in vain. Amongst those to whom - I wrote about two months ago, is our friend Disi--pray if you meet - him and his very respectable family [give them] my best regards. I - have passed so many happy hours in his house, it would be highly - ungrateful for me to forget such an amiable family. - - Beethoven happening to call on me just now, he wishes to address a - few lines to you [which you will] find at the bottom of this.... My - direction is "Monsieur Jean de Häring, No. 298 Kohlmarkt, Vienna." - - Poor B. is very anxious to hear something of the English editors, - as he hardly can keep those of this city from him, who tease him - for his works. - -Häring now writes the following for Beethoven to sign: - - Give me leave to thank you for the trouble you have taken several - times as I understand, in taking my works under your protection, by - which I don't doubt all justice has been done. I hope you will not - find it indiscreet if I solicit you to answer Mr. Häring's letter - as soon as possible. I should feel myself highly flattered if you - would express your wishes, that I may meet them, in which you will - always find me ready, as an acknowledgment for the favors you have - heaped upon my children. - - Yours gratefully, - Ludwig van Beethoven. - - Vienna 16. March, 1815. - - And now I shall beg, my dear Sir George, not to take this long - letter amiss and to believe that I am always with the greatest - regard, - - Your most humble and obedient servant, - John Häring. - - Vienna 19. March, 1815. - -The works enumerated in this letter, taking them in the same order, -are Op. 95, 91, 92, 93, 97, 113, 115, 117 and 96. Häring was evidently -ignorant that all of Beethoven's new works were even then sold, -except for England. Steiner had purchased them. The precise terms of -the contract between the composer and this publisher are not known; -for, although the transaction was too important to have been left to -a mere parole agreement, no written instrument has been discovered. -Jahn had no copy of any; and Nottebohm writes (November 19, 1875): "I -was yesterday in the comptoir of Haslinger, but there nothing is to -be found." The earliest reference to the business yet discovered is -a letter to Steiner, from which it is to be inferred that Karl van -Beethoven was in some manner interested--perhaps as arranger, under his -brother's inspection, of the editions for pianoforte of the orchestral -works: - - Vienna, February 1, 1815. - Most Wellborn Lieutenant-General! - - I have received to-day your letter to my brother and am satisfied - with it but must beg of you to pay also the ~cost of the pianoforte - arrangements~ in addition, as I am obliged to pay for ~everything~ - in the world and ~more dearly than others~ it would be a hardship - for me; besides I don't believe that you can complain about the - honorarium of 250 ducats--but neither do I want to complain, - therefore arrange for the transcriptions yourself, but all must - be revised by me and if necessary improved, I hope that you are - satisfied with this. - - In addition to this you might ~give my brother the collected - pianoforte works of Clementi~, ~Mozart~, ~Haidn~, he needs - them for ~his little son~, do this my dearest Steiner, and be - not stone,[148] as stony as your name is--farewell excellent - Lieutenant-General, I am always. - - Yours truly, - General-in-Chief, - Ludwig van Beethoven. - -[Sidenote: WORKS SOLD TO STEINER] - -The works purchased by Steiner are named in a list sent by Nottebohm -with the letter above cited. It is the copy of an unsigned memorandum, -evidently proceeding from Beethoven, which, except the omission of the -works mentioned in the Häring letter, runs thus: - - NOTE - - Concerning the following original musical compositions, composed by - the undersigned, and surrendered as property to the licensed art - dealer H. S. A. Steiner. - - 1st. Score of the opera Fidelio. - 2d. Score of the cantata Der glorreiche Augenblick. - 3d. Score of a quartet for 2 violins, viola and basso. - 4th. Score of a grand Terzet to be sung with pianoforte arrangement. - 5th. Score of the Battle of Vittoria with pianoforte arrangement. - 6th. Pianoforte arrangement and score of a Symphony in F. - 7th. Pianoforte arrangement and score of a Symphony in A major. - 8th. Grand Trio for pianoforte, violin and basso in score. - 9th. Grand Sonata for pianoforte and violin in score. - 10th. Score of a Grand Overture in E-flat major. - 11th. Score of a Grand Overture in C major. - 12th. Score of a Grand Overture in G major. - 13th. 12 English songs with pianoforte accompaniment and German - text.[149] - - For all of these works which H. Steiner may use as his property in - all places except England, I have been wholly recompensed. - - Vienna, April 29, 1815. - -Whatever may have been the proposed interest of Karl van Beethoven in -the contract, his failing health soon prevented him from performing -any labor under it. The correspondence with Steiner and Co. indicates -that the task of arranging the orchestral works for the pianoforte was -performed by Haslinger and Anton Diabelli, with occasional assistance -from Carl Czerny, under Beethoven's superintendence. - -Diabelli, born near Salzburg in 1781, had now been for some years one -of the more prolific composers of light and pleasing music, and one -of the best and most popular teachers in Vienna. He was much employed -by Steiner and Co., as copyist and corrector, and in this capacity -enjoyed much of Beethoven's confidence, who also heartily liked him as -a man. In the composer's comical military staff, he was the "General -Profoss," and in the correspondence his name becomes "Diabolus"--for -Beethoven could never resist the temptation to a play upon words. About -the 1st of April Beethoven received a package which proved to be an -opera text by Rudolph von Berge, sent to him with a letter by his old -friend Amenda from Courland. While this letter was under way Beethoven -received a visit from a friend of Amenda's who, on his departure from -Vienna, carried with him a letter in which he said: - - You are 1000 times in my mind with your patriarchial - simplicity--unfortunately for my good or that of others, fate - denies my wishes in this respect, I can say that I live almost - alone in this greatest city of Germany since I must live almost in - estrangement from all persons whom I love or could love--on what - kind of footing is music with you? Have you ever heard any of my - great works there? Great say I--compared with the works of the - Highest, everything is small! - -[Sidenote: SKETCHES FOR A "BACCHUS" OPERA] - -The opera book sent by Amenda was entitled, "'Bacchus,' Grand Lyric -Opera in Three Acts." The libretto was preserved among Schindler's -papers in the Royal Library in Berlin. It seems likely that Beethoven -gave some thought to the opera and experimented with some themes. There -are interesting notes on a work with a classical subject, the words -apparently the beginning of an invocation to Pan, in a sketchbook of -1815, which Nottebohm describes in his "Zweite Beethoveniana" (p. 329 -~et seq.~) without saying whether they belong to Treitschke's "Romulus" -or von Berge's "Bacchus." Dr. Riemann assumes without hesitation that -the sketches were made for "Bacchus" and sees a premonition of Wagner's -methods in the following: - - - [Illustration: bountiful - - ~bountiful Pan - not quite so characteristic, it must be evolved out of the B. M. - [150] where the dance only intermittently~ - ] - - [Illustration: Corni] - - ~Throughout the opera probably dissonances, unresolved or very - differently, as our refined music cannot be thought of in - connection with those barbarous times.~ - -On the approach of warm weather the Erdödys removed for the summer to -Jedlersee, never to return to the Schottenbastei; and as Lichnowsky -was dead, Beethoven had no inducement longer to remain in that -vicinity and therefore departed from the Mölkerbastei--also never -to return. The new lodging was in the third storey of a house then -belonging to Count Lamberti, in the Sailerstätte, with a double number -1055, 1056, near which he had lived a dozen years before, having the -same sunny aspect and the glorious view across the Glacis from the -Karlkirche and the Belvidere Gardens, away across the Danube to the -blue Carpathian mountains in the distance. In this house, about the -first of June, Häring introduced to Beethoven the very fine English -pianist and enthusiastic musician Charles Neate, who after five -months' study with Winter in Munich had come to Vienna in the hope of -obtaining instruction from the great symphonist. To his application, -Beethoven replied in substance: "I cannot teach, but I will give you an -introduction to my master, Förster" (which he did by letter), "and you -may bring your compositions to me for my inspection, and I will examine -and remark upon them." In consequence of this permission Neate saw -him almost daily. Beethoven spent a part of this summer in Baden, and -Neate took a room very near him. There the composer was in the habit of -working all the forenoon, dining early at twelve or one o'clock, and, -towards evening, walking with Neate--sometimes up the Helenen-Thal, -oftener through the fields. Neate, in the course of his long life--he -was nearly eighty when he related these things to the author[151]--had -never met a man who so enjoyed nature; he took intense delight in -flowers, in the clouds, in everything--"nature was like food to him, -he seemed really to live in it." Walking in the fields, he would sit -down on any green bank that offered a good seat, and give his thoughts -free course. He was then full of the idea of going to England, but -the death of his brother and adoption of his nephew put an end to the -project. Neate remembered the boy as a very beautiful, intelligent -lad. Beethoven, at that time, and as Neate knew him, was charmingly -good-tempered to those whom he liked--but his dislikes were so strong, -that to avoid speaking to persons to whom he was not well affected, he -would actually increase his pace in the street to a run. At this time, -his dark complexion was very ruddy and extremely animated. His abundant -hair was in an admirable disorder. He was always laughing, when in good -humor, which he for the most part was, as Neate saw him. - -One day Neate spoke to him about the popularity of his Sonatas, -Trios, etc., in England and added that his Septet was very much -admired:--"That's damned stuff" (or "a damned thing"), said Beethoven, -"I wish it were burned!" or words to this effect, to Neate's great -discomfiture. Another time, walking in the fields near Baden, Neate -spoke of the "Pastoral Symphony" and of Beethoven's power of painting -pictures in music. Beethoven said: "I have always a picture in my mind, -when I am composing, and work up to it." - -Neate conversed with him in German and had no difficulty in making him -understand, when speaking into his left ear. He brought to Beethoven -an order from the Philharmonic Society of London--obtained by the -exertions of Ries--for three concert overtures, of which we shall hear -more hereafter.[152] - -The destruction of Rasoumowsky's palace suspended his quartets, and -Linke, the violoncellist, passed the summer with the Erdödys at -Jedlersee. This gave the impulse to Beethoven to write the principal -works of this year: the two Sonatas for Pianoforte and Violoncello, -Op. 102. The first bears his date: "Towards the end of July"; the -second: "Beginning of August." While he was employed upon them, -Treitschke called upon him for a closing chorus, "Es ist vollbracht," -to a little dramatic piece similar to the "Gute Nachricht," entitled -"Die Ehrenpforten," and prepared to celebrate the second capitulation -of Paris. It was performed July 15, 16 and 23; and, on the occasion of -the Emperor's nameday, was revived "with appropriate changes" October -3rd and 4th; but (according to the theatre bills) with the chorus -"Germania" substituted for "Es ist vollbracht." - -[Sidenote: OTTO JAHN'S RECOVERY OF LETTERS] - -This was the last year of Beethoven's personal intercourse with the -Erdödys, a very interesting memorial of which, namely, a series of -notes and letters, has been preserved and made public by the coolness -and decision of Otto Jahn. Being in Munich in 1852, or about that time, -he learned that this correspondence was in the hands--if our memory -serve--of the widow Brauchle, and obtained permission to read it in -the presence of the possessor. Suddenly starting up he exclaimed (in -effect): "I will copy this at the hotel," and before the lady, in her -amazement and perplexity, could refuse or prevent, he was away, and -made the only copy known to be in existence, except transcripts made -from it.[153] Several of these papers are only Beethoven's apologies -for not coming to Jedlersee "to-day" or "to-morrow"--but all are -interesting in the glimpse which they give of the affectionate intimacy -which they show as existing between Beethoven and the family. - -A letter to Brauchle is important from a biographical point of view. It -reads: - - I had scarcely returned before I found my brother making - lamentable inquiries about the horses--please do me the favor to - go to Enzersdorf about the horses, take horses at my expense in - Jedlersee, I'll gladly recompense you. His sickness (my brother's) - is accompanied by a sort of unrest--let us be of help where we can, - I am ~obliged to act thus and not otherwise~! I await a speedy - fulfillment of my wishes and a friendly answer on the subject - from you--do not spare expenses I'll willingly bear them. It is - not worth while to let anyone suffer for the sake of a few dirty - florins. - -Neate and the Erdödys have carried us forward quite out of the strict -order of time, to which we now return, beginning with letters to our -old Bonn and London acquaintance, Johann Peter Salomon and others: - - Vienna, June 1, 1815. - My respected countryman! - - I have long hoped for the fulfillment of a wish to see you in - person in London, to hear you, but the wish has always been - frustrated by manifold hindrances--and for the reason that I am - not in a position to do so I hope you will not deny my request - which is that you speak with some publisher there, and offer him - the following works for me: a Grand Trio for pianoforte, violin - and violoncello (80 ducats). Sonata for pianoforte and violin (60 - ducats). Grand Symphony in A (one of my most excellent), smaller - Symphony in F.--Quartet for 2 violins, viola and violoncello in - F minor.--Grand Opera in score, 30 ducats--Cantata with choruses - and solo voices 30 ducats. Score of the Battle of Vittoria on - Wellington's victory, 80 ducats as also the pianoforte arrangement - (if it has not, as I am assured already been published)--I have set - down the honorarium of a few works which I think fair for England, - but leave it to you in the case of these as well as the others, to - do what you think best as to my pay. I hear, indeed, that Kramer - is also a publisher[154] but my pupil Ries wrote me recently that - he ~had publicly expressed himself against my compositions~, I - hope for no other reason than ~the good of art~, wherefore I have - no objection to offer, but if Kramer wants any of these injurious - works of art, he is just as agreeable to me as any other publisher. - I only reserve to myself the privilege of also giving the same - works to my local publisher so that the works will appear only in - London and Vienna and simultaneously. - - Perhaps you may be able to point out to me in what manner I may - get from the Prince Regent at least the copyist's charges for the - Battle Symphony on Wellington's Victory at the battle of Vittoria, - which I gave him, for I have long ago abandoned all hope of ever - getting anything more, I was not even vouchsafed an answer as to - whether I might dedicate the work to the Prince Regent when I - publish it, I hear even that the work has already been published - in London in pianoforte arrangement, what a fate for an author!!! - While the newspapers are full of reports concerning the success - of this work as performed at the Drury Lane Theatre, the author - is unable to show even a friendly line touching it, not even the - expense of copying, besides all this, the loss of all profit, for - if it is true that the pianoforte arrangement is already published, - no German publisher will take it, it is probable that the - pianoforte arrangement will soon appear in a reprint by a German - publisher and I will lose honor and honorarium. - - Your well-known noble character bids me hope that you will take - an interest in the matter and show yourself active in my service; - the wretched paper money of our country has already been reduced - to the fifth part of its value, I was treated according to the - scale, but after much urging the full standard with a considerable - loss, but we have again reached a point where the currency is - worth much less than one-fifth and I am confronted for the second - time with the prospect that my salary will be reduced to ~nothing~ - without recourse of any kind. My only earnings now come from my - compositions, if I could count on their sale in England it would be - very advantageous to me. - - Count on my boundless gratitude, I hope for a speedy, a very speedy - answer from you. - -Some time about October 15th, Beethoven returned to Vienna. And now -another bitter parting: The Erdödys, accompanied by Brauchle, Sperl and -Linke, departed to Croatia never to return. - -[Sidenote: BIRCHALL BECOMES BEETHOVEN'S PUBLISHER] - -The letters to Smart, Salomon and Ries were not in vain; through -their efforts, especially Salomon's, Mr. Robert Birchall, Music -Publisher of No. 133 New Bond St., was induced to purchase four of the -works enumerated by Häring, viz: the pianoforte arrangements of the -"Wellington's Victory," Op. 91, and Symphony in A, Op. 92; the Trio -in B-flat, Op. 97, and the Sonata for Pianoforte and Violin, Op. 96, -for "the sum of one hundred and thirty-five gold Dutch ducats--value -in English currency, sixty-five pounds." The correspondence between -the composer and publisher as presented by Mr. Birchall's successors -begins with a paper in extraordinary English which has hitherto passed -as a note received from Vienna, but which, it is obvious, is nothing -but the effort of some resident German to interpret the contents of the -following letter from Beethoven:[155] - - Vienna, October 28th, 1815. - - Well-born Sir! - - I inform you that the Battle and Victory Symphony on Wellington's - Victory in pianoforte arrangement was dispatched to London several - days ago to the house of Thomas Coutts, in London, whence you may - fetch it. I beg you to be speedy as possible in printing it and - ~inform me of the day~ when you purpose publishing it so that I may - give timely notice of the fact to the publisher here--such great - hurry is not necessary with the 3 works which follow and which - you will receive soon and in the case of which ~I shall take the - liberty~ to fix the day:--Mr. Salomon will have the goodness to - explain to you more clearly why there is this greater haste in the - matter of the Battle and Victory Symphony. - - Awaiting a very speedy answer regarding ~the day of publication~ of - the work which you have received. - - I remain your obedient servant, - - Ludwig van Beethoven. - -[Sidenote: A DYING BROTHER'S INJUNCTION] - -We now reach one of the most important and at the same time most -melancholy events in Beethoven's life--an event which exerted the -profoundest influence on the rest of his life--the death of his brother -Karl. We introduce it with that brother's last will and testament: - - Certain that all men must die and feeling that I am near this goal, - but in the full possession of my understanding, I have freely and - voluntarily deemed it good to make these, my last dispositions. - - 1. I commend my soul to the mercy of God, but my body to the earth - from which it came and desire that it be buried in the simplest - manner in accordance with the rites of Christian Catholicism. - - 2. Immediately after my death, four holy masses are to be said, to - which end I set apart 4 florins. - - 3. My heirs general are commanded to pay the pious legacies - according to law. - - 4. As my wife at our marriage brought me and paid over 2000 fl. - in B. bonds, for which I gave no receipt, I acknowledge receipt - of these 2000 fl. in B. bonds and desire that these 2000 fl. in - B. bonds as also the deposit be rectified in accordance with the - existing marriage contract. - - 5. I appoint my brother Ludwig van Beethoven guardian. Inasmuch - as this, my deeply beloved brother has often aided me with true - brotherly love in the most magnanimous and noblest manner, I ask, - in full confidence and trust in his noble heart, that he shall - bestow the love and friendship which he often showed me, upon my - son Karl, and do all that is possible to promote the intellectual - training and further welfare of my son. I know that he will not - deny me this, my request. - - 6. Convinced of the uprightness of Hrn. Dr. Schönauer, Appellate - and Court Advocate, I appoint him Curator for probate, as also for - my son Karl with the understanding that he be consulted in all - matters concerning the property of my son. - - 7. The appointment of heirs being the essential matter in a - testament, I appoint my beloved wife Johanna, born Reiss, and my - son Karl, heirs general to all my property in equal portions after - the deduction of my existing debts and the above bequests. - - 8. The wagon, horse, goat, peacocks and the plants growing in - vessels in the garden are the property of my wife, since these - objects were all purchased with money from the legacy received from - her grandfather. - - In witness whereof, I have not only signed this, my last will with - my own hand, but to aid in its execution have also called in three - witnesses. - - Thus done, Vienna, November 14, 1815. - - Karl van Beethoven, - m. p. - - Carl Gaber, m. p. - House owner, Breitenfeld No. 9. - - Benedikt Gaber, m. p. - House owner, Breitenfeld No. 25. - - Johann Naumann, m. p. - House No. 5, Breitenfeld. - - ("This testament was delivered under seal to the R. I. L. Austrian - General Court, by the Karl Scheffer Solicitor Dr. Schönauer, on - November 17, 1815, etc.") - - CODICIL TO MY WILL - - Having learned that my brother, Hr Ludwig van Beethoven, desires - after my death to take wholly to himself my son Karl, and wholly to - withdraw him from the supervision and training of his mother, and - inasmuch as the best of harmony does not exist between my brother - and my wife, I have found it necessary to add to my will that I - by no means desire that my son be taken away from his mother, but - that he shall always and so long as his future career permits - remain with his mother, to which end the guardianship of him is - to be exercised by her as well as my brother. Only by unity can - the object which I had in view in appointing my brother guardian - of my son, be attained, wherefore, for the welfare of my child, - I recommend ~compliance~ to my wife and more ~moderation~ to my - brother. - - God permit them to be harmonious for the sake of my child's - welfare. This is the last wish of the dying husband and brother. - - Vienna, November 14, 1815. - - Karl van Beethoven - m. p. - - We, the undersigned, certify in consonance with truth that Karl van - Beethoven declared in our presence that he had read the statement - on the opposite page and that the same is in accordance with his - will, finally we certify that he signed it with his own hand in our - presence and requested us to witness the act. - - Thus done on November 14, 1815. - - Carl Gaber, m. p. - Benedikt Gaber, m. p. - Johann Neumann, m. p. - - ("This codicil was delivered under seal to the R. I. L. Austrian - General Court by the Karl Scheffer Solicitor Dr. Schönauer, on Nov. - 17, 1815, etc.") - -On November 20, 1815, the "Wiener Zeitung" printed the announcement: -"Died on November 16, Hr. Karl van Beethoven, Cashier in the R. I. -Bank and Chief Treasury, aged 38 years,[156] of consumption." And so -in his own house died the brother Karl whose last moments came with a -suddenness which aroused his brother's suspicions that the end had been -hastened by poison! Nor would he be satisfied upon the matter until his -friend Bertolini had made a ~post mortem~ examination "whereby the -lack of foundation for the suspicion was proved." - -A few weeks before his death, Karl had applied for leave of absence -from his office on the score of his feeble condition; but his petition -was harshly refused in a document on which Beethoven afterwards wrote: -"This miserable financial product caused the death of my brother." In -fact, however, it made probably little difference; his was evidently -one of those common cases of phthisis, where the patient, except to -the experienced eye, shows no signs of immediate danger; who at the -last moments finds himself free from pain and blessed with a buoyancy -of spirit that gives him vain hopes of prolonged life. It is the last -flickering of the flame, as the skillful physician well knows. - -As above noted, Karl van Beethoven's will was deposited with the proper -authorities on the 17th, and "the R. I. L. Austrian Landrecht (General -Court) on November 22, 1815, appointed the widow of the deceased, -Johanna van Beethoven, guardian, the brother of the deceased, Ludwig -van Beethoven, associate guardian of the minor son Karl." And so, for -the present, we will leave the matter.[157] - -And Breuning? Why during these years and especially in this time -of sorrow does his name nowhere meet us? His son answers the -question in that extremely interesting little volume "Aus dem -Schwarzspanierhause."[158] - -Jacob Rösgen, an employee in the office of the Minister of War in which -Breuning was a Secretary, had learned certain facts, or suspicions, in -relation to Karl van Beethoven's integrity, which he thought should be -communicated to Ludwig as a warning "not to have anything to do with -him in financial matters." To this end he, having obtained Breuning's -word of honor not to make known the source of the information, imparted -to him the whole matter. "Breuning faithfully performed the task which -he had assumed; but Ludwig, in his tireless endeavor to better his -brother, hastened to take him to task for his conduct and charge him -with the acts which had been reported to him; he went so far, when -pressed by his brother for the source of his information, as to mention -the name of his friend Steffen. Kaspar (Karl) then appealed directly -to my father and asked the name of the author of the 'denunciation,' -and when my father resolutely declined to give the name (Rösgen) Kaspar -indulged himself in abuse to such an extent that he left insulting -letters addressed to him and unsealed with the portier of the Ministry -of War. My father, angered and pained at this impertinence and Ludwig's -breach of confidence, read the latter a sharp lecture which ended -with the declaration that because of such unreliability it would be -impossible longer to hold association with him."[159] It will be long -before we meet Breuning again. - -There is a striking incongruity between Beethoven's pleas of poverty in -his letters to correspondents in England at this period and the facts -drawn from official and other authentic sources. Let us tarry a moment -on this point. - -[Sidenote: A PERIOD OF PROSPERITY] - -He was now, at the end of 1815, in the regular receipt of his annuity, -3400 florins in notes of redemption; in March and April the arrears, -4987 florins in such notes, had been paid him; the profits of his -concerts since January 1, 1814, with presents from crowned heads and -others were, if we may trust Schindler, who appears to speak from -accurate knowledge, sufficient in amount to purchase somewhat later the -seven bank-shares, which at his death, "according to the price current -on the day of his death," had a value in convention-coin of 7441 -florins; Neate had paid him 75 guineas; for the works sold to Steiner -and Co. he had "been wholly compensated"; in March (1816) he received -from Mr. Birchall 65 pounds sterling; and there were payments to him -from Thomson and others, the aggregate of which cannot be determined. - -This incongruity is not essentially diminished either by his -taxes--sixty pounds for 1814, he tells Thomson--nor by the 10,000 -florins W. W. expended for the benefit of his brother, whether the -"Wiener Währung" in the letter to Ries be understood as the old -five for one, or the new in notes of redemption; for this fraternal -charity extended back over a series of years. In this letter to Ries, -the reader will observe also a remarkable instance of its writer's -occasional great carelessness of statement, where he speaks of his -"entire loss of salary" for several years; for the Archduke's share -had throughout been punctually paid; not to mention again the receipt -of what had for a time been withheld of the Kinsky and Lobkowitz -subscriptions. The omission of these facts in this and other letters, -imparted to Ries an utterly false impression; and on their publication -in 1838, to the public also. Hence the general belief that Beethoven -was now in very straitened circumstances, and that Karl's widow and -child had been left in abject poverty; the truth as to them being this: -that the property left them produced an annual income, which with the -widow's pension amounted at this time to above 1500 florins. From the -day that Beethoven assumed the office of guardian and took possession -of the child, he had a valid claim upon the mother for a part of the -costs of maintaining him--a claim soon made good by legal process. If -he afterward elected to suffer in his own finances rather than press -his sister-in-law, this is no justification of the heedless statements -in some of his letters now--a truth to be held in mind. And now the -letter to Ferdinand Ries: - - Wednesday, November 22, Vienna, 1815. - - Dear R! - - I hasten to write you that I to-day sent the pianoforte arrangement - of the Symphony in A by post to the house of Thomas Coutts and Co., - as the Court is not here, couriers go not at all or seldom, and - this besides is the safest way. The Symphony should appear toward - the end of March, I will fix the day, it has occupied too much time - for me to make the term shorter,--more time may be taken with the - Trio and the Sonata for violin, and both will be in London in a - few weeks--I urgently beg of you, dear Ries! to make this matter - your concern and to see that I get the money; it will cost a great - deal before everything gets there and I need it--I had to lose 600 - fl. annually of my salary, at the time of the bank-notes it was - nothing then came the notes of redemption and because of them I - lost the 600 fl. with several years of vexation and entire loss of - salary--now we have reached a point where the notes of redemption - are worse than the bank-notes were before; I pay 1000 fl. for - house-rent; figure to yourself of the misery caused by paper money. - My poor unfortunate brother has just died; he had a bad wife, I may - say he had consumption for several years, and to make life easier - for him I gave what I may estimate at 10,000 fl. W. W. True, that - is nothing for an Englishman, but very much for a poor German, or - rather Austrian. The poor man had changed greatly in the last few - years and I can say that I sincerely lament him, and I am now glad - that I can now say to myself that I neglected nothing in respect - of care for him. Tell Mr. Birchall to repay Mr. Salomon and you - the cost of postage for your letters to me and mine to you; he may - deduct it from the sum which he is to pay me, I want those who - labor for me to suffer as little as possible. - - Wellington's Victory at the Battle of Vittoria, this is also the - title on the pianoforte arrangement, must have reached Th. Coutts - and Co. long ago. Mr. Birchall need not pay the honorarium until - he has received all the works, make haste so that I may know the - day when Mr. Birchall will publish the pianoforte arrangement. For - to-day, no more except the warmest commendation of my affairs to - you; I am always at your service in all respects. Farewell, Dear R! - -On the same day he wrote to Birchall: - - Vienna, November 22, 1815. - - Enclosed you are receiving the pianoforte arrangement of - the Symphony in A. The pianoforte arrangement of the Symph. - Wellington's Victory at the Battle of Vittoria was dispatched 4 - weeks ago by the business messenger, Hrn. Neumann, to Messrs. - Coutts and Co., and therefore must long ago have been in your hands. - - You will receive also the Trio and Sonata in a fortnight in - exchange for which you will please pay to Messrs. Thomas Coutts and - Co. the sum of 130 gold ducats. I beg of you to make haste with the - publication of these musical compositions and to inform me of the - day of publication of the Wellington Symphony, so that I may make - my arrangements here accordingly. With great respect I remain, - - Yours truly, - - Ludwig van Beethoven, m. p. - -The Trio and Sonata, however, were not forwarded until the 3d of the -next February--a decidedly long "fortnight." - -In those days £65 was no small sum for the mere right of republication -in England of these pianoforte works and arrangements, and Ries richly -merited these words of his old master: "And now my heartiest thanks, -dear Ries, for all the kindness you have shown to me, and particularly -for the corrections. Heaven bless you and make your progress even -greater, in which I take a cordial interest." - -[Sidenote: BECOMES AN HONORARY CITIZEN OF VIENNA] - -About the first of December, "a magisterial deputation solemnly -delivered" into the hands of Beethoven a certificate conferring upon -him the citizenship of Vienna in acknowledgment of his benevolent -services in behalf of St. Mark's Hospital. Ries, writing on September -29th for Salomon, who had broken his right shoulder in a fall from -his horse, informs Beethoven that at that date the three overtures -purchased by Neate for the Philharmonic Society had not reached London. -Beethoven, in December, repeats this to Neate, who was still in Vienna, -adding, in substance, his readiness to make any desired written -agreement about these things in England. Salomon's misfortune occurred -in August; he lingered only until the 25th of November. No higher -proof of his reputation in England can be given than the fact that the -remains of this Bonn violinist rest near those of Handel in Westminster -Abbey. - -Schindler somewhere censures the Gesellschaft der Musikfreunde for -its long delay in making Beethoven an honorary member. It did what -was better. Hardly was it organized, when its directors turned their -attention to him; and, in the second year of its legal existence, -proposed to him through Zmeskall to compose an oratorio for its use. On -the 22d of December, Count Appony reported: "that Hr. L. v. Beethoven, -through Hrn. v. Zmeskall, had declared his readiness to deliver a large -work to the society and that the Board of Management were awaiting his -conditions." It was but the course of common propriety--of ordinary -delicacy--to leave him free of all obligation to the society until this -matter of business should be settled; indeed, that Streicher was one of -the principal founders and most influential members of the society is -a sufficient pledge, that no disrespect for, nor indifference to, his -great merits, had aught to do with the delay, which Schindler blames. -We shall find that, so soon as it was certain that Beethoven could -not live to fulfill his engagement, the society sent him its honorary -diploma. Could it well do this before? - -Of noteworthy new friends and acquaintances may be mentioned here -Peters, tutor of the young Princes Lobkowitz, and Carl Joseph Bernard, -a young literateur and poet--the reviser of Weissenbach's poem--a -great admirer of Beethoven's music, soon to be appointed Editor of the -official "Wiener Zeitung." He is the "Bernardus non Sanctus" of the -Conversation Books; and the two are the friends whom Beethoven set to -music in the text: - - Sanct Petrus war ein Fels! - Bernardus war ein Sanct??[160] - -Another was Anton Halm, "in whose fresh military nature Master Ludwig -took delight," says Schindler. He was a native of Styria, and now but -twenty-six years of age. After some years' service against Napoleon, -he had resigned (1812) his lieutenancy in the 44th Regiment. He was a -pianoforte player of very respectable rank, and even before entering -the army had appeared in public in Beethoven's C minor Trio, Op. 1, and -the C major Pianoforte Concerto, Op. 15. He had now been three years in -Hungary, living during the third with his friend, Brunswick, who gave -him a letter to Beethoven upon his departure for Vienna, whither he had -come to be tutor in a Greek family named Gyike. "Halm once brought a -sonata of his own composition to him," says Czerny, "and when Beethoven -pointed out a few errors, Halm retorted that he (B.) had also permitted -himself many violations of the rules, Beethoven answered: 'I may do it, -but not you.'" - -[Sidenote: GROWING INTERCOURSE WITH SCHINDLER] - -Young Schindler's acquaintance with Beethoven had now advanced a step: - - Toward the end of February, 1815 (Schindler writes), I accepted an - invitation to become tutor at Brünn. Scarcely arrived there, I was - summoned before the police officials. I was questioned as to my - relations with some of the tumultuaries of the Vienna University - as also certain Italians in whose company I had often been seen - in Vienna. As my identification papers, especially the statement - concerning the different lectures which I had attended, were not - in good order, the latter really faulty--through no fault of - mine--I was detained, notwithstanding that a government officer of - high standing offered to become my bondsman. After several weeks - of correspondence back and forth it was learned that I was not a - propagandist and was to be set at liberty. But a whole year of my - academic career was lost. - - Again returned to Vienna, I was invited by one of Beethoven's - intimate acquaintances to come to an appointed place, as the master - wanted to hear the story of the Brünn happening from my own lips. - During the relation, Beethoven manifested such sympathetic interest - in my disagreeable experiences that I could not refrain from tears. - He invited me to come often to the same place and at the same hour, - 4 o'clock in the afternoon, where he was to be found nearly every - day--reading the newspapers. A handgrasp said still more. The place - was a somewhat remote room in the beer-house "Zum Rosenstock" in - the Ballgässchen. I was there right often and came to know the - place as a quasi-crypt of a number of Josephites of the first - water, to whom our master presented no discordant note, for his - republican creed had already received a considerable blow through a - more intimate acquaintance with the English Constitution. A captain - of the Emperor's bodyguard and Herr Pinterics, widely known in - musical Vienna, who played an important rôle in the life of Franz - Schubert, were the closest companions of the master and, in the - exchange of political views, his seconds actively and passively. - From this place I soon began to accompany him on his walks. - -But Schindler's intimacy with Beethoven was not yet such as to save -him from errors when writing of this time. Thus he gravely assures -us that a concert which took place on the 25th of December "provided -the impulse which led the Magistracy of Vienna to elect our master to -honorary citizenship." And yet the "solemn delivery" of the diploma is -already an item of news in the Vienna newspapers of December 15. This -concert, in the large Ridotto room, conducted by Beethoven was for the -benefit of the ~Bürgerspitalfond~ (Citizens' Hospital Fund) and the -works performed were "an entirely new overture" (that in C, known as -the "Namensfeier"); "a new chorus on Goethe's poem 'Die Meeresstille'"; -"Christus am Ölberg." Between the cantata and the oratorio, Franz -Stauffer, "the twelve-year-old son of a citizen of Vienna," played a -"Rondo brillant" by Hummel. - -The compositions which are known or, on good grounds, are supposed to -belong to the year 1815 are: - - 1. "15 Scottish Songs, in the month of May," arranged for Thomson; - but they are not all Scottish. - - 2. Chorus: "Es ist vollbracht"; for Treitschke's "Ehrenpforte." - - 3. Two Sonatas for Pianoforte and Violoncello; C major and D major, - Op. 102; in July and August. - - 4. Chorus with orchestra: "Meeresstille und glückliche Fahrt"; text - by Goethe; Op. 112. - - 5. Song: "Das Geheimniss"; text by Weissenberg. - - 6. Song: "An die Hoffnung"; text by Tiedge; Op. 94 (probably - finished). - - 7. Canons: "Das Reden," "Das Schweigen" and "Glück zum neuen - Jahre."[161] - -The ascertained publications of the year are: - - 1. Polonaise, in C major, Op. 89; published by Mechetti, in March. - - 2. Sonata for Pianoforte, E minor, Op. 90; by Steiner, in June. - - 3. Song: "Des Kriegers Abschied," text by C. L. Reissig; by - Mechetti, in June. - - 4. Chorus: "Es ist vollbracht," pianoforte arrangement; by Steiner - in July. - -FOOTNOTES: - -[145] In Jahn's notices these sums are doubled. This audience is -doubtless the one referred to by Schindler, as being proposed by the -Empress, or perhaps was a consequence of that one. - -[146] "Fidelio" had its first performance in Prague on November 21, -1814. Liebich was the director of the theatre, and C. M. von Weber -chapelmaster. - -[147] it was Smart, who also made Beethoven's Mass in C known in -England. On April 3rd, 1816, the "Kyrie" as a "First Hymn" with an -English text by Arnold, was on the programme; March 17, 1817, the -"Second Hymn," and at last the complete work. - -[148] German: Stein = English: stone. - -[149] No. 3, Op. 90; No. 4, "Tremate, empj, tremate," Op. 116; No. -8, Op. 97; No. 9, Op. 96; No. 10, "King Stephen," Op. 117; No. 11, -"Namensfeier," Op. 115; No. 12, "Ruins of Athens," Op. 113. - -[150] Dr. Riemann interprets Beethoven's "B. M." as standing for -"Bacchus Motive." - -[151] The conversations with Neate took place in January, 1861. The -writer was indebted to the late Henry F. Chorley, for the pecuniary -means of making his very valuable researches in England, and one of the -bitter consequences of the unavoidable delay in writing this work, is, -that Chorley can never read it.--A. W. T. - -[152] It is sufficient to say here, that instead of composing new ones -as expected, he gave Neate the overtures to "King Stephen," the "Ruins -of Athens" and the so-called "Namensfeier," and received for them 75 -guineas. - -[153] Jahn related this incident to the writer, with much humor, in -the Autumn of 1860. In 1867, he allowed Dr. Alfred Schöne to edit the -correspondence for publication by Breitkopf and Härtel. - -[154] J. B. Cramer was associated with John Addison under the style of -Cramer and Co. - -[155] Mr. Birchall's successor was C. Lonsdale, who had been his -principal assistant and who had conducted the correspondence with -Beethoven; and the business is at this writing in the hands of -Mr. Lonsdale's son Robert. From both these gentlemen, the author -received great kindness and valuable aid in his English researches. -The letter in the text was not in their possession, but has since -been communicated to this work by Mr. S. Ganz. This excepted, the -correspondence may be read in the "Jahrbücher für Musikalische -Wissenschaft," 1^{ten} Band, by Breitkopf and Härtel. 1863. - -As our reading of the English paper mentioned in the text differs from -that in the "Jahrbücher" it is here subjoined. - -"Mr. Beethoven send word to Mr. Birchall that it is severall days past -that he has sent for London, Wellington's Battel Simphonie and that Mr. -B. may send for it at Thomas Coutts. Mr. Beethoven wish Mr. Bl. would -make ingrave the sayd Simphonie so soon as possible and send him word -in time the day it will be published, that he may prevent in time the -publisher at Vienna. - -"To regard the 3 Sonatas which Mr. B. shall receive afterwards there is -not wanted such a gt. hurry and Mr. B[eethoven] will take the liberty -to fixe the day when the are to be published. Mr. B[eethoven] sayd tha -Mr. Solomon has a good many tings to say concerning the Simphonie in -(?) Mr. B[eethoven] wish for an answer so soon as possible concerning -the days of publication." - -The letter here queried, does not belong to the English Alphabet, but -the "Battle and Victory Symphony" is meant. - -[156] This was an error, as Karl was baptized on April 8, 1774. - -[157] A letter, preserved in the Beethoven House Museum at Bonn -(Kalischer, "Sämmtliche Briefe" II, 310), to Madame Antonie von -Brentano mentions that Karl had been pensioned, but this may have -been written after an application had been made and before it had -been refused. The letter says: "Among the individuals (whose number -is infinite) who are suffering, is my brother who was obliged to have -himself pensioned because of his ill health, conditions are very hard -just now, I do all that is possible, but that is not much." He then -offers Brentano a pipe-bowl belonging to his brother, who thinks that -it might be sold for 10 louis d'or, remarking: "he needs a great deal, -is obliged to keep a horse and carriage in order to live (for he is as -desirous to keep his life as I am willing to lose mine)." - -[158] "Aus dem Schwarzspanierhause," by Dr. Gerhard von Breuning. -Vienna, Rosner, 1874. Dr. Breuning prints the note of reconciliation -(which has appeared in this work) as subsequent to this affair. We are -unable to agree with him. - -[159] Dr. Gerhard von Breuning places this incident in 1804, Thayer in -1815. The cause of the quarrel which was followed by a reconciliation -in 1804, has been explained. - -[160] Saint Peter was a rock! Bernardus was a Saint! - -[161] Nottebohm's study of the sketchbooks used by Beethoven in 1815 -(See "Zweit. Beeth.," pp. 314-20) discloses that he worked upon -sketches for works which were never finished--a Symphony in B minor, -Pianoforte Concerto in D, and several Fugues, besides experimenting -with the opera "Bacchus." There are also sketches for compositions -written in 1816, such as the song-cycle "An die ferne Geliebte" and the -Sonata, Op. 101. - - - - -Chapter XVI - - The Year 1816--Guardianship of the Nephew--Giannatasio del - Rio--Beethoven's Works in London--Birchall and Neate--New - Distinctions. - - -Compared with the years immediately preceding, the year 1816 is -comparatively barren of large incidents in the life of Beethoven; its -recorded history, therefore, is to be found to a still larger extent -than before in the composer's extended correspondence together with -explanatory annotations. Some of the letters, especially those written -to his English friends, are likely to make a somewhat melancholy, and -to that extent erroneous, impression. The real record of the writer -finds expression in the letters which he wrote to Steiner and Co. and -Zmeskall. These are bubbling over with playfulness and jocularity, -proving that the writer was generally in a cheerful humor and in this -year was anything but the melancholy Beethoven of the romance writers. -He seems to have endured the rapid and disquieting increase in his -malady, an inevitable consequence of the exertions and excitement -attending the rehearsing and conducting of so many large concerts, -with surprising patience and resignation. And why not? His pecuniary -affairs were in good condition, notwithstanding his lamentations to -Ries and others; he had won his lawsuit with his brother's widow, and -his artistic ambition must have found complete satisfaction in the -great fame which he had won. A letter concerning a new operatic project -first invites attention. The eight rôles which Madame Milder had -played in the past summer in Berlin, had given such keen delight that -she had been reëngaged for a second and much longer series. Domestic -troubles and sorrows, in which her husband, the jeweler Hauptmann, -appears to have been entirely the guilty party and which embittered -all her future life, rendered her utterly unable for the present to -appear upon the stage; and "because of illness and weakness" it was -not until several weeks after her return from the baths at Pyrmont -that she could begin the new engagement on October 3d. Meantime -"Fidelio" had been put upon the boards and "given for the first time -on October 11th with great success." "This opera," said the Berlin -"Dramaturgisches Wochenblatt" in its notice of the event, "bears within -itself the seeds of a dramatico-musical reformation and will hasten the -end of the bastard music." And yet on this evening, the ~Leonore~ was -Mad. Schultze--Schuppanzigh's sister-in-law. When, three days after, -Mad. Milder took the part, its greatness was for the first time fully -appreciated; and of the twenty-four evenings to which her engagement -extended, this greatest representative then living of Gluck's grandest -inspirations devoted eleven to "Fidelio." This triumph of his opera in -Berlin, drew from the composer a letter (dated January 6, 1816) full of -expressions of gratitude and enthusiastic appreciation of the singer's -talents, and giving voice too, to a rekindled dramatic ambition. He -says: - - If you were to beg Baron de la Motte Fouqué--in my name--to - invent a grand opera subject which would at the same time be - adapted to you, you would do a great service to me and the German - stage. I should like, moreover, to compose it exclusively for the - Berlin stage as I shall never bring about another opera for the - parsimonious management here. - -The next letter relates to the oratorio for the Gesellschaft der -Musikfreunde: - - My dear Zmeskall! - - With dread I observe for the first time to-day that I have not yet - answered the application of the Gesellschaft der Musif. of the - Austrian capital for an oratorio. - - The death of my brother two months ago, the guardianship of my - nephew which thereby devolved upon me, together with many other - unpleasant circumstances and occurrences are the cause of my tardy - writing. Meanwhile the poem by H. von Seyfried is already begun and - I shall also soon set the same to music. That the commission is - highly honorable, I scarcely need tell you; that is self-evident - and I shall try to execute it as worthily as my small powers will - allow. - - As regards the artistic means to be employed in the performance - I shall be considerate, but do not wish not to be allowed to - depart from those already introduced. I hope that I have made - myself understood in this matter. As they insist upon knowing what - honorarium I ask, I inquire in turn whether the Society thinks - 400 ducats in gold agreeable for such a work. I again beg pardon - of the society for the tardiness of my answer; meanwhile, you my - dear friend have at least reported by word of mouth my readiness - to compose the work, before this, which sets my mind measurably at - ease--My dear Z. - - Your B. - -The next selections require the preliminary statement of certain -facts. Beethoven's dissatisfaction at the appointment (on November -22d) of his sister-in-law as the guardian of her son--now nine years -old--was expressed in an appeal to the Upper Austrian ~Landrecht~ -on the 28th, to transfer the guardianship to himself. Next day, the -29th, that tribunal ordered the petitioner and Dr. Schönauer to appear -before it in this matter on December 2d at 10 o'clock a. m. At that -time the subject was deferred to the same hour on the 13th. Beethoven -then appeared and declared that he could produce "weighty reasons -why the widow should be entirely excluded from the guardianship." -Whereupon, on the 15th, it was ordered that he produce those grounds -within three days, "failing which, the preparation of the guardianship -decree to the widow would be proceeded with without further delay." -The same day Beethoven signed a petition to the City Magistrates for -an official certificate concerning the "condemnation of his (Karl's) -mother, Johanna van Beethoven, on an investigation for infidelity." The -magistrate answered him on the same day through their secretary that -they could not legally grant him a copy of the judgment against her, -but would communicate the "necessary disclosures" to the tribunal. This -was done on the 21st. Then came the Christmas holidays, and no further -action was taken until the 9th of January, when a decision was rendered -in Beethoven's favor, and he was ordered to appear on the 19th to take -the "vows for the performance of his duties." He complied, and on the -outside of this order is written: - - To-day appeared Ludwig van Beethoven as the legally appointed - guardian of his nephew Carl and vowed with solemn handgrasp before - the assembled council to perform his duties. - -[Sidenote: THE NEPHEW TAKEN FROM HIS MOTHER] - -This document also empowered the new guardian to take possession of the -boy, who of course was still with his mother. But what to do with him? -Beethoven could not take him into his own lodging; a child of that age -needs a woman's care and tenderness. - -A certain Cajetan Giannatasio del Rio was at that time proprietor and -manager of a private school in the city for boys, which enjoyed a high -and deserved reputation. His family consisted of his wife and two -highly accomplished daughters, young women of fine talents, of much -musical taste and culture, and--especially the eldest--enthusiasts for -Beethoven's music. The composer, accompanied by Bernard and the boy, -visited and inspected the school, and was so much pleased with it and -the family, that he determined to withdraw his nephew from the public -school, and place him there as pupil and boarder. On February 1st, he -wrote to Giannatasio: - - With sincere pleasure I inform you that at last on to-morrow I - shall bring to you the precious pledge that has been intrusted to - me. Moreover I beg of you again under no circumstances to permit - the mother to exercise any influence, now or when she may see him, - all this I will talk over with you to-morrow. You may impress this - also on your servants, for ~mine~ in another matter was ~bribed~ - by her! More by word of mouth though silence would be preferable - to me--but for the sake of your future citizen of the world, this - melancholy communication is necessary. - - [In Karl's hand]: I am very glad to come to you, and am your Carl - van Beethoven. - -The next day, February 2, the boy was taken from his mother. The -intolerable annoyance caused by her appearing in person or sending a -messenger daily to take him from the school, drew from Giannatasio on -the 11th a written application to the guardian for "a formal authority -in a few lines for refusing without further ado to permit her to fetch -her son." In his reply, Beethoven writes: "as regards the mother I -request that on the plea that he is busy you do not admit her to him -at all." He then consulted Joseph Edler von Schmerling, a member -of the ~Landrecht~, upon the measures proper for him to adopt, and -communicated that gentleman's advice to Giannatasio by letter, on the -morning of the 15th. The same day, taking Bernard with him, he went -to the school, and there meeting Giannatasio, the three prepared a -formal petition to the ~Landrecht~, praying that tribunal to grant the -guardian plenary authority to exclude the widow and her agents from all -or any direct communication with the boy. This was signed by Beethoven -and immediately presented. On the 20th, the ~Landrecht~ granted, -essentially, this petition; but its decree contained this proviso: that -the mother might still visit her son "in his leisure hours, without -disturbing the course of his education or the domestic arrangements, in -the company of a person to be appointed by the guardian or the director -of the educational institution." Armed with this authority, Giannatasio -on March 8th informed in writing "Madame Jeannette de Beethoven, -Vorstadt, Alsergasse, No. 121," that she has in future "to apply solely -to the uncle as to whether, how and when" she can see her son. And thus -this wretched business again for the present rested. In these days -belongs a letter by Beethoven to Giannatasio: - - The Queen of Night surprised us yesterday and also delivered a - veritable anathema against you; she showed her usual impertinence - and malice against me and set me back for a moment and I almost - believed that what she said was right, but when I reached home - later I received the result of the decision of the L. R. which - turns out to be just what was desired and I communicate the most - necessary point, although you will probably receive a ~copy of it~ - towards evening.... - -Neate was now gone to London. On his departure Beethoven wrote in his -album two canons entitled "Das Schweigen" (Silence) and "Das Reden" -(Speech), adding with the date, "January 24, 1816," the words: - - My dear English compatriot in ~silence~ and in ~speech~ remember - your sincere friend - - Ludwig van Beethoven. - -[Sidenote: THE LONDON PHILHARMONIC BUYS OVERTURES] - -The document concerning the sale of the three overtures to the -Philharmonic Society which Beethoven promised to give Neate (which -Moscheles printed in his paraphrase of Schindler's biography in -translation, as if it had been written in English and not altogether -correctly)[162] ran as follows: - - In the month of July, 1816 [~sic~] Mr. Neate in the name of the - Philharmonic Society in London, received from me 3 overtures and - paid me for the same an honorarium of 75 guineas in consideration - of which I bind myself not to permit them to be published in - parts[163] anywhere, though the right is reserved by me to perform - them wherever I please as well as to publish them in pianoforte - arrangement though not before Mr. Neate shall have written to me - that they have been performed in London. Moreover, Mr. Neate has - assured me that he will kindly take it upon himself (to assure me) - that the Philharmonic Society will give me permission after a lapse - of one or two years to publish the 3 overtures in score and parts, - inasmuch as I can do this only with their consent, with which I - present my compliments to the P. S. - - Vienna, February 5, 1816. Ludwig van Beethoven. - -The three overtures had already been sold to Steiner, but were not -published till six years later. The works entrusted to him, as -remembered by Mr. Neate forty-five years afterwards, were: 1. A copy -of the Violin Concerto, Op. 61, with a transcription of the solo for -Pianoforte on the same pages, which Beethoven said he himself had -arranged and was effective; 2. The two Sonatas for Pianoforte and -Violoncello, Op. 102, with a dedication to Neate; 3. The Seventh -Symphony in score; 4. "Fidelio" in score; and 5. The String Quartet -in F minor, Op. 95--all in manuscript. There is some reason to think -that besides these works Neate also took a copy of "Der glorreiche -Augenblick." On January 20, Beethoven wrote the following letter to -Ries in London:[164] - - Vienna, January 20, 1816. - - My dear Ries: - - I see from your letter of January 18, that you have safely received - the two things--as no couriers are going, the post is safest, but - it costs a great deal, I will send you the bill for what I have - paid here for copying and postage soon, it is very little for an - Englishman but all the more for a poor Austrian musician! - - See that Mr. B.[165] recompenses me for this, since he has the - compositions for England very cheaply. Neate, who has been about to - go every moment, but always remains, will bring the overtures with - him, I have always communicated to him the injunctions touching - them given by you and our deceased S.[166]--the symphony will be - dedicated to the Empress of Russia. The pianoforte arrangement of - the Symphony in A must not be published before the month of June, - the publisher cannot be earlier--tell this at once to B. my dear - good R. - - The Sonata with violin, which will go from here by the next post, - may also be published in London in the month of May--but the Trio - later. (It will also arrive by the next post) I will fix the date - myself later. - - And now my heartiest thanks dear Ries, for all the kindness you - have shown to me and particularly for the corrections. Heaven bless - you and make your progress ever greater in which I take a cordial - interest--commend me to your ~wife~. - -It is necessary here to state certain facts, both to explain the -failure of Mr. Neate to sell any of these works to the London -publishers, and to render some of the letters to come intelligible. - -[Sidenote: THE PHILHARMONIC SOCIETY DISAPPOINTED] - -The Philharmonic Society was an association of the first musicians -of London and its vicinity, and no city on earth could at that time -present such an array of great names. Here are a few of them taken -alphabetically from its roll: Atwood, Ayrton, Bridgetower, Clementi, -Cramer, Carnaby, Dragonetti, Horsley, Lindley, Mazzinghi, Mori, Naldi, -Novello, Ries, Shield, Smart, Spagnoletti, Viotti, Watts, S. Webbe, -Yanewicz. Imagine the disappointment of these men, fresh from the -performance of the C minor Symphony, when they played through the -overtures to "The Ruins of Athens" and "King Stephen," which, however -interesting to a Hungarian audience as introductions to a patriotic -prologue and epilogue in the theatre, possess none of those great -qualities expected from Beethoven and demanded in a concert overture! -Nor was the "Namensfeier" thought worthy of its author. Ries speaks -thus of this matter: - - After I had with much trouble persuaded the Philharmonic Society - to permit me to order three overtures from him, which should - remain its property, he sent me three, not one of which, in view - of Beethoven's great name and the character of these concerts, - could be performed, because expectation was tense and more than - the ordinary was asked of Beethoven. A few years later he published - all three and the Society did not think it worth while to complain. - Amongst them was the overture to "The Ruins of Athens," which I - consider unworthy of him. - -But when it became known that neither of the three--Op. 115 possibly -excepted--was new, and that not one of them had been composed to meet -the Society's order, is it surprising that this act of Beethoven's was -deemed unworthy of him, disrespectful, nay, an insult to the Society, -and resented accordingly? - -Another matter was personal with Mr. Birchall. That publisher, having -at last (early in February) received the last of the works purchased -by him, immediately deposited with Coutts and Co. the sum agreed upon, -to the composer's credit, and forwarded the following "Declaration" to -Vienna for signature, leaving the day of the month blank--as it still -remains--to be inserted when signed: - - Received ... March, 1816, of Mr. Robert Birchall--Music Seller, - 133 New Bond Street, London--the sum of One Hundred and thirty - Gold Dutch Ducats, value in English Currency Sixty-five Pounds, - for all my Copyright and Interest, present and future, vested or - contingent, or otherwise within the United Kingdom of Great Britain - and Ireland in the four following Compositions or Pieces of Music - composed or arranged by me, viz.: - - 1st. A Grand Battle Sinfonia, descriptive of the Battle and Victory - at Vittoria, adapted for the Pianoforte and dedicated to his Royal - Highness, the Prince Regent--40 Ducats. - - 2nd. A Grand Symphony in the Key of A, adapted to the Pianoforte - and dedicated to - - 3rd. A Grand Trio for the Pianoforte, Violon and Violoncello in the - Key of B. - - 4th. A Sonata for the Pianoforte with an Accompaniment for the - Violin in the Key of G, dedicated to - - And, in consideration of such payment I hereby for myself, my - Executors and Administrators promise and engage to execute a proper - Assignment thereof to him, his Executors and Administrators or - Assignees at his or their Request and Costs, as he or they shall - direct. And I likewise promise and engage as above, that none of - the above shall be published in any foreign Country, before the - time and day fixed and agreed on for such Publication between R. - Birchall and myself shall arrive. - -Instead of ~this~ document, so indispensable for his security, the -publisher received a new demand from Beethoven!--one for five pounds -additional, as per memorandum: - - Copying 1.10.0 - Postage to Amsterdam 1. 0.0 - Trio 2.10.0 - ------ - £5.0.0 - -The very unfavorable impression which this proceeding made upon the -mind of Mr. Birchall may readily be conceived. These £5 are the 10 -ducats mentioned in the following letter, portions of which were -suppressed when printed by Ries: - - Vienna, May 8, 1816. - - My answer comes somewhat tardily; but I was ill, had much to do - and it was impossible for me to answer you sooner; now only the - most necessary things--not a ~Heller~ of the 10 ducats in gold - has as yet arrived, and I am already beginning to believe, that - the Englishmen, too, are only magnanimous in foreign lands; so - also with the Prince Regent from whom I have not even received the - copyist's fees for my Battle sent to him, not even written or oral - thanks;[167] Fries here deducted 6 fl. Convention money. On the - receipt of the money from Birchall, besides 15 fl. Convention money - for postage, tell B. this--and see that you yourself get the draft - for the 10 ducats, otherwise it will go like the first time--what - you tell me about Neate's undertaking ~would be desirable for - me~. I need it, my salary amounts to 3400 florins in paper, I pay - 1100 house-rent, my servant and his wife nearly 900 fl. Calculate - what remains. Moreover, I have got to care wholly for my little - nephew. He is till now still in the Institute; this costs me close - to 1100 fl. and is poor besides, so that I must establish myself - in decent housekeeping so that I can have him with me. How much - one must earn in order to live here; and yet there is never an end - for--for--for--you know it already. As to the dedications another - time. A few orders besides the concert would also be welcome from - the Philharmonic Society--besides my dear pupil Ries ought to - sit down and dedicate something good to me to which the ~master - would also~ respond and repay kind with kind. How shall I send you - my portrait! I hope too, to have news from Neate, ~urge him on - a bit~, be assured of my sincere interest in your futures. Urge - Neate on to ~work and composition~. All things lovely to your wife. - Unfortunately I have none. I found only one, whom I shall doubtless - never possess; but am not a woman hater on that account. - - Your true friend, - Beethoven. - -[Sidenote: UNGROUNDED SUSPICION OF NEATE] - -Immediately upon the receipt of this letter, Ries spoke with Mr. -Birchall, who next day (March 15), deposited the £5 with Coutts and -Co.; but month after month passed and still the "Declaration" with -Beethoven's signature did not arrive. Of the justice, propriety, -delicacy of this new demand, nothing need be said; its historical -importance is due entirely to the very unfavorable effect which it and -the correspondence relating to it produced upon the minds of the London -publishers. Mr. Neate was in some degree prepared for the coldness with -which those gentlemen received his proposals in Beethoven's behalf, by -a letter written to him after the trial of the overtures. One sentence -in it he remembered word for word: "For God's sake, don't buy anything -of Beethoven!" But he was not prepared for the utter refusal in all -quarters to listen to him. He besought Mr. Birchall to purchase the -overtures. The reply was: "I would not print them, if you would give me -them gratis." - -As to the score of the Symphony in A (the Seventh), it was folly -to expect that the Philharmonic Society would pay a large sum for -the manuscript of a work already (March 6) advertised in Vienna for -subscription at the price of twenty-five florins. - -It is another instance of Beethoven's unlucky tendency to suspect the -conduct and motives of others, that seeing in a newspaper a notice of -the production of one of his Symphonies by the Philharmonic Society, he -at once assumed that it was the Seventh and that Neate had given the -use of his manuscript! - -Under such circumstances Neate ~could~ do nothing for Beethoven; nor -could he well disclose the true causes of his failure; so the composer -characteristically assumed that he ~would~ do nothing, and, as will -be seen, gave vent to his wrath in terms equally bitter and unjust. -The letters selected pertaining to these transactions are reserved for -their places in chronological order. - -Linke's departure with the Erdödys to Croatia was noted in the last -chapter; he returned to Vienna in the Autumn in season to enable -Schuppanzigh to begin his winter season of quartets in November. They -were given in the hall of the hotel "Zum Römischen Kaiser," and had now -ended. So, too, had ended the engagement of Schuppanzigh, Weiss and -Linke with Rasoumowsky. The destruction of his palace, the approach -of old age, and failing sight, induced him now to dismiss them with -suitable pensions from his service. Schuppanzigh went to Russia; Linke -returned to the Erdödys and Weiss remained in Vienna. Before their -departure the first two gave each a farewell concert. Schuppanzigh's -took place in the palace of Count Deym, the programme being made up -entirely of Beethoven's works, viz: Quartet C major, Op. 59; Quintet -for Wind-instruments and Pianoforte, Op. 16, Carl Czerny, pianist; -and the Septet, Op. 20. Beethoven "entered at the beginning of the -quartet" and shared in the deafening applause of the crowded audience. -Czerny relates: "When I played the Quintet with Wind-instruments at -Schuppanzigh's concert, I allowed myself in my youthful frivolity, -many changes--increasing the difficulty of passages, using the higher -octaves, etc. Beethoven very properly and severely upbraided me for it -in the presence of Schuppanzigh, Linke and the other players. The next -day I received from him the following letter, which I copy exactly from -the original lying before me": - - I cannot see you to-day, to-morrow I will come to you in person to - talk with you. I burst out so yesterday, I was very sorry after it - had happened, but you must pardon it in an author who would have - preferred to hear his work just as he wrote it, beautifully as you - played otherwise. I will make it good ~publicly~ to-morrow at the - Violoncello Sonata. - - Be assured that as an artist I cherish the best of good feeling for - you and shall always strive to manifest it. - -Linke's concert took place on the 18th of February in the hall of -the "Römischer Kaiser," the programme, except a Rondoletto for the -Violoncello by Romberg, being also entirely Beethoven. Stainer von -Felsburg played the new Sonata, Op. 101, and Czerny the pianoforte part -of one of the Sonatas, Op. 102, on which occasion the composer "made -it good publicly." And so, except for an occasional visit to Vienna by -Linke, two more of our old acquaintances disappear for several years; -also Hummel and Wild. Hummel we shall meet again beside Beethoven's -death-bed; Wild no more. An album-leaf containing a canon, "Ars -longa, vita brevis est" and "A happy journey, my dear Hummel, think -occasionally of your friend, Ludwig van Beethoven, Vienna, April 4, -1816," was the farewell to the pianist and composer. On the 20th, Wild -gave a little musical festival "in the home of an art-lover," at which -he sang the "Adelaide" and "An die Hoffnung," Op. 94. Beethoven was -present and played the accompaniments. And this was his farewell to the -singer. On April 3d, Beethoven wrote the following letter to Ries: - - My dear Ries: - - Hr. B. has probably received the Trio and Sonata by this time, in - the last letter I asked 10 ducats more for copying and postage, - probably you will work out these 10 ducats for me--I always have - some worriment lest you are spending a great deal for me for - postage, I greatly wish that you would be so kind to charge up to - me all my letters to you as I want to have you reimbursed from here - by the house of Fries to the house of Coutts in London. Unless - the publisher B. objects, in which case he must send me notice - immediately by post, the Sonata with violin will appear here - on June 15th, the Trio on July 15th, concerning the pianoforte - arrangement of the Symphony, I will inform Herr B. when it is to - come out. Neate must now be in London; I gave him to carry with - him a number of my compositions; and he promised to put them to - the best use for me, greet him for me. Archduke Rudolph also plays - your works with me, my dear Ries, of which ~Il sogno~ pleases me - particularly. Farewell, my dear R., commend me to your dear wife - as well as all the pretty English women to whom it might give - pleasure. - -[Sidenote: APPEALS TO CHARLES NEATE] - -On May 15, a letter of condolence to Countess Erdödy was called out by -the sudden death of her son Fritzi. At the countryseat in Croatia, the -lad burst one morning into his sister's room and, complaining of his -head, with a cry of anguish sank dead at her feet. Beethoven labors -sadly in his effort to find words of comfort for the stricken mother: -"Reflect that your son might have been forced to go into battle and -might then, like millions of others, have met his death, besides you -are still the ~mother~ of two dear, hopeful children." On the same day -he wrote a French letter to Neate which, because of its characteristic -style and unconventional spelling, Moscheles reproduced literally. A -paragraph will suffice us here: - - Avanthier on me portait un extrait d'une Gazette anglaise nommée - Morning cronigle, ou je lisoit avec grand plasir, que la societé - philharmonique à donné ma sinfonie in A[sharp]; c'est une grande - satisfaction pour moi, mais je souhais bien d'avoir de vous même - des nouvelles, que vous ferez avec tous les compositions, que j'ai - vous donnés; vous m'avez promis ici, de donner un concert pour moi, - mais ne prenez mal, si je me méfis un peu, quand je pense que le - Prince regent d'angleterre ne me dignoit pas ni d'une reponse ni - d'une autre reconnaissance pour la Bataile que j'ai envoyé a son - Altesse, et lequelle on a donnée si souvent a Londre, et seulement - les gazettes annoncoient le reussir de cet oeuvre et rien d'autre - chose.... - -The following letter of a few days later was written in English, -probably by Häring, and only signed by Beethoven: - - Vienna, May 18, 1816. - - My dear Neate: - - By a letter of Mr. Ries, I am acquainted with your happy arrival at - London. I am very well pleased with it, and still better I should - be pleased if I had learned it by yourself. - - Concerning our business, I know well enough that for the - performance of the greater works, as the Symphony, the Cantata, - the Chorus, and the Opera, you want the help of the Philharmonic - Society, and I hope your endeavour to my advantage will be - successful. - - Mr. Ries gave me notice of your intention to give a concert to - my benefit. For this triumph of my art at London I would be - indebted to you alone; but an influence still wholesomer on my - almost indigent life, would be to have the profit proceeding from - this enterprise. You know, that in some regard I am now father - to the lovely lad you saw with me; hardly I can live alone three - months upon my annual salary of 3400 florins in paper, and now the - additional burden of maintaining a poor orphan--you conceive how - welcome lawful means to improve my circumstances must be to me. - As for the Quartet in F minor, you may sell it without delay to a - publisher, and signify me the day of its publication, as I should - wish it to appear here and abroad on the very day. The same you be - pleased to do with the two Sonatas, Op. 102, for pianoforte and - violoncello; yet with the latter it needs no haste. - - I leave entirely to your judgment to fix the terms for both works, - to wit, the Quatuor and the Sonatas, the more the better. Be so - kind to write me immediately for two reasons; 1st, that I may not - be obliged to shrink up my shoulders when they ask me if I got - letters from you; and 2dly, that I may know how you do, and if I - am in favour with you. Answer me in English if you have to give me - happy news (for example, those of giving a concert to my benefit), - in French if they are bad ones. - - Perhaps you find some lover of music to whom the Trio and the - Sonata with violin, Mr. Ries had sold to Mr. Birchall, or the - Symphony arranged for the Pianoforte, might be dedicated, and from - whom there might be expected a present. In expectation of your - speedy answer, my dear friend and countryman, I am, yours truly, - - Ludwig van Beethoven - -We can follow the progress of the business in connection with the -compositions to be published in London in the following letter to Ries: - - Vienna, June 11, 1816. - - My dear R.! - - I am sorry that because of me, you are again compelled to pay out - some postage money, willing as I am to help and serve others it - gives me equal pain to burden others with my affairs. Of the 10 - ducats nothing has appeared up-to-date and the conclusion to be - formed from this is that in England as here there are wind-bags and - people who do not keep their word. I charge nothing against you in - this. Nevertheless I must beg of you to go to Mr. Birchall again - in the matter of the 10 ducats, and to ~collect~ them yourself, - I assure you on my honor that I paid the 21 fl. in Convention - coin for expenses outside the copyist's fee and several postages - in bank-notes. The money was not even paid in ducats, though you - yourself wrote me that it would be paid in Dutch ducats--therefore - there are also in England such conscientious persons to whom - keeping their word is nothing?!! The publisher here has applied to - me to have the Trio ~published in London on the last of August~, - for which reason I beg of you kindly to speak with Mr. B. Mr. B. - can get himself in readiness concerning the pianoforte arrangement - of the Symphony in A, since as soon as the publisher here tells me - the day I shall immediately let you or B. know. - - As I have not heard a syllable from Neate since his arrival in - London, I beg you to tell him to give you an answer whether - he has sold the Quartet in F minor as I want to publish it - here simultaneously, and what I may expect in reference to the - Violoncello Sonatas? Of all the other works which I sent by him I - am almost ashamed to speak, even to myself for having again been - so trustful to give them to him wholly without conditions trusting - that his friendship and care for my interests would find a way. - I was given to read a translation of a report in the ~Morning - Chronicle~ about the performance of a Symphony (probably in A). - The same thing will probably happen to this as well as all the - other works which I gave to N. as happened to the Battle, I shall - probably get nothing for them as I got nothing for that work except - to read about the performances in the newspapers. The pianoforte - arrangement of the Symphony in A was hastily copied and after - looking through it carefully I have had the transcriber change a - few passages which I will communicate to you. All things lovely to - your wife. - - In haste, your true friend, - - Beethoven. - - N. B. Have you dedicated your Concerto in E-flat to Archduke - Rudolph? Why did you not write to him yourself about it? - -Touching the unhappy negotiations with Birchall and the "declaration," -Beethoven finally wrote, in French, the following letter: - - (To Mr. Birchall) - - Vienna, July 22, 1816. - - Monsieur: - - I received the declaration for my signature concerning the works - which I ceded to you. I am perfectly willing to meet your wishes as - soon as the trifling affair of the 10 ducats due me for the expense - of copying, postage, etc., is adjusted, as I have had the honor to - explain to you in detail. - - I beg of you, Monsieur, kindly to remit the small sum so as to - enable me to send you the before-mentioned document. Please accept - the assurance of my greatest esteem, etc. - -[Sidenote: MOTHER BANNED DURING SURGICAL TREATMENT] - -Beethoven had now made up his mind to take his nephew from -Giannatasio's care and make a home for him with himself. The removal -was to be made at the end of the approaching quarter and meanwhile Karl -was to remain where he was so that he might have proper care during -his recovery from the effects of an operation for hernia. Beethoven -notified his purpose to Giannatasio on July 28, 1816, and admonished -his friend that in the interim the old strictness was to be observed -touching the mother's visits. The following passage is from the letter: - - As regards the Queen of Night, matters will remain as they have - been, and even if the operation should be performed at your place, - as he will be ill for a few days and consequently more susceptible - and irritable, she is all the less to be admitted to him since all - impressions might easily be renewed in K. which we cannot permit. - How little we can hope for amendment in her case is shown by the - enclosed insipid scrawl which I send you only that you may see how - how right I am in pursuing the plan adopted; but this time I did - not answer her like a Sarastro but like a sultan. - -The surgical operation on the boy was performed by Dr. Smetana and -under the affectionate care which he received at the hands of the -Giannatasios he quickly recovered and visited his uncle at Baden, going -thither with the Giannatasios. Fräulein Fanny tells the story of the -visit simply and gracefully: - - While his nephew was still with us [she writes], Beethoven once - invited us to visit him at Baden where he was spending the summer - months, my father and we two daughters with Karl. Although our host - had been informed of our coming we soon noticed that no arrangement - had been made for our entertainment. B. went with us in the evening - to a tavern where we were surprised to note that he dickered with - the waiter about every roll, but this was because owing to his bad - hearing he had frequently been cheated by serving-people; for even - then one had to be very close to his ear to make him understand and - I recall that I was often greatly embarrassed when I had to pierce - through the grayish hairs which concealed his ear; he himself - often said: "I must have my hair cut!" Looking at him cursorily - one thought that his hair was coarse and bristly, but it was very - fine and when he put his hand through it, it remained standing in - all directions which often looked comical. (Once when he came we - noticed a hole in the elbow when he was taking his overcoat off; he - must have remembered it for he wanted to put it on again, but said, - laughing, taking it completely off: "You've already seen it!") - - When we came to his lodgings in the afternoon a walk was proposed; - but our host would not go along, excusing himself saying he had - a great deal to do; but he promised to follow and join us, and - did so. But when we came back in the evening there was not a sign - of entertainment to be seen. B. muttered excuses and accusations - against the persons who had been charged with the arrangements - and helped us to settle ourselves; O how interesting it was! to - move a light sofa with his help. A rather large room in which his - pianoforte stood, was cleaned for us girls to use as a bedroom. - But sleep remained long absent from us in this musical sanctuary. - Yes, and I must confess to my shame that our curiosity and desire - to know things led us to examine a large round table which stood - in the room. A note-book in particular received our attention. But - there was such a confusion of domestic matters, and much of it - which to us was illegible that we were amazed; but, behold, one - passage I still remember--there it stood: "My heart runs over at - the sight of lovely nature--although she is not here!"--that gave - us a great deal to think about. In the morning a very prosaic noise - roused us out of our poetical mood! B. also appeared soon with a - scratched face, and complained that he had had a quarrel with his - servant who was going away, "Look," he said, "how he has maltreated - me!" He complained also that these persons, although they knew that - he could not hear, did nothing to make themselves understood. We - then took a walk through the beautiful Helenenthal, we girls ahead, - then B. and our father. What follows we were able to overhear with - strained ears: - - My father thought that B. could rescue himself from his unfortunate - domestic conditions only by marriage, did he know anybody, etc. - Now our long foreboding was confirmed: "he was unhappy in love! - Five years ago he had made the acquaintance of a person, a union - with whom he would have considered the greatest happiness of - his life. It was not to be thought of, almost an impossibility, - a chimera--nevertheless it is now as on the first day." This - harmony, he added, he had not yet discovered! It had never reached - a confession, but he could not get it out of his mind! Then there - followed a moment which made good for many misunderstandings and - grievous conduct on his part; for he acknowledged my father's - friendly offer to help him as much as possible in his domestic - troubles, and I believe he was convinced of his friendship for him. - He spoke again of his unfortunate loss of hearing, of the wretched - physical existence which he had endured for a long time. He (B.) - was so happy at the noonday meal (in the open air in Helena) his - muse hovered around him! He frequently turned aside and wrote a few - measures with the remark: "My promenade with you cost me some notes - but brought in others." All this happened in September of the year - 1816. - -Beethoven's project now was, upon returning to the city to abandon -his tavern life and so to arrange his domestic affairs as to have -his nephew live with him and attend school or study with private -tutors--perhaps both. As usual Zmeskall was charged with looking after -servants, discovering their qualifications, etc. After Karl should come -there would be need of a housekeeper, but meanwhile Beethoven suggested -to Zmeskall that he find for him a servant who should be good, of -decent deportment, well recommended, married "and not murderous so that -my life may be safe inasmuch as for the sake of several rapscallions I -want to live a little longer in this world." He returned to Vienna by -September 27 at the latest. - -[Sidenote: "AN DIE FERNE GELIEBTE"] - -That brilliant youth Alois Jeitteles of Brünn, now a student of -medicine at Vienna, wrote when hardly twenty-one years of age the -beautiful series of songs "An die ferne Geliebte," so exquisitely set -to music by Beethoven. Schindler states, that the composer thanked the -young poet for the happy inspiration; but whether he had found them in -a handbook, which is probable, or received them in manuscript, does -not appear. But no one can hear them adequately sung without feeling -that there is something more in that music than the mere inspiration -of the poetry. It was completed not many weeks before, in his letter -to Ries (May 8), he wrote: "I found only one whom I shall doubtless -never possess"; and but six months before the above conversation with -Giannatasio. Just five years had now elapsed since he became acquainted -with Amalie von Sebald: was she not the real inspiration of "An die -ferne Geliebte"?[168] - -Peter Joseph Simrock of Bonn, then 24 years of age, was now in -Vienna. He was often with Beethoven, in Baden, in his lodging in the -Sailerstätte and in the inn "Zur goldenen Birn," where he often dined -after the removal of Giannatasio to that quarter. Mr. Simrock also told -the writer that he had no difficulty in making Beethoven understand -him if he spoke into his left ear; but anything private or confidential -must be communicated in writing. On one occasion the composer handed -him paper and pencil, remarking that his servant was an eavesdropper, -etc. A few days afterwards when Simrock called again, "Now," said -Beethoven, "we can talk, for I have given my servant 5 florins, a kick -in the rear and sent him to the devil." - -Everywhere in public, said Simrock, Beethoven railed at Emperor Franz -because of the reduction of the paper money. "Such a rascal ought to -be hanged to the first tree," said he. But he was known and the police -officials let him do what he pleased. He ate a great deal at the tavern -because he ordered haphazard and sent away what was not to his taste. - -Another of Beethoven's visitors just now was Alexander Kyd. This -gentleman, since July 25, 1810, a Major-General in the East India -Company's Engineer Corps, paid the usual tribute to the climate, -and, broken down in health, came to Vienna to put himself under the -treatment of Malfatti. He thus made the acquaintance of Dr. Bertolini, -who gave to Jahn and the present writer the following details: - -[Sidenote: AN ENGLISH COMMISSION REJECTED] - -Kyd was a great lover of music, and, after his long residence in -India, enjoyed to the utmost his present opportunities of hearing it. -Bertolini took him to Czerny, who during several visits played to -him all the pianoforte works of Beethoven then in print. The General -was ravished with these compositions, asked for a complete thematic -catalogue of the composer's works, and besought Bertolini to introduce -him to their author. This took place on the 28th of September "in the -house next to the Colorado Palace," said Bertolini. They found him -shaving and looking shockingly, his ruddy face browned by the Baden -sun variegated by razor cuts, bits of paper, and soap. As Kyd seated -himself crash! went the chair. In the course of the interview, the -General, showing the common belief of Beethoven's poverty, proposed -to him through the Doctor, to compose a symphony for which he would -pay him 200 ducats (£100), and secure its performance by the London -Philharmonic Society, not doubting that the profits of the work to -the composer would thus amount to £1000. He offered also to take him -himself to London. To Beethoven's leaving Vienna just now there really -seems to have been no serious impediment, other than his nephew; and -the boy was certainly in the best of hands so long as he remained with -Giannatasio. However, he did not accept the proposition, nor even the -order for the Symphony; because Kyd desired to have it rather like the -earlier, than the later ones--that is, somewhat shorter, simpler, and -more easy of comprehension than these last. The conclusion of the story -as told in the Fischoff MS. corresponds entirely with the Doctor's -relation: - - When Bertolini related all this to his friend with sympathetic joy - the latter received it in an entirely different spirit. He declared - that he would receive dictation from no one; he needed no money, - despised it and would not submit himself to the whim of another - man for half the world, still less compose anything which was not - according to his liking, to his individuality. From that time he - was also cool toward Bertolini and remained so. - -When he afterwards quarrelled with and insulted Malfatti he broke -entirely with Bertolini; but both those gentlemen were too honorable -ever to disclose the details of this breach. Simrock writes in an -autograph notice for this work: - - When I visited Beethoven in Vienna on September 29, 1816, he told - me that he had had a visit on the day before from an Englishman - who on behalf of the London Philharmonic Society had asked him - to compose a symphony for that institution in the style of the - first and second symphonies, regardless of cost.... As an artist - he felt himself deeply offended at such an offer and indignantly - refused it and thus closed the interview with the intermediary. - In his excitement he expressed himself very angrily and with deep - displeasure towards a nation which by such an offer had manifested - so low an opinion of an artist and art, which he looked upon as a - great insult. When we were passing Haslinger's publishing house - in the Graben in the afternoon he stopped suddenly and pointing - to a large, powerfully built man who had just entered, cried out: - "There's the man whom I threw down stairs yesterday!" - -"Whom I threw down stairs" was, of course, meant metaphorically. It -is pretty evident that Beethoven in some degree misunderstood General -Kyd's proposition and that this ebullition of spleen was rather -directed against Neate and the Philharmonic Society than the General. -It is greatly to be regretted that this artistic pride had so little -restraining effect upon his correspondence when pecuniary matters form -the topic--which remark brings us again to Mr. Birchall. Beethoven -had at last discovered the £5 to his credit in the bank of Fries and -Co., and signed a receipt for it on August 3d--too late to prevent the -following letter being sent to him: - - August 14, 1815. - - Sir: - - Mr. Birchall received yours of the 22d of last month and was - surprised to hear you have not yet received the additional £5.0.0 - to defray your expenses of copying, etc. He assures the above - sum was paid to Messrs. Coutts and Co., March 15th last, to be - transmitted to Messrs. Fries and Co., of Vienna for you, which - he supposed you would receive as safe as the previous sum. In - consequence of your last letter, inquiry has again been made at - Messrs. Coutts and Co., respecting it and they have referred to - their books and find that Messrs. Fries and Co., were written - to on the 13th of May, and in that letter the following extract - respecting you was contained. - - London, May 13, 1816. - - "To Messrs. Fries and Co.: - - "We have received from Mr. Birchall a farther sum of five pounds - [£5] on your account for the use of Mr. Beethoven. You will - therefore please to account to that gentleman for the same and - include the amount in your next bill upon us. - - "Coutts and Co." - - If Mr. Beethoven will call on Messrs. Fries and Co., and get them - to refer to that letter, no doubt it will be immediately paid, as - there is a balance in their favour at Messrs. Coutts and Co., of - £5.0.0, which was not included in their last Bill on London. - - Mr. Birchall is sorry you have not received it so soon as you - ought, but he hopes you will be convinced the fault does not lay - [~sic~] with him, as the money was paid the day after Mr. Ries - spoke about it. - - Mr. Birchall wished particularly to have the Declaration returned - to him as soon as possible and likewise wishes you to favour him - with the Dedications and operas, which are to be put to the Trio, - Sonata and the Grand Symphony in A. The publication of the Sonata - has been delayed a long time in consequence of that, but he hopes - you will not delay forwarding ~all on the receipt of this~. When - you write again Mr. Birchall will be glad to know your sentiments - respecting writing Variations to the most favourite English, Scotch - or Irish airs for the Pianoforte with an accompaniment either for - the violin or violoncello--as you find best--about the same length - as Mozart's airs "La dove prende" and "Colomba o tortorella" and - Handel's "See the Conquering Hero Comes"; with your Variations, be - so good, when you oblige him with your terms, as to say whether the - airs need be sent you; if you have many perhaps mentioning the name - will be sufficient. In fixing the price Mr. Birchall wishes you to - mention a sum that will include Copying and Postages. - - For R. Birchall. - C. Lonsdale. - -Beethoven's reply in English bears all the marks of Häring's pen, being -only signed by himself: - - Vienna, October 1, 1816. - - My dear Sir: - - I have duly received the £5, and thought previously you would - not increase the number of Englishmen neglecting their word and - honour as I had the misfortune of meeting with two of this sort. - In reply to the other topics of your favour, I have no objection - to write Variations according to your plan and I hope you will not - find £30 too much, the accompaniment will be a flute or violin - or a violoncello; you'll either decide it when you send me the - approbation of the price, or you'll leave it to me. I expect to - receive the songs or poetry--the sooner the better, and you'll - favour me also with the probable number of works of Variations you - are inclined to receive of me. - - The Sonate in G with the accompaniment of a violin is dedicated to - his Imperial Highness, Archduke Rudolph of Austria--it is Op. 96. - The Trio in B-[flat] is dedicated to the same and is Op. 97. The - Piano arrangement of the Symphony in A is dedicated to the Empress - of the Russias, meaning the wife of the Emperor Alexander--Op. 98. - - Concerning the expenses of copying and posting, it is not possible - to fix them before hand, they are at any rate not considerable - and you'll please to consider that you have to deal with a man - of honour, who will not charge one 6d [sixpence] more than he is - charged for himself. Messrs. Fries and Co., will account with - Messrs. Coutts and Co. The postage may be lessened as I have been - told. - - I offer you of my works the following new ones. A grand Sonata for - the pianoforte alone £40. A Trio for the Piano with accompt. of - Violin or Violoncello for £50. It is possible that somebody will - offer you other works of mine to purchase: for ex. the Score of - the Grand Symphony in A. With regard to the arrangement of this - Symphony for the piano, I beg you not to forget that you are not to - publish it until I have appointed the day of its publication here - in Vienna. This cannot be otherwise without making myself guilty of - a dishonourable act--but the Sonata with the violin and the Trio in - B-flat may be published without any delay. - - With all the ~new Works~ which you will have of me or which I offer - you, it rests with you to name the day of their publication at your - own choice. I entreat you to honour me as soon as possible with an - answer having many orders for compositions and that you may not be - delayed. My address or direction is: - - Monsieur Louis van Beethoven, - No. 1055 and 1056 Sailerstätte, 3te Stock, - Vienna. - - You may send your letter if you please direct to your, - - Most humble servant, - Ludwig van Beethoven. - -Beethoven not only complained of Neate to Ries, but now wrote to -Smart of him in such bitter terms that that gentleman suppressed the -letter entirely except to show it to Neate himself, whose grief and -astonishment at the injustice done him are but partly expressed in this -next letter: - -[Sidenote: NEATE DEFENDS HIMSELF AGAINST CENSURE] - - London, October 29, 1816. - - My dear Beethoven: - - Nothing has ever given me more pain than your letter to Sir George - Smart. I confess that I deserve your censure, that I am greatly - in fault; but must say also that I think you have judged too - hastily and too harshly of my conduct. The letter I sent you some - time since, was written at a moment when I was in ~such~ a state - of mind and spirits that I am sure, had you seen me or known my - sufferings, you would have excused every unsatisfactory passage in - it. Thank God! it is now all over, and I was just on the point of - writing to you, when Sir George called with your letter. I do not - know how to begin an answer to it; I have never been called upon - to justify myself, because it is the first time that I ever stood - accused of dishonor; and what makes it the more painful is "that I - stand accused by the man who, of all in the world, I most admire - and esteem, and one also whom I have never ceased to think of, and - wish for his welfare, since I made his acquaintance." But as the - appearance of my conduct has been so unfavorable in your eyes, - I must tell you again of the situation I was in previous to my - marriage. - - * * * * * - - I remain in my profession, and with no abatement of my love of - Beethoven! During this period I could not myself do anything - publicly, consequently all your music remained in my drawer unseen - and unheard. I, however, did make a very considerable attempt - with the Philharmonic to acquire for you what I thought you fully - entitled to. I offered all your music to them upon condition - that they made you a very handsome present; this they said they - could not afford, but proposed to see and hear your music, and - then offer a price for it; I objected and replied "that I should - be ashamed that your music should be put up by auction and bid - for!--that your name and reputation were too dear to me"; and I - quitted the meeting with a determination to give a concert and take - all the trouble myself, rather than that your feelings should be - wounded by the chance of their disapproval of your works. I was - the more apprehensive of this, from the unfortunate circumstances - of your Overtures not being well received; they said they had no - more to hope for, from your other works. I was not a Director - last season, but I am for the next, and then I shall have a voice - which I shall take care to exert. I have offered your Sonatas to - several publishers, but they thought them too difficult, and said - they would not be saleable, and consequently made offers such as - I could not accept, but when I shall have played them to a few - professors, their reputation will naturally be increased by their - merits, and I hope to have better offers. The Symphony you read - of in the "Morning Chronicle" I believe to be the one in C minor; - it certainly was not the one in A, for it has not been played at - a concert. I shall insist upon its being played next season, and - most probably the first night. I am exceedingly glad that you have - chosen Sir George Smart to make your complaints of me to, as he is - a man of honor, and very much your friend; had it been anyone else, - your complaint might have been listened to, and I injured all the - rest of my life. But I trust I am too respectable to be thought - unfavorably of by those who know me. I am, however, quite willing - to give up every sheet I have of yours, if you again desire it. - Sir George will write by the next post, and will confirm this. I - am sorry you say that I did not even ~acknowledge~ my obligation - to you, because I talked of nothing else at Vienna, as every one - there who knows me can testify. I even offered my purse, which you - generously always declined. Pray, my dear Friend, believe me to - remain, - - Ever yours, most sincerely, - C. Neate. - -Zmeskall, whose patience and forbearance were inexhaustible, had again -provided his friend with servants--a man and his wife--and something -was done towards making the lodging in the Sailerstätte ready to -receive the nephew at the end of the quarter. But this was not yet to -be. The circumstances explain the following little letter to Zmeskall -of date November 3, 1816: - - Dear Z. Your non-recommendation of the servants engaged by me I - can also not recommend--I beg of you at once to hand over to me - through Hr. Schlemmer the papers, testimonials, etc., which you - have from them. I have reason to suspect them of a theft. I have - been continually ill since the 14th of last month and must keep to - my bed and room. All projects concerning my nephew have foundered - because of these miserable persons. - -[Sidenote: WRETCHED DOMESTIC CONDITIONS] - -Further information is provided by the following letter to Giannatasio: - - Valued Friend: - - My household greatly resembles a shipwreck, or threatens to, in - brief I have been so swindled in reference to these people by one - who affects to be a connoisseur, moreover my recovery seems to be - in no hurry. To engage a steward whose exterior and interior is - unknown under such circumstances, and to leave the education of my - Karl to chance, I can never do, great as are the sacrifices which - in many respects I shall again be called upon to make, I therefore - beg you to keep my Karl again for this quarter, I shall accept your - suggestion regarding his cultivation of music to this extent that - Karl shall leave you 2 or even 3 times a week evenings at 6 o'clock - and remain with me till the next morning when he shall return to - you again by about 8 o'clock. Every day would be too taxing for - K. and for me, since it would always have to be at the same hour, - too wearisome and restricting. We shall discuss more in detail - during this quarter what would be most practicable and considerate - also for me, for, in view, unfortunately of the fact that my - circumstances are continually getting worse I must also use this - expression, if your residence in the garden had been better adapted - to my health, everything would more easily have been arranged. As - regards my indebtedness to you for the last quarter I must beg of - you to bring the matter directly to my attention as the bearer of - this has been blessed by God with a certain amount of stupidity - which one might not begrudge him if others were not affected by - it. Regarding the other expenditures for Karl during his illness - or matters connected with it, I beg of you to have patience for - a few days as I have large expenditures just now on all hands. I - should also like to know how I am to conduct myself toward Smettana - in view of his successfully accomplished operation. So far as his - compensation is concerned if I were rich or not in the condition - of all (except the Austrian usurers) whom fate has bound to this - country, I would not ask at all. I only mean an approximate - estimate. Farewell, I embrace you with all my heart, and will - always look upon you as the friend of myself and my Karl. - -In November, Mr. Lonsdale wrote as follows in behalf of Mr. Birchall: - - London, November 8, 1816. - - Sir: - - In answer to yours of the 1st October, I am desired by Mr. Birchall - to inform you, he is glad to find you are now satisfied respecting - his promise of paying you £5 ... in addition to what you before - received according to agreement; but he did not think you would - have delayed sending the receipt signed after the receipt of the - 130 ducats merely because you had not received the £5 ..., which - latter sum was not included in the receipt. Till it comes Mr. - Birchall cannot, at any rate, enter into any fresh arrangement, as - his first care will be to secure those pieces he has already paid - you for, and see how they answer his purpose as a Music Seller - and without the receipt he cannot prevent any other Music Seller - from publishing them. In regard to the airs with variations, the - price of £30, which is supposed you mean for each, is considerably - more than he could afford to give, ever to have any hopes of - seeing them repay him--if that should be your lowest price--Mr. - Birchall will give up his idea of them altogether. The Symphony in - A will be quite ready for publication in a week; Mr. Ries (who has - kindly undertaken the inspection of your works) has it now looking - over--but it will not come out ~till the day comes~ you may appoint. - - Mr. Birchall fears the Sonata in G and the Trio in B-flat have been - published in Vienna before his--he will be obliged to you to inform - him of the day, when you write, that they were published. I am - sorry to say, that Mr. Birchall's health has been very bad for two - or three years back, which prevents him from attending to business - and as there are, I fear, but little hopes of his being much - better, he is less anxious respecting making ~any~ additions to his - catalogue than he otherwise would have been; he is much obliged - to you for the offer of the Sonata and the Trio, but he begs to - decline it for the reasons before mentioned. - - Hoping to hear soon respecting the paper sent for your signature, - - I am Sir, for Mr. Birchall, etc. - C. Lonsdale. - - P. S. The Sonata in G is published and the Trio will be in a few - days. Is Mr. Beethoven's opera of Fidelio published? Where and by - whom? - -[Sidenote: END OF THE ENGLISH CONNECTION] - -To this letter Beethoven sent an answer addressed to Mr. Birchall dated -December 14, 1816, as follows: - - Vienna, December 14, 1816.--1055 Sailerstätte. - - Dear Sir: - - I give you my word of honor, that I have signed and delivered - the receipt to the house, Fries and Co., some day last August, - who, as they say, transmitted it to Messrs. Coutts and Co., where - you'll have the goodness to apply. Some error might have taken - place that instead of Messrs C. sending it to you, they have been - directed to keep it till fetched. Excuse this irregularity, but it - is not my fault, nor had I ever the idea of withholding it from - the circumstance of the £5 not being included. Should the receipt - not come forth at Messrs. C., I am ready to sign any other and you - shall have it directly with return of post. - - If you find variations in my style too dear at £30, I will abate, - for the sake of your friendship, one-third, and you have the offer - of such variations as fixed in our former letters for £20 each air. - - Please to publish the Symphony in A immediately, as well as the - Sonata and the Trio--they being ready here. - - The grand opera Fidelio is my work. The arrangement for the - pianoforte has been published here under my care, but the score of - the opera itself is not yet published. I have given a copy of the - score to Mr. Neate under the seal of friendship and whom I shall - direct to treat for my account in case an offer should present. - - I anxiously hope your health is improving. Give me leave to - subscribe myself, Dear Sir, - - Your very obedient servant, - [Postmark, Dec. 31, 1816.] Ludwig van Beethoven. - -This letter closed the correspondence; for upon the death of Mr. -Birchall his successor, Lonsdale, did not deem the connection with the -composer to be worth retaining. Letters to Zmeskall, Sir George Smart -and Neate, in London, tell of incidents which make up the history of -the latter part of the year 1816: - - (To Zmeskall--December 16.) - - Here dear Z. you will receive my friendly dedication[169] which I - hope will be a precious souvenir of our long-continued friendship - and be accepted as a proof of my respect and not as the end of a - long-spun thread (for you belong to my earliest friends in Vienna). - Farewell--Abstain from the decayed fortresses, the attack exhausts - more than those on the well preserved. - - As ever, - Your friend, - Beethoven. - - N.B. If you have a moment's time please tell me how much a livery - will cost now (without cloak) with hat and boot money. - - The most extraordinary changes have taken place, the man, thank - God, has gone to the devil, but on the other hand the wife seems - disposed to attach herself all the more closely. - - (To Sir George Smart, dictated to Häring.) - - Vienna, December 16, 1816.--1055 Sailerstätte, 3d Floor. - - My dear Sir: - - You honor me with so many encomiums and compliments that I ought to - blush, tho' I confess they are highly flattering to me and I thank - you most heartily for the part you take in my affairs. They have - rather gone a little back through the strange situation in which - our lost--but happily recovered--friend Mr. Neate found himself - entangled. Your kind letter of 31 October, explained a great deal - and to some satisfaction and I take the liberty to enclose an - answer to Mr. Neate, of whom I also received a letter, with my - entreaties to assist him in all his undertakings in my behalf. - - You say that the Cantata might serve your purpose for the Oratorios - and I ask you if you find £50 too much to give for it? I have had - no benefit for it whatever until now, but I still should not wish - to ask of you a price by which you might be a loser. Therefore we - shall name £40, and if your success should be great, then I hope - you will have no objection of adding the £10, to make the sum as - mentioned. The ~Copyright~ would be ~yours~ and I should only make - the condition of my publishing it ~here~ at a period, which ~you - will be pleased~ to appoint and not before. I have communicated - to Mr. Häring your kind intentions (good wishes) and he joins - with me in the expression of the highest regard, which he always - entertained for you. - - Mr. Neate may keep the different works except the Cantata if - you accept it and I hope he will have it in his power with your - assistance to do something for me, which from my illness and from - the state of the Austrian finances would be very welcome. - - Give me leave to subscribe myself with the greatest esteem and - cordiality, - - Ludwig van Beethoven. - - (Mr. Häring, at Beethoven's dictation, to Mr. Neate.) - - Vienna, December 18, 1816. - - My dear Sir: - - Both letters to Mr. Beethoven and to me arrived. I shall first - answer his, as he has made out some memorandums, and would have - written himself, if he was not prevented by a rheumatic feverish - cold. He says: What can I answer to your warmfelt excuses? Past - ills must be forgotten, and I wish you heartily joy that you - have safely reached the long-wished-for port of love. Not having - heard of you, I could not delay any longer the publication of - the Symphony in A, which appeared here some few weeks ago. It - certainly may last some weeks longer before a copy of this - publication appears in London, but unless it is soon performed at - the Philharmonic, and something is done for me afterwards by way - of benefit, I don't see in what manner I am to reap any good. The - loss of your interest last season with the Philharmonic, when all - my works in your hands were unpublished, has done me great harm; - but it could not be helped, and at this moment I know not what to - say. Your intentions are good, and it is to be hoped that my little - fame may yet help. With respect to the two Sonatas, Op. 102, for - pianoforte and violoncello, I wish to see them sold very soon, as I - have several offers for them in Germany, which depend entirely upon - me to accept; but I should not wish, by publishing them here, to - lose all and every advantage with them in England. I am satisfied - with the ten guineas offered for the dedication of the Trio, and - I beg you to hand the title immediately to Mr. Birchall, who is - anxiously waiting for it; you'll please to use my name with him. - - I should be flattered to write some new works for the - Philharmonic--I mean Symphonies, an Oratorio, or Cantatas, etc. Mr. - Birchall wrote as if he wished to purchase my "Fidelio." Please to - treat with him, unless you have some plan with it for my benefit - concert, which in general I leave to you and Sir George Smart, who - will have the goodness to deliver this to you. - - The score of the opera "Fidelio" is not published in Germany or - anywhere else. Try what can be done with Mr. Birchall, or as you - think best. I was very sorry to hear that the three Overtures were - not liked in London. I by no means reckon them among my best works, - (which, however, I can boldly say of the Symphony in A), but still - they were not disliked here and in Pesth, where people are not - easily satisfied. Was there no fault in the execution? Was there no - party spirit? - - And now I shall close, with the best wishes for your welfare, and - that you enjoy all possible felicity in your new situation of life. - - Your true friend, - - Ludwig van Beethoven. - -[Sidenote: DR. KANKA'S HELP IMPLORED] - -Toward the end of the month Beethoven wrote a lengthy letter to Dr. -Kanka: - - Vienna, December 28, 1816. - - My very dear and honored friend: - - To-morrow's post-wagon will carry for you a Symphony by me in - score, the reported Battle Symphony in score, Trio and a Violin - Sonata and a few song pieces--I know that you feel in advance that - I am grateful for all that you do for me as lately also for the - quick remittance recently of my semi-yearly [dues]. But now again a - request, rather an imposition, yes even a commission. The city of - Retz, consisting of about 500 houses will appoint you as Curator - of a certain Johann Hamatsch in Prague, for heaven's sake do not - decline such a simple judicial matter for thereby my poor little - nephew will finally receive a small fortune, of course the matter - will first have to be passed on by our magistracy here, inasmuch - as the mother will probably have some benefit of it, think of it - how much time these things will take, my poor unfortunate brother - died without seeing the end, for the courts have such care for - His Majesty, that the predecessor of the present syndicus of the - city of Retz wanted to pay my brother 5000 florins for 500 (x) - such are the honorable men which our amiable Christian monarch has - around him--the present syndicus is himself an honest and capable - man (for, if he wanted to he might have been like the former), - meanwhile the aforementioned Hamatsch in Prague (a tradesman) has - not yet given notice of his acceptance (N. B.--for 4 or 5 years). - - The syndicus Bayer of Retz will therefore send you the Curatel - decree together with a copy of the bill of exchange from the - magistracy of Retz, I know much too well how small and trivial the - case is for a man of brains like yourself, if you do not think it - fitting, I beg of you to choose somebody for it and to promote the - matter as much as you can--but it would in every respect be better - if you would undertake it, perhaps a mere consultation with the man - (in Prague) would bring the matter to a conclusion. - - xThe present syndicus needed only 30 days and as many nights to - extricate the matter from its former confusion in which it had been - left. - - My nephew, so dear to me, is in one of the best institutions in - Vienna, displays great talent, but all this goes to my expense and - the Retz affair might enable me to spend a few hundred florins more - on the education of my dear nephew. I embrace you as one of my - dearest friends. - -A little cantata, written in honor of Prince Lobkowitz, belongs to -this month of December. An autograph copy was given some forty years -afterwards to Dr. Ottokar Zeithammer, of Prague, by the aged widow of -Beethoven's friend Peters, who gives this account of its origin: - - The copy of a little cantata which he (Beethoven) wrote for me to - be performed on the birthday of the Prince, now long dead, and - which--as he himself says--reached me after his death, was in - reality written by him and most daintily tied together with blue - ribbon.... The cantata consists only of a few reiterated words, we - can hardly say ~composed~ by himself, and originated when he heard - of the approaching birthday festival of the Prince when visiting - us. "And is there to be no celebration?" he asked, and I answered - him, "No." "That will not do," he replied; "I'll hurriedly write - you a cantata, which you must sing for him." But the performance - was never reached.[170] - -The intended performance never took place, because Lobkowitz, born on -December 7, 1772, died on December 16, 1816. And so he, too, disappears -from our history. The foregoing receives all needful confirmation in -this letter: - - (To Peters.) - - January 8, 1816. - [Should be 1817.] - - Only yesterday did I hear from Hrn. von Bernard, who met me, that - you are here and therefore I send you these two copies, which - unfortunately were not finished until just at the time when the - death of our dear Prince Lobkowitz was reported. Do me the favor to - hand them to His Serene Highness, the first-born Prince Lobkowitz, - together with this writing, it was just to-day, I intended to look - up the cashier to ask him to undertake its delivery in Bohemia, not - having, in truth, believed anyone here. - - I, if I may speak of myself, am in a state of tolerably good health - and wish you the same. I dare not ask you to come to me for I - should be obliged to ~tell you why~, and that I should not presume - to do as little as why you ~would not~ or ~would not desire~ to - come. I beg you to write the inscription to the Prince as I do not - know his given name--the 3rd copy please keep for your wife. - -[Sidenote: THE COMING OF ANSELM HÜTTENBRENNER] - -To the few names which this year have appeared in our narrative, there -is still to be added one worthy of a paragraph: that of a wealthy young -man from Gratz, an amateur musician and composer of that class whose -idol was Beethoven--Anselm Hüttenbrenner, who came to Vienna in 1815 -to study with Salieri, and formed an intimate friendship with Franz -Schubert. His enthusiasm for Beethoven was not abated when the present -writer, in 1860, had the good fortune to enjoy a period of familiar -intercourse with him, to learn his great and noble qualities of mind -and heart, and to hear his reminiscences from his own lips. That -these, in relation to Beethoven, were numerous, no one will expect; -since no young man of twenty-two years, and a stranger, could at the -period before us be much with the master except as a pupil--and he -took none--or in the position lately occupied by Oliva and soon to be -assumed by Schindler; which of course was all out of the question with -Hüttenbrenner. - - I learned to know Beethoven [he relates] through the kindness of - Hrn. Dr. Joseph Eppinger, Israelite. The first time Beethoven was - not at home; his housekeeper opened to us his living-room and - study. There everything lay in confusion--scores, shirts, socks, - books. The second time he was at home, locked in with two copyists. - At the name "Eppinger" he opened the door and excused himself, - having a great deal to do, and asked us to come at another time. - But, seeing in my hand a roll of music--overture to Schiller's - "Robbers" and a vocal quartet with pianoforte accompaniment, text - by Schiller--he took it, sat himself down to the pianoforte and - turned all the leaves carefully. Thereupon he jumped up, pounded - me on the right shoulder with all his might, and spoke to me the - following words which humiliated me because I cannot yet explain - them: "I am not worthy that you should visit me!" Was it humility? - If so it was divine; if it was irony it was pardonable. - -And again: - - A few times a week Beethoven came to the publishing house of - Steiner and Co. in the forenoon between 11 and 12 o'clock. Nearly - every time there was held there a composers' meeting to exchange - musical opinions. Schubert frequently took me there. We regaled - ourselves with the pithy, often sarcastic remarks of Beethoven - particularly when the talk was about Italian music. - -Hüttenbrenner remembered as a common remark in Vienna in those -days that what first gave Beethoven his reputation on coming -there twenty-four years before, was his superb playing of Bach's -"Well-Tempered Clavichord." - -Two or three minor notes will close the story of the year. In the -concert for the Theatrical Poor Fund, in the Theater-an-der-Wien, -September 8th, one of the finales to Beethoven's "Prometheus" music -was revived: "A glorious piece worked out in a masterly manner," says -a reporter; and the concert for the Hospital of St. Mark, on December -25, opened with his "Symphony in A, one difficult of execution, which -was performed with the greatest precision under the direction of this -brilliant composer." More important was a proposition made early in the -year by his old friend Hoffmeister in Leipsic, for a complete edition -of his pianoforte works, which came to nothing and concerning which -more in another connection. In July he received another series of songs -from Thomson which, according to a letter in French to Thomson, dated -January 18, 1817, he had already finished by the end of September. - -[Sidenote: WORKS COMPOSED AND PUBLISHED IN 1816] - -The works composed in 1816 are: - - I. Pianoforte Sonata in A major, Op. 101, dedicated to Baroness - Dorothea von Ertmann.[171] Nottebohm's researches place all the - sketches for the sonata in the years 1815 and 1816. (See, "Zweit. - Beeth.," pp. 340 and 552 ~et seq.~) - - II. Song: "Der Mann von Wort," Op. 99. - - III. Song-cycle: "An die ferne Geliebte," Op. 98. The autograph - bears the inscription "1816 in the month of April." Sketches from - 1815 and 1816 are described by Nottebohm in "Zweit. Beeth.," p. 334 - ~et seq.~ - - IV. March in D major, for military band; the autograph bears the - inscription in Beethoven's hand: "March for the grand parade of the - Guard, by L. v. Beethoven, June 3, 1816." - - V. Cantata for the birthday of Prince Lobkowitz, composed for - Peters. - - VI. Song: "Ruf vom Berge," dated "December 13, 1816." - -The publications for the year were: - - I. Song: "Das Geheimniss," as a supplement for the "Wiener - Modenzeitung," February 29, 1816. - - II. Song: "An die Hoffnung," Op. 94; by Steiner and Co., in - February. - - III. "Wellington's Sieg, oder die Schlacht bei Vittoria, in Musik - gesetzt von Ludwig van Beethoven. 91^{stes} Werk"; by Steiner and - Co., Vienna, in March. - - IV. Canon: "Glück zum neuen Jahr"; by J. Riedel, Vienna, in May. - - V. Song: "Die Sehnsucht," words by Reissig; by Artaria in a - collection which appeared in June. - - VI. Sonata for Pianoforte and Violin, Op. 96; dedicated to Archduke - Rudolph; Vienna, Steiner and Co., in July. - - VII. Trio for Pianoforte, Violin and Violoncello, Op. 97; dedicated - to Archduke Rudolph; published by Steiner and Co., Vienna, on July - 16. - - VIII. Song: "Merkenstein," Op. 100; dedicated to Count - Dietrichstein; Vienna, Steiner and Co., in September. - - IX. Song: "Der Mann von Wort," Op. 99; Vienna, Steiner and Co., in - November. - - X. Song-Cycle: "An die ferne Geliebte," Op. 98; dedicated to Prince - Lobkowitz; Vienna, Steiner and Co., in December. - - XI. Symphony, No. 7, in A major, Op. 92; dedicated to Count Moritz - von Fries; Vienna, Steiner and Co., in December. - - XII. Symphony, No. 8, in F major, Op. 93; Vienna, Steiner and Co., - in December. - - XIII. Quartet for Strings, F minor, Op. 95; dedicated to Zmeskall; - Vienna, Steiner and Co., in December. - - XIV. Two Sonatas for Pianoforte and Violoncello, Op. 102. According - to a letter of Zmeskall's dated January 20, 1817, these sonatas - were not published later than the works last mentioned, that is, - December, 1816. They were published by Simrock without dedication. - In the later edition published by Artaria in 1819, they are - dedicated to Countess Erdödy. - -FOOTNOTES: - -[162] The German original was acquired in 1913 at a sale of autographs -by Mr. Richard Aldrich. - -[163] Also in score. - -[164] Published in 1909 by Leopold Schmidt in his "Beethoven Briefe an -N. Simrock, etc." - -[165] Birchall. - -[166] Salomon. - -[167] The Prince Regent had never ordered this work nor had his -permission to present and dedicate it to him been asked before sending -it. Beethoven resented the fact that he had not been recompensed until -the day of his death. - -[168] Dr. Riemann, holding to his theory that the love-letter to the -"Immortal Beloved" was written on July 6, 1812, changes Thayer's -concluding words to make them read: "That this cycle, which advances -Beethoven so greatly as a song composer, was directed to the addressee -of the love-letter of July 6, 1812, can be accepted as certain." - -[169] To the Quartet in F minor, Op. 95. - -[170] This composition, solo and chorus, E-flat major, 4-4, forty-three -measures long, had for a text only these words: - - "Long life to our dear Prince - May he live! - May noble deeds be his loveliest calling, - Then shall he not forgo the loveliest reward. - May he live, etc." - -A copy of this, received many years ago from Dr. Edmund Schebek, is -inscribed "Evening of April 12, 1822, before the birthday of His Ser. -Prince Ferdinand Lobkowitz." This young Prince completed his 25th year -on April 13, 1822. It is clear, therefore, that this inscription refers -to a performance, not to the composition of the little work. - -[171] The anecdote told by Mendelssohn of Beethoven's playing to -relieve the sorrow of the Baroness has a complement in a document found -among the posthumous papers of Thayer. On December 25, 1864, Thayer -received a poem from Frau von Arneth (Antonie Adamberger) written -by Gustav Frank, a production of no literary value but based upon -an incident thus told in a note attached to it: After the burial of -Baroness von Ertmann's only child, the grief-stricken woman was unable -to find the consolation which comes with tears. Greatly concerned -thereat, her husband, General von Ertmann, took her to Beethoven, -who without a word sat down to the pianoforte and played until the -Baroness's sobs testified that relief had come. Thayer endorsed on the -copy of the poem which he made: "It is a fact in Beethoven's and Frau -Dorothea v. Ertmann's intercourse." - - - - -Chapter XVII - - - The Year 1817--Beethoven and the Public Journals of Vienna--Fanny - Giannatasio's Diary--The Philharmonic Society of London--Cipriani - Potter--Marschner--Marie Pachler-Koschak--Beethoven's Opinion of - Mälzel's Metronome. - - -Beethoven's splenetic remarks to strangers in his last years upon -the music, musicians and public of Vienna have given rise to widely -diffused but utterly false conceptions as to the facts. Thus William -Henry Fry, a leading American writer on music in the middle of the -nineteenth century,[172] did but express a common opinion in the -following: - - That composer [Beethoven] worked hard for thirty years. At his - death, after the cup of glory had overflowed, his name resounding - through Christendom, he left in all a beggarly sum of two or three - thousand dollars, having lived as any one acquainted with his - career knows, a penurious life, fitted to his poverty and servile - position in Vienna. - -[Sidenote: BEETHOVEN AND THE VIENNESE JOURNALISTS] - -The popular want of appreciation of his merits "doomed Beethoven to -a garret, which no Irish emigrant would live in." It is altogether -unnecessary to argue against such statements, as the whole tenor of -this biography refutes them; but the public press of Vienna deserves a -vindication, and the appearance of a new "Allgemeine Musik-Zeitung" on -January 2nd, 1817, affords a suitable opportunity for the little that -need be said on the subject. This journal, conducted "with particular -reference to the Austrian Empire," and published by Steiner and Co., -was, during the first two years, without the name of any responsible -editor; the volumes for 1819 and 1820 announce Ignaz von Seyfried as -holding that position; the others, from 1821 to 1824, bear the name of -Friedrich August Kanne. A leading writer in the earlier volumes was -Hofrath Ignaz von Mosel, who already had some local celebrity for -his articles on musical topics in the "Vaterländische Blätter" and -other periodicals, and who continued a prolific contributor to musical -journals to the end of his life in 1844. Beethoven valued him as a -writer; but Mosel had the temerity to undertake, like Mozart, the task -of revising and modernizing Handel. Of his eight mutilations of that -great man's works, two, "Samson" and "Belshazzar," were printed and, -for some fifty years, adopted for performance throughout Austria and -Germany--a remarkable proof of the general ignorance which prevailed -concerning the works of the greatest oratorio composer; for two such -monuments of arrogant presumption, of incompetency to comprehend his -author and of a false and perverted taste, probably do not exist -unless, perhaps, among the other six works which were not printed. -One of Beethoven's sarcasms, remembered by Carl Czerny, indicates his -opinion of Mosel's dilettantism. Reading a newspaper once at Artaria's, -he saw that Mosel "had been ennobled, particularly because of his -services in behalf of music." "The Mosel is muddy where it flows into -the Rhine" (~Der Mosel fliesst trüb in den Rhein!~), said Beethoven, -laughingly. Kanne ranked with the best musical journalists of the day, -and, to use the words of Hanslick, his labors and influence as a critic -were considerable, especially because of his enthusiasm for Beethoven, -is certain. - -Taking 1821-1822 as a medium date, the leading political and literary -journals in Vienna in those years were the "Wiener Zeitung," Joseph -Carl Bernard, editor; the "Beobachter," Joseph Pilat, editor; -the "Sammler," Portenschlag and Ledermeyer, editors; the "Wiener -Zeitschrift" (fashion journal), Johann Schickh, editor; and the -"Theater-Zeitung," Adolph Bäuerle, editor. Most of these editors were -personal friends of Beethoven; and whoever performs the weary task of -looking through their myriads of pages sees that all were his admirers -and let no opportunity pass unimproved of adding a leaf to his laurels. -Still, disappointment at the comparative paucity of matter relating to -him follows such an examination. The cause, however, lay in himself; -in the small number of his new compositions of high importance, and -in the rarity of his appearance before the public. True, there were -newspapers, and in divers languages, that took no note of Beethoven -and his works because music and musicians were not within their scope; -but not one of them was hostile. In short, whether the periodical -press be considered as the exponent or the guide of public opinion, in -either case its tone at Vienna during the ten years which remained of -Beethoven's life is ample refutation of the so oft asserted disregard -for and contemptuous neglect of their great composer on the part of the -Viennese. The correspondence of this and the next two or three years is -very voluminous. Schindler says most pertinently of it: - - During these years our composer, instead of writing many notes, - as had been his wont, wrote many letters, referring in part to - his domestic affairs, in part to the litigation and in part to - the education of his nephew. These letters are, in general, - among the least encouraging and most deplorable testimonials - to the excitement which attended his passionate prosecution of - these objects. Those of his friends and nearer acquaintances who - permitted themselves to be drawn into these three matters were so - overwhelmed with documents and communications that they blessed the - hour in which the lawsuit was brought to a conclusion. - -[Sidenote: MISTAKEN TRAINING OF NEPHEW KARL] - -There are few men of whom a most false and exaggerated picture may -not be presented by grouping together their utterances, spoken or -written at long intervals and in the most diverse moods and states -of mind. Thomas Carlyle says: "Half or more of all the thick-plied -perversions which distort the image of Cromwell will disappear if we -honestly so much as try to represent them in sequence as they were, -not in the lump as thrown down before us." Hence, strict chronological -order must not lightly be abandoned--never when distortion of the -image is thereby produced. But there are series of letters covering -comparatively short periods of time, which may be grouped and placed -apart with no ill consequence. Such is the series to Steiner and Co.; -and such to the Streichers and Zmeskall, which are too unimportant to -place in the text.[173] An abstract or analysis of them would serve -but a small purpose; but they should be read despite their triviality, -for they show, better than any description would, the helplessness of -their writer in all affairs of common life; also, by implication, the -wretched prospect of any good result to his undertaking the supervision -and education of a boy more than usually endowed with personal -attractions and mental capacity, but whose character had already -received a false bias from the equally indiscreet alternate indulgence -and severity of his invalid and passionate father and of his froward -and impure mother. Moreover, this undertaking rendered necessary a -sudden and very great change in the domestic habits of a man nearly -fifty years of age, who, even twenty years before, had not been able, -when residing in the family of his Mæcenas, Lichnowsky, to bear the -restraints imposed by common courtesy and propriety. It is obvious -that there was but one course to be taken for the boy from which a -good result might reasonably have been expected; and this was to send -him at once to some institution far enough from Vienna to separate him -entirely, vacations excepted, from both mother and uncle; to subject -him there to rigid discipline and give him the stimulus of emulation -with boys of his own age. When it was too late, as will be seen, this -idea was entertained, but not sanctioned by the civil authorities. -That such a course with the boy would have resulted well, subsequent -events leave no doubt; for, passing over the question how far facts -justify the harsh judgments recorded against him for more than half a -century, each new writer bitterer than the last, we know this: that -after his uncle's death, although his bad tendencies of character had -been strengthened and intensified by the lack of efficient, consistent, -firm and resolute restraint from 1815 to 1827, yet a few years of -strict military discipline made of him a good and peaceable citizen, a -kind and affectionate husband and father. Had Beethoven's wisdom and -prudence equalled his boundless affection for his nephew, many painful -pages in this work would have no place; many which, if the truth and -justice to the dead and living permitted, one would gladly suppress. -But it must not be forgotten that Beethoven, on his death-bed, as -Schindler relates, expressed "his honest desire that whatever might -some day be said of him, should adhere strictly to the truth in every -respect, regardless of whether or not it might give pain to this or the -other person or affect his own person." - -Let us again take up the thread of our narrative. We are still to -imagine Beethoven living in the lofty, narrow house. No. 1055-6 -Sailerstätte, entered from the street, but its better rooms on the -other side looking over the old city wall and moat and out across -the Glacis and little river Wien to the suburb Landstrasse, where, -fronting on the Glacis, stood the institute of Giannatasio in which -his nephew was a pupil, having been placed there in February, 1816. -There is no record, nor do the sketchbooks show, that in the first half -of this year his mind was occupied with any important composition; -on the contrary, his time and thoughts were given to the affairs of -his nephew, to his purposed housekeeping and to quarrels with his -servants, as the frequent letters to the Streichers and Zmeskall show -~ad nauseam~. A curiously interesting picture of the man and his doings -is disclosed by the letters referred to, Fanny Giannatasio's records, -and the jottings which that young woman wrote down in the form of a -diary.[174] - -At the beginning of the year 1817, Beethoven seems to have harbored -a desire to take lodgings nearer the institute. Giannatasio offered -to let him have one which was at his disposal, but Beethoven declined -the offer with the words: "Gladly as I should like to make use of your -kind offer that I live with you in the garden-house, it is for various -reasons impossible." In April he moved into rooms in the Gärtnerstrasse -near the Streichers and the institute. Meanwhile there had been a -misunderstanding between him and Giannatasio. A fortnight later -explanations had been made and peace restored; but when Nanni asked -Beethoven if he was still angry he replied: "I think much too little of -myself to get angry." The nephew had been to blame and had disclosed -new evidences of a thoughtlessness which had deeply pained his good -uncle. - -Chiefly from the letters written in this year, we learn a sequence -of other happenings. Early in January, Beethoven sends copies of the -song-cycle, "An die ferne Geliebte," to Court Councillor Peters, tutor -in the house of Prince Lobkowitz, for the new prince whose Christian -name he does not know. In the same month he writes an autograph French -communication to Thomson, in Edinburgh, stating that all the songs -which he had commissioned in the previous July had been completed by -the end of September, but had not been forwarded because of an illness -from which he was not yet quite recovered. As to the folksongs of -various nations he urges that prose versions of the texts be obtained -as being preferable to the versified, a thing which he had suggested -before, the prose being a better guide for him to the sentiment of -the songs than rhymed lines. On January 30, he rebukes Zmeskall for -having pained him by sending him a gift in acknowledgment of the -dedication of the String Quartet, Op. 95, which had come from the press -in December, 1816. "Although you are only a performing musician," he -writes, "you have several times exercised the power of imagination, and -it seems to me that it has occasionally put unnecessary whims into your -head--at least so it seemed to me from your letter after my dedication. -Good as I am and much as I appreciate all the good in you, I am yet -angry, angry, angry." Other letters to Steiner at this time refer to -the Pianoforte Sonata in A, Op. 101, which was then in the hands of -the printers and appeared in February with a dedication to Baroness -Ertmann. The suggestion had gone out that German composers substitute -German terms in music in place of Italian. With characteristic -impetuosity, Beethoven decided to begin the reform at once, although -it seems to have involved the reëngraving of the title-page of the new -Sonata. He wrote to Steiner in the military style with which we are -already familiar: - - To the Wellborn Lieut[enant] Gen[eral], for his own hands. - - ~Publicandum~ - - After individual examination and taking the advice of my council - we have determined and hereby determine that hereafter on all - our works with German titles, Hammerclavier be printed in place - of pianoforte; our best Lt. Gen. as well as the Adjutant and all - others concerned will govern themselves accordingly and put this - order into effect. - - Instead of Pianoforte, Hammerclavier--which settles the matter once - for all. - - Given, etc., etc., - on January 23, 1817. - - by the - G[eneralissimu]s - ....m.p. - -Beethoven was in doubt as to the correctness of "Hammerclavier," -thinking that it might better be "Hämmerclavier." In another -communication he says the matter must be referred to a philologist. -At the same time he offers, if necessary, to pay for the engraving of -a new title, adding that perhaps the old one might be utilized for -another sonata. He bases his acceptance of the new word on the belief -that the instrument itself was a German invention--a theory long ago -disproved so far as the priority of the invention is concerned. - -Baroness Ertmann now lived at St. Pölten, where the command of her -husband lay quartered, and thither Beethoven sent a copy of the -"Hammerclavier" sonata accompanied by the following letter: - - My dear, valued Dorothea-Cäcilia! - - You must often have misunderstood me when I was obliged to appear - displeasing to you particularly in the early days when my style had - ~less recognition than it has now~. You know the teaching of the - un-called apostles who helped themselves along with quite other - means than the holy gospel; I did not want to be counted among - them. Receive now what was often intended for you and what may be - a proof of my affection for your artistic talent as well as your - person. That I did not hear you play at Czerny's recently was due - to my ill-health which at last seems to be giving way before my - strength. - - I hope soon to hear you, how it goes at Pölten with ..., and - whether you care anything for your - - Admirer and friend, - - L. van Beethoven, m.p. - - All things lovely to your worthy ~husband~ and ~consort~.[175] - -[Sidenote: REFLECTIONS COMMITTED TO PAPER] - -The picture of Beethoven's domestic affairs will gain in vividness by -imagining the following extracts from the so-called "Tagebuch" of the -Fischoff Manuscript to be scattered through these preceding pages. -Dates are nowhere given; but memoranda of letters to Brentano in April -follow which prove these notes to belong to the previous months: - - Never again live alone with a servant; there is always danger, - suppose, for instance, the master falls ill and the servant, - perhaps, also. - - He who wishes to reap tears should sow love. (Beethoven is here - surely thinking of his nephew.) - - The Compassionate Brothers (the monks) in Tell, form a semi-circle - around the dead man and sing in deep tones: - - ~Rasch tritt der Tod den Menschen an - Es ist ihm keine Frist gegeben - Er stürzt ihn mitten in der Bahn - Es reisst ihn fort vom vollem Leben - Bereitet oder nicht zu gehn! - Er muss vor seinen Richter stehen!~ - - ~Vidi malum et accepi.~--(Plinius.) - - ~Tametsi quid homini potest dari maius quam gloria et laus et - aeternitas.~--(Plinius.) - - What more can be given to man than fame and praise and immortality? - - ~Audi multa loquere pauca.~ - - Something must be done--either a journey and to this end the - writing of the necessary works or an opera--if you are again to - remain here during the coming summer an opera would be preferable - in case circumstances, but moderately--if the summer sojourn is to - be here, a decision must be made, where, how? - - God help me, Thou seest me deserted by all men, for I do not wish - to do wrong, hear my supplication, only for the future to be with - my Karl, since the possibility shows itself nowhere, O harsh fate, - O cruel destiny, no, no, my unhappy condition will never end. - - This one thing I feel and clearly comprehend, possessions are not - the highest things in life, but guilt is the greatest evil. - - There is no salvation for you except to go away, only thus can - you swing yourself up to the summits of your art again, while - here you are sinking into vulgarity, and a symphony ... and then - away--away--away--meanwhile collect the salary which mayhap can be - done yet for years. - - Work during the summer for the journey, only thus can you carry - out the great task for your poor nephew, afterward wander through - Italy, Sicily, with a few artists--make plans and be of good cheer - for the sake of C. - - In my opinion, first the saline baths, like those of Wiesbaden, - etc., then the sulphur baths like Aix-la-Chapelle were - everlastingly cold. Spend evenings and afternoons in company, it is - uplifting and not wearying and live a different life at home. - - Sensual enjoyment without a union of souls is bestial and will - always remain bestial; after it, one experiences not a trace of - noble sentiment but rather regret. - -Beethoven's mind was engrossed with the plans of travel indicated in -these excerpts throughout the year; he considered a tour of some kind -essential to the restoration of his health and the recovery of his -creative powers. A remittance from the Kinsky estate falling due in -April, he wrote a letter to Kanka asking him to make the collection -for him and enclosed a receipt. He complains of still feeling the -effects of an inflammatory catarrh with which he had been attacked in -the previous October, and ends by asking what would be the consequence -if he were to leave the Austrian Empire; would a signature sent from -a foreign place be valid?--meaning, probably, would such a signature -be looked upon as evidence of a violation of the contract which he -was under to his noble patrons not to take up a residence outside the -Austrian dominions. His chronic dissatisfaction with the conditions -which surrounded him in Vienna, as well as the moody mind in which -his illness had left him, also breathes through the following letter -(written in German) to Charles Neate in London: - -[Sidenote: EXPLANATIONS TO CHARLES NEATE] - - Vienna, April 19, 1817. - - My dear Neate! - - Since the 15th of October I have been seemingly ill and I am still - suffering from the consequences and not quite healed. You know - that ~I must live from my compositions alone~, I have been able - to compose very little, and therefore to earn almost nothing, all - the more welcome would it have been if you had done something - for me--meanwhile I suspect that the result of everything has - been--~nothing~. - - You have even written ~complainingly of me~ to Hering, which was - not deserved by my fair dealing with you--meanwhile I must justify - in the premises, namely: the opera Fidelio had been written for - several years, but the book and text were very faulty; the book had - to be thoroughly remodeled, wherefore several pieces of the music - had to be extended, others shortened, others newly composed. Thus, - for instance, the overture is entirely new, as well as various - other numbers, but it is possible that the opera may be found in - London, ~as it was at first~, in which case it must have been - stolen as is scarcely to be avoided at the theatre. As regards - the Symphony in A, as you did not write me a satisfactory reply, - I was obliged to publish it, I should as willingly have waited - 3 years if you had written me that the Philharmonic Society had - accepted it--but on all hands nothing--nothing. Now regarding - the ~Pianoforte Sonatas with Violoncello~, for them I give you - ~a month's time~, if after that I have no answer from you I - shall publish them in ~Germany~, but having heard as little from - you about them as about the other works, I have given them to a - German publisher who importuned me for them, ~but I have bound - him in writing (Hering has read the document) not to publish the - Sonatas until you have sold them in London~, it seems to me that - you ought to be able to dispose of these 2 sonatas for 70 or 80 - ducats in gold at least, the English publisher may fix ~the day - of publication in London and they will appear on the same day in - Germany~, it was in this manner Birchall bought and got the Grand - Trio and the Violin Sonata from me. I also beg you as a last favor - to ~give me an answer touching the sonatas as soon as possible. - Frau v. Jenny~ swears that ~you have done everything~ for me, - I too, that is to say I swear that you have done ~nothing~ for - me, are doing ~nothing~ and will do ~nothing~--~summa summarum~, - nothing! nothing! nothing!!! - - I assure you of my most perfect respect and hope ~as a last favor a - speedy reply~. - -The Sonatas had been published three months before this letter was -written, by Simrock in Bonn; a fact which Beethoven seems to have -assumed was not known in London. The Frau v. Jenny mentioned was -the Countess von Genney, through whose aid Beethoven hired a villa -in Hetzendorf, from Baron von Pronay in 1823. Beethoven's irascible -outbreak against Neate must be read in the light of the latter's letter -of explanation and apology dated October 29, 1816, and printed in the -preceding chapter. - -The new lodgings in Georgi were occupied by Beethoven on April 24, -1817, but the contract of rent may have been temporary and conditional, -for in July and again in September he wrote to Frau Streicher about -lodgings in the Gärtnergasse, and later in the year he changed his -lodgings, for which he had little use during the summer because of his -sojourn in the country. - -Alois Fuchs, now a youth of nearly 18 years, had come to Vienna some -months earlier to enter the university, dependent largely upon his -musical talents and knowledge for his support. Here he appears to have -studied the violin under Beethoven's old friend, Krumpholz. Whether -because the composer remembered him as the solo singer in his mass -at Troppau, or through the intervention of Krumpholz, Fuchs has not -informed us; but at any rate he had promised a contribution to the -youngster's album. On May 2nd Krumpholz died very suddenly of apoplexy -while walking on the Glacis, and Beethoven commemorated the event by -writing his "Gesang der Mönche" (from Schiller's "Tell") for three male -voices in Fuchs's album with the superscription: "In memory of the -sudden and unexpected death of our Krumpholz on May 3rd, 1817." The -date was not intended to record the time of composition, but of the -death of the violinist; as such a record it was an error. - -[Sidenote: KARL'S MOTHER MADE TO SHARE HER PENSION] - -After the composer's removal to the suburb Landstrasse, his mind was -much occupied with a new matter between himself and the widow van -Beethoven, namely, her bearing a share of the expenses of her son's -education. This was concluded by a contract signed by both parties on -May 10, 1817, binding her to pay at once into court 2,000 florins for -the lad's education and support, and in the future to pay to the same -tribunal every quarter at least one-half of the pension which the widow -was to receive, as well as other contributions. Reference is had to -this agreement in the following entries in the Fischoff "Tagebuch" in -January or February of the next year: - - Karl's mother asked for the contract, the basis of which was that - the house should be sold. From the proceeds of the sale it might be - counted upon that all debts could be paid out of the one-half and - also the half of the widow's income besides the money for Karl's - needs and desires, so that all (indeed! prob. not alone) might live - decently but well, but inasmuch as the house is not to be sold! - which was the chief consideration for the signing of the contract - since it was alleged that execution had already been levied against - it, my scruples must now cease, and I can well imagine that the - widow has cared pretty well for herself, which I most cordially - wish her. My duty, O Lord, I have done. - - It would have been possible without offending the widow, but that - was not the matter, and Thou, Almighty One, seest into my heart, - knowest that I have sacrificed the best of my own for the sake - of my precious Karl, bless my work, bless the widow, why cannot - I wholly follow my heart's inclinations and hereafter for the - widow---- - - God, God, my refuge, my rock, O my all, Thou seest my inmost heart - and knowest how it pains me to be obliged to compel another to - suffer by my good labors for my precious Karl!!! O hear me always, - Thou Ineffable One, hear me--Thy unhappy, most unhappy of all - mortals. - -This was the barren result of negotiations which had cost Beethoven, as -to any important work, the first half of the year. In May, Beethoven -took rooms in Heiligenstadt to try the baths for his obstinate catarrh, -of which he speaks in a characteristic letter to Countess Erdödy, -railing against his Italian physician (either Malfatti or Bertolini), -whom he accuses of lacking both honesty and insight, and describing the -treatment prescribed for him. - -Christian Kuffner, a poet, afterwards Court Secretary, who (though -Nottebohm questioned it) probably gave poetical form to the text for -the Choral Fantasia, also spent some time in the summer of 1817 in -Heiligenstadt, and, as he told Music Director Krenn, often went with -Beethoven of an evening to Nussdorf for a fish supper in the tavern -"Zur Rose." On one of these occasions, when Beethoven was amiably -disposed, Kuffner began: - - K.--Tell me frankly, which is your favorite among your symphonies? - - B.--(in great good humor) Eh! Eh! the "Eroica." - - K.--I should have guessed the C minor. - - B.--No; the "Eroica." - -Long years afterwards, in 1826, when Kuffner was negotiating with -Beethoven for an oratorio text, he recalled the meetings in Nussdorf -and wrote in Beethoven's Conversation Book: "Do you remember the -fisherman's house in Nussdorf, where we sat till midnight in the light -of the full moon on the terrace, before us the rushing brook and the -swollen Danube? I was your guest." Beethoven soon had his fish with -less trouble; he moved to Nussdorf, perhaps in June (at least he was -there in July, though he kept his lodging in the city), and in Nussdorf -he remained till October, sending occasional notes to Frau Streicher, -from which it appears that he was having his customary trouble with -servants. Here, too, he received the following highly important letter -from Ferdinand Ries, written in London on June 9, 1817: - - For a very long time I have been forgotten by you, although I can - think of no other cause than your too great occupation, and, as I - was compelled to hear from others, your serious illness. Truly, - dear Beethoven, the gratitude which I owe you and always must - owe you--and I believe I may honestly say I have never forgotten - it--although enemies have often represented me to you as ungrateful - and envious--is unalterable, as I have always ardently desired to - prove to you in more than words. This ardent desire has now (I - hope) been fulfilled, and I hope to find again in my old teacher, - my old and affectionate friend. The Philharmonic Society, of which - our friend Neate is now also a director, and at whose concerts - your compositions are preferred to all others, wishes to give you - an evidence of its great respect for you and its appreciation of - the many beautiful moments which your great works have so often - provided for us; and I feel it a most flattering compliment to - have been empowered with Neate to write to you on the subject. In - short, my dear Beethoven, we should like to have you with us in - London next winter. Friends will receive you with open arms; and - to give you at least one proof of this I have been commissioned on - behalf of the Philharmonic Society to offer you 300 guineas on the - following conditions: - - 1st. You are to be here in London next winter. - - 2nd. You are to write two grand symphonies for the Philharmonic - Society, which are to be its property. - - 3rd. You must bind yourself not to deliver any composition for - grand orchestra for any concert in London, nor direct any concert - before or during our eight concerts, which begin towards the end of - February and end in the first half of the month of June (without - the consent of the Philharmonic Society), which certainly will not - be difficult. - - Do not understand by this that we want to tie your hands; it is - only in case an opposition which we have once put down should again - arise, since the gentlemen might plan to have you for themselves - against instead of for us. At the same time it might call up many - enemies against you to decline something when the responsibility - would rest entirely with us directors, and we should not be obliged - to give heed to the matter. We are all cordially disposed in your - favor and I believe that every opportunity to be helpful to you - in your plans would sooner give us pleasure than any desire to - restrict you in the least. - - 4th. You are not to appear in the orchestra at any concert until - our first two concerts are over, unless you want to give a concert - yourself, and you can give as many of your own concerts as you - please. - - 5th. You are to be here before the 8th of January, 1818, free from - all obligations to the Society except to give us the preference - in the future in case we meet the same conditions offered you by - others. - - 6th. In case you accept the engagement and need money for the - journey you may have 100 guineas in advance. This is the offer - which I am authorized to make to you by the Society. - - All negotiations with publishers are left to you as well as those - with Sir G. Smart, who has offered you 100 guineas for an oratorio - in one act, and who has specially commissioned me to remind you - of an answer, inasmuch as he would like to have the work for - next winter. The intendant of the grand opera, G. Ayrton, is a - particular friend of ours. He does not want to engage himself, but - he promised us to commission an opera from you. - - Your own concert, or as many concerts as you choose to give, may - bring in a handsome sum to you as well as other engagements in - the country. Neate and I rejoice like children at the prospect of - seeing you here and I need not say that I will do all in my power - to make your sojourn profitable and pleasant; I know England, too, - and do not doubt your success for a moment. - - Moreover, we need somebody here who will put life into things and - keep the gentlemen of the orchestra in order. - - Yesterday evening our last concert took place and your beautiful - Symphony in A-sharp [B-flat] was given with extraordinary applause. - It frightens one to think of symphony writers when one sees and - hears such a work. Write me very soon an explicit answer and bid me - hope to see you yourself here before long. - -[Sidenote: PLANS FOR A TRIP TO ENGLAND APPROVED] - -Beethoven was prompt with his answer, but wishing to send a fair copy -to Ries and having his own reasons for not wanting Häring's handwriting -to appear in the correspondence he sent his letter to Zmeskall for -transcription and posting. The letter, which was promptly forwarded to -London, was as follows: - - Vienna, July 9, 1817. - - The propositions made in your letter of the 9th of June are very - flattering. You will see by this how much I appreciate them; were - it not for my unlucky affliction which entails more attendance - and cost than ordinary, particularly while travelling and in a - strange land, I would accept the Philharmonic Society's offer - ~unconditionally~. But put yourself in my place; reflect how many - more hindrances I have to contend with than any other artist, and - judge then if my demands be unfair. Here they are and I beg of you - to communicate them to the directors of the said Society. - - 1) I shall be in London in the first half of the month of January, - 1818, at the latest. - - 2) The two grand symphonies, newly composed, shall then be ready - and become and remain the exclusive property of the Society. - - 3) For them the Society is to give me 300 guineas and 100 guineas - for travelling expenses, which will be much more, since I must - necessarily take a companion with me. - - 4) Inasmuch as I shall go to work on the symphonies at once, the - Society is to advance me (on the acceptance of this offer) 150 - guineas here so that I may provide myself with a carriage and other - necessaries for my journey without delay. - - 5) The conditions respecting my non-appearance with another - orchestra in public and my non-conducting, and preferring the - Society under equal conditions are accepted by me and in view of my - sense of honor would have been understood as a matter of course. - - 6) I shall rely upon the support of the Society in the projection - and promotion of one, or, if circumstances justify, more benefit - concerts. The particular friendship of some of the directors of - your worthy ~Reunion~ as well as the kind interest of all artists - in my works are a guarantee for this and will increase my zeal to - fulfil all their expectations. - - 7) In conclusion I beg that the acquiescence in or confirmation - of the above be written out in English and sent to me with the - signatures of three directors of the Society. - - You can imagine that I heartily rejoice at the prospect of becoming - acquainted with the estimable Sir George Smart and of meeting you - and Mr. Neate again. Would that I might fly to you instead of this - letter! - -To this Beethoven appended an autograph postscript as follows: - - I embrace you with all my heart; I purposely employed the hand - of another in the above so that you might the more easily read - it to the Society. I am convinced of your kind feelings toward - me and hope that the Philharmonic Society will approve of my - proposition, and you may rest assured that I shall exert all my - powers worthily to fulfil the honorable commission of so select a - body of artists. How numerous is your orchestra? How many violins, - etc., etc., single or double ~wind-instruments~? Is the room large, - acoustically good? - -These letters, as well as those which passed between Beethoven and -Ries subsequently, ought to serve to indicate that the relationship -between them at this time was, and remained, one of cordial friendship, -Schindler's statements to the contrary notwithstanding. That -biographer's list of grievances between the men may have had a small -shadow of foundation, but after all it would be better to take them -with a few grains of salt. It is very possible, as Czerny told Jahn, -that Beethoven once complained to him that Ries imitated his style more -than was agreeable to him; but this is far from saying, as Schindler -says, that Ries, following a bent for brilliant technique, gradually -lost his understanding of Beethoven's works, took it upon himself to -find fault with some of his daring innovations and made arbitrary -changes in performing them. Nor does it seem likely that Ries should -have been so indifferent to the success of Beethoven's compositions in -London as to withhold his help while reporting their great popularity -to the composer in such enthusiastic words; yet Schindler intimates -that it was this fact which, coming to the ears of Beethoven, provoked -the latter to expressions of anger which in turn were reported to Ries. -There is in all this, we fear, an undercurrent of prejudice which is -not difficult of explanation; at any rate, if Ries cherished a feeling -of ill-will against his master it found no expression in the "Notizen." - -[Sidenote: DISCIPLINE FOR KARL AND HIS MOTHER] - -Efforts of the widow van Beethoven to keep in touch with her son, and -questions of discipline in his bringing-up and education, were matters -which weighed heavily on Beethoven's mind during the summer of 1817, -and occasioned more misunderstandings between Giannatasio and the -composer, as also much distress in the minds of the former's daughters, -especially the solicitous Fanny, as is evidenced by entries in her -diary under dates June 25 and July 8 and 21. In an undated letter which -seems to belong to this period, Beethoven explains to Giannatasio that -the mother had expressly asked to see Karl at his, the composer's, -house and that certain evidences of indecision on his part which his -correspondent had observed (and apparently held up to him) had not been -due to any want of confidence, but to his antipathy to "inhuman conduct -of any kind," and the circumstance that it had been put out of the -power of the woman to do the lad harm in any respect. On the subject of -discipline he writes: - - As regards Karl, I beg of you to hold him to strict obedience and - if he does not obey you (or any of those whom he ought to obey) - to ~punish~ him at once, treat him as you would your own child - rather than as a pupil, for as I have already told you, during the - lifetime of his father he could only be forced to obey by blows; - this was very bad but it was unfortunately so and must not be - forgotten. - -He requested that the letter be read to his nephew. Beethoven's -"antipathy to inhuman conduct of any kind" seems to have led him to -make concessions to the widow of which he soon repented. In a letter -to Zmeskall dated July 30, he says: "After all, it might pain Karl's -mother to be obliged to visit her son at the house of a stranger and, -besides, there is more harshness in this affair than I like; therefore -I shall permit her to come to me to-morrow"; and he urgently begs his -friend to be a witness of the meeting. In a note to Giannatasio he -informs him of his intention to take Karl to see his mother, because -she was desirous to put herself in a better light before her neighbors, -and this might help. But a fortnight after the letter to Zmeskall he -has changed his mind, as witness a letter to Giannatasio dated August -14, in which he writes: - - I wanted this time to try an experiment to see if she might not - be bettered by greater forbearance and gentleness ... but it has - foundered, for on Sunday I had already determined to ~adhere to - the old necessary strictness~, because in the short time she had - communicated some of ~her venom~ to Karl--in short we must stick to - the zodiak and permit her to see Karl only 12 times a year and then - so hedge her about that she cannot secretly slip him even a pin. It - is all the same to me whether it be at your house, at mine, or at a - third place. I had believed that by yielding wholly to her wishes - she might be encouraged to better her conduct and appreciate my - utter unselfishness. - -Notwithstanding the jeremiads in Beethoven's letters this year, and the -annoyance caused him by his sister-in-law, there are indications in -plenty that he was not on the whole in that state of dejection which -one might suppose. One of these indications is a work which amused him -during the summer, the story of which the careful Dehn admitted into -the "Cäcilia." A musician, whose name is not mentioned, brought to -Beethoven the Pianoforte Trio, Op. 1, No. 3, which he had arranged for -string quintet (two violins, two violas and violoncello). Though the -composer, no doubt, found much to criticize in the transcription it -seems to have interested him sufficiently to lead him to undertake a -thorough remodelling of the score, on the cover of which he wrote the -whimsical title: - - Arrangement of a Terzett as a - 3 voiced Quintet - by Mr. Goodwill - and from the appearance of 5 voices - brought to the light of day in 5 real voices - and lifted from the most abject ~Miserabilität~ - to moderate respectability - by Mr. ~Wellwisher~ - 1817 - August 14. - - N. B. The original 3 voiced Quintet score has been sacrificed as a - burnt offering to the gods of the Underworld. - -The score of the arrangement is in the handwriting of a copyist with -corrections by Beethoven; the title, however, is his autograph. It is -preserved in the Royal Library at Berlin. The work was published by -Artaria in February, 1819, as Op. 104. Beethoven evidently attached -considerable importance to it. He referred to it in letters to Frau -von Streicher, Zmeskall and Ries; it was performed at a musical -entertainment of the Gesellschaft der Musikfreunde in Vienna on -December 13, 1818. - -Beethoven having obtained possession of his nephew and placed him in -Giannatasio's institute, very naturally took measures that he should -have systematic instruction in music; to this end he employed Carl -Czerny as teacher, and to him we now turn for information on this -point.[176] Czerny writes: - -[Sidenote: PEDAGOGIC SUGGESTIONS TO CZERNY] - - In the year 1815 [1816], at his request I began teaching his - nephew Karl, whom he had already adopted, and from that time I - saw him almost daily, since for the greater part of the time he - brought the little fellow to me. From this period I still have many - letters written by him, one of which I reproduce here with absolute - fidelity because it is musically noteworthy: - - "I beg of you to have as much patience as possible with Karl even - if matters do not go now as well as you and I might wish, otherwise - he will accomplish even less, for (but this he must not know) he - is already subjected to too great a strain because of the improper - division of his studies. Unhappily this cannot be changed at - once, therefore treat him with as much loving consideration as - possible, but with seriousness; thus you will have better success - with Karl in spite of the unfavorable conditions. In regard to - his playing for you, I beg that not until he has acquired a - correct fingering and can play in time and reads the notes with - reasonable correctness, you direct his attention to the matter of - interpretation, and thereafter not to stop him because of ~trifling - mistakes~ but to point them out after he has finished the piece. - Although I have given but few lessons I have always followed this - method, it soon makes ~musicians~ which, at the last, is one of the - first purposes of art, and gives the minimum of weariness to master - and pupil. At certain passages like - - [Illustration: ~etc.~] - - I wish that you would use all the fingers occasionally as well in - such as these - - [Illustration: ~etc.~] - - so that they may be played in a gliding manner. True, such passages - sound 'pearly' as the phrase goes (played with few fingers) or - 'like a pearl,' but at times other jewels are desirable. More at - another time. I wish that you may receive all this in the loving - spirit in which it is expressed and intended, at any rate I am and - will always remain your debtor. May my sincerity be a pledge for - future payment so far as possible." - - Noteworthy in this interesting letter is the very correct view that - one ought not to weary the talent of a pupil by too much petty - concern (wherein much depends on the qualities of the pupil, it - is true) as well as the singular fingering and its influence on - interpretation. - - Much more valuable were Beethoven's oral remarks about all kinds - of musical topics, other composers, etc., touching whom he always - spoke with the greatest positiveness, with striking, often caustic - wit and always from the lofty point of view which his genius opened - to him and from which he looked out upon his art. His judgment even - concerning classic masters was severe, as a rule, and uttered as if - he felt his equality. At one lesson which I gave his nephew he said - to me: "You must not think that you will do me a favor by giving - him pieces of mine to play. I am not so childish as to desire that. - Give him what you think good for him." - - I mentioned Clementi. "Yes, yes," said he; "Clementi is very good," - adding, laughingly "For the present give Karl the regular things so - that after a while he may reach the irregular." - - After such conceits, which he was in the habit of weaving into - nearly every speech, he used to burst into a peal of laughter. - Since irregularities used to be charged against him by the critics - in his earlier days he was wont often to allude to the fact with - merry humor. At that time (about 1816) I began to have musical - entertainments at my home for my very numerous pupils every Sunday - before a very select circle. Beethoven was almost always present, - he improvised many times with kindly readiness and with that wealth - of ideas which always characterized his impromptu playing as - much, or often more, than his written works. As his compositions - were chiefly played at these meetings and he indicated the tempo, - I believe that in this respect I am intimately acquainted with - his wishes regarding his works (even his symphonies, which were - frequently played in arrangements for two pianofortes). - -[Sidenote: SOME ERRORS BY SCHINDLER CORRECTED] - -No animadversion upon the venerable Carl Czerny is intended in again -remarking that both in his memoirs and in the language in which he -has sometimes recorded them there is occasionally a very disturbing -inexactness. In the citations above the date 1815 for 1816, the loose -expression "from that time I saw him almost daily," "Beethoven was -almost always present" in the Sunday music meetings, which can have -been true only of the first months, and the words "he improvised many -times," must not be understood too literally. Schindler, in whose hands -Jahn placed Czerny's notes and other manuscripts for examination and -remark, observes touching this improvising: "Only twice; the first -time when Frau von Ertmann played one of his sonatas, the other time -when Czerny performed Op. 106, which he had repeatedly gone through -with him. In the year 1818, and those that followed, Beethoven never -improvised outside of his own dwelling." Schindler is certainly -mistaken upon this last point, and, very possibly, upon the other. It -is not a matter of much importance in any aspect, but it offers an -opportunity for remarking upon errors in his dates which have long -been and still are an abundant source of confusion in this part of -Beethoven's life, like those of Wegeler and Ries in his youth and -early manhood. More than one recent writer speaks of his "intimate -association with the composer from the year 1814 onward"; one has even -learned that "he lived ten years in the same house with Beethoven, -devoting all the time at his command to him." Nothing is more common -than to find circumstances accepted as undoubted facts on Schindler's -authority. The present writer[177] discussed at length Schindler's -character as a biographer with Otto Jahn, both of us having known him -personally. Our opinions coincided perfectly. We held him to be honest -and sincere in his statements, but afflicted with a treacherous memory -and a proneness to accept impressions and later formed convictions as -facts of former personal knowledge, and to publish them as such without -carefully verifying them. In justice to him it must be remembered -that when, at Frankfort-on-the-Main, he rewrote his book in the form -in which it appeared in 1860, he had no longer the means of doing -this, for the Conversation Books which would have prevented his more -glaring errors had, since 1845, been in the Royal Library in Berlin. -Therefore, whoever studies his life of the master and his numberless -contributions to the periodical press during the long period of thirty -years--all abounding in biographical matter of great value--must -be continually upon his guard. When one seeks precise information -upon Beethoven's life during the years 1816-1820 in Schindler's -writings, his notices are found to be so meagre and vague, and to -exhibit occasionally such inconsistencies and errors, as to awaken -the suspicion that he, as to those years, did not always write from -personal knowledge, and that his memory served him ill. - -If he had had the Conversation Books still in his possession he could -not have written: "About 1817, Oliva left the Imperial City forever," -for there he would have seen that Oliva was still in his old relation -with Beethoven in 1820. Again: "Already in 1816 he [Beethoven] -found himself involved in circumstances which compelled him to do a -vast amount of writing. Dr. Bach, in whose office I worked several -hours every day, advised him to confide everything to me; thus I -became Beethoven's private secretary--without pay." Later we read in -connection with the topic of Beethoven's nobility, and the transfer of -his suit with the mother of Karl to the Vienna magistracy: "There it -was possible to achieve something advantageous to Beethoven only by -dismissing his representative and pitting an entirely different person -against his opponent. His choice fell upon Dr. Johann Baptist Bach, who -had just entered the ranks of the court and trial advocates." Finally: -"When Dr. Bach took his case in hand he declared that thenceforward his -client must present himself with the title of Chapelmaster, because -the gentlemen magistrates were chiefly Boeotians, and a composer was as -good as nothing in their eyes, etc." Now, a document of the Landrecht -dated November 29, 1815, contains these words: "Ludwig van Beethoven -(Royal Imperial Chapelmaster and Music Composer)." Dr. Bach may have -continued to use this title, but how could he have introduced it? -Again: "Dr. Bach took the oath as advocate on January 21, 1817." How -then could Schindler in 1816 have "worked several hours every day" -in an office not yet in existence? Still again: the decree of the -Landrecht transferring Beethoven's case to the Magistracy is dated -December 18, 1818, and Schindler is correct in making this the cause -of the employment of Dr. Bach in 1819; how then could he have been the -composer's "private secretary" on Bach's recommendation during the two -years preceding? - -The unavoidable conclusion is this: Although there is no reason to -doubt that Schindler was upon excellent terms with Beethoven, and -often visited him in 1817-1819, the "intimate association" above-noted -and in the sense there intended, could not have begun before 1819; -and even then, for Oliva was still in Vienna, did not extend beyond -aiding in correspondence and like duties. The earliest Conversation -Book preserved by Schindler is from April, 1819, in which both he -and Dr. Bach write; and from this time onward these books show that -the association grew more intimate and of course his records become -more trustworthy. Returning to the trivial matter which led to this -digression, the accuracy of Schindler's statement that Beethoven -improvised but twice at Czerny's Sunday concerts may well be doubted. -Czerny's testimony is the weightier. - -We resume an account of the events of the year. In August and September -the after-effects of the attack of catarrh and the state of Beethoven's -health generally are so distressing and so depressing upon his spirits -that he seems to be on the verge of despair. A letter which Zmeskall -notes as received by him on August 21, says: "God have pity on me! I -look upon myself as good as lost. This servant ~steals~. My health -calls for meals at home. If my condition does not improve I shall not -be in London next year--perhaps in my grave. Thank God, the part is -nearly played." On September 9, he writes to the same friend: "I ~am -trying~ every day to near my grave, without music." Only two days -later he is able to report to Zmeskall that the reply to his letter -had been received from the London Philharmonic Society (on September -10). There is no tone of elation in his note; it merely mentions the -arrival of the letter and a request for the name of some one who could -translate it for him, it being in English. As might have been expected -the Philharmonic Society rejected the new terms demanded by him, but, -as the Society's records show, repeated the old. These were now at once -accepted by Beethoven. - -And did he now sit himself down zealously and perseveringly to work on -a ninth and tenth symphony? Not at all. His thoughts had become engaged -upon a new pianoforte sonata (in B-flat, Op. 106), and so far as is yet -discovered, he did not even resume his work on the Ninth Symphony, some -parts of which were already sketched. That "indecision in many things," -noted by Breuning a dozen years before, was only aggravated by the -lapse of time; and this now was his bane. There was really nothing to -prevent his departing at once except that the new symphonies were still -to be written. If his nephew must remain in or near Vienna, he could -nowhere be so well placed as in the school and family of the excellent -Giannatasios, who had all the necessary legal power to save the boy -from the bad influence of his mother. The effects of such a journey; -of a stay of some months in England; of the intercourse of cultivated -people; of the enthusiastic admiration which awaited him there, and of -the great pecuniary rewards for his labors which were certain, could -only have been propitious in the highest degree to both his physical -and mental health. There was, too, just now a new and powerful motive -for accepting and fulfilling this engagement. - -[Sidenote: WHAT MIGHT HAVE COME FROM A LONDON VISIT] - -Though the depreciation of the redemption certificates never quite -touched the point feared by him in his letter to Ries in 1815, it -did once amount to 4 for 1; and the Government was again forced to -repudiate its obligations in part. It founded that National Bank -(seven shares in which Beethoven soon afterwards purchased), and -made a contract with a new institution by which the bank assumed the -obligation of redeeming the redemption certificates at the rate of -2-1/2 for 1. It went into full operation July 15, 1817, and thenceforth -Beethoven's annuity remained instead of 3,400 florins in that paper, -1,360 florins in silver. But this fatal indecision! Could he have but -resolutely taken up any two of the many new symphonies which he had -planned, as the sketchbooks show, and once fairly engaged himself upon -them, he could not have rested until they were finished; he could, and -doubtless would, then have redeemed his promises; and like Handel, -Haydn and many other German musicians of far less note, have secured -from an admiring and generous London public an ample sufficiency for -the future. The standard of excellence was high and catholic in London -and musical taste pure and exalted. True, at the first trial of the -C minor Symphony by the Philharmonic Society a part of it only was -played, for the leader of the violins--really the conductor, as the -orchestras were then constituted--declared it "rubbish." But this -leader was a German--our old Bonn acquaintance J. P. Salomon. He, -however, repented and made amends. At another trial of it, two or three -years afterwards, after the first movement, Salomon laid his violin -upon the pianoforte, walked to the front and, turning to the orchestra -said (through his nose): "Gentlemen, some years ago I called this -symphony rubbish; I wish to retract every word I then said, as I now -consider it one of the greatest compositions I ever heard!" - -[Sidenote: CIPRIANI POTTER AND BEETHOVEN] - -We have had occasion heretofore to refer to several young British -Beethoven enthusiasts; another is now added to the list--Cipriani -Potter--who came just at this time to Vienna, bringing letters to the -composer from Neate, Ries, Rode, Dragonetti and others. He heard so -much of Beethoven's rudeness of manners and moroseness of disposition, -and so often noticed how people shook their heads when he or his -music was mentioned, that he hesitated to visit him. Two weeks had -thus passed when one day, at Streicher's, he was asked if he had seen -Beethoven and if he had letters to him. He therefore explained why he -had not seen him. He was told this was all nonsense; Beethoven would -receive him kindly. He exclaimed: "I will go out at once!" which he -did, namely, to Mödling.[178] He presented a letter or two, one of -the first being that of Dragonetti. Upon opening that Beethoven also -opened his heart to his visitor and demanded immediately to see some -of his compositions. Potter showed him an overture--probably one that -had been commissioned and played by the London Philharmonic Society in -1816. Beethoven looked through it so hurriedly that Potter thought he -had only glanced at it out of politeness and was greatly astonished -when Beethoven pointed to a deep F-sharp in the bassoon part and said -it was not practicable. He made other observations of a similar nature -and advised him to go to a teacher; he himself gave no lessons but -would look through all his compositions. In answer to Potter's question -as to whom he would recommend, Beethoven replied: "I have lost my -Albrechtsberger and have no confidence in anybody else"; nevertheless, -on Beethoven's recommendation Potter became a pupil of Aloys Förster, -with whom he studied a long time until one day the teacher said to -him that he had now studied sufficiently and needed only to practise -himself in composition. This brought out the remark from Beethoven that -no one ought ever to stop studying; he himself had not studied enough: -"Tell Förster that he is an old flatterer!" Potter did so, but Förster -only laughed. Beethoven never complimented Potter to his face; he would -say: "Very good, very good," but never give unequivocal praise. Yet -at Streicher's he praised him and expressed his surprise that Potter -did not visit him at Mödling.[179] Once Beethoven advised him never -to compose sitting in a room in which there was a pianoforte, in order -not to be tempted to consult the instrument; after a work was finished -he might try it over on the instrument, because an orchestra was not -always to be had. - -Beethoven used to walk across the fields to Vienna very often and -sometimes Potter took the walk with him. Beethoven would stop, look -around and give expression to his love for nature. One day Potter -asked: "Who is the greatest living composer, yourself excepted?" -Beethoven seemed puzzled for a moment, then exclaimed "Cherubini." -Potter went on: "And of dead authors?" Beethoven answered that he had -always considered Mozart as such, but since he had been made acquainted -with Handel he had put him at the head. The first day that Potter was -with Beethoven the latter rushed into politics and called the Austrian -government all sorts of names.[180] He was full of going to England and -said his desire was to see the House of Commons. "You have heads upon -your shoulders in England," he remarked. One day Potter asked him his -opinion of one of the principal pianists then in Vienna (Moscheles). -"Don't ever talk to me again about mere passage players," came the -answer. At another time Beethoven declared that John Cramer had -given him more satisfaction than anybody else. According to the same -informant, Beethoven spoke Italian fluently but French with less ease. -It was in Italian that Potter conversed with him, making himself heard -by using his hands as a speaking-trumpet; Beethoven did not always -hear everything, but was content when he caught the meaning. Potter -considered "Fidelio" the greatest of all operas and once remarked to -Beethoven that he had heard it in Vienna, which brought out the remark -that he had ~not~ heard it, as the singers then at the opera-house were -not able to sing it. He was asked if he did not intend to write another -opera. "Yes," replied Beethoven, "I am now composing 'Romulus';[181] -but the poets are all such fools; I will not compose silly rubbish." -Potter told him of the deep impression made upon him by the Septet -when first he heard it; Beethoven replied in effect that when he wrote -the piece he did not know how to compose; he knew now, he thought, -and, either then or at another time, he said, "I am writing something -better now." Soon after, the Pianoforte Sonata in B-flat (Op. 106) was -published. - -Another visitor now, and probably occasionally during the winter -following, was Heinrich Marschner, who had come from Carlsbad to Vienna -on the invitation of Count Amadée. He was 21 years old, ambitious and -eager to get Beethoven's judgment on some of his compositions, which -he carried to the great master in manuscript. Beethoven received him, -glanced through the music hurriedly, handed it back with a muttered -"Hm," in a tone more of satisfaction than dispraise, and the words: -"I haven't much time--do not come often--bring me something again." -The young man was grievously disappointed; he had expected so much -more. He did not understand Beethoven's sententious manner, and not -until he told the story of his reception to his patron and Prof. Klein -of Pressburg, did he recall that Beethoven had looked kindly upon -him when he spoke the words and had given him his hand at parting. -He had gone to his lodgings in a passion of despondency, torn up the -manuscripts, packed his trunk with the resolve to abandon music and -return to Leipsic to continue his studies for the profession for which -he had been designed. But now, on the advice of his friends, he took a -different view of Beethoven's actions, and continued his intercourse -with him. The great man was always gracious, and even occasionally let -fall a word of encouragement; but an intimacy never sprang up between -them. - -[Sidenote: ANOTHER MYSTERIOUS PASSION] - -Beethoven's intercourse with a third new acquaintance was, doubtless, -far more delightful than any other; but not at all of the nature -assumed by Schindler, who has attributed to it a very exaggerated -and, indeed, ludicrous importance. This visitor was Frau Marie -Pachler-Koschak, of Gratz, whom Anselm Hüttenbrenner described as -the most beautiful maiden and for several years the most beautiful -woman in her native town, who was called "heaven's daughter," and who -"glowed with admiration for Jean Paul, Goethe, Schiller, Beethoven, -Mozart and Schubert." Beethoven had already heard from Prof. Schneller, -whose pupil she had been, of her extraordinary beauty, talents, -intellectual culture and refinement, and of her genius for music. He -had unconsciously the year before borne testimony to this last in -this wise: Her brother-in-law, Anton Pachler, ~Dr. jur.~ in Vienna, -had at her request showed him for an opinion a fantasia composed by -her, but without disclosing the author's identity. Beethoven looked -at the piece carefully and said that it was a good deal from one -who had not studied composition, and if the composer were present -he would point out the faults in it; it would take too much time to -do this in writing and the composer would find them out for himself -if he studied diligently. The lady was 24 years old and had been -married a little over a year. She had never been in Vienna, Beethoven -never in Gratz, and they, of course, had never met. But when they -did, it could not be as strangers; for his music had been to her -like a new divine revelation, and such noble mental and personal -qualities as distinguished her always awakened in him feelings akin to -worship. Unfortunately, absolutely nothing is known of their personal -association except that Dr. Anton Pachler introduced her to him, -that she wrote ten years later that "they were often in each other's -company," and that Beethoven wrote her two notes "in pencil"--one -utterly illegible, the other in terms placing her as a player of his -pianoforte music even higher than Frau von Ertmann. He wrote: - - I am greatly delighted that you will remain another day, we will - make a lot more music, you will play the sonata in F major and C - minor for me, will you not? I have never yet found anybody who - plays my compositions as well as you do. Not even excepting the - great pianists, they either have nothing but technique or are - affected. You are the true guardian of my intellectual offspring. - -Her son has so fully exploded Schindler's assumption that she was the -object of Beethoven's "autumnal love" that no words need be wasted upon -it. It was, no doubt, upon seeing in Beethoven's papers the letter -"M"[182] in this outburst of feeling: - - Love alone--yes, only love can possibly give you a happier life--O - God, let me--let me finally find the one--who will strengthen me in - virtue--who will ~lawfully~ be mine. - - Baden on July 27 - - when M drove past and seemed to give a glance at me-- - -A consideration of the dates given in Dr. Pachler's pamphlet proves -conclusively, however, that this "M" cannot refer to Marie Pachler, for -its writer could never have seen her "drive past" on any 27th of July! - -There are few unmarried men of highly sensitive nature who have not -had the bitter experience of a hopeless passion, who have not felt -how doubly grateful at such times is intercourse with a glorious -creature like Madame Pachler, and how beneficial in preventing the -thoughts from continually dwelling on the impossible, and thus aiding -reason and conscience to gain the victory over the heart and fancy. -Now it happens that one of Beethoven's transient but intense passions -for a married woman, known to have occurred in this period of his -life, has its precise date fixed by these passages in the so-called -"Tagebuch" from the years 1816 and 1817. "In the case of T. there is -nothing to do but to leave it to God, never to go where one might do -a wrong through weakness--to Him, to the all-knowing God, be all this -committed." And again: "But as kind as possible to T. her attachment -deserves never to be forgotten even if the results could never prove -advantageous to you." Let the reader recall the passages in his letters -showing a strong desire to leave Vienna and read again: "Work during -the summer for the journey, only thus can you carry out the great -task for your poor nephew, afterwards wander through Italy, Sicily, -with a few artists--make plans and be of good cheer for the sake of -C...." The last initial is uncertain. Other copies have "L."; what the -original was in Beethoven's handwriting is not now to be determined. -No instance, however, is known of his writing his nephew's name with -a C, and this "C" or "L" was probably T. As the family name of this -lady, whose husband was a man of high position and distinction though -not noble by birth, is known, it is certain that the T in the above -citations is not Therese Malfatti, now Baroness Drosdick; but as her -baptismal names have eluded search one can only hint the possibility -that the "T" and "M" may indicate the same person, and that this last -cry of anguish was written a year or two afterwards when the sight of -"M" again, for a moment, tore open a half-healed wound. - -[Sidenote: BEETHOVEN AND MÄLZEL'S METRONOME] - -In numbers 5 to 8 inclusive of the "Neue Musik-Zeitung" appeared, from -the pen of J. Kandler, a long article containing historical notices of -various attempts to produce a satisfactory instrument for measuring -time in music, and closing with an account, taken from the English, of -Mälzel's metronome. To No. 25 (June 19) of the same journal, Gottfried -Weber contributed a paper "On a chronometric tempo designation -which makes Mälzel's metronome, as well as all other chronometric -instruments, unnecessary," in which he repeated his idea, already put -forth in the Leipsic "Musikzeitung" in 1813, that the simplest and most -correct chronometer is a simple pendulum, a bit of thread with a bullet -at the end, whose oscillations would mark the duration of measures -according to the length of the thread. This article pleased Beethoven, -and in one of his variations on the theme of pens he commends it to -his "~clarissime amice~" Zmeskall, as the best invention yet made. -Zmeskall took up the subject with interest and in two articles in the -same journal called attention to the fact that Neate, in London, had -described a time measurer of the same kind which was known in England, -but had not remained long in use--"a little ball hanging at the end of -a thread and below it a line divided into a scale of inches." Zmeskall -approved of Weber's suggestion in principle but improved upon it by -proposing that the oscillations of the pendulum indicate the duration -of a note instead of a measure, and that the varying lengths of the -pendulum be marked by knots in the thread. Beethoven, to whom Zmeskall -seems to have sent his contrivance, was interested and lauded its -simplicity, playfully wondering whether or not it might be used in -measuring from time to eternity. - -Music had already come from the press with Mälzel's tempo marks, and -Weber, who seems to have had no kindly feeling for him, prints an -article, in the number of the journal following Zmeskall's, entitled -"Mälzel's Metronome to be had gratis everywhere," and gives a table -showing the lengths of a pendulum in Rhenish inches and French -centimetres corresponding to all the numbers on the metronome. As the -months passed, the metronome had come largely into use in England, -France and the United States, but not in Germany and Austria. It was -of high importance to the manufacturers of the instruments to obtain -the countenance and good will of the composers in those countries -also--Salieri, Weigl, Beethoven, etc.--and Mälzel came back to Vienna -to try the effect of personal effort, taking the risk of any serious -consequences arising from the lawsuit between him and Beethoven. But -there were none. The matter was amicably adjusted, each party paying -half of the legal expenses which had been incurred. This would be -incredible had Beethoven had any substantial grounds for the action; -for his sanction of the metronome was of such value that Mälzel would -readily have conceded much to obtain it; and the whole tone of the -composer's correspondence in this period, so far as relates to his -pecuniary affairs, shows how little likely he was to sacrifice any just -claim. - -Beethoven was at first not well disposed to the instrument, -notwithstanding he had joined Salieri and the other composers in -strongly recommending the "chronometer" in 1813, which certificate -had been used in England ~a fortiori~ for the new metronome. In a -letter[183] Mr. Joseph J. Mickley, of Philadelphia, writes: "Mr. -Mälzel, with whom I was well acquainted, told me that he had been -particularly anxious Beethoven should mark his music by his metronome, -and to get his recommendation; that he (B) refused and became quite -indignant, saying: 'It is silly stuff; one must feel the tempos'"; -but Beethoven soon yielded to the obvious considerations in favor of -the invention. These were presented to the public together with the -objections to Weber's and Zmeskall's pendulums, clearly, explicitly -and cunningly by Mosel in an article in Steiner's "Musik-Zeitung" on -November 27, which put an end to controversy on the topic. - -Meanwhile, Beethoven had prepared a table of tempos for his eight -symphonies which was printed in the Leipsic "Allgemeine Musik-Zeitung" -on December 17 (copied, says Nottebohm, from a little pamphlet -published by Steiner and Co. in which also tempos of the Septet were -included), and followed this up with a general metronomizing of his -works. On the autograph of his song, "Nord oder Süd," he wrote: "100 -according to Mälzel; but this must be held applicable to only the first -measures, for feeling also has its tempo and this cannot entirely be -expressed in this figure (i. e., 100)."[184] - -If the picture of Mälzel drawn by Schindler and his copyists is true, -even the most Christian and forgiving spirit could scarcely have -demanded more of Beethoven than this public acknowledgement of the -value of the metronome by way of heaping coals of fire upon his head; -but he did more, by writing to Mosel this very valuable and for us very -interesting letter: - - I am heartily rejoiced that you agree with me in the opinion - touching the time designations which date back to the barbarous - period in music, for what, for instance, can be more nonsensical - than ~Allegro~, which always means ~merry~ and how often are we - so far from this conception of time that the piece says the very - ~opposite of the designation~. As regards these 4 chief speeds - (~Hauptbewegungen~), which by no means have the correctness or - truthfulness of the chief winds, we gladly allow that they be put - aside, it is a different matter with the words used to designate - the character of the composition, these we cannot give up, since - time is really more the body while these have reference to the - spirit. So far as I am concerned I have long thought of giving - up the nonsensical designations ~Allegro~, ~Andante~, ~Adagio~, - ~Presto~; Mälzel's metronome gives us the best opportunity to do - this. I give you ~my word~ that I shall ~never use them again~ in - my new compositions--it is another question if we shall thereby - accomplish the necessary universal use of the instrument--I do - not think so. But I do not doubt that we shall be decried as - ~taskmasters~, if the cause might thus be served it would still - be better than to be accused of ~feudalism~--I therefore think - that it would be best, especially in our countries where music has - become a national need and every village schoolmaster ought to use - the metronome, that Mälzel try to dispose of a certain number of - metronomes by subscription at higher prices, and that as soon as - his expenses are thus covered he will be in a position to furnish - the needed metronome for the national need so cheaply that the - greatest universality and ~widest distribution~ may be expected. - It is self-evident that somebody must take the initiative in this - matter so that zeal be aroused. As for me you may count on me and I - await with pleasure the post of duty to which you will assign me. - -Still more: he joined with Salieri in a public announcement which was -printed in the "Wiener Allgemeine Musikalische Zeitung" of February -14, 1818, setting forth that the metronome would attest its utility -forever, was indispensable to all students of singing, the pianoforte -or other instruments, etc. On one of the last days of December, -Beethoven writes to Madame Streicher: "Day before yesterday I was busy -with Mälzel, who is in a hurry as he is soon to leave here." What had -he so important to do with this "rude fellow, wholly without education -or breeding," to cite his own words? Was it in contemplation to make -this sudden zeal for the metronome a source of pecuniary profit? No one -knows. - -[Sidenote: STUDIES IN HOUSEHOLD ECONOMY] - -As the lodging in the Sailerstätte was separated from Giannatasio's -institute by the whole breadth of the Glacis, Beethoven, on his -return from Mödling, exchanged it for one in the house "Zum grünen -Baum," first ~étage~, 2nd storey, No. 26, in the Gärtnergasse, suburb -Landstrasse. He was now near both his nephew and the Streichers (in -the Ungarstrasse), and, with the aid of Madame Streicher, he had at -last brought his domestic arrangements into a condition so that he -might take his nephew to himself. While making these arrangements, -doubtless he asked practical guidance of some unknown friend touching -his table. On one side of a large sheet of paper (it is now preserved -in the Royal Library in Berlin) he wrote a list of questions which were -painstakingly answered, by the friend to whom they were addressed, on -the opposite page. The questions were as follows: - - What ought one to give 2 servants to eat at dinner and supper both - as to quantity and quality? - - How often ought one to give them roast meat? - - Ought they to have it at dinner and supper too? - - That which is intended for the servants, do they have it in common - with the victuals of the master, or do they prepare their own - separately, i. e., do they have different food from the master? - - How many pounds of meat are to be reckoned for 3 persons? - - What allowance per day do the housekeeper and maid receive? - - How about the washing? - - Do the housekeeper and maid get more? - - How much wine and beer? - - Does one give it to them and when? - - Breakfast? - -Beethoven announced his intention to take his nephew to himself at the -end of the current quarter in a letter to Giannatasio dated November -12, 1817. The step involved not only an increase in his expenses, but -also an abandonment of his engagement with the London Philharmonic -Society and of all the profits which might thence arise. Giannatasio, -moved by his complaints of poverty, and probably also by a desire to -aid him in the proposed visit to London, kindly offered to keep the -boy at a much reduced rate of remuneration for board and instruction. -Beethoven's reply shows him to be still undecided as to his movements -in the coming spring, and it is possible, could he have made ready the -required symphonies, that he might have gone to England; but now the -new Sonata had got possession of his imagination, and the symphonies -must wait. - -But one public appearance professionally of Beethoven is recorded -this year. At the concert for the Hospital Fund on December 25, the -first part was devoted to the Eighth Symphony, which was conducted by -the composer. In the second part Seyfried produced C. P. E. Bach's -oratorio, "The Israelites in the Wilderness," which he had revised, -adding to the accompaniments, curtailing the airs, prefixing it -with the well-known fugue on B-A-C-H (orchestrated by himself), and -concluding it with the double chorus "Holy, holy, holy." Nottebohm -has shown that the sketches for the overture on the name of the great -Leipsic cantor which Beethoven once thought of writing, belong to a -later period; but it is yet possible, if not likely, that he conceived -the idea at this concert. On November 15, Anton Halm gave a concert -for the benefit of the poor in the Kärnthnerthor-Theater at which the -Choral Fantasia was performed; but we know nothing of Beethoven's -participation in it in any way. - -[Sidenote: FUGUES AND THEIR CONTENTS] - -It is probable that to this time is to be assigned a portrait in oils -painted by Christoph Heckel, who was a student at the Royal Imperial -Academy in Vienna from 1814 to 1818. Beethoven, it is said, made the -acquaintance of the painter in Streicher's pianoforte wareroom. There -is but little to be added to what has been said about the compositions -of this almost sterile year. The transcription of the Pianoforte Trio -as a quintet (which was the largest work of the year), and the "Song -of the Monks," written on the death of Krumpholz, have been mentioned. -Besides these we have a few short songs with pianoforte accompaniment. -"Nord oder Süd" (also known as "So oder So"), the poem by Karl Lappe, -was known and widely liked in a setting by K. Klage. "Resignation" -("Lisch aus mein Licht"), words by Count Paul von Haughwitz, was -composed towards the end of the Summer, and the sketches show that -Beethoven contemplated a setting for four voices. A Fugue in D major, -for five stringed instruments, was completed on November 28, 1817, -and was designed for the manuscript collection of Beethoven's works -projected by Haslinger, who published it soon after Beethoven's death -in 1827, as Op. 137. Beethoven was particularly interested in fugues -at the time. "To ~make~ a fugue requires no particular skill," he said -later to Holz; "in my study days I made dozens of them. But the fancy -wishes also to assert its privileges, and to-day a new and really -poetical element must be introduced into the old traditional form." The -sketches for the conclusion of the Quintet fugue (Nottebohm, "Zweite -Beethoveniana," p. 350) are mixed with notes from Bach and others -showing how zealous were his studies in the form at that time. The year -also saw work done on the Pianoforte Sonata in B-flat, Op. 106, and the -beginning of the Symphony in D minor. - -The list of publications for the year is also very small: - - 1. Sonata for Pianoforte, A major, Op. 101; Steiner and Co. - - 2. Two Sonatas for Pianoforte and Violoncello, Op. 102, published, - apparently in January, 1817, by Simrock in Bonn, and in 1819 by - Artaria in Vienna. - - 3. Song: "So oder So"; as supplement in the "Modenzeitung" of - February 25. - - 4. Song: "Ruf vom Berge"; supplement to Treitschke's poems, for - which it had been composed at the close of 1816. - - 5. The canon: "Lerne Schweigen," written for Neate; supplement to - Kanne's "Allg. Mus.-Zeit." March 6, and on June 5 with Payer's - solution. - - 6. Volume III of the Welsh songs written for Thomson. - -FOOTNOTES: - -[172] Mr. Fry was for many years editorial writer and music critic of -the "New York Tribune," with which Mr. Thayer was also associated for a -time. - -[173] Since Thayer wrote, all these letters have been published in -German as well as in English translation and may easily be consulted by -the student. - -[174] Dr. Herman Deiters, who wrote the concluding two volumes of -Thayer's biography, making use of the material and framework left by -the author, devotes twenty-nine pages in the appendix of the fourth -volume to Fanny Giannatasio's notes of Beethoven's intercourse with -her father's family and her sentiments concerning the composer. These -notes, together with a number of letters, had been used by Edward -Duboc (Robert Waldmüller) in the preparation of two articles which -were published in the "Grenzboten" of April 3 and 10, 1857. A complete -transcript of the diary was found by the editor of the present edition -of this biography among Thayer's posthumous papers and forwarded to Dr. -Deiters. The circumstances under which the transcript was made deserve -to be set forth here. When Thayer took up his permanent abode in Europe -for the purpose of prosecuting his researches concerning Beethoven, -the manuscript was owned by Frau Pessiak, granddaughter of Kajetan -Giannatasio del Rio, daughter of Fanny's sister Anna, familiarly known -as "Nanni." Through the mediation of Dr. Gerhard von Breuning, Thayer -had come into possession of a copy of such passages of the diary as -referred to Beethoven. On his first visit to Vienna, Thayer called -upon Frau Pessiak, then a prominent teacher of singing in the Austrian -capital, to thank her for her kind help. The acquaintance thus made, -quickly ripened into a cordial friendship, and when Thayer was about -to return to his home, the lady, to his surprise and delight, placed -the manuscript into his hands and gave him permission to carry it with -him to Trieste for examination at leisure. One reason for the act -was, if possible, to obtain a rectification of what she considered a -grievous wrong done to her aunt's memory by Ludwig Nohl. This writer -had, some time before, importuned her for the privilege of reading the -diary and using it in the preparation of his biography of Beethoven. -After many protestations, due to the fact that a number of letters -from Beethoven to her grandfather had mysteriously disappeared from -the family archives (Thayer found some of them later in the possession -of a music publishing house in London), Frau Pessiak yielded to Nohl's -requests. Shortly after the manuscript had been returned to her, there -appeared a booklet entitled: "Eine stille Liebe zu Beethoven. Nach -dem Tagebuch einer jungen Dame. Von Ludwig Nohl." (Second edition, -Leipsic, 1902), in which excerpts, wrenched from their context, were -made the foundation of a story of a romantic, but unconfessed and -unrequited passion for the composer on the part of the unnamed author -of the diary. Frau Pessiak felt deeply wounded that such unauthorized -and unpardonable use had been made of an effusion designed only for -the eyes of its writer, and wanted now to learn whether or not the -deduction was consistent with the utterances of the diary as a whole. -Thayer, after a study of the manuscript and all the circumstances -connected with the relations between Beethoven and the family of -the writer, thought not; and his conclusion, evidently, was that of -Dr. Deiters also, who printed copious extracts compassing all the -references to Beethoven found in the manuscript. - -[Sidenote: A YOUNG WOMAN'S SENTIMENTAL JOURNAL] - -In explanation of the sentimental tinge of some of the young woman's -utterances, which taken alone might easily be interpreted as secret -confessions of a deeper feeling than mere admiration, friendship and -sympathy, it is urged that Fanny Giannatasio del Rio began her diary, -which is not a continuous record, on January 1, 1812, when she was -twenty-two years old; she, therefore, was twenty-six when Beethoven -became a frequent visitor at her father's house. She was very musical -(so much so that Beethoven did not hesitate to play four-hand pieces -with her), and had been an admirer of his music before she met him. -Two affairs of the heart, both unhappy in their outcome--(her first -lover proved unworthy, her second was an invalid and like an honorable -man unwilling to burden her life with his sufferings; he died in -1815)--had left her inclined to the melancholy mood, with a hunger -for affection and an almost passionate longing to extend sympathy to -those who seemed to her to be in need of care and love. Her outpourings -frequently touch on the border of extravagant sentimentality; but calm -reflection generally intervenes with its wholesome clog. So that, on -the whole, they can be, perhaps ought to be, interpreted as nothing -more than a disclosure of a warm interest in the great composer on the -part of a generous-souled young woman filled with the literary habits -of the period mixed with an overwhelming admiration for his genius and -nobility of character and an impulsive desire to bring some cheer into -his lonely life. Moreover, after the withdrawal of the nephew from the -institute and the cessation of intercourse between Beethoven and the -Giannatasio family, his name disappears from the diary, though it was -continued till 1824. - -The friendship which existed for years between Thayer and Frau Pessiak -is attested in two letters from the latter to the former in which the -lady's recollections of her grandparents and their intercourse with -Beethoven are set forth. Some of the anecdotes contained in these -letters deserve record here. Once, Frau Pessiak relates, there arose a -serious disagreement between her grandfather and Beethoven concerning -the latter's nephew, which resulted in the boy's dismissal from the -institute. Thereupon Beethoven wrote to Anna Giannatasio begging her -to intercede with her father and get his consent to Karl's return, -but at the same time to keep the fact of the writing secret and to -burn the letter as soon as it had been read. The lady respected both -wishes, the latter dictated by the composer's pride, but she burned -the letter with a heavy heart. "My mother's admiration for Beethoven," -adds Frau Pessiak, "was like that of my aunt, so that his wish was to -her a command." While at a picnic party in the environs of Vienna, -Beethoven stood beside the writer's mother on the most beautiful -observation point. Suddenly he took out his note-book, tore out a leaf, -drew a staff upon it, jotted down the melody of the song, "Wenn ich -ein Vöglein wär" (Treitschke's "Ruf vom Berge," No. 219, in Thayer's -"Chronological Catalogue") and handed it to his companion with the -words: "Now, Miss Nanni, do you write the bass for it." "My mother -cherished the leaf as a precious souvenir for a long time, then gave it -to me because, as she said, I was the most musical one of the family, -and would best appreciate the treasure. I have it preserved under a -glass and frame." One day Beethoven brought with him the song from -"Faust" beginning: "Es war einmal ein König, der hatt' einen grossen -Floh" ("Once upon a time there was a king who had a large flea"). -"Aunt and mother had to try it." Then Beethoven took his seat at the -pianoforte and played the conclusion in which he turned his thumb and -with it struck two adjoining keys at the same time, laughed and said: -"That's the way to kill him!" On the occasion of Anna Giannatasio's -birthday, Beethoven came and offered a musical congratulation. -Approaching her he sang with great solemnity the melody of a canon to -the words: "Above all may you want happiness and health, too,--". Then -he stopped and the lady protested that the wish that she might fail -in happiness and health was scarcely a kind one; whereupon Beethoven -laughed and finished the sentiment with "at no time." Here is the canon: - -[Illustration: Glück fehl Dir vor allem, Gesundheit auch niemalen!] - - -[175] This letter is dated "February 23, 1816"--another obvious blunder -of the kind to which Beethoven was prone; it should of course be 1817. -In the letter to Steiner last referred to he asks the publisher to keep -the dedication a secret, as he intended it to be a surprise. Thayer -accepted the date and explained the discrepancy with the suggestion -that Beethoven had forwarded a manuscript copy to the baroness. The -theory is no longer tenable. The lady could scarcely be surprised by -a printed copy if she already had the Sonata in manuscript and also -the letter which so plainly shows that the Sonata was written for -her. It is also plain that Schindler was in error when he stated that -the Sonata had been played in public in February, 1816. According to -Nottebohm ("Zweite Beethoveniana," p. 344), the autograph of the Sonata -bears the inscription: "Neue Sonata für Ham....., 1816, im Monath -November." Its forthcoming appearance in print was announced in Kanne's -"Musik-Zeitung" under date January 23, 1817. - -[176] The principal contributions to Beethoven's biography from -Czerny's pen are in Schmidt's "Wiener Allg. Mus. Zeitung," 1845, No. -113; Cock's "Musical Miscellany," London, 1852; and manuscript notes in -Jahn's papers. - -[177] It is Thayer who is speaking here. - -[178] "Mödling," said Potter in narrating the incidents of his -association with Beethoven to Mr. Thayer in 1861; but Potter was nearly -69 years old at the time and his memory of the suburbs of Vienna may -have been a trifle faulty. Beethoven was in Mödling in 1818, but -it has not been learned that he went thither after his sojourn in -Heiligenstadt and Nussdorf in 1817. At any rate, he was in Nussdorf -till late September, perhaps early October, and was then on the eve of -a new experiment in housekeeping so that he might have his nephew with -him, concerning which he wrote to Giannatasio in Vienna on November 12. -There is nothing in his letters to Frau Streicher and others at this -time to indicate a change to Mödling, whither he went in May of the -next year after he had reported Potter's visits to Ries in March. - -[179] This agrees with the theory that the first meetings took place at -some other place. To Ries, Beethoven wrote on March 5, 1818: "Botter -[~sic~] visited me a few times; he appears to be a good man and has -talent for composition." - -[180] Other instances of this nature have been recorded in this -biography. In December, 1811, a visitor, Xaver Schnyder von Wartensee, -reported to Nägeli in Zürich that Beethoven had said to him: "All -Viennese, from the Emperor to the bootblack, are good for nothing." "I -asked him," von Wartensee continues, "if he took no pupils?" "No," he -replied, "teaching is a disagreeable task; he had only one pupil who -gave him a great deal of trouble and whom he would like to get rid of -if he could." "And who is he?" "Archduke Rudolph." - -[181] Treitschke had provided the libretto of "Romulus"; it does not -appear that Beethoven ever began its composition. - -[182] The letter, which is reproduced in ~facsimile~ in Schindler's -biography, is a more or less fantastic scrawl or flourish which may be -read as an "R" as well as an "M." - -[183] The letter to Thayer is dated May 21, 1873. Mälzel, it will be -remembered, lived in Philadelphia for some time before his death at sea -on July 21, 1838. - -[184] Thus copied by Fischoff. - - - - -Chapter XVIII - - The Year 1818--A Broadwood Pianoforte--Commission for an - Oratorio--Conception of the Mass in D--The Nephew; A Mother's - Struggle for Her Son--The Pianoforte Sonata in B-flat, Op. 106. - - -[Sidenote: DELIGHT IN THE BROADWOOD PIANOFORTE] - -An entry in an old "Porter's Book" of John Broadwood and Sons, -manufacturers of pianofortes in London, offers an agreeable -starting-point for the story of Beethoven's life in 1818. In this book -the porter of the firm signs his name, Millet, to the record that -on December 27, 1817, he took from the warehouse "A 6 octave Grand -Pianoforte, No. 7,632, tin and deal case, Thomas Broadwood, Esq., -marked V. B. care of F. E. J. Bareaux and Co., Trieste (a present to -Mr. van Beethoven, Viene), deliv'd to Mr. Farlowes to be shipped." Some -time previously Mr. Thomas Broadwood, the then head of the house, with -a Mr. Goding (probably the rich brewer), visited the principal cities -of the continent and doubtless became acquainted with Beethoven and -offered to present to him one of the firm's pianofortes. On January -3, 1818, Mr. Broadwood seems to have informed Beethoven that the -instrument had been shipped, and exactly one month later Beethoven sent -the following acknowledgment to the generous donor: - - ~Mon tres cher Ami Broadwood!~ - - ~Jamais je n'eprouvais pas un grand Plaisir de ce que me causa - votre Annonce de cette Piano, avec qui vous m'honorés de m'en faire - présent; je regarderai comme un Autel, ou je deposerai les plus - belles offrandes de mon esprit au divine Apollon. Aussitôt comme je - recevrai votre Excellent Instrument, je vous enverrai d'en abord - les Fruits de l'Inspiration des premiers moments, que j'y passerai, - vous servir d'un souvenir de moi à vous mon très cher B., et je ne - souhaits ce que, qu'ils soient dignes de votre Instrument.~ - - ~Mon cher Monsieur et Ami recevès ma plus grande Consideration de - votre Ami et très humble serviteur~ - - ~Louis van Beethoven~. - - ~Vienne le 3me du mois Fevrier, 1818.~ - -This letter was sent to Broadwood by Joseph Anton Bridi of the firm of -Bridi, Parisi and Co., in Vienna, who had evidently been commissioned -to look after the delivery of the instrument to Beethoven after its -arrival in Trieste. At least Bridi, in transmitting the letter to -Broadwood under cover and date February 5, informs the latter that he -had taken the proper steps to have the pianoforte sent to Vienna by -Bareaux (or Barraux) and Co., and asks for instructions how to carry -out what he understands to be the donor's desire that the instrument be -delivered to Beethoven without his being put to any expense whatever, -not even for the import duty. The latter charge must have been in -the mind of Beethoven when he wrote a letter, without date, to Count -Lichnowsky enclosing a document bearing on the case expressing the -hope that he be permitted to receive the instrument and proposing -to apply by word of mouth to Count Stadion, the Austrian Minister -of Finance. Madame Streicher was also appealed to in the matter, -Beethoven begging her in a letter to ask her "Cousin from Cracow" -to get from the chief customs official in Vienna an order for the -forwarding of the pianoforte, which could be sent to the custom house -in Trieste. But neither Broadwood nor Beethoven was called on to pay -the duty, the Austrian Exchequer remitting the charge. After some -delay the pianoforte was delivered at Streicher's wareroom and later -sent to Beethoven at Mödling. While it was still in his possession, -Streicher asked Potter to try it, saying that Moscheles and others -could do nothing with it--the tone was beautiful but the action too -heavy. Potter, who was familiar with the English instruments, found no -difficulty in disclosing its admirable qualities. He told Beethoven, -however, that it was out of tune, whereupon the latter replied in -effect: "That's what they all say; they would like to tune it and -spoil it, but they shall not touch it." Beethoven's delight in the -pianoforte must have been great. Bridi reports to Broadwood that the -composer already rejoiced in it in anticipation and expressed a desire -to dedicate the first piece of music composed after its reception -to the donor, "convinced that it would inspire something good." His -jealousy of it seems to have been so great that he would not permit -anybody to tune it except Stumpff, of London, who came with a letter of -introduction from Broadwood.[185] - -The case of the instrument, simple, plain but tasteful in design, is of -mahogany and the structure generally of a solidity and strength paired -with grace which caused no little surprise at the time. The compass -is six octaves from C, five leger-lines below the bass staff. Above -the keys is the inscription: ~Hoc Instrumentum est Thomoe Broadwood -(Londini) donum, propter Ingenium illustrissimi Beethoven~. On the -board, back of the keys, is the name "Beethoven," inlaid in ebony, -and below this the makers' mark: "John Broadwood and Sons, Makers of -Instruments to His Majesty and the Princesses. Great Pulteney Street. -Golden Square. London." To the right of the keyboard are the autograph -names Frid. Kalkbrenner, Ferd. Ries, C. G. Ferrari, J. L. Cramer and -C. Knyvett. The presence of these names gave rise to a theory which -was widely spread, and is not yet wholly dissipated, that their owners -had joined Mr. Broadwood in making the gift; it has also been stated -that the gift came from the Philharmonic Society. This latter statement -is disproved by the fact that the records of the Society contain no -mention of such a transaction; as for the names of the virtuosi, -they were no doubt scratched upon the instrument as a compliment to -Beethoven and an evidence that they had played upon it. Beethoven kept -the instrument as long as he lived. At the sale of his effects it was -bought by Spina, the music publisher, for 181 florins; Spina gave it -to Liszt, in whose house at Weimar it was up to his death. In 1887, -Princess Marie Hohenlohe, daughter of Liszt's friend, the Princess -Sayn-Wittgenstein, presented it to the National Museum in Buda-Pesth. - -The time had come for Beethoven to take his nephew from the home -and institute of the Giannatasios. On January 6 he wrote to inform -the director that Karl would leave his "admirable institute" at the -expiration of the month and that Giannatasio might rest assured of his -and the lad's life-long gratitude: "I have observed in Karl that he -already feels grateful, and this is a proof that though he is frivolous -he is not malicious, and least of all is he bad at heart. I have hopes -of all manner of good from him, all the more because he has been under -your excellent care for nearly two years." Karl left the institute on -January 24, and on June 15 Fanny Giannatasio wrote in her diary: "We -hear nothing from Beethoven," who was then in Mödling. - -[Sidenote: BEETHOVEN'S UNFITNESS AS GUARDIAN] - -Ill-advised and full of evil consequences as was Beethoven's step in -taking personal charge of his nephew, it was yet creditable to his -heart and bears strong witness to his high sense of duty. His purpose -was pure and lofty, and his action prompted by both love and an ideal -sense of moral obligation. It was a woeful mistake, however; Beethoven -sadly misjudged his fitness to fill the delicate and difficult rôle of -guardian and parent. In all his life he had never had occasion to give -a thought to the duties which such an office involved. In the conduct -of his own affairs he had always permitted himself to be swayed by -momentary impulses, emotions and sometimes violent passions, and he -could not suddenly develop the habits of calm reflection, unimpassioned -judgment and consistent behavior essential to the training of a -careless and wayward boy. In his treatment of him he flew from one -extreme to the other--from almost cruel severity to almost limitless -indulgence, and, for this reason, failed to inspire either respect for -his authority or deep affection for his person, to develop the lad's -self-control or a desire for virtuous living. Very questionable, too, -if not utterly unpardonable, were the measures which Beethoven took to -separate the boy from his mother in spite of the dying wishes of his -father. We have seen his protestations at times of his unwillingness to -give her pain. When he was cruel in his own confession it was because -he imagined himself constrained to be so by a high obligation of duty. -There can be no doubt that the woman whom Beethoven called "The Queen -of Night" was wicked and vicious, and that his detestation of her was -as well founded as his wish to save his nephew from evil communications -and influences. But there were times when he seemed willing to give -filial instincts their due. "Karl did wrong," he writes to Madame -Streicher from Mödling in June 1818, "but--mother--mother--even a bad -one remains a mother. To this extent he is to be excused, especially by -me, who know his intriguing, passionate mother too well." Why did he -not follow this thought to its ultimate conclusion? Why did he permit, -if indeed, he did not encourage, the lad to speak disrespectfully of -his mother? A memorandum in the ~Tagebuch~ after February 20th reads: -"Karl's mother has not seen him since August 10"--a period of more than -six months. How often she was allowed to see him during the following -months is not of record; we only know from Beethoven himself, in his -letters to Madame Streicher, that the mother's instinct--if, because -she was a bad woman, the word "love" be not allowed--drove her to -employ the only means by which she could know the condition of her son -during the summer in Mödling--i. e., bribing or feeing the servants. -That at least is Beethoven's accusation, and exceedingly wroth he -was.[186] - -[Sidenote: THE LONDON VISIT POSTPONED] - -After taking Karl from Giannatasio's institute to his own home -Beethoven engaged a tutor to prepare him for matriculation at the -gymnasium. This tutor, whose name has not been learned, was a professor -at the Vienna University and had evidently agreed not only to look -after all of the lad's intellectual needs but also to have an eye on -some of the domestic affairs and to that end to become a member of -the Beethoven household. On this point, Beethoven enjoined secrecy -upon Madame Streicher. How long the service of his "steward," as he -playfully called him to Madame Streicher, continued is not known, nor -how satisfactory it was. He does not become a subject of Beethoven's -correspondence beyond a single reference to the fact that once he staid -out all night. Beethoven's London trip had been abandoned without -notice or explanation to the Philharmonic Society, apparently; but Ries -must have written to him, renewing the offer previously accepted, for -on March 25, Beethoven writes to his old pupil as follows: - - In spite of my desire, it was impossible for me to come to London - this Winter; I beg of you to say to the Philharmonic Society that - my poor state of health hindered me, but I hope that I may be - entirely well this Spring and then take advantage of the renewed - offers of the Society towards the end of the year and fulfil all - its conditions. Please ask Neate in my name not to make use, at - least not in public, of the many compositions of mine which he has - until my arrival in person; no matter what the condition of his - affairs may be I have cause of complaint against him. - - Botter [Cipriani Potter] visited me several times, he seems to be - a good man and has talent for composition--I hope and wish that - your prosperity may grow daily; unfortunately I cannot say that - of myself. My unlucky connection with the Archduke has brought - me to the verge of beggary. I cannot endure the sight of want--I - must give; you can imagine how present conditions increase my - sufferings. I beg of you soon to write to me again. If it is at all - possible I shall get away from here sooner in order to escape total - ruin and will then arrive in London in the Winter at the latest. - - I know that you will stand by an unfortunate friend; had it only - been in my power, and had I not been fettered by circumstances here - I would surely have done much more for you. Fare you very well, - give my greetings to Neate, Smart, Cramer--although I hear that he - is a counter-subject to you and me, yet I already know something of - the art of treating such and we shall produce an agreeable harmony - in London. - -Ries's reverence for royalty, apparently, led him to omit Beethoven's -unkind allusion to his august patron and pupil, Archduke Rudolph; -Schindler, writing much later, prints it and admits, very properly, as -we know from other instances of the same kind, that Beethoven sometimes -used his friends as whipping-boys and that his words and deeds were not -always consistent with each other. Beethoven removed to Mödling on May -19, taking with him his nephew and the two servants whose treachery -aroused the storm of passion which he loosed in the long letter to -Madame Streicher, written in June. He found lodgings in the so-called -Hafner House in the Hauptstrasse, now ornamented by a memorial tablet. -He began taking the baths two days after his arrival and the desire -and capacity for work soon returning, he took up energetically the -Pianoforte Sonata in B-flat. Karl was placed in a class of boys taught -by the village priest, named Fröhlich, who dismissed him a month later -for reasons which became a matter of judicial record before the end -of the year.[187] In a document filed as an appendix to Madame van -Beethoven's application for guardianship over her son, Fröhlich sets -forth that Beethoven had encouraged his nephew to revile his mother, -applauding him when he applied vile epithets to her either in writing -or by shrieking them into his ear, "thus violating the fourth divine -commandment"; that the boy had confessed to him that while he knew that -he was doing wrong he yet defamed his mother to curry favor with his -uncle and dared not tell him the truth because he would only believe -lies. "This he once told his mother and would have said more had he -not feared being found out and maltreated by his uncle." Once, too, -Beethoven came to him (the priest) and in a tone of malicious joy told -him that his nephew had that day called his mother a "Ravenmother" -(~Rabenmutter~--meaning a wicked and unnatural mother). Karl's training -being thus contrary to all moral principles, he having also displayed -indifference to religious instruction, been guilty of unruly conduct -in church and in the streets, so that many of the inhabitants of the -village had come to him with complaints, and, therefore, admonitions -to the boy and appeals to the uncle having borne no fruit, he had been -constrained for the sake of his twelve other pupils, who had said "they -did not want to study with the unruly Karl van Beethoven," to dismiss -him. - -[Sidenote: AN ORATORIO FOR THE FRIENDS OF MUSIC] - -These unfortunate first-fruits of Beethoven's error in undertaking -personal and sole care of his nephew will call for more attention -before the history of the year 1818 is closed, and may be dismissed -for the present for more cheerful topics. Towards the end of the year -1815, the Gesellschaft der Musikfreunde had instituted inquiries -through Zmeskall touching Beethoven's willingness to compose a work -of magnitude for the Society. Beethoven signified his assent to the -project and in turn asked Zmeskall whether or not the Society would -allow him 400 ducats as an honorarium. There the matter seems to have -rested until May, 1818, on the 17th of which month Vincenz Hauschka, -a violoncello player and member of the governing committee of the -Society, was authorized by his associates to offer Beethoven from 200 -to 300 "pieces of gold" for the music to a "heroic oratorio" to be the -exclusive property of the Society for one year after the date of its -first performance. Hauschka wrote to Beethoven at Mödling and received -a droll letter in reply. It bears no date. In it Beethoven addresses -his friend as "Chief Member of the Society of Enemies of Music [the -play on the words ~Freunde~ and ~Feinde~ is impossible in English], in -the Austrian Empire" and "Grand Cross of the Order of the Violoncello." -He signifies his willingness to accept the commission in the words: "I -am agreed" (~Ich bin bereit~) set to a fugue-theme: - -[Illustration: I am agreed! - -Tenore ~etc.~] - -adding that he had no subject on hand except a sacred one, while the -Society had expressed a desire for a heroic work. This was satisfactory -to him, but he suggested that as the choir was a large one something -sacred be "mixed in": - -[Illustration: Amen! - -~etc.~] - -Mr. v. Bernard would suit him as poet, but the Society, since it -claimed to be friendly to music, ought to pay him. He said nothing of -his own compensation, but concluded with: - - I wish you open bowels and the handsomest of close-stools. As - for me, I am wandering about here amongst mountains, clefts and - valleys, with a piece of music-paper smearing down many a thing for - the sake of bread and money--for to such a pitch have I brought it - in this all powerful land of the Phæacians that to gain a little - time for a work of magnitude I must always first smear a great deal - for money so that I may hold out for a large work. For the rest, my - health is much better and if haste is necessary I can still serve - you well. - -[Illustration: I am agreed! I am agreed! Amen!] - -[Sidenote: CONCEPTION OF THE MASS IN D] - -Schindler also places this letter in 1818, and is doubtless correct in -so doing, for its tone and contents show that it was not designed as -an official communication to the Society, whose minutes show that such -a communication was not received until June 15, 1819. In the interim, -no doubt, some negotiations were in progress between Beethoven and -Hauschka, for the former had refrained from mentioning the matter of -remuneration. Some understanding on this point must have been reached, -however, for, if Pohl is correct, Beethoven was paid an advance sum -of 400 florins on August 18, 1819. Nothing came of the matter, as we -shall see later. In this year, however, there came to Beethoven an -incitation of a different nature and one productive of lasting and -magnificent results. About the middle of 1818, as Schindler relates, -it became known as a settled fact that Archduke Rudolph had been -appointed Archbishop of Olmütz. March 20th, 1820, was fixed as the day -of his installation. Without bidding, invitation or summons of any -kind Beethoven "resolved to compose a mass for the solemnity, thus -turning again after the lapse of many years to that branch of his art, -toward which, after the symphonic--as he himself often said--he felt -himself most drawn. This resolution shows that his outburst against -the Archduke[188] was merely a passing cloud, even if we did not know -that the master never missed an opportunity to disclose his affection -for his august pupil. I saw the score begun late in the Autumn of -1818, after the gigantic Sonata in B-flat major, Op. 106, had just -been finished." Though there is no reason for questioning the rest -of Schindler's statement, the concluding observation is probably -incorrect. It may be accepted, inasmuch as the ~Credo~ of the mass was -already far advanced in 1819, that the ~Kyrie~, at least, perhaps the -~Gloria~, as well, was begun in 1818. The two great works which now -filled the mind of Beethoven, which he wrote, indeed, with his heart's -blood, were not only dedicated to the Archduke, but were designed for -him from the beginning--facts which may be cited as proof that despite -his petulant outbursts against his pupil and patron he was after all -sincerely devoted to him in his innermost soul. - -The same summer saw the beginning of the most widely distributed -portrait of Beethoven. At the instance of his uncle, Baron von -Skrbensky, a young painter named August von Klöber (born at Breslau in -1793), who was continuing his artistic studies in Vienna, undertook to -paint a portrait of the composer. His own account of his acquaintance -with Beethoven and the incidents connected with the painting of the -portrait (or rather with the original sketch) were published in the -"Allgemeine Musikalische Zeitung," of 1864 (p. 324). From it we learn -that the artist was introduced to Beethoven by a letter written by -Dont.[189] He visited Beethoven at Mödling, after receiving permission -to make a drawing of him and found him giving a lesson to his nephew -on the Broadwood pianoforte. This fact fixes the date of the picture. -Though the artist found it impossible to make himself understood -unless he wrote his words or spoke them into an ear-trumpet, Beethoven -corrected the errors in the lad's playing, compelled him to repeat -passages apparently without difficulty. He grew uneasy after Klöber -had worked about three-quarters of an hour and the latter, heeding the -advice given by Dont, suspended his work and asked permission to come -again on the morrow, since he was living in Mödling. "Then we can meet -often," said Beethoven, "because I do not like to sit long. You must -take a good look at Mödling, for it is very beautiful here, and, as -an artist, you must be a lover of nature." Klöber met him often in -his promenades and saw him suspend his work at intervals, stand as if -listening and make notes on music paper which he carried about with -him. When Beethoven saw the picture he was pleased with the treatment -of the hair; the artists had hitherto always made him look too well -groomed. Klöber's description of the composer as he saw him was this: - - Beethoven's residence in Mödling was extremely simple as, indeed, - was his whole nature; his garments consisted of a light-blue - frockcoat with yellow buttons, white waistcoat and necktie, as was - the fashion at the time, but everything ~negligée~. His complexion - was healthy, the skin somewhat pockmarked, his hair was of the - color of slightly bluish steel as it was already turning from black - to gray. His eyes were bluish-gray and very animated--when his - hair was tossed by the wind there was something Ossianic-demoniac - about him. In friendly converse, however, his expression became - good-natured and gentle, particularly when the conversation pleased - him. Every mood of his soul found powerful expression instantly in - his features. - -Klöber's original painting has disappeared. It was a full-length -portrait with a bit of Mödling landscape as a background. The nephew -Karl was included, reposing under a tree. The composer was depicted -with note-book and pencil. The head only was reproduced in a lithograph -in Klöber's atelier, and has been widely copied. - -[Sidenote: A MOTHER'S STRUGGLE FOR HER CHILD] - -We now reach an incident in the story of Beethoven's life concerning -which much has been written from the biased and frequently erroneous, -because uninformed or ill-informed, point of view adopted by Schindler -and which it becomes a duty to rectify not only so that the picture -of Beethoven as he was may be kept true, but that the better motives -and impulses which prompted the woman whom he so cordially and no -doubt justly detested be placed in their proper light also. There -is nothing in the narrative which brings reproach upon Beethoven so -far as his high sense of duty and disinterested affection for his -nephew is concerned--an affection which was as little weakened by the -self-sacrifice which it entailed as it was balked by the conduct of -his ward and the frequently unwarranted means employed by his mother -to acquire possession of the lad and the right to superintend his -physical, mental and moral training; but the rights of a woman and the -honor which a world has always accorded to the strongest, noblest, -divinest instinct of woman--maternal love--were also at stake. The -mother of Karl, though she had been convicted and punished for adultery -at an earlier period, and though she might not have proved a safe -mentor for her son, was yet a mother, his mother. That fact Beethoven -was willing, in the long letter to Madame Streicher in which he set -forth the wicked acts of his servants, to recognize as palliating the -conduct of the boy; but he could not bring himself to recognize that it -might also palliate if it did not justify the steps which his harshness -compelled a mother to take to gratify the need implanted in her by -nature. Johanna van Beethoven is at least entitled to the same hearing -at the bar of posterity that she received in the tribunals of her day, -and it is the duty of Beethoven's biographer to strip the story of the -quarrel between her and her brother-in-law of the romantic excrescences -which many writers have fastened upon it. In this narrative the truth -will be told, perhaps for the first time, as it is disclosed by the -documents, the evidence and the judicial decrees in the case. To set -forth these documents in full in the body of the text would call for -the sacrifice of much space and sadly interrupt the story; what is -essential in them will be given literally, or in outline, whenever it -becomes necessary.[190] - -After his dismissal from the class of the parish priest at Mödling, -Karl van Beethoven was placed in the hands of a private tutor to be -prepared for admission to one of the public schools of Vienna--no -doubt that known as the Academic Gymnasium. To enter this school the -boy had to pass an examination, and for this purpose Beethoven brought -him to Vienna about the middle of August. Madame van Beethoven was now -determined to wrest from her brother-in-law the authority, which was -his as sole guardian, to keep the boy in his care and to direct his -training. She took to her aid Jacob Hotschevar, a ~Hofconcipist~ (clerk -or scrivener in the government service), and petitioned the ~Landrecht~ -of Lower Austria to take from Beethoven the authority to direct the -future training of his ward. The ~Landrecht~ was a tribunal with -jurisdiction in litigations and other matters affecting the nobility. -Acting on the assumption that the Dutch "van," like the German "von," -was a badge of noble birth, it had listened to Beethoven's plea and -appointed him sole guardian of his nephew, removing the widow from -the joint guardianship directed in the will of the boy's father on -the score of her immorality, as we already know. The proceedings were -begun in September and were dismissed, as the records show, on the -18th of that month. Three days later, that is, on September 21, she -applied to the court again, this time for permission to place her -son in the Royal Imperial Convict, where he would have board, lodging -and instruction. She and Beethoven as "co-guardian" were commanded to -appear in court on September 23, and the latter was directed to bring -the report of the lad's examination with him. There was a postponement -of the hearing till September 30, and on October 3d the widow's -application was rejected. Thus far victory had gone to Beethoven. - -The postponement of the hearing was had in great likelihood to enable -Beethoven to change his residence from Mödling to the city. At any -rate, Karl is a public school scholar on November 6th, as Fanny -Giannatasio records in her diary on that day together with the fact -that her father had met Beethoven, who had shortly before returned from -the country. That the boy was in the third grammar class and remained -there during the months of November and December, receiving also -instruction in pianoforte playing, French and drawing from a private -teacher, is known from the court proceedings which were held later. The -lad made good progress in his studies, all seemed well and something -of the old cordial relations seemed again to be established between -Beethoven and the Giannatasios. They provided him with a housekeeper -and on one day in November he spent three hours with the family. Fanny -writes: - - One cannot be in his company without being impressed with his - admirable character, his deep sense of what is good and noble. If - Karl would but recompense him for the many sacrifices which he - makes for his sake! My hopes are intermingled with anxious doubts. - He will probably make a journey to London this Spring. It might be - advantageous to him financially in many ways. - -[Sidenote: THE LAD RUNS AWAY FROM HIS UNCLE] - -Before long Beethoven is at the Giannatasio house again and becomes -interested in the singing of the sisters, singing with them, which -produced a comical effect, as he seldom was in tune, but helping them -to give the correct expression to the music. Fanny now deplores that -their childish timidity had so long deprived them of such a pleasure, -which would now perhaps be of short duration, since he had received a -second invitation to England. This entry bears date November 20. Within -a fortnight the diary chronicles the severest trial that the boy had -yet caused his uncle: he ran away from home and sought a haven with his -mother. The sympathetic young woman wrote later: - -"One day B. came in great excitement and sought counsel and help -from my father, saying that Karl had run away! I recall that on this -occasion amid our expressions of sympathy he cried out tearfully: 'He -is ashamed of me!'" The incident is recorded in her diary under date -of December 5; it occurred, apparently two days before. The diarist's -entry is as follows: - - Never in my life shall I forget the moment when he came and told - us that Karl was gone, had run away to his mother, and showed - us his letter as an evidence of his vileness. To see this man - suffering so, to see him ~weeping~--it was touching! Father took - up the matter with great zeal, and with all my sorrow I feel a - pleasurable sensation in the consciousness that now we are ~much~ - to Beethoven, yes, at this moment his only refuge. Now he surely - perceives his error if he has wronged us in his opinions. Ah! he - can never appreciate how highly we esteem him, how much I should be - capable of doing for his happiness!... The naughty child is again - with him with the help of the police--the Ravenmother! Oh! how - dreadful it is that this man is compelled to suffer so on account - of such outcasts. He must go away from here, or she; that will be - the outcome. For the present B. will give him into our care; it - will be an act of great kindness on my father's part if he receives - him, as he will have to look upon him as one under arrest.... It - did me good when he went away to note that his thoughts were more - diverted. He told me that he had been so wrought up by the matter - that it took him some time to gather his thoughts. During the night - his heart had beat audibly. Alas! and there remains nothing for me - to say except that all that we can do is so little! I would give - half my life for the man! He always thinks of himself last. He - lamented that he did not know what would become of his housekeeping - when Karl was gone. - -We learn the probable reason for the lad's truancy from Beethoven's -statement at the examination in court on December 11th. Two letters -written by his housekeeper to Fanny Giannatasio, and one written by the -latter, had fallen into Beethoven's hands and from them he had learned -of certain delinquencies with which he then confronted his nephew. But -let us call Beethoven himself to the witness stand; his recital will -give more vitality to the history than any statement of a historian -writing nearly a century later. We quote from the minutes of the -~Landrecht~: - - Ludwig van Beethoven examined: - - How did his nephew leave him? - - He did not know exactly; his nephew had made himself culpable; he - had charged him with it and the same day in the evening he had - received a note of farewell. He could not tell the cause of his - departure; his mother may have asked him to come to her the day - before, but it might have been fear of punishment. - - What had his nephew done? - - He had a housekeeper who had been recommended to him by - Giannatasio; two of her letters to Miss Giannatasio and one of the - latter's had fallen into his hands; in them it was stated that his - nephew had called the servants abusive names, had withheld money - and spent it on sweetmeats. - - In whose care was his nephew? - - He had provided him with a ~Corepetitor~ for pianoforte playing, - French and drawing who came to the house; these studies occupied - all the leisure time of his nephew so completely that he needed - no care; moreover, he could not trust any of his servants with - the oversight of his nephew, as they had been bribed by the - boy's mother; he had placed him in the hands of a priest for the - development of his musical talent, but the mother had got into an - agreement with him also. He would place his ward in the Convict, - but the oversight was not strict enough there among so many pupils. - - Did he have any testimonials touching his nephew's studies? - - He had appended them to his last examination. - - Had his nephew not spoken disrespectfully of his mother in his - presence? - - No; besides, he had admonished him to speak nothing but the truth; - he had asked his nephew if he was fond of his mother and he - answered in the negative. - - How did he get the boy back? - - With the help of the police. He had gone to the mother in the - forenoon to demand him of her, but she would promise nothing except - that she would deliver him back in the evening; he had feared that - she intended to take him to Linz, where his brother lived, or to - Hungary; for that reason he had gone to the police; as soon as he - got him back he placed him in the care of Giannatasio. - - What were his objections to having his nephew sent to the Convict? - - It was not advisable at present because, as the professor had said, - there were too many pupils there and the supervision over a boy - like his ward was not adequate. - - What means did he purpose to employ in the education of his ward? - - His ward's greatest talent was in study and to this he would be - held. His means of subsistence were the half of his mother's - pension and the interest on 2,000 florins. Heretofore the - difference between this sum and the cost had been paid by him and - he was willing to assume it in the future if the matter could but - once be put in order. As it was not practicable to place his nephew - in the Convict now, he knew only of two courses open to him: to - keep a steward for him who should always be with him, or to send - him for the winter to Giannatasio. After half a year he would send - him to the Mölker Convict, which he had heard highly commended, or - if he were but of noble birth, give him to the Theresianum. - - Were he and his brother of the nobility and did he have documents - to prove it? - - "Van" was a Dutch predicate which was not exclusively applied to - the nobility; he had neither a diploma nor any other proof of his - nobility. - -[Sidenote: THE MOTHER'S APPREHENSIONS] - -In listening to these words from Beethoven on the witness stand we have -stretched the thread of our story; for this testimony was given in -court on December 11th, and the second attempt of the widowed mother to -get control of her son had been foiled by the decision on October 3rd. -It was therefore a new case which the court had under consideration -when Beethoven made the above utterances. This third application on -the part of the mother was filed on December 7, and grew out of the -runaway prank of Karl and her fear of what might be its consequences. -In her petition she set forth the fact that her son had left the home -of his uncle and guardian without her knowledge, that he had been taken -back by the police, and that "as, to judge by his actions, Ludwig van -Beethoven was willing to send her son away from Vienna, perhaps into -foreign lands," she asked that he be restrained from doing so, and she -renewed her request that she be permitted to send her son to the Royal -Imperial Convict for keep and education. - -Hotschevar supported this petition in a document like a modern law -brief, explaining his interest in the matter on the grounds that his -wife was a stepsister of Madame van Beethoven's deceased mother, -that the law permitted such an act in all cases where human rights -were concerned and that he, having had experience for several years -as instructor in the houses of the aristocracy, could not be blamed -if he put the knowledge of pedagogics and psychology thus acquired -at the service of a lad to whom he bore a family relationship and -brought to the attention of the supreme guardian matters which it -(the ~Landrecht~) could not possibly know concerning its wards unless -proceedings were brought before it. He admitted that Madame van -Beethoven had years before been guilty of a moral delinquency for which -she had been punished, but asserted her right to a standing in court; -he then contended: (1) that the mother had illegally been denied all -influence over her son partly with, partly without the knowledge of the -court, and (2) that her son could not remain under the sole influence -of his uncle and guardian without danger of suffering physical and -moral ruin. In support of these contentions he recited that the -brothers van Beethoven were eccentric men, so often at odds with each -other that they might better be called enemies than friends, Karl van -Beethoven being pleasantly disposed toward his brother only when he was -in need of money from him, and that the suspicion lay near that the boy -had been an object of traffic between them, inasmuch as an agreement -touching the payment of 1,500 florins had been made only on condition -that Ludwig van Beethoven surrender a document which appointed him -guardian. Karl van Beethoven, moreover, knowing the animosity which his -brother felt towards his wife, had in a codicil to his will expressly -said that he did not want Ludwig van Beethoven to be sole guardian of -his son but joint guardian with the mother, and had, for the sake of -the boy, admonished more compliancy on the part of the mother and more -moderation on that of the brother. Although the Court had deprived -the mother of the guardianship over her son, it had granted permission -to her to visit him; but this privilege had been withheld from her. -The statement of the village priest Fröhlich (which has already been -given in these pages) was appended to the widow's application as -evidence of the physical and moral degeneration of the boy, and for -himself Hotschevar says that he had observed after the boy had run -away from his uncle that his hands and feet were frostbitten, that -he had no seasonable clothing and that his linen and baths had been -neglected. The priest's statement was also appealed to to show that the -boy had been led into unfilial conduct, indifference toward religion, -hypocrisy, untruthfulness and even theft against his guardian--in -short, was in danger of becoming a menace to society. He willingly -granted Beethoven's readiness and desire to care for his ward, but -maintained that his hatred of the mother, his passionate disposition -inflamed by the talebearing of others (once naming Giannatasio), made -it difficult for him to employ the proper means. Conceding Beethoven's -magnanimity, he yet urged that in view of the danger in which the lad -was, he ought to forgo the guardianship or associate with himself -either the mother or some other capable person, it appearing from the -facts in the case that he was "physically and morally unfit" for the -post. - -Madame van Beethoven's deposition, apparently filed as appendix to -Hotschevar's brief (like that of Fröhlich), alleges that a letter of -Giannatasio's dated March 8, 1816, showed that she had to forgo her -desire to visit her son or satisfy it once a month and then "like -a thief." After Beethoven took the boy, and especially after his -removal to Mödling, she was not permitted to see him at all. She had -been assured that her son would be admitted to the Convict, but his -testimonials had been withheld from her and so she had been unable to -file them with her application for a scholarship. His expenses were 750 -florins per year for board, lodging, clothes, books, medicines, etc., -to pay which 2,000 florins had been deposited in Court and yielded 100 -florins interest per annum. She had pledged herself to give one-half -of her pension of 333 florins, 20, that is 116 florins, 40 kreutzers -towards his education. This amounted to 380 florins W. W., including -the interest on the deposit; and she would gladly pay the difference -between this sum and 750 florins until she should get the promised -scholarship for her son. On December 11, the widow appealed to the -court that in case the guardian of her son should make application -touching plans for his future training it be not granted without giving -her a hearing. This was the day when Beethoven, who had brought Joseph -Carl Bernard with him, no doubt to protect him in his deafness, gave -the testimony already set forth. The nephew had been examined before -him: - -[Sidenote: THE TESTIMONY OF MOTHER AND SON] - - Carl van Bethoven [~sic~] age 12 years, student in the 3rd Latin - class, was examined: - - Had he received good testimonials? - - "Eminent" in Latin, "1st class" in other studies. - - Why had he left his uncle? - - Because his mother had told him she would send him to a public - school and he did not think he would make progress under private - instruction. - - How did his uncle treat him? - - Well. - - Where had he been of late? - - He had been in hiding at his mother's. - - Where would he rather live--at his mother's or his uncle's? - - He would like to live at his uncle's if he but had a companion, as - his uncle was hard of hearing and he could not talk with him. - - Had he been prompted by his mother to leave his uncle? - - No. - - When did he leave him? - - Eight days ago. - - How could he say that he could not succeed under private - instruction when he had made such good progress? - - This had been the case since he had studied in public; before that - he had received 2nd class in mathematics and had not made it up. - - Had his mother commanded him to return to his uncle? - - She had wanted to take him back to him herself, but he had resisted - because he feared maltreatment. - - Had his uncle maltreated him? - - He had punished him, but only when he deserved it; he had been - maltreated only once, and that after his return, when his uncle - threatened to throttle him. - - How long had he been with his mother? - - Two days. - - Who had given him instruction in religion? - - The same teacher who taught him other subjects, formerly the priest - at Mödling, who was not kindly disposed towards him because he did - not behave himself in the street and babbled (or talked) in school. - - Had he indulged in disrespectful remarks about his mother? - - Yes; and in the presence of his uncle, whom he thought he would - please in that way and who had agreed with him. - - Was he often alone? - - When his uncle was not at home he was left wholly alone. - - Had his uncle admonished him to pray? - - Yes; he prayed with him every morning and evening. - - * * * * * - - Johanna van Beethoven examined: - - How did her son come to her from the house of his guardian? - - He had come to her in the evening for fear of punishment and - because he did not like to live with his uncle. - - Had she advised him to return to his uncle? - - Yes; but her son did not want to do so because he feared - maltreatment. - - It looked as if she had concealed her son? - - She had written to her brother-in-law that she would send her son - back to him, but she had not seen him for a long time and was - therefore glad to have him with her for awhile, and for this reason - she had not sent him back at once. - - Had she been forbidden to see her son? - - Her wish to do so had been frustrated by telling her of different - places where she might see him, but when she went to the places he - was not there. - - Had her son been taken from her by the police? - - She had herself taken him to the police at 4 o'clock. - - How did she learn of the plan to send her son out of the country? - - Giannatasio had disclosed the project to the police. - - Did she consider that her son had been well treated at his uncle's? - - She thought it unsuitable for the reasons given in her former - application. She wished to say in particular that v. Beethoven had - only one servant and that one could not rely on servants; he was - deaf and could not converse with his ward; there was nobody to look - after the wants of her son satisfactorily; his cleanliness was - neglected and supervision of his clothing and washing; persons who - had brought him clean linen had been turned back by his guardian. - - What prospects had she for caring for her son? - - She had previously had the assurance of Count von Dietrichstein - that her son would be accepted at the Convict; she had not been to - him since because her application [to the Court] had been rejected. - - In whose presence had her son spoken disrespectfully of her? - - She had not herself heard him do so, nor could she mention the - names of persons who had heard him. - - From what source would she meet the deficiency in her income which - would have to be applied to the support of her son? - - She had no fortune herself but the Hofconcipist Hotschevar would - defray the expenses. - - Was her husband of noble birth? - - So the brothers had said; the documentary proof of nobility was - said to be in the possession of the oldest brother, the composer. - At the legal hearing on the death of her husband, proofs of - nobility had been demanded; she herself had no document bearing on - the subject. - -[Sidenote: BEETHOVEN NOT OF NOBLE BIRTH] - -The testimony of the widow, like that of her son, was taken before -Beethoven had been examined and the answer to the final question, -no doubt, raised a doubt in the mind of the court touching its -jurisdiction; hence the question concerning his birth put to Beethoven. -His answer that "van" was a Dutch predicate not confined to the -nobility and that he had no proof of noble birth, is all that the -minutes of the court show bearing on this question. It led to the -~Landrecht's~ sending the proceedings to the Vienna Magistracy on -December 18; this action cut Beethoven to the quick, but the record as -here produced also gives a blow, perhaps a fatal one, to one of the -pretty romances to which a statement of Schindler's gave currency. -The world knows the story: Doubt having arisen in the mind of the -court touching Beethoven's nobility, he was called upon to produce -documentary proof. "At the appointed time he appeared before the -tribunal in person and exclaimed: '~My nobility is here and here~,' -pointing to his head and his heart." But the court would not accept -the proof. It is a pity to lose the story, but it must be relegated -to the limbo of fiction unless it shall appear that Beethoven made -the remark and the clerk refused to record it; and who shall now -prove this? Schindler's insinuation that the reference of the case -to the Magistracy had been planned as a move by the widow's advocate -to get the case into a more pliant tribunal is made questionable by -the circumstances that it was she who insisted upon the noble birth -of the Beethovens and Beethoven who gave the claim a quietus by his -straightforward and incontestable answer. It remains a mystery, if she -spoke the truth when she said that proof of nobility had been demanded -at the probate of the will of her husband, how the case ever got into -the ~Landrecht~. As a matter of fact, it deserves to be mentioned, -however, that, as later events showed, the lower court espoused the -cause of Madame van Beethoven with something like the zeal of an -advocate. - -Schindler's comments on the effect of the reference of the case to the -Civic Magistrates demand a moment's attention. Schindler says: - - The transfer of the case to the Magistracy was felt as an - overwhelming blow by Beethoven. It would be difficult to maintain - that Beethoven attached importance to appearing in the public eye - as of noble birth, his origin as well as family conditions being - well known--especially the latter by reason of the humble social - position of his brothers. But it is certain that he laid great - weight upon having his lawsuit adjudicated by the exceptional - upper court, partly because as a matter of fact there was in - that tribunal a better appreciation of his importance, partly - because the lower court had an unfavorable reputation which could - not inspire in him a hope for the desired outcome.[191] But - nevertheless it may be said as sure that neither his genius nor - his works of art would have given him the privileged position which - he occupied in the circles of the nobility had there not been a - presumption that he was an equal. This was variously demonstrated - as soon as the occurrence in the aristocratic court became known to - the public. Not in the middle classes, but in the upper, the little - word "van" had exercised a palpable charm. It is a settled fact - that after the incident in the Lower Austrian ~Landrecht~ the great - city of Vienna became too small for our aggrieved master, and had - he not been restrained by his sense of duty which was placed upon - him by his brother's will, the projected journey to England would - have been undertaken and his sojourn there perhaps become permanent. - -It is also certain that Schindler was not as well informed as he ought -to have been in the premises and that his memory often left him in the -lurch, as we have frequently seen already and shall see again. Not -exact knowledge but an amiable bias in favor of his hero speaks out -of his recital. It is scarcely conceivable that Beethoven should have -cherished the thought that possibly he was of noble birth or that he -seriously encouraged such a belief among his exalted friends. - -The nephew's stay at Giannatasio's was not of long duration and -the signs of an imminent disruption of a beautiful and profitable -friendship soon showed themselves, though for the nonce amiable -relations between Beethoven and the Giannatasio family were continued. -Yet Fanny saw her lovely illusions melting away. It had been agreed -that Karl should not associate with the other pupils at the institute. -Willing, perhaps desirous at first, that such an arrangement should be -made, it seems that Beethoven felt his ~amour propre~ hurt by it as -soon as the first fit of resentment against the lad gave way before -one of his tender moods; now there ensued one of the old fits of -moroseness, dissatisfaction and suspicion. He wrote to Giannatasio that -Karl's room should be better heated--that he had never had frostbitten -hands and feet when living with him;[192] moreover, too much importance -was being attached to his act, and the consequences to the delinquent -were being carried too far. In her diary under date December 14, Fanny -deplores that Beethoven's moodiness, and weakness for the lad, had -taken possession of him again and induced him to believe "the liar" -rather than his tried friends; she concludes with the lamentation that -it will never be possible to gain Beethoven's entire confidence; she -has grievous forebodings as to the outcome. - -[Sidenote: WORK UPON THREE MASTERPIECES] - -Let the rest of the year's history be devoted to Beethoven's creative -work. Considering the revival of interest and desire on the part of -the composer, the net result, measured by finished products, was -not as large as might have been expected. Two explanations for this -circumstances may be offered: the first lies in his domestic miseries -and the frame of mind in which they kept him for long stretches at a -time--that is obvious; the second may be read in his compositions. He -was growing more and more prone to reflection, to moody speculation; -his mental processes, if not slower than before, were more protracted, -and also more profound, and they were occupied with works of tremendous -magnitude. The year produced sketches and partial developments of the -Sonata in B-flat, the Symphony in D minor and the great Mass in D. The -Sonata, so two sketchbooks carefully analyzed by Nottebohm show, was -begun in 1817, and occupied much of the composer's time during the -summer of 1818, notes showing that he worked upon it in his walks about -Mödling and in the Brühl valley. Notes of an announcement of a sale -of carriages and of a house for rent, taken from a Vienna newspaper -(probably in some inn), show that his thoughts were on the London visit -and another of his frequent changes of residence. In April the Sonata -was so far advanced that he could write to Archduke Rudolph that on -his name-day (April 17) he had written out the first two movements -in a fair copy, but this does not necessarily mean that the pieces -had received their definitive shape. Among the sketches for the last -movement there is an outline for a pianoforte piece in B-flat which, -according to an inscription upon the autograph, was composed on the -afternoon of August 14.[193] Plainly he was already at work on the -finale before the end of 1818, and there is no reason for questioning -Schindler's correctness when he says that the Sonata was finished late -in the fall when he took up the "Missa Solemnis." Czerny played it in -Beethoven's presence in the spring of 1819, and it was in London ready -for the engraver in April of that year. - -Nottebohm, believing that the letter in which Beethoven informed -the Archduke that he had written out the first two movements on his -name-day could not refer to April 17, 1818, placed both incident and -letter in the year following.[194] But, as has been said, it does not -at all follow from Beethoven's remark that the two movements were in -a finished state;[195] the reference may have gone only to the first -elaboration of the sketches. The "latest happening" to the Archduke -was, probably, his elevation to the archbishopric of Olmütz, which -occurred on June 4, 1819; but this was merely the formal execution -of a purpose which had long been known in anticipation. Nottebohm's -contention for the name-day of 1819, is untenable for the reason that -on April 17 of that year the Sonata had been so long in London that, -as Ries says, it was already engraved when he received a note dated -April 16, 1819, giving metronomic indications for all the movements -and prefixing the ~Adagio~ with its present first measure.[196] This -note must have been preceded by the one erroneously dated April 30; -erroneously, because it promises the metronome marks; and this letter -again by a still earlier one, mentioning the Sonata as ready for -publication. This letter, which Ries does not even mention, is as -follows:[197] - - Dear Ries: - - I am just recovering from a severe attack and am going into the - country--I wish you would try to dispose of the following 2 works, - a grand solo sonata for pianoforte and a pianoforte sonata which - I have myself arranged for 2 violins, 2 violas, 1 violoncello, - to a publisher in London. It ought to be easy for you to get 50 - ducats in gold for the two works, the publisher would only have - to announce at what time he intended to publish the two works and - I could publish them here at the same time, which would yield me - more than if I published them here only. I might also publish a new - Trio for pianoforte, violin and violoncello, if you were to find a - publisher for it.[198] I have never done anything unlawful and you - can take up this matter in London without injury to your honor or - mine. The publisher on receiving the works is to inform me when he - intends to publish them and then they shall appear here. Pardon me - if I am giving you trouble; my condition is such that I am obliged - to turn everywhere to make a pitiful livelihood--Potter says that - Chaphell in Bond Street is one of the best publishers; I leave - everything to you only begging you to answer as soon as possible so - that the works may not lie idle on my hands. I beg of Neate not to - make known the many works of mine which he carried with him until I - myself come to London which I hope surely to do next winter--I must - unless I wish to become a beggar here. Say all things beautiful to - the Phil. Society--I shall soon write you about various things and - beg you again to answer soon. As ever your true friend - - Beethoven. - - Many lovely greetings to your lovely wife. - - N. B. If you can get more, all the better. It ought to be - possible!!! - -[Sidenote: BEETHOVEN DEFENDS SOME OVERTURES] - -The letters printed in the "Notizen" ought to be read in connection -with this; we give the first and refer the reader to Ries, or the -collections, for the others: - - Vienna, 30 April (March). 1819. - - My dear Ries: - - It is only now that I can answer your last of December 18th. Your - sympathy does me good. At present it is impossible for me to come - to London owing to a net of circumstances in which I am involved; - but God will help me surely to get to London next winter when I - shall also bring the new symphonies with me. I am expecting soon - to get the text for a new oratorio which I am writing for the - Musical Society here and which may serve us also in London. Do - everything for me that you can; for I need it. Commissions from - the Philharmonic Society would have been very welcome; the reports - which Neate sent me about the near failure of the three overtures - were vexing to me; each one of them not only pleased here each in - its way but those in E-flat and C major made a great impression. - The fate of these compositions with the p. S. is incomprehensible - to me. You will have before now received the arranged quintet and - the sonata. See to it that both works especially the quintet, are - engraved at once. More leisure may be taken with the sonata but I - should like to have it published inside of two months, or three - at the latest. Your earlier letter referred to I did not receive; - wherefore I had no hesitation in selling both works here--but that - is only for Germany. Moreover it will be three months also before - the sonata will appear here; but make haste with the Quintet. So - soon as the draft for the money is received here I will send a - writing for the publisher as proprietor of these works in England, - Scotland, Ireland, France, etc. - - You shall receive the tempos for the sonata according to Mälzel's - metronome by the next post. De Smidt, Courier of Prince Esterhazy, - has taken the Quintet and Sonata with him. At the next opportunity - you will also receive my portrait, since I hear that you really - want it. - - Farewell, keep me in your affections. - - Your friend, - - Beethoven. - - Say all beautiful things to your beautiful wife for me!!!!! - -The Sonata was sold to Artaria in Vienna for 100 ducats. The publisher -sent the proofs to Beethoven on July 24, and announced it as "marking -a new period in Beethoven's pianoforte works" in the "Wiener Zeitung" -of September 15, 1819. It appeared under the title: "Grosse Sonate -für das Hammerklavier Seiner Kais. Königl. Hoheit und Eminenz, -dem Durchlauchtigsten Hochwürdigsten Herrn Erzherzog Rudolph von -Österreich Cardinal und Erzbischoff von Olmütz, etc., etc., etc., -in tiefster Ehrfurcht gewidmet von Ludwig van Beethoven, Op. 106." -Soon after its publication (on October 1st), Beethoven in a jocose -letter asked for six copies of the Sonata and six of the Variations on -Scottish Songs. Beethoven informed Ries of the publication in a letter -printed in the "Notizen" and wanted to send him a copy to aid him in -correcting the English edition, which was not ready. The Sonata Op. -106 was, therefore, the chief product of the year 1818. Beethoven told -Czerny that it was to be his greatest; and so it is, not only in its -dimensions but also in its contents. "The Sonata was composed under -distressful circumstances," said Beethoven in a letter to Ries (April -19, 1819), "for it is hard to write almost for the sake of bread alone, -and to this pass I have come." - -Simultaneously with the Sonata, Beethoven was at work on the Ninth -Symphony during a large portion of the year, but these labors were -suspended when his mind became engrossed with the great Mass which -was to be a tribute to his pupil, Archduke Rudolph, about to be -invested with eminent ecclesiastical dignities. Not alone the Ninth -Symphony, a Tenth also was before his fancy, but with neither of them -had Schiller's "Ode to Joy" been brought into association, though the -employment of the human voice in one or the other was already under -consideration. Schindler records that he saw a beginning made on the -score of the Mass in D "late in the fall of 1818"; how far he had -proceeded in the work by the end of the year cannot be determined -from the sketches which have been discovered up to the present time. -It is safe to assume, however, that the ~Kyrie~ was fully sketched -and fixed in outline, and, as he worked pretty continuously on the -~Credo~ throughout 1819, it seems likely that the ~Gloria~ had also been -begun in the year immediately preceding. Notes in the ~Tagebuch~ and -sketchbooks which, to judge by their context, were written during the -summer sojourn in Mödling show the trend of Beethoven's thoughts on -religious subjects and may be naturally associated with the Mass. Thus -(in the ~Tagebuch~): - - In order to write true church music ... look through all the - monastic church chorals and also the strophes in the most correct - translations and perfect prosody in all Christian-Catholic psalms - and hymns generally. - - Sacrifice again all the pettinesses of social life to your art. O - God above all things! For it is an eternal providence which directs - omnisciently the good and evil fortunes of human men. - - Short is the life of man, and whoso bears - A cruel heart, devising cruel things, - On him men call down evil from the gods - While living, and pursue him, when he dies. - With cruel scoffs. But whoso is of generous heart - And harbors generous aims, his guests proclaim - His praises far and wide to all mankind, - And numberless are they who call him good. - - --~Homer.~ - - Tranquilly will I submit myself to all vicissitudes and place my - sole confidence in Thy unalterable goodness, O God! My soul shall - rejoice in Thy immutable servant. Be my rock, my light, forever my - trust! - -Among the sketches for the Sonata in B-flat are memoranda of vocal -pieces which came into his mind during his wanderings in the environs -of Mödling. Goethe's "Haidenröslein," to which his mind several times -turned, occupied him again. His spiritual exaltation finds expression -in fragments which he notes as "written while walking in the evening -between and on the mountains," among them this: [Illustration: Gott -allein ist unser Herr. Er allein (God alone is God our Lord. He alone)] - -[Sidenote: GREAT WORKS AND POTBOILERS] - -The remark made in the letter to Hauschka that he was compelled to do -a lot of scribbling (or "smearing," as he expressed it) for the sake -of money in order to procure leisure for great works may be explained -by the fact that he was engaged upon the arrangement of folksongs for -Thomson, which were published in Thomson's Vol. VI, as well, possibly, -as those contained in the subsequent octavo edition of 1822-24. The -pianoforte piece in B-flat, published by Schlesinger in Berlin under -the title "Dernière pensée musicale," of which mention has already been -made, was no doubt a potboiler. With the folksongs must be associated -the Variations for Pianoforte alone, or Pianoforte and Flute (or -Violin), which he wrote in this and the following year and which were -published as Op. 105 and 107. The suggestion had come from Birchall; -but Beethoven's demands for an honorarium was thought too large by -the English publisher, and though Beethoven modified them, nothing -came of the project at the time. On February 21, 1818, Beethoven -offered Thomson twelve "overtures" (in the sense of introductions, or -preludes, no doubt) for 140 ducats, and twelve Themes and Variations -for 100 ducats, both lots for 224 ducats. The Themes and Variations -were accepted and published by Thomson. Beethoven composed sixteen -Themes and Variations on folksong material in all; six of them were -published by Artaria in Vienna (Op. 105) and the other ten by Simrock -in Bonn (Op. 107). - -Little is to be added to what has been said about the works published -in 1818. Thomson's Vol. V, the settings for which had been made -earlier, was published on June 1, Thomson's announcement in the preface -reading: "On the first of June, 1818, was published by George Thomson, -Nr. 3, Royal Exchange, Edinburgh, and by T. Preston, 97 Strand, -London, the fifth Volume of Select Scottish Melodies with Symphonies -and Accompaniments to each Melody for the Pianoforte, Violin and -Violoncello, composed by Haydn and Beethoven." Four of the settings are -by Haydn; the rest by Beethoven. The song "Resignation" was published -on March 31, as supplement of the Vienna "Modezeitung." - - - END OF VOLUME II - -FOOTNOTES: - -[185] Beethoven does not seem always to have maintained so reverential -a feeling for the instrument as is indicated by the above statement. -In Thayer's note-book the American editor of this biography found this -anecdote: "Once Beethoven told Stein that some strings in his Broadwood -Pf. were wanting, and caught up the bootjack and struck the keys with -it to show." - -[186] We have contented ourselves with mere references to Beethoven's -letters to Madame Streicher in this period. They are mostly brief notes -monotonously asking help in domestic affairs, and, though frequently -interesting because of their exhibition of characteristic traits and -moods, too insignificant to justify the cumbering of these pages with -their literal contents. Those who wish to do so can read them in any -of the German collections of Beethoven's letters or in the English -translation by Shedlock. But Kalischer's notes and dates and sometimes -Mr. Shedlock's translation ought to be critically scrutinized. The -letter referred to above, however, deserves to be given in full. - - "Best Madame von Streicher! - - "It was not possible to reply to your last letter sooner. I would - have written to you a few days ago when the servants were sent - away, but hesitated in my determination until I learned that it was - Frau D. in particular who hindered Karl to make full confession. - "~He ought to spare his mother~," she told him; and Peppi - coöperated with her; naturally they did not want to be discovered; - they worked together shamefully and permitted themselves to be - used by Frau v. Beethoven; both received coffee and sugar from - her, Peppi ~money~ and the ~old one~ probably also; for there can - be no doubt that she was ~herself at the house of Karl's mother~; - she said to Karl that ~if I drove her away~ from my ~service she - would go straight to his mother~. This happened at a time when I - had reproved her for her conduct with which I had frequent occasion - to be dissatisfied; Peppi who often played the eavesdropper when I - spoke with Karl appears to have tried to tell the truth, but the - old one ~accused her of stupidity and scolded her stoutly~--and so - she remained silent and tried to throw me off the trail. The story - of this abominable deception may have lasted about six weeks--they - would not have got off so easy with a less magnanimous man. Peppi - borrowed 9 or 10 florins for stuff for shirts and I afterwards made - her a present of the money and instead of 60 she got 70 florins; - she might have denied herself these wretched bribes. In the case - of the old woman, who was always the worse, hate may have played - a part as she always thought herself neglected (although she got - more than she deserved) for the ~scornful smile on her face~ one - day when Karl embraced me, made me ~suspect treachery~ and how - shameless and deceitful such an old woman could be. Just imagine, - 2 days before I came here K. went to his mother one afternoon - without my knowledge and both the old woman and P. knew it. But - now listen to the triumph of a hoary-headed traitress; on the way - hither with K. and her, I spoke with K. about the matter in the - carriage, although I did not know all, and when I expressed the - fear that we should not be safe in Mödling, she exclaimed "I should - only rely upon her." O the infamy of it! This was only the 2nd time - in the case of a person of such venerable age that ~such a thing~ - happened to me. A few days before I sent both away I had told - them in writing that under no circumstances were they to accept - anything for Karl from his mother. Instead of repenting, Peppi - tried secretly to take revenge on Karl, after he had confessed all - which they knew from the fact that in writing, I had said that - ~all had been~ discovered--I expected that they would both beg - my pardon after this, instead of which they played me one wicked - trick after the other. As no betterment was to be expected in such - obstinate sinners and I had every moment to fear another piece of - treachery, I decided to sacrifice my body, my comfort to better - self, my poor, misguided Karl and out of the house they went as a - ~warning example~ to all those who may come after. I might have - made their certificates of character a little less favorable; I - set down the time of service of each at full six months although - it was not true. I never practise ~vengeance~; in cases where I - ~oppose~ myself to other people, I never do more ~against~ them - than is necessary to protect myself against them or to prevent them - from doing further harm. On account of Peppi's honesty in general I - am sorry to have lost her for which reason I made her certificate - more favorable than that of the old woman, and she appears to have - been led astray by the old woman but that P.'s conscience was not - at ease she showed by saying to Karl that ~"she did not dare go - back to her parents," and, in fact I believe she is still here~--I - had suspected treachery for a long time until one evening before - my departure I received an anonymous letter the contents of which - filled me with dread; but they were only suspicions. Karl, whom I - took to task at once in the evening confessed but not all. As I - often treat him harshly and not without cause, he was too greatly - afraid to admit everything at once. In the midst of the struggle - we reached here. As I often questioned him, the servants noticed - it and the old woman in particular tried to persuade him not to - admit the truth. But when I gave Karl my sacred assurance that - all would be forgiven if he would but confess the truth, while - lying would plunge him into a deeper abyss than that in which he - already was, everything came to the light of day--add to this the - other data which I gave you before concerning the servants and you - will have the shameful story of the two traitresses clearly before - you. K. did wrong, but--mother--mother--even a bad one remains a - mother. To this extent he is to be excused, particularly by me - who know his intriguing, passionate mother ~too well~. The priest - here knows already that I know about him for K. had already told - me. It is likely that he was not fully informed and that he will - be careful; but to guard against K.'s being mistreated by him, - since he appears to be rather a rude man, the matter may rest for - the nonce. But as K.'s virtue was put to the test for there is no - virtue without temptation, I purposely pass the matter by until - it happens again (which I do not expect) in which case I will so - bethwack his reverence with such spiritual cudgels, amulets with my - sole guardianship and consequent privileges that the whole parish - will shake. My heart has been terribly shaken up by this affair and - I can scarcely recover myself. Now to my housekeeping; it needs - your help; how necessary it is to us you already know; do not be - frightened away, such a thing might happen anywhere, but if it has - once happened and one is in a position to hold it up to one's new - servants, it is not likely that it will occur again. You know what - we need--perhaps the French woman, and whatever can be found in the - way of a chambermaid, good cooking remains the principal thing, - even in the matter of economy, for the present we have a person - who cooks for us, but badly. I cannot write you more to-day, you - will perceive that in ~this matter~ I could not act differently; - it had gone too far. I do not yet invite you to visit me here for - everything is still in confusion; nevertheless ~it will not be - necessary to send me to a lunatic asylum~. I can say that I already - suffered from this thing fearfully while I was yet in Vienna, - though I kept silent. Farewell; do not make anything of this known - as some one might think prejudicially of K.; only I who know all - the driving wheels here can testify for him that he was terribly - misled. I beg of you soon to write us something comforting, - touching the art of cooking, washing and sewing. - - "I am very ill and in need of a stomach restorative. - - "Mödling, June 18 (10?), 1818." - - -[187] It was this priest, evidently, against whom Beethoven threatened -to launch the thunderbolts of his wrath so as to shake the earth in a -certain event, as he told Madame Streicher. - -[188] In the letter to Ries. - -[189] Evidently Joseph Valentine, a violoncello player, father of Jacob -Dont, the violinist, chiefly famous as a teacher of his instrument in -Vienna. - -[190] Mr. Thayer made or procured transcripts of the records of -the tribunals in which the struggle for the possession of Karl van -Beethoven were made. Students whose curiosity is not satisfied by these -pages are referred to Appendix III of Vol. IV of the German edition of -this biography. - -[191] In one of the Conversation Books used by Beethoven in 1820, -there occurs this remark in Beethoven's handwriting: "... when it -learned that my brother was not of the nobility. It is singular, so -far as I know, that there is a hiatus here which ought to be filled, -for my nature shows that I do not belong among these ~plebs~"; and, -in February, 1820, when Peters had observed his dissatisfaction: -"The common citizen should be excluded from higher men, and I have -gotten ~amongst them~." "In three weeks," Peters wrote, he would have -nothing to do with citizens and magistracy. He would yet be asked for -assistance and receive the most favorable report concerning his appeal. -Not long afterward the Appellate Court brought in its decision in his -favor in the guardianship matter. - -[192] Hotschevar's accusation was evidently rankling in his breast. - -[193] It is the short piece in B-flat published as a supplement to the -Berlin "Allgem. Musik. Zeit." on December 8, 1824, under the title -"Dernière pensée musicale." Beethoven's autograph inscription runs: -"Auf Aufforderung geschrieben Nachmittags am 14. August 1818, von -Beethoven." "Letzter musikalischer Gedanke." - -[194] Beethoven had written: "To the two pieces which I wrote down on -the name-day of Y. R. H., two others have been added, the last of which -is a large Fugato, so that the whole constitutes a grand sonata which -will soon be published and long ago ~in my heart~ was designed for you; -~the latest happening to Y. R. H., is not in the least responsible for -this~." - -[195] Nor even, as Thayer opined, that they had been delivered in -manuscript to the Archduke on that day. - -[196] "Notizen," p. 149. - -[197] This letter was first printed in Vol. IV of the German edition -of Thayer's biography--not, as Mr. Shedlock says, in his translation -of Kalischer's collection. Vol. IV appeared in 1907; Mr. Shedlock's -translation in 1909. Dr. Deiters found a transcript of the letter among -the posthumous papers of Mr. Thayer, who had it from Mr. J. Marshall, -of London. Its pages had been separated by some vandal who probably -wanted to sell two autographs instead of one. Mr. Marshall bought -the sheets at two different autograph sales and, recognizing their -relationship, united them. The letter appears afterwards to have come -into the hands of Mr. A. F. Hill, who loaned it to Mr. Shedlock. - -[198] Beethoven had sketched a promising Trio in F minor, in 1816, -along with the song-cycle and the Sonata in A major, and this, -probably, was in his mind. - - - * * * * * - - -Transcriber's Note - -Page headers in the original text have been moved above the paragraph -to which they relate. - -Italics are represented by ~swung dashes~. Superscript text is -indicated by carat signs, e.g. 3^{tio}. - -"804" in the phrase "804 im August" was overlined on each occurence. - -On p. 390, "V. B." was printed in a box. - - -All instances of "i.e." have been regularised to "i. e.". - -The following printing errors have been corrected: - -p. 5 "he "doubled" changed to "he doubled" - -p. 6 "performance." changed to "performance."" - -p. 26 "that that this" changed to "that this" - -p. 30 "difficult one. Beethoven violently" changed to "difficult one, -Beethoven violently" - -p. 35 "and the begining" changed to "and the beginning" - -p. 54 the paragraph beginning "Many years after" was indented - -p. 76 "you were!"" changed to "you were!""" - -p. 103 "prefer ~me~?" changed to "prefer ~me~?"" - -p. 123 "in the "house" changed to "in the house" - -p. 153 "much easier."" changed to "much easier.'"" - -p. 161 ""Weinmonath"" changed to ""Weinmonath" - -p. 171 "diastrous" changed to "disastrous" - -p. 174 "From Zmeskall's lodgings" changed to "From Beethoven's lodgings" - -p. 215 "out of place" changed to "out of place." - -p. 219 "acquaintaince" changed to "acquaintance" - -p. 226 "romatic" changed to "romantic" - -p. 227 "you good."" changed to "you good.""" - -p. 231 "similiar" changed to "similar" - -p. 262 "Zukünft" changed to "Zukunft" - -p. 266 "Gründer" changed to "Gründer"" - -p. 290 "inprovised" changed to "improvised" - -p. 296 "This seems" changed to ""This seems" - -p. 296 "etc.," changed to "etc." - -p. 302 "III "Fidelio"" changed to "III. "Fidelio"" - -p. 313 "in C major" changed to "in C major." - -p. 325 "Farwell" changed to "Farewell" - -p. 327 "passively" changed to "passively." - -p. 342 "out attention" changed to "our attention" - -p. 366 "disatisfaction" changed to "dissatisfaction" - -p. 381 (note) "Zurich" changed to "Zürich" - -p. 383 "wereoften" changed to "were often" - -p. 389 "was compossed" changed to "was composed" - -p. 398 "setted" changed to "settled" - -p. 412 "two movenents" changed to "two movements" - - -The following possible errors have not been changed: - -p. vii "Disappointing Decrease" and p. 170 "Decrease" - -p. 3 "at both: and in this wise:" - -p. 6 and p. 267 "Tremate, empj, tremate" - -p. 151 (note) "Neverthless" - -p. 273 ""urged its completion" has no closing quotation mark - -p. 291 "you up came" - -p. 341 "how how right" - -p. 353 "xThe present" - -p. 415 "was thought" - - -The text uses the following inconsistently: - -Carl and Karl - -contrabass and contra-bass - -Kozeluch and Kozeluch - -Les Ruines de Babylon and Les ruines de Babilone - -nameday and name-day - -P.P. and P. P. - -pianoforte and piano-forte - -In addition, there are many inconsistencies in spelling and punctuation -in quotations, which have not been changed. - -Grätz and Gratz are different names. - - - - - - - - -End of the Project Gutenberg EBook of The Life of Ludwig van Beethoven, -Volume II (of 3), by Alexander Wheelock Thayer - -*** END OF THIS PROJECT GUTENBERG EBOOK LIFE OF BEETHOVEN, VOL II *** - -***** This file should be named 43592-8.txt or 43592-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/5/9/43592/ - -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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